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Thursday, March 31, 2011

POSITIVE THINGKING

Si positive thinking ini lahir dari aliran psikologi, positive psychology. Dan berkembanglah dia jadi terkenal sekarang ini. “Positive thinking itu kita berpikir mengenai sisi yang baik dari segala hal, tapi banyak remaja yang salah kaprah sama hal ini,” ungkap psikolog cantik Mbak Zoya Amirin, M. Psi ini.
Berpikir positif ini susah-susah gampang kok, asal tahu caranya aja, emang nggak mudah sih kalo kita dihadapkan banyak masalah, ada ulangan dadakan aja bawaannya udah negatif, mikirnya yang jelek, pas kelar ujian terjadi deh, nilai lo nggak bagus karena lo udah mikir nggak bakal dapat nilai 100. Hal-hal yang kita pikirkan secara nggak langsung bisa mempengaruhi tindakan kita, nah udah gitu hasil dari tindakan itu sesuai dengan apa yang kita pikirkan.
Kadang kita menerima aja kalo disalah-salahkan sama guru atau diejek secara keterlaluan sama teman sendiri. Padahal yang namanya bersikap positive thinking itu juga bisa jengkel kalo digitun sama orang-orang terdekat kita, tapi kenali dulu sebab masalahnya dulu, biar nggak terjadi salah paham.


Kayak si Astrid, penyanyi yang baru aja ngeluarin album ini, “Gue selalu berpikir positif dalam semua hal, meski ada gosip yang enak yang bikin jengkel tapi gue masih punya keluarga dan teman-teman untuk tempat berbagi”.
Cara Astrid emang bisa dicoba tuh, sharing sama orang terdekat bisa mengurangi beban, alhasil menubah pikiran kita jadi positif. Menurut Mbak Zoya cara kita positive thinking bisa:
1. Kita sah-sah aja kok mengeluarkan emosi kalo emang lagi jengkel sama seseorang, sebaiknya hadapi dan selesaikan masalah dengan orang itu, kalo jengkel dan marahnya cuma ditahan tapi dibalik itu kita ngomel-ngomel nggak jelas, itu namanya jiwa kita nggak sehat.
2. Instrospeksi diri, kenapa orang lain benci atau menghina kita terus-terusan, apakah itu salah kita atau orang itu yang sirik karena kita lebih baik dari dia.
3. Asertif, bersikap asertif sangat diperlukan dalam positive thinking, kenapa? Karena saat kita lagi dapat tekanan dari teman atau guru, misal teman nggak mau ngajak jalan lagi atau guru kita ngasih tugas bejibun padahal tugas itu bisa dibagi-bagi ke teman-teman lain, kita bisa bersikap tegas dan utarakan pandangan kita yang nggak sesuai dengan mereka.
Kalo kita positive thinking pasti kita jadi orang yang menyenangkan buat orang lain deh, diajak gaul oke, diajak ngobrol asik, kemana-mana bawaannya fun. Karena kalo kita gembira, kita menyalurkan energi positif itu ke orang lain.
Dampaknya kita bakal dipercaya bonyok, misal dipercaya bawa mobil sendiri. Disayang guru, dan bukan nggak mungkin, dijamin kita dikerubutin cewek-cewek. Menyenangkan kan? Meski tampang pas-pasan kita bisa jadi trendsetter! Karena apapun yang kita pakai selalu oke.

sumber: www.hai-online.com
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COMPOSSER MUSIC CLASSIC: Giuseppe Torelli

Gabriel Urbain Faure was born in Pamiers, a town in France, on May 12, 1845. He was the son of a provincial primary school inspector. At an early age, his father, who had noticed his musical talents, took him to Paris to study with Louis Niedermeyer. When Niedermeyer died in 1861, the young Faure commenced studies with Saint-Saens, who was able to instruct him in the art of composition. Upon completing his lessons in 1866, Faure traveled to Rennes, where he was hired as an organist at the church of Saint-Sauveur. In 1870, Faure returned to Paris. The Franco-Prussian war had just begun, and the musician volunteered for service in a light infantry division. In 1896, he was given a post as chief organist at Madeleine. He was also hired by the Paris Conservatory as a professor. He became a successful teacher, whose students included the famous composer Maurice Ravel. His achievements led the Conservatory to appoint him director in 1905. He held this position until 1920, when his failing health and approaching deafness forced his resignation. From 1903 to 1921, Faure further occupied himself by writing musical reviews in Le Figaro. Faure had an illustrius career. The Academie des Beaux Arts made him a member in 1909. He was also given the status of Commander of the Legion d'Honneur, in 1910. Faure's unique style gives his art an immortal stature. Unresolved dischords and coloristic effects make his music anticipatory of the coming Impressionistic period. He died in Paris on November 4, 1924. Read more...

COMPOSSER MUSIC CLASSIC: Giuseppe Torelli

Giuseppe Torelli (1658-1709), Italian composer and violinist, who influenced the development of the concerto grosso and who was one of the earliest to compose solo concertos. Born in Verona, he was trained and worked mainly in Bologna except for brief periods in Ansbach, Germany (as music director to the Brandenburg court), and in Vienna. His opus 8 (pub. posthumously, 1709) is considered one of the great achievements of baroque music; it contains six concerti grossi and six solo concertos, the first solo concertos to be published. Read more...

COMPOSSER MUSIC CLASSIC: Franz Liszt

George Frideric Handel (1685-1759), German-born composer, who worked primarily in England, considered one of the most important masters of the baroque period (from about 1600 to 1750). Handel and his German contemporary Johann Sebastian Bach are considered the greatest composers of the early 18th century. Their music represents the culmination of musical genres of the baroque era. Whereas Bach’s output consisted chiefly of instrumental and vocal works originally conceived for Lutheran church services, Handel’s most important works are his operas and oratorios, composed for the theater. The most famous of these is Messiah, which was first performed in 1742. Handel also made important contributions to instrumental music. Read more...

COMPOSSER MUSIC CLASSIC: Franz Liszt

Friedrich von Schiller (1759-1805), German poet, dramatist, philosopher, and historian, who is regarded as the greatest dramatist in the history of the German theater and one of the greatest in European literature.

