Development of Non-arbitrary to the Arbitrary Iconic Words in Javanese Language

Sunarya,; Sumarlam,; Teguh, W. Sahid; Marmanto, Sri

doi:10.17576/gema-2017-1703-09

Cited by 3 publications

(1 citation statement)

References 3 publications

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“…Berbagai acuan dan penelitian mengenai onomatope dalam bahasa Jawa telah dilakukan sebelumnya. Pembahasan mengenai onomatope kerap bersinggungan dengan pembentukan kata dalam bahasa Jawa (Mulyadi, 2008;Purnami, 2016;Subroto, 1981;Sudaryanto, 1989;Sunarya, 2018;Sunarya et al, 2016Sunarya et al, , 2017Sunarya & Sutono, 2020;Uhlenbeck, 1982). Bentuk onomatope yang paling sering disinggung dalam buku dasar bahasa Jawa (Uhlenbcek, 1982;Verhaar, 1996;Poejosoedarmo, 1979) adalah daftar kata yang diawali dengan mak-dan pating-.…”

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Onomatope dalam Istilah-istilah Gamelan Jawa

Kristi,

Hendrokumoro

2023

arnawa

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Onomatopoeia in Javanese is attached to the Javanese musical art activity called gamelan or Karawitan. Just as music is related to sounds, there are various gamelan terms which are onomatopoeia. The lack of research on the onomatopoeia of these terms motivated a preliminary study of how onomatopoeia is formed in Javanese gamelan terms and its use in both verbal and written. Data was taken from literature studies and independent reflection based on the author's observation experiences. Next, the data is classified based on word form and the use of terms in gamelan practice. This research found onomatopoeia in Javanese gamelan terms which are dominated by secondary forms of onomatopoeia, namely imitations of sounds from the gamelan instruments being played. Meanwhile, based on word formation, onomatopoeia of gamelan terms consists of (1) root words as basic words, (2) root words plus formative, (3) root words doubled, (4) two or more root words, and (5) compound words. Based on their use, these terms are divided into four functions, namely as a basis for naming gamelan instruments, naming gamelan percussion techniques, and to describe gamelan sounds. The use of these terms can also be seen verbally and written. === Onomatope dalam bahasa Jawa melekat pada aktivitas seni musik Jawa yang disebut dengan gamelan atau seni karawitan. Sebagaimana musik berhubungan dengan suara dan bunyi-bunyian, ada berbagai istilah gamelan yang merupakan bentuk onomatope. Minimnya penelitian tentang onomatope istilah-istilah tersebut memotivasi kajian awal terhadap pembentukan onomatope dalam istilah gamelan Jawa dan fungsi atau penggunaannya baik secara tertulis maupun secara verbal. Data diambil dari studi literatur dan refleksi mandiri berdasarkan pengalaman observasi penulis. Berikutnya, data diklasifikasikan berdasarkan pembentukan kata dan penggunaan istilah-istilah dalam praktik gamelan. Penelitian ini menemukan jenis onomatope dalam istilah-istilah gamelan Jawa yang didominasi bentuk onomatope sekunder, yaitu tiruan-tiruan bunyi dari instrumen gamelan yang dimainkan. Sementara itu, berdasarkan pembentukan katanya, onomatope istilah-istilah gamelan terdiri dari (1) akar kata sebagai kata dasar, (2) akar kata ditambah formatif, (3) akar kata diduakalikan, (4) dua akar kata atau lebih, dan (5) kata majemuk. Berdasarkan penggunaannya, istilah-istilah ini terbagi dalam empat fungsi yaitu sebagai dasar penamaan instrumen gamelan, penamaan teknik tabuh gamelan, dan untuk mendeskripsikan bunyi gamelan. Penggunaan istilah-istilah ini juga dapat dilihat secara lisan dan tertulis.

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Onomatope dalam Istilah-istilah Gamelan Jawa

Kristi,

Hendrokumoro

2023

arnawa

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Irregular Behaviours of Coda /M/ in Tamil Reduplications

Ramasamy

2020

gema

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In Reduplication, the Base and Reduplicant usually undergo various phonological changes to reconcile and harmonise them. Despite this general view, not many studies have attested to credibility of a single phoneme for its capacity of triggering various reactions, otherwise known as the emergence of the unmarked (TETU). A specific coda of such nature, bilabial /m/, in one of the Dravidian language Tamil is known for registering irregular reactions at the juncture of Base and Reduplicants, forcing the coda to trigger seven types of phonological reactions, a phenomenon that probably hard to witness in universal grammar. This study discusses the phonological and morphological reactions of reduplicative words as the consequences of TETU, which were resolved in language-specific ways, within Optimality Theoretic parameters. The results verify that as long as the conflicting markedness constraints do not interrupt reconciliation of reduplicative words in Tamil, the reconciliations take place systematically without markedness reduction or increase in reduplicant, except in reduplicative words ending with labial /m/. The reduplicants tend to reduce markedness of its prosodically weak position in many ways, while the same markedness is tolerated within the base words, in isolation or otherwise. It responds, at least, in seven different ways (in isolation or simultaneously) in reduplications, suggesting that the markedness reducing and markedness increasing should be addressed as a context-sensitive issue of reduplicant-base, in the lights of natural and prosodic phonology, collectively, but not in the absence of one against another, at least for the sensitive phonemic coda, like /m/, in hand.

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An acoustic study of Jonglish Communiy: Javanese-accented speech

Ardini,

Sunarya

2024

Forum Linguist. Stud.

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People who speak English with a Javanese accent are referred to as Jonglish (Jowo-English) speakers. They end their sentences in a high tone, therefore, the aims of this study were to compare the intensity and pitch of Javanese accent speakers (specifically from Pekalongan, Semarang, and Pati) with native speakers. The focus was on investigating whether the high tone at the end of sentences affects the engaging nature of the conversation. It employed descriptive qualitative design and included data collection, acoustic analysis, perception analysis, linguistic analysis, and interpretation. The data were collected by audio recording in the form of sentences. Praat, a voice analysis, was utilized to analyze the data. The findings demonstrated that Pekalongan and Semarang speakers had higher pitch than native speaker (232.25 Hz and 206.27 Hz). Meanwhile, the pitch score for Pati was lower than native; 192.04 Hz. On the other hand, the intensity from those regions were lower than native speaker; 69.58 dB, 61.51 dB, and 68.203 dB, while the of native speaker was 71.306 dB. The fact that the Jonglish includes a tendency to end sentences with a high tone suggests a particular intonation pattern. Despite these variations, effective communication often relies on contextual cues and the listeners ability to adapt to different speech patterns. The study has the potential to make meaningful contributions to English pronunciation instruction, cultural awareness, and effective cross-cultural communication. The outcomes of the research can inform pedagogical practices and support the broader goal of promoting linguistic diversity in English language education.

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Development of Non-arbitrary to the Arbitrary Iconic Words in Javanese Language

Cited by 3 publications

References 3 publications

Onomatope dalam Istilah-istilah Gamelan Jawa

Onomatope dalam Istilah-istilah Gamelan Jawa

Irregular Behaviours of Coda /M/ in Tamil Reduplications

An acoustic study of Jonglish Communiy: Javanese-accented speech

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