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gamelan

gong suwukan
NMM 9915B. Gong Suwukan in Laras Slendro "1." Medium-sized bronze gong with strong, thick cord through two holes in the rim. Diameter (backside): 54.6 cm. Three-piece teakwood stand decorated with nagas (dragons) wearing crowns ("dragon king") and flower and leaf pattern covered in gold leaf (view close-up of carving on stand leg). Mallet (tabuh) with a long handle and heavy, thick red cloth padding on one end wrapped in red cord. NMM 9917C. Gong Suwukan in Laras Pelog "2." Medium-sized bronze gong with strong, thick cord through two holes in the rim. Diameter (backside): 50.8 cm. Three-piece teakwood stand decorated with nagas (dragons) wearing crowns ("dragon king") and flower and leaf pattern covered in gold leaf. Mallet (tabuh) with a long handle and heavy, thick red cloth padding on one end wrapped in red cord. Function: The gong suwukan is a structure instrument that plays in designated places within a composition, relative to the patterns played by the kempiang/kethuk, kenong, and kempul. In many compositions, there are multiple phrases ending with the playing of the gongs and the entire series of phrases can be repeated many times. This gong is used when there are multiple gongs within a piece of music and is not normally used at the beginning, end, or as the last gong of a repeated series of gongs. The gong suwukan can also be used to emphasize certain melodic phrases within a gong phrase. Playing technique: The gong suwukan is played by hitting the node with the soft end of the mallet. NMM 9916E. Kempul in Laras Pelog "1." Small bronze gong. Diameter (backside): 33.2 cm. Three-piece teakwood stand decorated with nagas (dragons) wearing crowns ("dragon king") and flower and leaf pattern covered in gold leaf. Mallet (tabuh) with a long handle and heavy, thick red cloth padding on one end wrapped in red cord. NMM 9916A. Kempul in Laras Pelog "6." Small bronze gong. Diameter (backside): 37.3 cm. Three-piece teakwood stand decorated with nagas (dragons) wearing crowns ("dragon king") and flower and leaf pattern covered in gold leaf. Mallet (tabuh) with a long handle and heavy, thick red cloth padding on one end wrapped in red cord. NMM 9916C. Kempul in Laras Pelog "3." Small bronze gong. Diameter (backside): 43.5 cm. Three-piece teakwood stand decorated with nagas (dragons) wearing crowns ("dragon king") and flower and leaf pattern covered in gold leaf. Mallet (tabuh) with a long handle and heavy, thick red cloth padding on one end wrapped in red cord. NMM 9916B. Kempul in Laras Pelog "5." Small bronze gong. Diameter (backside): 41.2 cm. Three-piece teakwood stand decorated with nagas (dragons) wearing crowns ("dragon king") and flower and leaf pattern covered in gold leaf. Mallet (tabuh) with a long handle and heavy, thick red cloth padding on one end wrapped in red cord. NMM 9916D. Kempul in Laras Pelog "7." Small bronze gong. Diameter (backside): 36.1 cm. Three-piece teakwood stand decorated with nagas (dragons) wearing crowns ("dragon king") and flower and leaf pattern covered in gold leaf. Mallet (tabuh) with a long handle and heavy, thick red cloth padding on one end wrapped in red cord. Function: The kempul is a structure instrument. It plays in designated places within a composition depending on the structure of the music and relative to the patterns played by the kempiang/kethuk, kenong, and gong. Playing technique: The kempul is played by hitting the node with the soft end of the mallet. NMM 9917D. Gong Suwukan in Laras Pelog "7." Medium-sized bronze gong with strong, thick cord through two holes in the rim. Diameter (backside): 53.7 cm. Three-piece teakwood stand decorated with nagas (dragons) wearing crowns ("dragon king") and flower and leaf pattern covered in gold leaf. Mallet (tabuh) with a long handle and heavy, thick red cloth padding on one end wrapped in red cord. NMM 9917B. Gong Suwukan in Laras Pelog "1." Medium-sized bronze gong with strong, thick cord through two holes in the rim. Diameter (backside): 53.1 cm. Three-piece teakwood stand decorated with nagas (dragons) wearing crowns ("dragon king") and flower and leaf pattern covered in gold leaf. Mallet (tabuh) with a long handle and heavy, thick red cloth padding on one end wrapped in red cord. Function: The gong suwukan is a structure instrument that plays in designated places within a composition, relative to the patterns played by the kempiang/kethuk, kenong, and kempul. In many compositions, there are multiple phrases ending with the playing of the gongs and the entire series of phrases can be repeated many times. This gong is used when there are multiple gongs within a piece of music and is not normally used at the beginning, end, or as the last gong of a repeated series of gongs. The gong suwukan can also be used to emphasize certain melodic phrases within a gong phrase. Playing technique: The gong suwukan is played by hitting the node with the soft end of the mallet.