Schiller was born November 10, 1759, in Marbach, Württemberg, the son of an army officer and estate manager for the duke of Württemberg. He was educated at the duke's military school and then studied law and medicine. In 1780 he was appointed physician to a military regiment stationed in Stuttgart. As a student, Schiller wrote poetry and finished his first play, The Robbers (1781; trans. 1800), which was successfully presented in 1782 at the National Theater in Mannheim. Arrested by the duke for leaving Württemberg without permission in order to witness the production, Schiller was forbidden to publish further dramatic works, but in September 1782, he escaped from prison. Read more...

COMPOSSER MUSIC CLASSIC: Franz Liszt

Franz Schubert (1797-1828), Austrian composer who is considered the greatest of all art song composers and who excelled at chamber music, piano music, and orchestral music. His reputation as the father of German lieder (art songs) rests on a body of more than 600 songs, which rank among the masterpieces of 19th-century romanticism. His instrumental works bridge the classical tradition of the 18th century and the romanticism of the 19th, borrowing the structures of the former and incorporating the emotionalism of the latter. Read more...

COMPOSSER MUSIC CLASSIC: Franz Liszt

Franz Liszt was born in Hungary in 1811. He first performed in public at the age of nine. In 1823, after briefly studying piano playing and composition in Vienna, Liszt moved to Paris, where he hoped he would be admitted to the famous Conservatoire. However, because he was a foreigner, he was refused admission. Undaunted, Liszt took up private lessons and was soon performing as a professional concert pianist. For the next twenty years, he impressed audiences all over Europe with his virtuoso talents. At home in France, Liszt was influenced by the intellectuals and artists he met, like Victor Hugo, George Sand, Frederic Chopin, and Hector Berlioz. Saturated by French thinking and French lifestyle, Liszt became a great libertine and freethinker, and had several well-publicized affairs with socially prominent ladies. He fathered three illigitimate children with Countess Marie d'Agoult. In an attempt to escape the world's many temptations, the Romantically spirited Liszt turned to the Church. In 1879, he devoted himself to the Catholic Church, performing minor holy orders, and worked to improve church music. In 1886, he died. Liszt's piano music was largely inspired by literary and artistic sources. Liszt was a musical poet. According to Liszt

, "The musician who is inspired by nature exhales in tones nature's most tender secrets without copying it. He thinks, he feels, he speaks through nature." His works were descriptively titled pieces, consisting mainly of short lyrical and sentimental songs. They tested the abilities of not only the pianist, but also of the keyboard itself. Liszt, in his day, was known as the "legendary destroyer of pianos," driving the limits of keyboards and keyboard technique far beyond previous boundries. However, contemporary musicians are often critical of Liszt's work, accusing him of producing music of uneven quality and lacking in substance. Because he wrote music primarily to show off his own talents, they tend to be technically brilliant, but sometimes musically weak. However, of the over 700 pieces he wrote, there are many examples which show the artistic talents of one of the greatest Romantic pianists. Franz Liszt (1811-1886), Hungarian-born pianist and composer, founder of the solo piano recital and perhaps the greatest pianist of all time, as well as one of the important composers of the 19th century.

Liszt was born on October 22, 1811, in the village of Raiding, near Sopron. He studied the piano first with his father, then with the Austrian pianist Carl Czerny in Vienna, where he also studied theory with the Italian composer Antonio Salieri. In 1823 he moved with his parents to Paris, where he soon established himself as a pianist. Meanwhile, he took composition lessons from the Italian opera composer Ferdinando Paër and the Czech-French composer and theorist Anton Reicha.
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COMPOSSER MUSIC CLASSIC: Franz Grillparzer

Franz Grillparzer (1791-1872), Austrian playwright, whose somber tragedies and historical dramas are considered masterpieces of the 19th-century Austrian theater. Born in Vienna, the son of a lawyer, he studied law at Vienna University but left for lack of funds. He made his living as a civil servant. In 1818 he became poet to the court theater.

Grillparzer wrote many tragedies of dramatic and poetic beauty, particularly notable for their psychological insight. Sappho (1818) deals with the problematical relationship of art to life. The pessimistic trilogy Das goldene Vlies (The Golden Fleece, 1822) is concerned with the ancient Greek tale of Jason and Medea. Grillparzer's masterly The Waves of Sea and Love (1831; trans. 1947) depicts the Greek lovers Hero and Leander. A Dream Is Life (1834; trans. 1946) and The Jewess from Toledo (1872; trans. 1953) are based on classical Spanish themes. Although many of Grillparzer's works were disliked by the censors and the public, they influenced later dramatists, such as the German Gerhart Hauptmann and the Belgian Maurice Maeterlinck.

(1791-1872), Austrian playwright, whose somber tragedies and historical dramas are considered masterpieces of the 19th-century Austrian theater. Born in Vienna, the son of a lawyer, he studied law at Vienna University but left for lack of funds. He made his living as a civil servant. In 1818 he became poet to the court theater.

Grillparzer wrote many tragedies of dramatic and poetic beauty, particularly notable for their psychological insight. Sappho (1818) deals with the problematical relationship of art to life. The pessimistic trilogy Das goldene Vlies (The Golden Fleece, 1822) is concerned with the ancient Greek tale of Jason and Medea. Grillparzer's masterly The Waves of Sea and Love (1831; trans. 1947) depicts the Greek lovers Hero and Leander. A Dream Is Life (1834; trans. 1946) and The Jewess from Toledo (1872; trans. 1953) are based on classical Spanish themes. Although many of Grillparzer's works were disliked by the censors and the public, they influenced later dramatists, such as the German Gerhart Hauptmann and the Belgian Maurice Maeterlinck.

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COMPOSSER MUSIC CLASSIC: Edward Alexander MacDowell

François Couperin (1668-1733), called Le Grand (French, “the great”), French composer, organist, and harpsichordist, whose works stand at the apex of French baroque music.

