Langgam Di Bawah Sinar Bulan Purnama (By the Light of the Full Moon)
Orkes Kroncong Mutiara
Langgam Di Bawah Sinar Bulan Purnama (By the Light of the Full Moon)
"Di Bawah Sinar Bulan Purnama" (By the light of the full moon) is played in the kroncong idiom by a Jakarta stringband, the Orkes Kroncong Mutiara (Pearl Kroncong Orchestra). The group has kroncong, langgam, and some European-American popular standards in its repertoire; it plays all of them in kroncong style. O. K. Mutiara’s instrumentation here is electric Hawaiian guitar, transverse (European) flute, melody guitar, bass guitar, ukulele, banjo, and cello. In pieces with vocals, the Hawaiian guitar is usually replaced by a violin. Suhaery Mufti, a popular singer who in the 1950s recorded several songs, plays the Hawaiian guitar in this recording.
With the advent of the Baroque period (1600 - 1750), the recorder came to be used almost exclusively as a solo instrument. Ensembles of the time focused on strings (particularly the violin) with one or more instruments performing a "solo" for forms such as the "concerto" or "concerto grosso," or continuo bass (one bass instrument accompanied by one chord-playing instrument, such as a harpsichord) with one or more instruments performing forms such as the "suite" or "sonata." Recorder performances retain a deep relationship with ensembles of that period.
A stronger, more stimulating timbre was sought from the instrument, and in the Baroque period (particularly the later Baroque period) the bore of the recorder was made conical. As a result, higher pitched harmonics were fuller, and the instrument came to produce a clear, resplendent timbre. During this period, a great many "sonata" and "concerto" works were produced for the recorder, and it could be said that this was the period in which the recorder was most glamorous and active.
Various recorders shown in a book written by German musician, Praetorius
For example, in addition to G. F. Handel's "Seven Sonatas" and "Two Trio Sonatas," a number of settings in opera and oratorios saw recorders used, as well as their use for solos in J.S. Bach's "Brandenburg Concerto" No. 2 and No. 4, and as an instrument for performing obbligato in many cantatas. In addition, G.P. Telemann wrote many sonatas, trio sonatas and concertos for the recorder, including his particularly well-known "Concerto in A Minor." In Italy also, A. Scarlatti as well as A. Vivaldi wrote many sonatas, triosonatas, and concertos, ("Concerto in C-Major for Sopranino Recorder and String Orchestra"is particularly well known). It would not be an exaggeration to say this was the golden age of the recorder.
However, after the Baroque period the recorder lost its position and status to the flute, and vanished for a time from musical history. From the time of the classical period, when works by Mozart and Beethoven became well known, orchestras began to develop, but with its limited volume the recorder was unable to hold its own. Moreover, as the flute was more expressive and easier to play, the recorder gradually became less popular. From that time, for around 150 years, almost no music was written for the recorder.
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I had mixed feelings watching the premiere of the film Children of the Light, Dawn Gifford Engle’s 90-minute documentary on the life and global impact of Archbishop Desmond Tutu. The archive footage of our recent past had me reliving briefly some of the sadness of the 70’s and 80’s. But it was sorrow tinged with triumph. So while the film is a reminder of where we were just three decades ago, it is a celebration of a South African leader who guided our nation away from the edge towards democracy.
Engle is a co-founder of the PeaceJam Foundation, an American NGO that works with Nobel Laureates to inspire young people around the world to become the peacemakers and community activists of the future. The Foundation’s programme was launched in February 1996 by Engle and Ivan Suvanjieff to provide the Laureates with a vehicle to use for working together to teach youth the art of peace.
Their film is a powerful reminder of the huge debt of gratitude we owe Archbishop Tutu. We know how tirelessly he has worked to oppose injustice. When he speaks (and here I borrow from his idiom loosely) we square our shoulders, stand a bit straighter and definitely walk a whole lot taller. But like a beloved parent, we take him for granted. I would recommend that every South African watches Children of the Light and then goes down on their knees to thank the god of their choice for the gift that is Tutu.
The Goodwood Stadium eucharist for the enthronement of Archbishop Desmond Tutu in September 1986.
The premiere of Children of the Light was timed to coincide with the 28th anniversary of Tutu’s enthronement as the Anglican Archbishop in St George’s Cathedral in September 1986.
This feature length documentary is an ambitious project. It takes us from Tutu’s early life as a young man shaking his world and being given a scholarship to study at King’s College in London, through his rise to the top job in South Africa’s Anglican Church and eventually to his impact on the nation’s of the world. Seeing the Archbishop’s life on this very broad canvas was humbling. My only gripe was with the production values of the film but when I looked around me and saw how much everyone was overflowing with joy and praise afterward, I kept my niggling professional observations to myself.