gamelan gong ageng

The gong ageng (Kromo Javanese

Javanese language

Javanese language is the language of the people in the central and eastern parts of the island of Java, in Indonesia. In addition, there are also some pockets of Javanese speakers in the northern coast of western Java...

meaning large gong, ngoko is gong gedhe) is the largest gong

Gong

A gong is an East and South East Asian musical instrument that takes the form of a flat metal disc which is hit with a mallet.Gongs are broadly of three types. Suspended gongs are more or less flat, circular discs of metal suspended vertically by means of a cord passed through holes near to the top...

in a Javanese and Balinese gamelan

Gamelan

A gamelan is a musical ensemble from Indonesia, typically from the islands of Bali or Java, featuring a variety of instruments such as metallophones, xylophones, drums and gongs; bamboo flutes, bowed and plucked strings. Vocalists may also be included....

. It is used as to mark the largest phrases in the structure. In small structures, the gong ageng is used to mark larger groups than the smaller gong suwukan. In the larger gendhing

Gendhing

The gendhing is a class of gendhing structures used in Javanese gamelan music. Gendhing can also used to refer to gamelan compositions in general....

, only the gong ageng is used. It is typically pitched to match the 6 of the gamelan. Full gamelans sometimes only have one, for both pélog

Pelog

Pelog is one of the two essential scales of gamelan music native to Bali and Java, in Indonesia. The other scale commonly used is called slendro. Pelog has seven notes, but many gamelan ensembles only have keys for five of the pitches...

and sléndro

Slendro

Slendro is a pentatonic scale, one of the two most common scales used in Indonesian gamelan music, the other being pélog.-Tuning:...

, but can have both as well, even if the pitches are the same.
The gong suwukan or gong siyem is the smaller gong in the set used for smaller phrases. It is generally pitched higher, and at different pitches for pélog and sléndro. Frequently gamelans will have more than one gong suwukan, for different ending notes, and different pathet

Pathet

The pathet is an organizing concept in gamelan music. It is difficult to explain, but is similar to the melody types, that is, for example, modes, ragas, or maqamat, of other musics....

. Most common is a 1 for pathet sanga and lima, and 2 for pélog pathet nem and barang, and sléndro pathet nem and manyura. Usually a 1 can be played for gatra

Gatra

A gatra is a unit of melody in Javanese gamelan music, analogous to a measure in Western music. It is often considered the smallest unit of a gamelan composition....

ending in 1 or 5, and a 2 for 2 or 6. A few gamelans include a gong suwukan 3 as well.
A gongan is the time between soundings of the gong which can vary from a few seconds to several minutes depending on the tempo

Tempo

In musical terminology, tempo is the speed or pace of a given piece. It is a crucial element of composition, as it can affect the mood and difficulty of a piece.-Measuring tempo:...

, irama

Irama

Irama is a concept used in Javanese gamelan music, which relates to how much space there is between notes. It is often confused with tempo, although tempo is different, and each irama can be played in different tempi....

, and length of the structure (bentuk). It is the longest time-span in the colotomic structure of gamelan. The goong ageung plays a similar role in Sundanese gamelan (e.g. degung). The kempur in Balinese gamelan is similar to the gong suwukan (and not to be confused with the Javanese kempul In other Indonesian and Philippine cultures, its analog is the agung

Agung

The agung is a set of two wide-rimmed, vertically-suspended gongs used by the Maguindanao, Maranao and Tausug people of the Philippines as a supportive instrument in kulintang ensembles...

.