François, the nephew of Louis Couperin, was born in Paris on November 10, 1668. His father, Charles, had succeeded Louis as organist at the Church of Saint Gervais in Paris (a post held by Couperin family members until 1826). He died in 1679, and François was carefully trained to take his place. He assumed the position at the age of 17, a few years later also becoming organist of the royal chapel and director of music at court. His four volumes of harpsichord music (1713-30), a monument of French keyboard music that influenced J. S. Bach, are groupings of short, evocatively titled pieces cast in dance rhythms varying from elegant, to satirical, to profound. His treatise L'art de toucher le clavecin (The Art of Playing the Harpsichord,1716-17) is a major document of 18th-century performance practice.

Couperin introduced the trio sonata to France, infusing this Italian genre with a characteristically French treatment of melody and ornamentation. Especially important are the collection of Les nations (1726) and the 12 concerts for harpsichord and instruments (1714, 1724). Of his church music the three Leçons de ténèbres (Readings for Tenebrae Service, c. 1714-15), for solo voices, organ, and instruments, are outstanding. His organ masses are among the finest examples of French baroque organ music.

Couperin died on September 12, 1733, in Paris.

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COMPOSSER MUSIC CLASSIC: Edward Alexander MacDowell

Felix Mendelssohn (1809-1847), German composer, one of the leading figures of early 19th-century European romanticism.

Born Jakob Ludwig Felix Mendelssohn-Bartholdy on February 3, 1809, in Hamburg, he was the grandson of the noted Jewish philosopher Moses Mendelssohn. (The name Bartholdy was added to his surname when the family inherited property from a relative of that name, but he was always known by his original name.) As a child he converted with his family to Protestantism. Mendelssohn first appeared in public as a pianist at the age of 9 and performed his first original compositions when 11 years old. His masterly overture to A Midsummer Night's DreamIgnaz Moscheles was composed at the age of 17; the famous “Wedding March” and the rest of his incidental music to the play were written 17 years later. His teachers included the Bohemian pianist-composer and the German composer Carl Zelter. A revival of public interest in the works of Johann Sebastian Bach was directly attributable to Mendelssohn, who in 1829 conducted the first performance since Bach's death of his St. Matthew Passion.

Mendelssohn appeared as a pianist and conductor throughout Europe, making frequent trips to England. He was musical director for the city of Düsseldorf (1833-1835), conductor of the Gewandhaus Orchestra in Leipzig (from 1835), and musical director to King Frederick William IV of Prussia (from 1841). In 1842 he helped organize the Leipzig Conservatory. He suffered a physical collapse at the death of his favorite sister, Fanny Mendelssohn Hensel, and died a few months later in Leipzig on November 4, 1847.

In spite of an enormously strenuous schedule as pianist, conductor, and teacher, Mendelssohn was a prolific composer. Of his five symphonies, the best known are the Italian Symphony (1833) and the Scotch Symphony (1843). His organ and choral music is among the best of the 19th century and includes, for choir and orchestra, the oratorios St. Paul (1836) and Elijah (1846) and the cantata Erste Walpurgisnacht (First Walpurgis-Night, 1832; revised 1843); and his organ sonatas, preludes, and fugues. Also important are the Variations sérieuses (1841) for piano; his concert overtures, including The Hebrides (1832); his concertos for violin (1844) and for piano (1831, 1837); and the eight volumes of Songs Without Words for piano (1830-1845; some of these are by his sister Fanny).

His romanticism shows most clearly in his use of orchestral color and in his fondness for program music depicting places, events, or personalities. Structurally, Mendelssohn's music adheres to classical forms. It is lyrical and graceful, always clear, and never revolutionary. Read more...

COMPOSSER MUSIC CLASSIC: Edward Alexander MacDowell

Francis Poulenc was born in Paris, on January 7, 1899. He took music lessons from his mother until he was 16. At this point he enlisted piano teacher Ricardo Vines. Influenced by the eccentric modern style of Erik Satie, Poulenc joined a group of young French musicians called the "Nouveaux Jeunes". Besides Poulenc, the group included composers Auric, Durey, Honegger, Milhaud, and Tailleferre. French critic Henri Collet called them "Le Groupe de Six", after the famous Russian Five. The name was later shortened to just "Le Six". Poulenc served in the French army from 1918 to 1921, before taking lessons from Koechlin, who taught him composition. Poulenc stayed with Koechlin until 1924. In 1935, Poulenc began to work for baritone Pierre Bernac as accompanist. He also wrote pieces for Bernac to sing. Poulenc also wrote ballet music. He was hired by Diaghilev to write for his Ballet Russes. Poulenc died in Paris on January 30, 1963. Poulenc's style was different than that of the rest of "Le Six". While they experimented wildly with wild new rhythms and harmonies, Poulenc preferred to follow the neo-Classicist strain. Poulenc best showed his skills when composing religious pieces, as well as those for the piano and the organ. Read more...

COMPOSSER MUSIC CLASSIC: Edward Alexander MacDowell

Edward Alexander MacDowell was an American composer born on December 18, 1860 in New York. In 1877, while visiting Europe with his mother, MacDowell enrolled at the Paris Conservatory under Augustin Savard. However, he withdrew from the Conservatory after only a year because of slow progress and went to Germany. There he studied with a pupil of Mendelssohn, Louis Ehlert. In 1879 he enrolled at the Hoch Conservatory in Frankfurt, a well respected institution. At Hoch Conservatory, Carl Heymann taught MacDowell piano and director Joachim Raff taught him composition. While studying with Heymann, MacDowell encountered famous pianist Franz Liszt, who visited the class twice, and took the opportunity to impress Liszt with his talents. Two years later, MacDowell played his First Piano Concerto for Liszt, and sent him a copy of his Modern Suite. Liszt recommended that the piece be played at a meeting of German music notables held in 1882. Liszt also helped get MacDowell's works printed by publishers Breitkopf & Hartel. MacDowell's growing stature landed him a job at the Darmstadt Conservatory. He married one of his students, Marian Nevins, in 1884. MacDowell, after his marriage, suffered financial problems. He refused a job at the National Conservatory of New York, and also at an American Consulate in Germany. In 1896, MacDowell was hired by Columbia University to head their newly established music department. However, he had disagreements with the school, and resigned in 1904. Soon after, MacDowell's mental health began to deteriorate. On January 23, 1908, Edward Alexander MacDowell died locked in a pathetic childlike condition at the age of only 47. The unused money raised for MacDowell's care was put toward the establishment of a sanctuary for American writers and composers. Read more...