Instead I went home and rummaged through my own Tutu memorabilia. Many hours later when I had to force myself to stop poring over the Tutu photographs, notebooks and correspondence, what actually bothered me most about Children of the Light came to me in a flash. It is embarrassing that neither I nor any of my colleagues in the media have come up with the quintessential Desmond Tutu film yet. Two decades after democracy and yet again a foreign entity has collected the vast archive of Tutu’s life and put it on the big screen. Somewhere in my past I recall a minor documentary locally made but nothing close to the scale of Dawn Gifford Engle’s film.
So while we scurry around trying to right that wrong. Here are a few items in my archive that stand out for me as defining Tutu moments.
As Archbishop Elect in June 1986, persuading riot policeman Captain Johan Oosthuizen to allow him to visit the embattled Crossroads.
As the Archbishop Elect in 1986 Tutu was like a human shield, constantly confronting apartheid police and soldiers to prevent even more bloodshed. Here he confronts a roadblock in Crossroads to persuade heavily armed police that they should allow peace talks in the embattled community.
Soon after his enthronement as Archbishop in September 1986 Tutu landed at the official residence in Bishop’s Court with a bang. First he offended the apartheid authorities because he refused to apply for a permit under the Group Areas Act, to enable him to live in a white area. Then he enraged conservative white neighbours by inviting homeless children from the Khayamnandi Shelter to swim in his pool. Mrs Leah Tutu was one of the first to dive in and join the kids.
In 1987, a year after his enthronement and a time when Mozambique was engulfed in the war between Frelimo and the rebels of Renamo, he braved the troubled countryside of the Gaza Province to visit deep rural Anglican communities. A contingent of armed soldiers – some with rocket launchers – had to protect him wherever he went. I’ve never been so terrified while sitting through a church service ever.
The bilateral cooperation protocol between Uşak University and Mogadishu University, along with both institutions’ commitment to internationalization, has paved the way for intensified collaborative efforts.
"Hiding in the Light" adalah episode ke-5 seri televisi dokumenter Amerika Serikat Cosmos: A Spacetime Odyssey. Episode ini tayang perdana tanggal 6 April 2014 di Fox dan 7 April 2014 di National Geographic Channel. Episode ini membahas sifat cahaya, kamera, metode ilmiah, dan komposisi alam semesta. Episode ini juga mendalami kontribusi fisikawan abad ke-10, Ibn al-Haytham, dan menyebutnya sebagai "bapak metode ilmiah modern."[1][2]
Episode ini mendapat tanggapan positif. Banyak kritikus yang menyukai visual brilian pada segmen terakhir yang ditutup dengan "penampakkan New York City, dilihat melalui berbagai panjang gelombang cahaya: cahaya tampak, inframerah, ultraviolet, sinar-X, gelombang mikro, dan bahkan gelombang radio" diiringi musik Rhapsody in Blue.[3][4] Episode tersebut mempertahankan penilaian/pangsa sebelumnya sebesar 1,5/4 pada kategori usia 18-49 dengan jumlah penonton langsung di Amerika Serikat sebanyak 3,98 juta orang.[5]
Episode ini membahas teori gelombang cahaya yang dipelajari manusia saat ini. Tyson mengatakan bahwa cahaya telah memainkan peran penting dalam kemajuan ilmiah, dimulai dari eksperimen terawal sekitar 2000 tahun yang lalu berupa camera obscura oleh filsuf Cina, Mozi. Tyson menyebut karya ilmuwan Arab abad ke-11, Ibn al-Haytham, sebagai salah satu karya pertama yang membahas sifat cahaya dan optik sehingga teleskop dapat diciptakan. Al-Haytham (Alhazen) juga merupakan salah satu peneliti pertama yang menggunakan metode ilmiah.
Tyson lalu membahas sifat cahaya yang ditemukan manusia. Penelitian Isaac Newton menggunakan dispersi melalui prisma menunjukkan bahwa cahaya terdiri dari spektrum kasatmata, sedangkan temuan William Herschel pada abad ke-19 menunjukkan bahwa cahaya juga terdiri dari sinar inframerah. Joseph von Fraunhofer kemudian menemukan bahwa dengan memperbesar spektrum cahaya kasatmata, celah-celah dalam spektrumnya bisa terlihat. Garis Fraunhofer ini disebabkan oleh penyerapan cahaya oleh elektron yang bergerak di antara orbit atom (dalam acara ini diilustrasikan dengan model Bohr) saat melintasi atom; setiap atom memiliki sifat khas akibat sifat kuantum orbitnya. Temuan ini menjadi perintis spektroskopi astronomi sehingga para astronom dapat menentukan komposisi bintang, planet, dan benda kebintangan lainnya menggunakan garis spektrum, serta mengamati gerakan dan perluasan alam semesta, dan keberadaan materi gelap.
Penayangan episode ini di Fox mendapat penilaian/pangsa sebesar 1,5/4 di kategori usia 18-49. Sekitar 3,98 juta penonton Amerika Serikat menontonnya secara langsung. Episode ini menempati peringkat ketiga dan terakhir di slot waktu yang sama setelah Resurrection dan Believe; dan ke-12 dari 15 acara yang mengudara pada malam itu.[5]