Gamelan gong kebyar

Gamelan gong kebyar is a modern style or genre of Balinese gamelan music. Kebyar means "the process of flowering", and refers to the explosive changes in tempo and dynamics characteristic of the style. It is the most popular form of gamelan in Bali, and its best known musical export. Gong kebyar music is based on a five-tone scale called pelog selisir (tones 1, 2, 3, 5, and 6 of the 7-tone pelog scale), and is characterized by brilliant sounds, syncopations, sudden and gradual changes in sound colour, dynamics, tempo and articulation, and complex, complementary interlocking melodic and rhythmic patterns called kotekan.

Gamelan Sekaten

Gamelan Sekaten adalah benda pusaka Kraton yang disebut Kanjeng Kyai Sekati dalam dua rancak, yaitu Kanjeng Kyai Nogowilogo dan Kanjeng Kyai Guntur Madu. Gamelan Sekaten tersebut dibuat oleh Sunan Giri yang ahli dalam kesenian karawitan dan disebut-sebut sebagai gamelan dengan laras pelog yang pertama kali dibuat. Alat pemukulnya dibuat dari tanduk lembu atau tanduk kerbau dan untuk dapat menghasilkan bunyi pukulan yang nyaring dan bening, alat pemukul harus diangkat setinggi dahi sebelum dipuk pada masing-masing gamelan.

Sedangkan Gendhing Sekaten adalah serangkaian lagu gendhing yang digunakan, yaitu Rambu pathet lima, Rangkung pathet lima, Lunggadhung pelog pathet lima, Atur-atur pathet nem, Andong-andong pathet lima, Rendheng pathet lima, Jaumi pathet lima, Gliyung pathet nem, Salatun pathet nem, Dhindhang Sabinah pathet em, Muru putih, Orang-aring pathet nem, Ngajatun pathet nem, Batem Tur pathet nem, Supiatun pathet barang, dan Srundeng gosong pelog pathet barang.

gamelan Myanmar

circa 1930: A gamelan being played in Burma. The gamelan consists of a circle of small drums which have a boss in the centre and are played by a man sitting in the middle striking them with a small hammer. (Photo by Hulton Archive/Getty Images)

VIRTUAL GAMELAN

Senior High School students 1 Prembun, Kebumen district, no longer limited to computer tools for typing or accessing social networking sites. Laptop has transformed into a set of gamelan instruments. With this new technology, the students do not fuss if performed outside the city. For example when appearing on the House Education Quality Assurance Agency (LPMP) in Central Java city of Semarang, Sunday (13/12). They just bring a laptop with a nine-unit computer program called "Virtual Gamelan" is already embedded in it. Each laptop is used to play one type of musical instrument. Dwi Wibowo (20), 1 Prembun high school students, served bonang play. His friends play a kind of different instruments. Like a musical group, they came up with harmony produces a sound similar to the original gamelan. "At first hard to play the gamelan in this way," said Dwi. To play this virtual gamelan, each student plays a musical instrument with a computer mouse pressed. On each laptop screen, visible form of musical instrument they played. To hit the instrument, they should direct it to use a computer mouse. In the performance that night, they played three pieces of Java, namely "Praon", "Ojo Dipleroki", and "Mayang Sewu". There are four 1 Prembun high school student who served as sindhen or singer. While four other students portray characters clown servants to refresh their appearance. Innovative technology created art teacher at Senior High School 1 Prembun, Joko Triyono, was able to make pupils more love gamelan. "Before you know with this new equipment, I did not like the gamelan," said Dwi. For Dwi, how to play a virtual gamelan is quite pleasant. Gamelan played by the computer is like playing a computer game. "I'm quick like a virtual gamelan since before I was addicted to playing computer games," said Dwi.Equipment practice

Seeing the interest of the students, Joko Triyono program also plans to release a "Virtual Gamelan" in 2010. Thus, the program created in 2006 can be used by other students to practice gamelan. "A set of gamelan instruments is quite expensive and heavy. This caused many schools can not practice gamelan," said Joko. Itupun computer program can also be easily "planted" in a computer because of its size is very small, which is about 3 mega bytes. With the small size, the program can be stored in a flash disk. Joko admitted there are two types of gamelan musical instruments can not be included in the program, which is siter and fiddle. The reason, Joko has not found a way to play the instrument with a computer mouse. (Herpin Dewanto)