cOMPOSSER MUSIC CLASSIC: Dominico Scarlatti

Edvard Hagerup Grieg was born in Bergen, Norway, on June 15, 1843. He was educated in music first at home by his mother, then at the Leipzig Conservatory where he learned piano and musical theory. His music, steeped in German Romanticism, reflects this training. He was a master of miniature musical forms. His music also speaks of the emergence of Norwegian nationalism, capturing the melodic and rhythmic flavour of the proud nordic country. His nationalistic style earned him the nickname "Chopin of the North". Grieg was a Scandinavian nationalist. He, along with fellow Norwegian composer Rikard Nordraak, organized the Euterpe Society, which promoted Scandinavian music. In 1867, a year after the premature death of Nordraak (he was 23), Grieg started the Norwegian Academy of Music. In that year he also married his cousin Nina Hagerup, to whom he dedicated his ensuing works. Because of his nationalistic style, the Norwegian government granted him an annual salary of 1600 crowns to fuel his compositional efforts. His popularity throughout Europe increased, and he was admired by such greats as Brahms and Tchaikovsky. Grieg's success, however, did not affect his reclusive nature. He spent his later years in seclusion from public attention, though he continued to regularly compose music. He lived the remainder of his life in his house in Troldhaugen, near his hometown of Bergen. The day of his death, September 4, 1907, was a day of national mourning in Norway, and he was given a state funeral. His cremated remains rest on the side of a cliff over the fjords of Troldhaugen. Read more...

cOMPOSSER MUSIC CLASSIC: Dominico Scarlatti

Edward William Elgar was born in the English town of Broadheath, near Worcester on June 2, 1857. He was musically educated by his father, an organist at St. George's Roman Catholic Church in Worcester. Part of his early education included helping his father at the organ, and participating in rehearsals of the Worcester Glee Club. In 1879, he went to London, where he received a few violin lessons from Adolf Pollitzer. He also took up employment at the Worcester County Lunatic Asylum as bandmaster. He was appointed conductor of the Worcester Amateur Instrumental Society in 1882. He left that job in 1885 to take over from his father as organist at St. George's. He married the daughter of Sir Henry Roberts in 1889, then moved first to London, then to Malvern, which became his home for 13 years. In 1904, he moved to Hereford, then London, until his wife died in 1920, at which point he returned to Worcester. Elgar died in 1934. Although Elgar's academic musical training was far from formal, he managed to establish himself as a major composer of the early Twentieth Century. His musical technique was remarkable. His pieces were most often written in traditional Romantic style, tempered by strong formal elements. Elgar was honored on many occasions by various awards. In 1904, he was knighted. Honorary degress in Mus.Doc were given to him by Aberdeen and Cambridge Universities in 1906, and Oxford University in 1905. Leeds gave him a LL.D in 1904. While in the United States in 1905, Elgar was awarded a D.Mus. from Yale University. The University of Western Pennsylvania (Univ. of Pittsburgh) followed suit, granting the same degree to Elgar in 1907. In 1911, he received the Order of Merit, was appointed as the Master of the King's Musick in 1924, was made K.C.V.O. in 1928, and a baronet in 1931. Read more...

cOMPOSSER MUSIC CLASSIC: Dominico Scarlatti

Critics of Satie see him as either an important trailblazer to the Impressionistic Era, or an eccentric amateur composer. His many compositional styles were undoubtably influenced by his acquaintance with the artistic stars of his time, including Debussy, Cocteau, and Picasso. Eric Satie was born in Honfleur, France in 1866. He studied for a year a the Paris Conservatory , and made a living playing in caf_s, and writing music for the songwriter Hypsa, and singer Paulette Darty. He befriended Debussy in 1890, and, at the age of 40, went to the Schola Cantorum to study under d'Indy and Roussel. Later, he established his own school of music in Arcueil, where he was able to influence younger composers. Satie died in Paris in 1925. Read more...

cOMPOSSER MUSIC CLASSIC: Dominico Scarlatti

Christian Sinding was born in Kongsberg, Norway, on January 11, 1856. His first music lessons were from Lindeman in Norway. Sinding then went to Leipzig, Germany, where he studied theory, orchestration and violin at the conservatory. Returning to Norway in 1881, Sinding had one of his works performed in Oslo. This performance earned him a gratuity, which paid for his further education in Munich, Berlin, and Dresden. In 1915, the Norwegian government granted him a pension of 4,000 crowns, and in 1916, he was given a further gift of 30,000 crowns, for his contribution to Norwegian nationalism. He taught at the Eastman School of Music in Rochester New York for the 1921-22 season, then returned to Oslo. Sinding died in Oslo on December 3, 1941. Although celebrated by Norwegians as a great national composer, his music shows the Germanic influence of Schumann and Liszt. Read more...

cOMPOSSER MUSIC CLASSIC: Dominico Scarlatti

Scarlatti, Dominico born Naples Oct 26, 1685 died Madrid July 23, 1757 Scarlatti came from a large musical family being the sixth of ten children. He was an accomplished composer, keyboard teacher and performer. At age sixteen he was appointed organist and composer of the Naples Royal Chapel of which his father Alessandro Scarlatti was maestro. By age eighteen Dominico was writing operas. From 1709 until 1714 Scarlatti lived in Rome under the patronage of Maria Casimira the Queen of Poland. He later worked for the Portuguese Embassy and then for the Julian Chapel at the Vatican in 1715. After some travel, the last years of his life were spent in Madrid where the Queen of Spain (his former student) Maria Barbara employed him. She also generously paid his debts and provided for his impoverished family at the time of his death. Scarlatti left behind over 555 sonatas, many stage works and much church music. His music explored new musical ends, such devices as hand- crossing, rapid repetition of notes and arpeggios traversing the length of the keyboard. The most characteristic of his harmonic mannerisms being the acciaccatura (a lower auxiliary note struck together with its resolution). Read more...

COMPOSSER MUSIC CLASSIC: Claude Debussy

Claude Debussy (b. St Germain-en-Laye, 1862; d. Paris, 1918) was one of the greatest composers of all time, but also one who knew the piano intimately. His piano music exploits the beauty and potential of the instrument in a way that only a pianist could. Indeed, Debussy's first music instruction was in the form of piano lessons from, of all people, the mother-in-law of the renowned French poet Paul Verlaine. This connection led to his entry into the Paris Conservatoire in 1873. While in his twenties, he spent a couple of years in Rome where he met Liszt, Verdi and Boito, and heard Wagner's Lohengrin. In 1988 and 1989, he even attended the Bayreuth Festival where Wagner's mammoth four opera "Ring" cycle is performed each year to this day. Another influence on his future style was that of hearing the Javanese gamelan (orchestra), with its assortment of gongs, chimes, marimbas and drums, at the Paris Exposition of 1889. Debussy also became associated with the group of painters, writers and poets who were later to be called "impressionists". In many ways, the term impressionism suited the art. In painting, the blurred images of Mon_t suggested the subject rather than trying to portray it realistically. In Debussy's music, there are many examples of the impressionist tendency to portray nature in an almost dream-like manner. La cath_dral engloutie is a good example. It paints a picture in sound of the legendary ruins of a French cathedral now submerged beneath water, and the fleeting glimpses of its outlines seen from the surface of the lake. Debussy's music sounds even more mysterious and exotic by his use of the whole tone scale (rather than major or minor) and chord intervals of fifths and octaves. Read more...

COMPOSSER MUSIC CLASSIC: CECILE CHAMINADE

Chaminade, Cecile born Aug 8, 1857 Paris died April 18,1944 Monte Carlo This French pianist and composer is best known for her performances of her own light salon piano pieces. At the age of eight Chiminade began writing church music. She studied under Godard as well as other well known teachers of that time. Her numerous works of all kinds attracted the attention of the public and she performed them during many concert tours in France and in particular England. Notwithstanding the charm and clever writing of her pieces (over two-hundred piano works in all), many in the music world believe that they do not rise above drawing room music quality. Her more serious musical attempts were not considered successful. Read more...

cOMPOSSER MUSIC CLASSIC: CHOPIN FREDERIC

According to Louis Aguittant, Chopin was "a personal poet and singer of his race." He was no doubt one of the most revolutionary of piano composers. Many feel that Chopin's style of piano composition and playing are the apotheosis of the Romantic era. Sometimes violent and heroic, at other times meloncholy and full of despair, Chopin's music is the source of a full spectrum of dramatic human emotion. Chopin was born in Poland in 1810, at the outset of the tumultuous Romantic period. Musically inclined at an early age, Frederic took piano lessons at the age of six. The prodigious boy published a polonaise the following year, and by the time he was eight, he was giving public performances. At the age of 12, Chopin began taking composing lessons from Polish musician Ksawery Elsner at the Warsaw Conservatory, which further developed his already impressive talents in both composition and improvisation. In 1827, he left the Conservatory to explore the world. He performed in Vienna in 1829, then returned to Poland. After the Russians captured his homeland in 1830, Chopin chose to make his musical home in Paris, where he befriended fellow Polish nationals Franz Liszt, Vicenzo Bellini, Honor_ de Balzac, and Heinrich Heine. He also met George Sand, a writer whose pen name was Madame Aurore Dudevant. His relationship with her, though initially platonic, turned intimate, and lasted seven years. During this time he lived with her at her in Paris, at her country home in Nohant, and in Majorca, where she took him to recover from illness. Chopin was a sickly man, continuously enduring a wide variety of afflictions. It was John Field who aptly said of Chopin, "He was dying all his life." In January 1849, Chopin succumbed to tuburculosis of the throat. During his lifetime, Chopin wrote many works, almost exclusively for the solo piano. Among other forms, these included Mazurkas, Studies, Preludes, Nocturnes and Waltzes. Read more...

cOMPOSSER MUSIC CLASSIC: Claudio Monteverdi

Claudio Monteverdi (1567-1643), Italian composer, the most important figure in the transition from Renaissance to baroque music.

Born in Cremona, Claudio Giovanni Antonio Monteverdi studied music with the celebrated Veronese theoretician Marco Antonio Ingegneri. At the age of 15, Monteverdi composed his first work, a set of three-part motets, and by 1605 he had composed five books of madrigals. He became interested in the experimental musical dramas of Jacopo Peri, who was music director at the court of the Medici family, and in similar works by other early composers.

In 1607 Monteverdi's first musical drama, Orfeo, was produced. This opera, which surpassed all previous attempts at musical drama, was possibly the most important development in the history of opera and established it as a serious form of musical and dramatic expression. Through skillful use of vocal inflection, Monteverdi sought to express emotion as it would be expressed in the highly charged speech of a great actor. The orchestra, considerably enlarged and varied, was used not merely as an accompaniment for the singers but also to establish the moods of the various scenes. The score itself contains 14 independent orchestral pieces. The public received Orfeo enthusiastically, and with his next opera, Arianna (1608), Monteverdi's reputation as an opera composer was firmly established.

In 1613 he was appointed to one of the most important musical posts in Italy, choirmaster and conductor at Saint Mark's Cathedral in Venice. From this time on, Monteverdi wrote numerous operas (many now lost), motets, madrigals, and masses. In his sixth, seventh, and eighth books of madrigals (1614-38) he moved away from the Renaissance ideal of equal-voiced polyphony toward the newer styles emphasizing melody, bass line, and harmonic support as well as personal, or dramatic, declamation. In 1637 the first public opera house was opened, and Monteverdi, stimulated by the enthusiastic response to opera, wrote a new series of operas, of which two remain, Il ritorno d'Ulisse in patria (The Return of Ulysses to His Homeland, 1641) and L'incoronazione di Poppea (The Coronation of Poppaea, 1642). Written in Monteverdi's old age, these operas contain scenes of great dramatic intensity in which the vocal and orchestral music accurately reflect the thoughts and emotions of the characters. They influenced many subsequent composers of opera and are still performed today. Monteverdi died in Venice on November 29, 1643.
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cOMPOSSER MUSIC CLASSIC: Christoph Willibald Gluck

Christoph Willibald Gluck (1714-1787), German composer, whose work to reform opera had far-reaching influence.