What if the asteroid from its orbit deviates

There are thousands of asteroids in orbit hidden that scientists can not observe. Many of them appear after they kissed the earth and passed on a scale of galaxies. Known hazards of the asteroid is in 2028. But some scientists monitor the possibility that the asteroid that is hidden in a secret path can destroy human civilization by hitting the earth on December 21, 2012. This is the same date as the Maya predicted the end of the world. The probability that an asteroid with a diameter of 50-300 meters (150-1000 Feet) hit the Earth 'is 1 in 250, can actually occur at any time. Casualties are expected to be 5000. Probability that the 1, 5 kilometers (1 mile) diameter asteroid hitting the Earth is 2 in 1 million to the victims is estimated to 1.5 billion. 10 kilometers (6 miles) in diameter, or larger, asteroids hitting the Earth has a probability of 1 in 100 million with 10 Billion casualties.
Some scientists are concerned that Mayans in their time could see some hidden asteroid path quietly today. The alignment of the sun, moon and earth on December 21, 2012 is significant because gravitational release of hidden asteroids can occur. Probabilities shown above are in normal circumstances.

Joko Triyono in biographyinstitute.com

The Essence of an enjoyment and fun should not be extinguished, when the platform is changed. That was his basic idea on creating of computerized Virtual Gamelan, the application which he used to be a tutorial kit on teaching of Ethnical Music to the students of State High School of Prembun, Kebumen of Central Java, Indonesia.

“its about the platform how to attract the students on learning our valuable cultural heritage of ethnic musics. The reason for me to choose the multimedia technology is because of its attractiveness for the kids.” Joko Triyono said. “Today, Online Virtual Game changed those kids interaction between them, that’s why I create this Virtual Gamelan.” He added.

This high school teacher’s creation on ethnical music teaching was so interesting. The Gamelan music performance that commonly performed with a set of physical equipment and occupied some space to setup, has now made a simple installable application to your PC, in a 3,5 Mega bytes of Macromedia Flash. Even you can save it in a small USB flash storage, and bring along anywhere you go. Just a finger size.

You’re no longer necessary buying a thousands dollars music equipment, or weighed down of loading some hundred kilos of logs and bronzes set. In brief, this creation make those students found a simple way even to learn themselves on Gamelan. This would simply encourage kids love their way learn ethnic music, just like doing fun online games now no longer a new stuff to them, even to villagers’ kids.

Joko Triyono actually already developed this Virtual Gamelan since 2006, which then winned him some Silver and Bronze Prize of Teachers Creation 2006 Award venued by Education Department of Indonesia. But, because he never published his works since then, his Virtual Gamelan didn’t got popular among the music students. One another reason is he hasn’t got any affordable copy rights security application to protect his works.

He encouraged to develop his Virtual Gamelan because the reason of limited budget the school has is not enough to afford the real Gamelan instruments. “Though, we know Gamelan is one of syllabus, but we can not provide it just because we don’t have those real musical instruments.” Joko said.

He and wife, Sri Jatmawati began to record all those elements of traditional Karawitan instruments into digitalized database. The musical instruments which they borrowed from nearby Elementary Schools around the Kabekelan village of Prembun county, Kebumen city, Central Java. Sounds pitching were made one by one for all tones of the instrument. They both were seriously doing the “big” job, and could finished them in three months. His skills and knowledge in multimedia made benefit to this works, which delivered in Macromedia Flash formatted.

To developed this Virtual Game, Joko has divided it into two different ways of lessons. The first part is presented in musical preference, pelog and slendro partiture, and Gamelan Orchestra. The second part is Gamelan quizzes, a sort of musical game. All those part came into 8 megabytes in size. Small enough to deliver. But still he downsized it into 3,5 megabytes, came with Orchestral elements and musical game.

His Works on Other Ethnical Musics
Lately, Department of Education came to him for another big job. Kolintang and Angklung are the next projects for him to digitalized. In the meantime, he regularly given speech on seminars about Multimedia Learning, over the counties in Central Java. Other than working in traditional music developments, he happen already developed some educational subjects in multimedia. He had already worked on Biology, Sociology, Geography, Astronomy, and Vulcanology, all presented in multimedia visualization.

The objective of this works is to let students absorbed it easily all those education materials, compares to merely on readings. “There are so many abstract explanations on those lesson materials, sometime made the students misinterpretated them.” Joko said.

Even he already copy righted all his works, still he unencouraged to publish them. This because he hadn’t yet afford a protector software to save them. “Let this works dedicated to my students, for now.” He said.

Tutorial Flash Pro.8

Flash 8 counts with the most handy and intuitive environment or working interface. Moreover it has an advantage because it is similar to other Macromedia programs (Dreamweaver, Freehand, Director), it makes easier to assuming Flash, and faster its management and control. We will see this after opening Flash 8 for the first time:
In the image you can see the interface, we can see it just opening the Flash program. Flash will remember your preferences and will open the program just as you left it last time when you used it. There is a lack of some menus in this image. We will see all of them during this tutorial even if some of them do not appear in the image above, that shows only the main parts of the Flash interface. Let's see them.

KOLINTANG

Kolintang a typical musical instrument of the Minahasa (North Sulawesi), which has a base material that is wood that, if hit be a sound long enough to reach the high notes and low like a wooden egg, bandaran, arbitrary, kakinik or the like (type of wood rather light but solid enough and the wood fibers arranged in such a way to form parallel lines).
The word comes from the sound Kolintang: Tong (low tone), Ting (high tone) and Tang (middle tone). Formerly In Minahasa to invite people to play kolintang: "Let's Ting Tong Tang" with the phrase "Maimo Kumolintang" and from that comes a habit of "Kolintang" for the device used to play.
Kolintang initially consisted only of a few pieces of wood placed side by side on the second leg with a position player sitting on the ground, with both legs stretched straight ahead. Over time the player's legs replaced with two banana stems, or occasionally replaced with a rope like arumba from West Java. While the use case begins sesonator Prince Diponegoro was in Minahasa (th.1830). At that time, said equipment and gamelan xylophone part taken by the group. The use of kolintang closely related to traditional beliefs of the people of Minahasa, as in ritual ceremonies in connection with the worship of the spirits of the ancestors. That is why with the arrival of Christianity on the Minahasa, the existence of such kolintang driven almost completely disappeared during ± 100th.
After World War II, then came back kolintang pioneered by Nelwan Katuuk (which make up a kolintang tone music tone according to the universal order). At first only one with a composition Melody diatonic tones, with a 2 octave range voice, and as an accompanist used instruments "string" like a guitar, ukulele and stringbas.
Year 1954 was made kolintang 2 ½ octaves (still diatonic). In the year 1960 has reached a 3 ½ octave tone 1 crotch, naturel, and 1 mol. The basic tone is still limited to three Key (Naturel, 1 mol, and 1 crotch) with a distance of 4 ½ octaves tone of F s / d. C. And development continues kolintang music and good quality equipment, expansion of range tone, shape resonator box (to improve the sound), as well as appearance. We have created Kolintang already reached 6 (six) with chromatisch full octave.

EQUIPMENT & how to play every instrument has a common name known. The name or term kolintang music equipment in addition to the above language also has a name by using the language of Minahasa, and to complete a tool called these instruments amounted to 9 units. But for the professionals, just 6 pieces tool was able to play completely. Completeness of such equipment as follows:
B - Bas = Loway C - Cello = Cella T - Tenor 1 = Karua - Tenor 2 = Karua rua A - Alto 1 = Uner - Alto 2 = Uner rua U - Ukulele = Katelu M - Melody 1 = Ina esa - Melody 2 = Ina rua - Melody 3 = Ina taweng

PENDET

Pendet initially a worship dance that many exhibited in the temple, where worship of Hindus in Bali, Indonesia. This dance symbolizes the welcoming of the gods fall into the natural world. Gradually, as the times, the Balinese artists change Pendet be "welcome", but still contains elements of the sacred-religious. Creator / choreographer of modern dance forms are I Wayan Rindi (1967). Pendet is a statement of the offering in the form of a ceremonial dance. Unlike performing dances that require intensive training, Pendet be danced by all people, pemangkus men and women, adults and is taught young girls.Dance just by following the movement and is rarely done in banjar-banjar. The young girls follow the movements of the more senior women who understand their responsibility in providing an example that this daughter has baik.Tari movement patterns more dynamic than the Rejang dance is performed in groups or pairs. Usually displayed after Rejang Dance at the temple yard and generally facing the direction of the sacred (pelinggih) with ceremonial dress, and each dancer brings sangku, jars, bowls, and other offerings equipment. Pendet initially presented a dance at Temple for the event and welcomed religius Hindu god and goddess. Pendet created with the spirit ngayah (voluntary) as an offering to the gods. Communally recognized not made individual.