Born in Erasbach on July 2, 1714, Gluck was the son of a gamekeeper. He studied music at the Jesuit seminary at Komotau (now Chomutov, Czech Republic) and also in Prague and Milan. In Milan he studied with the Italian composer Giovanni Battista Sammartini. Gluck's first opera, Artaserse, was produced at La Scala, Milan, in 1741. During the following nine years he wrote and produced approximately 16 operas in various European cities. Among these works were Sofonisba (1744) and Artamene (1746). In 1750 he took up residence in Vienna, which was thereafter the center of his activities except for periods spent in Naples, Rome, and Paris. In 1754 Maria Theresa, archduchess of Austria, appointed him director of opera at her court theater. Among the operas Gluck wrote between 1750 and 1760 were La clemenza di Tito (The Clemency of Titus, 1752) and Antigono (1756).

Until 1762 Gluck composed in the contemporary operatic style, cultivated chiefly in Italy, which was marked by music written primarily to give virtuoso singers opportunity to display their skill. As his career progressed, however, Gluck grew dissatisfied with the conventionalities of Italian opera, which was characterized by surface brilliance and overornamentation. He began to develop a style intended to restore opera to its original purpose of expressing in music the meaning or emotion conveyed by the words. To this end he also worked closely with the great French ballet reformer Jean Georges Noverre. About 1760 he became acquainted with the Italian poet Ranieri di Calzabigi, who wrote a libretto for Gluck that admirably suited the composer's ideas concerning proper balance between words and music. The opera that resulted was Orfeo ed Euridice, which surpassed in grandeur, dignity, dramatic quality, and naturalness anything he had written before; it was produced in Vienna in 1762 with great success. Among other operas in his “grand” manner were Alceste (1767) and Paride ed Elena (Paris and Helen, 1770), on texts by Calzabigi; Iphigénie en Aulide (Iphigenia in Aulis, 1774); and Armide (1777).

The operatic reforms inaugurated by Gluck met with violent opposition. This opposition was particularly manifest in Paris, where from 1774 to 1781 a veritable war was waged between those who favored the reforms of Gluck and those who championed Italian opera and the Neapolitan operatic composer Niccolò Piccinni. The director of the Paris Opéra commissioned the two rivals each to compose an opera on the same text, Iphigénie en Tauride. The Gluck version turned out to be his masterpiece. Produced in Paris in 1779, it met with tremendous success; the Piccinni version, produced in 1781, was adjudged inferior.

Gluck's reforms made a lasting mark on opera. The principles for which he stood influenced the work of many composers who followed him, including Wolfgang Amadeus Mozart, Luigi Cherubini, Ludwig van Beethoven, and Richard Wagner. Gluck died in Vienna on November 15, 1787.
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cOMPOSSER MUSIC CLASSIC: Alexander Scriabin

Alexander Scriabin was born in Moscow, on January 6, 1872. He was taught music at an early age from his aunt. When he was 12, he began lessons with two prominent Moscovite piano teachers: Conus and Zverev. He commenced his studies of composition in 1885. In 1888, he enrolled at the Moscow Conservatory. He never showed much promise as a performing pianist, but he graduated with a gold medal nonetheless. He remained at the conservatory after his graduation to study fugue, but did not meet the requirements for the course when he failed the examination. Scriabin was offered a contract by a publisher who also offered to pay for his planned European tour. Scriabin performed some of his music in Paris in 1896 before returning to Russia where he completed his Piano Concerto. In 1897, Scriabin married Vera Isakovic, a fellow musician with whom he began to give joint recitals of his works. He began to teach piano at the Moscow Conservatory in 1898, and remained part of the faculty until 1903.
In 1904, Scriabin earned an annuity of 2,400 rubles from a successful Moscow merchant, Morosov. He seperated from his wife in 1905, and moved in with Tatiana Schloezer, the sister of a music critic. In 1906, Scriabin appeared as a guest soloist with the Russian Symphony Society in New York. He left America for Paris in 1907 for fear of moral charges being brought against him and his common-law wife; he had never been legally divorced from his first wife. In 1908, Scriabin signed a five- year contract with publisher Serge Koussevitsky worth 5,000 rubles annually. He signed in 1912 with another publisher, Jurgenson, for an annual salary of 6,000 rubles. Scriabin died on April 27, 1915 in Moscow.
He had developed blood poisoning from an abscess in his lip. It was once said that Alexander Scriabin's solitary genius had no predecessors and left no disciples. His incredible inventiveness in harmony remains unmatched. He had an unusual conception of tones, which led to some interesting performances. For example, Scriabin saw certain keys as being associated with certain colors: C Major was red, F-sharp Major was bright blue. This led some performers to accompany their playing of Scriabin's works with displays of laser light.
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COMPOSSER MUSIC CLASSIC: Albert Ketelby

Albert Ketelby was the composer who wrote such exotically titled pieces as "In a Persian Market", and "In a Monestery Garden". The composer of Danish origin was born in Aston, England, on August 9, 1875. At the age of 11, he wrote his first piano sonata, which was praised by elder composer Sir Edward Elgar. When he was 13, he won a Queen Victoria scholarship at Trinity College. At the age of only 16, he was employed by St. John Church at Wimbledon as organist. He conducted a musical comedy troupe when he was 20, before being hired by Columbia Gramophone Co. as musical director, and by Chappell's Music Publishing as music editor. Much of Ketelby's music was written under assorted pseudonyms. Ketelby died at Cowes, on the Isle of Wight, on November 26, 1959. Read more...