Angklung

Angklung is a traditional musical instrument which comes dar Indonesia Sunda Land, made of bamboo, which sounded shaken by (the sound caused by the impact of bamboo pipe body) that produces a sound that vibrates in the composition of tones 2, 3, and 4 tones in every size, both large and small. Barrel (tone) angklung instruments as Sundanese traditional music is mostly Salendro and pelog.
Angklung Origin
Angklung is a musical instrument from West Java. Angklung gubrag in Jasinga, Bogor, is one who is still alive since more than 400 years ago. Rite begins with the emergence of rice. Angklung created and played to attract Dewi Sri, down to earth people to grow rice plants by the public subur.Dikenal sunda since the Sundanese kingdom, of which as penggugah spirit in battle. Angklung function as a pump kept the spirit of the people still felt until the period of colonization, that's why the Dutch Government had banned the use angklung, this ban could make angklung popularity declined and only played by children at the time suggested the creation of music itu.Asal bamboo, like angklung based view of Sundanese people who live with the source of the agrarian life of the rice (pare) as the food is. This gave rise to the myth of confidence in the Sri Nyai Pohaci as a symbol of life-giving Goddess of Rice (breathe-Hurip). Reflection Sundanese people used in agricultural processing (tatanen) especially in the fields and huma has spawned the creation of poetry and song as a tribute and an offering to Sri Pohaci Nyai , as well as efforts nyinglar (starting reinforcements) to match their crops did not invite disaster, both pests and other natural disasters. Buhun song to honor those Nyi Sri Pohaci example:
Si Oyong-oyong
Sawahe si waru doyong
Sawahe ujuring eler
Sawahe ujuring etan
Solasi suling dami
Menyan putih pengundang dewa
Dewa-dewa widadari
Panurunan si patang puluh

The next offering songs of Dewi Sri is accompanied by the sound of percussion accompaniment made from bamboo stems simple packed structures which later emerged the bamboo musical instrument we know today called angklung. Further development in the tradition of the game Angklung accompanied by elements of motion and ibing (dance) rhythmic (to wirahma) with patterns and rules = rules in accordance with the needs of a memorial service at the time of paddy rice paraded to the barn (ngampih pare, nginebkeun), also at times mitembeyan, began planting rice in some places in West Java called ngaseuk Similarly at harvest feast and dedicated seren taun angklung game. Especially in the presentation related Angklung rice ceremony, this art became a nature show or pageant helaran, even in some places into the convoy Dongdang and Rengkong and Jampana (stretcher food) and so on. In the process, Angklung to develop and spread throughout Java, then to Kalimantan and Sumatra. In 1908 recorded a cultural mission from Indonesia to Thailand, among others, marked the transfer of angklung, and bamboo music of this game could also spread there.

Sasando

Sasando a musical instrument came from the island of Rote, East Nusa Tenggara, categorized music instumen quotes. The main part of the long tubular Sasando commonly made from bamboo. Then in the middle, a circle from top to bottom given lump-lump in which the strings (the strings) that stretched across the tube, from top to bottom resting. Wedge-wedge gives tone different to each passage of the string. Then this Sasando tube placed in a container made from a kind of woven palm leaves like a fan made. This container is the place Sasando resonance. Sasando playing technique is similar to other stringed instruments such as guitar, violin and harp. In addition to the solo play, Sasando also be played by an orchestra.
Legenda Sasando
It is said that there was a young man named Sangguana on Rote Island, East Nusa Tenggara. One day he was herding in the desert steppe. When feeling tired and sleepy, he fell asleep under a palm tree. In bed, he dreamed of playing a musical instrument mysterious. When he woke up he was still considering the notes he played. We went back to sleep, oddly enough it returned the same dream. Finally, based on the dream Sangguana decided to make a musical instrument of palm leaves with the strings in the middle. Musical instruments like the harp is now known as Sasando. Literally Sasando name by origin he said in Rote sasandu, which means equipment that vibrates or rings. Sasando allegedly used in the Rote society since the 7th century.