COMPOSSER MUSIC CLASSIC: ARCANGELO CORELLI

Arcangelo Corelli (1653-1713), Italian composer and violinist, whose style of playing became the basis for the violin technique of the 18th and 19th centuries, and whose chamber music compositions were far-reaching in their influence. Born in Fusignano, he studied in nearby Bologna and after 1675 lived in Rome. There his patrons included Queen Christina of Sweden and, after 1690, the art patron Pietro Cardinal Ottoboni. The most widely published and reprinted composer before the Austrian Joseph Haydn, Corelli was the first composer to gain an international reputation solely on the basis of his instrumental music.
Many elements of his style became commonplace in the 18th century, and his works are early examples of the newly evolved system of major and minor tonality. As the preeminent violin virtuoso of the day, he taught many leading violinist-composers of the 18th century, among them the Italian Francesco Geminiani. Corelli's chamber music includes four sets of trio sonatas (op. 1-4); a set of 12 sonatas (op. 5) for solo violin and continuo (in this case, cello plus harpsichord), the last of which includes the famous variations on La Follia; and a set of 12 concerti grossi (op. 6), among the earliest concerti grossi to be published.
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COMPOSSER MUSIC CLASSIC: ANTON RUBINSTEIN

Rubinstein, Anton born Nov 28, 1829 died Nov 20, 1894 Rubinstein was one of the greatest pianists of the nineteenth century, often said to be second only to Liszt. He was also an exceptional composer and teacher, and an influential though somewhat controversial figure in Russian musical circles. In his early years he was considered a child virtuoso and gave many performances in an extended tour of Europe. There he was exposed to many influential people such as Chopin, Liszt, members of the Russian Imperial Family and Queen Victoria. In 1846 he returned to Russia and the Tsars' sister-in-law the Grand Duchess Elena Pavlovna took him under her wing. In Nice in 1856 he and the Duchess made sweeping plans to improve musical education in Russia,

founding in 1859 the Russian Musical Society and in 1862 the St. Petersburg Conservatory. In 1872 he toured the USA and for the next fifteen years was one of the most sought after pianists in the world. Rubinstein managed to alienate many of his Russian contemporaries (ie; Balakirev) by publicly stating that "...it was not possible to create nationalistic operas, and that even the greatest of Russian composers ( Glinka ) in his operas 'suffered disaster' ". He softened his views after the liberation of the serfs several years later. Aside from his many piano works he also left behind many illegitimate children as he is alleged to have said "...if I had to educate and provide for all my children, the fortune of two Rothchilds would scarcely suffice....". Rubinstein's most lasting piano effort is frequently said to be Melody in F op. 3 no. 1 for solo piano.
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COMPOSSER MUSIC CLASSIC: ANTONIO VIVALDI

From about 1750 on, after Vivaldi’s death, Italian composers primarily produced opera. However, for about the hundred years before 1750, Italy had been prolific in the production of music for the violin, the instrument that comes nearest in sound to the human voice. By Vivaldi’s time, the music of his most distinguished predecessor, Arcangelo Corelli, who died in 1713, was starting to seem old-fashioned. Corelli also wrote concerti grossi, but Corelli did little to differentiate the music played by the full orchestra from the music of the soloists. Vivaldi provided contrast between the two.


Vivaldi's concertos provided a model for the genre for composers throughout Europe. He established the standard three-movement format, in which a slow movement appears between two fast outer movements. He was the first composer who consistently used the ritornello (refrain) form that became standard for the fast movements of concertos. The ritornello is a musical theme played by the full orchestra that recurs in different keys throughout the movement. It alternates with passages dominated by the soloist, who introduces new, often virtuosic music. Vivaldi was among the first to introduce cadenzas—passages of extraordinary technical virtuosity—for soloists.

Vivaldi’s Opus 8 concertos entitled The Four Seasons are early examples of orchestral program music—music that describes a nonmusical idea. Each of the four concertos for strings and solo violin in The Four Seasons musically represents a different season of the year. Vivaldi published poems that describe the activities and moods represented by the music. Like much of his music, these concertos are marked by vigorous rhythms and strong contrasts.

L’estro harmonico (The Harmonic Whim), a collection of 12 concertos by Vivaldi for from one to four violins, was published in 1711 and proved highly influential, especially in Germany where it was studied by German composer Johann Sebastian Bach during his formative years. Bach made transcriptions, mostly for harpsichord, of a number of Vivaldi’s concertos and sonatas for violin. For many years Vivaldi was remembered chiefly for the transcriptions made by Bach.

During his lifetime Vivaldi was admired more as a violinist than as a composer. His skills and innovations advanced bowing techniques and string-playing generally. Largely forgotten after his death, the works of Vivaldi were rediscovered toward the end of the 19th century through Bach’s transcriptions. Scholarly interest in Bach led to interest in Vivaldi’s influence on Bach. Manuscripts for a number of Vivaldi’s sacred works were discovered in the 1920s, and a complete catalogue and publication of Vivaldi’s instrumental works was finally undertaken in 1947. Vivaldi’s popularity grew steadily during the last half of the 20th century, when his position in the history of music became firmly established. Interest in his operas and religious music began to increase in the late 20th century.



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Musik Klasik Barat

MUSIK KLASIK BARAT
Perkembangan musik barat sudah berabad -abad lamanya. Mulai zaman Yunani kuno,misalnya dianggap sebagai pangkal perkembangan musik hingga sekarang.Tentu saja sistem yang sekarang sudah tidak lagi sama dengan sistem yunani dulu. Perkembangan sejarah musik dengan sendirinya telah menghasilkan komponis-komponis dengan kreasi-kreasi yang dalam dunia internasional diakui bermutu tinggi.

Yang disebut musik klasik barat yaitu kreasi musik yang menghias sejarah musik diantonis dibarat mulai abad ke-18.Yang termasuk musik klasik barat sesungguhnya adalah komposisi-komposisi Haydn,Mozart dan Beethoven.Juga komponis Johaan Sebastian Bach, khususnya dalam kreasi-kreasinyayang terakhir dianggap termasuk dalam komponis klasik.Musik sebelum zaman itu, untuk kebanyakan dari kita nikmati.

Kata “klasik” kemudian dipergunakan pula terhadap semua jenis yang dianggap sebagai contoh yang baik dan yang bermututinggi dari suatu jenis gaya tertentu..

Didalam perkembangan, sesudah zaman klasikitu,kita kemudian menginjak abad ke-19 yang disebut zaman “Romantik” yang berlangsung kira-kira 50 tahun lamanya. Kira-kira tahun 1800-1850. Pribadi komponis mulai berbicara didalam segala bentuk vocal maupun intrumental.