Key Logger

Keylogger is a software or programs that run in secret (not visible to the eye) at a particular computer to record every activity that uses a keyboard for data input medium. So each letter (caracter) or the numbers are pressed on the keyboard are automatically recorded by a keylogger or even not only recording but continued recording the results to others through the Internet.
With the keylogger on the computer would indicate to us that should be more careful because all of our actions on the keyboard will be recorded by a keylogger. No matter if you type something that is not important but what if we make transactions on the internet on the computer? of course all of our data will be recorded by a keylogger easily, such as names, passwords, pins and other related transactions.
Keylogger is often installed on computers that are used together as cafes, computer labs and others. Therefore, be careful of the computer that is often used together to avoid the things we do not want like a keylogger.
To overcome the problem keylogger should follow some simple tips below.

• Use a keylogger detection software that you think well enough, but keep in mind that in the Internet world there is no 100% safe so do not expect too much with keylogger detection software or a specific antivirus software.
• Change your password periodically to avoid penjiblakan password and user name for your important transactions on the Internet. Use a computer that is not used by many people such as cafes, computer labs, the workplace because it allows for placed keylogger to record our data.
• Change your password after using these passwords on a computer that used a lot of people, but do not change your password on the same computer.
• writing passwords for other applications and then use copy and paste that are not detected by the keylogger keylogger for recording all the action only on the keyboard but not with the movement of the mouse. But can also occur if the keylogger using screen shots to take pictures when we type in our data.

VIRTUAL GAMELAN

Nine students of SMAN 1 musical group Prembun, Kebumen afternoon other than normal. They wear traditional Javanese clothes, but sat facing serious computer device. Before long, a virtual gamelan orchestra demonstrated their opening game at Tech in 2008 on the campus Udinus Semarang. Some gising Java starting from 'Pangkur "," Kebogiro', 'Prau Screen ", to" Autumn Mountain "sung by melodious, although generated from a computer, not the musicians. Applause was long enough visitors. Even the Director of National Planning and Foreign Cooperation Ministry of National Education Prof. Dr. Ir Educate Sulistiyono who see attractions on the campus last April 19-21 Udinus kesengsem.Saking directly excited, he was pleased to give opportunities to students who cared for by Joko Triyono (43), art teacher music SMAN 1, to fly to Bangkok to introduce computer-based gamelan music.
Virtual gamelan is the gamelan imitation program found and created by Joko Since the year 2006 and he reset the year 2007. Works of art teachers were successful graduates Unnes the orchestra performed in 10 Udinus using laptops.

The students have shown a virtual gamelan instruments sound like the original form. In between exercises in the third floor of E Building Udinus, Rector also expressed readiness to facilitate the show was to be included Muri.

Positive Response

Furthermore, at the closing Game Tech in 2008 as Director of the Ministry of Education of Southeast Asia or Seamolec Dr Ir Gatot Hari Priowiryanto admit, it had found the "pearl" of Prembun. Virtual gamelan Itupun will be introduced in Southeast Asia. "In fact it is not possible later than Prembun go Washington," he said. According to Joko, the virtual gamelan has known some people in Central Java. Even in cyberspace (the Internet) has received a positive response. The hope, the orchestra can be useful in education and cultural arts development

Joko revealed, the idea of developing a computer through the gamelan to preserve traditional arts. It is also to introduce the art of gamelan to students who begin to forget the art of indigenous Javanese culture. Generally, students today do not like the gamelan and gamelan music. "Our students can be stimulated through the computer to play gamelan," he said.

Dra Prembun SMAN Rahayuni Rahmi Lestari said after receiving an explanation grateful. He was proud and pleased to see students skills to play gamelan siswinya computer use.

Suara Merdeka, Thursday, April 24, 2008, Komper Moerdopo

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