Komponis-komponis ternama yang pantas kita ketahui sebagai salah satu Romantikus adalah Beethoven -yang seperti tadipun sudah disebut pula seorang komponis klasik. Komponis romantis kedua adalah Schubert yang termasyur karena menjadi pencipta bentuk pernyataan vokal artistik,yaitu bentuk “song” atau “lied”.

Dan tidak diabakan juga komponis romantik ternama yaitu : Chopin dan Liszt. Kedua-duanya komponis khusus untuk piano.Kemudian seorang komponis biola yang termasyur :Paganini. Ia sendiri seorang virtuos. Permainan biolanya begitu mempesona, sehingga pada waktu itu orang menganggap Paganini bersekongkol dengan syetan. Anggapan seperti itu sangat karakteristik untuk zaman romantik pada zaman itu.

Komponis romantik lainnya yang tekenal lainnya adalah Berlioz, yang terkenal apa yang disebut “ musik panorama”. Yaitu musik yang menceritakan yang di ilhami oleh soal-soal tang tidak termasuk dalam musik itu sendiri. Musik yang mencoba “menggambarkan”sesuatu. Disini penggunaan warna alat-alat musik yang dimainkan,lebih di beri tekanan.

Dalam karya-karya seperti ini , komponis Wagner terkenal sekali.Dia menjadi terkenal oleh karena “Drama musik-nya” yaitu sesuatu bentuk opera, dimana semua unsur-unsur diperlakukan sama.Baik teks, musik, dekor, akting, maupun plot cerita dan sebagainya. Wagner sangat terkenal dengan salah satu drama musiknya “Ring des Nibelugen”.

Keaadaan seperti itu komponis mencari kekuatannya juga didalam berbagai hal diluar musiknyaitu sendiri,dengan sendirinya memancing suatu reaksi.Ialah timbul “musik absolut”, musik mutlak. Musik absolut hanya mempergunakan unsur-unsur musikal saja untuk menyatukan konsepsi musikalnya.Tidak terpengaruh kesustraan atau mengambil ilham dari unsur-unsur yang bukan musik. Contoh : terkenal dari komponis jenis musik aini adalah “Brahms”,dengan simponi-simponinya.

Kemudian timbul aliran impresionisme dengan tokoh komponisnya yang sangat menonjol yaitu: Debussy. Musiknya biasanya sukar di ikuti melodinya, karena disini tekanan lebih diberikan kepada harmoninya.

Setelah itu permulaan abad ke-20 menghasilkan komponis-komponis yang radikal sekali didalam musik absolut ini. Seperti Milhaud dan Schonberg, yang digolongkan kedalam aliran “ekspresionisme” ( dari ekspresi = pernyataan ). Aliran ini memberi aksen yang kuat pada pernyataan musikal pribadi komponis sendiri-sendiri. Mendengarkan musik demikian, kalau belum biasa, hati biasa menjadi gelisah. Komponis yang membuat sebuah orkestrasi dengan cara mempergunakan macam-macam nada dasar untuk tiap-tiap alat musiknya, disebut komponis yang beraliran “Politonalitas”. ( Poli = banyak, Tune =nada . ) kira kira sama dengan menggunakan nada dasar tertentu.

Didalam politonalitas dengan sendirinya dipergunakan beberapa nada dasar sekaligus. Pendengar musik demikian terpaksa mempertajam pendengarnya agar dapat menangkap keindahan musiknya. Kita masih perlu membiasakan diri, kalau sudah bisa , pendengar mungkin lambat laun dapat juga menangkap adanya kewajaran didalamnya,menangkap sesuatu yang logis.

Komponis-komponis absolut yang radikal itu tersebut diantaranya ada pula yang ingin menambah ekspresi musiknya malah dengan tidak menggunakan nada dasar sama sekali. Sebagai contoh : Komponis Schonbert dan Alban Berg. Komponis-komponis mereka itu disebut Atonal.Yaitu tidak dipakai nada dasar dan disebut atonalitas.
Musik seperti itu kebanyakan orang tidak dapat mengharukan. Musiknya memberi kesan seperti kita menghadapi soal ilmu pasti, yang kita tinjau berulang-ulang untuk menangkap hasil yang dimaksudkan. Mungkin kalau kita membiasakan diri mendengarkan musik demikian, lama kelamaan kita juga menemukan logikanya.

Dewasa ini, belum banyak musikal yang sudah dapat menikmati musik atonal seratus persen.Kebanyakan masih menganggapnya sebagai suatu pernyataan yang berantakan, memusingkan. Tapi ini pun akhirnya soal kebiasaan juga .Seperti halnya dengan musiknya Debussy. Sekarang kalau kita mendengar musik Debussy , kita menganggapnya sebagai barang biasa saja, hanya agak lain dari yang biasa kita dengar. Padahal pada permulaan abad ke-20, waktu musik debussy memperkenalkan komposisinya kepada publik dengan mempertunjukannya sendiri, publik mengkerutkan keningnya , mereka menganggap sebagai musik seorang komponis yang tidak sehat otaknya.

berikut beberapa musisi klasik barat :
Antonio Vivaldi
Anton Rubinstein
Arcangelo Corelli
Albert William Katelby
Alexander Scriabin
Christoph Willibald Gluck
Claudio Monteverdi
Cecile Chaminade
Chopin Frederic
Claude Debussy
Christian Sinding
Dominico Scarlatti
Eric Satie
Edward William Elgar
Edvard Hagerup Greieg
Edward Alexander MacDowell
Francis Poulenc
Felix Mendelssohn
Franois Couperin
Franz Grillparze
Franz Liszt
Franz Schubert
Friedrich Von Schiller
George Frideric Hande
Giuseppe Torelli
Gabriel Urbain Faure
Heinrich Schtz
Henry Purcell
Isaac Albeniz
Johannes Brahms
Jacob Ludwig Felix Mendelssohn
Johan Julius Christian Sibelius
Joseph Haydn
Johan Sebastian Bach
Ludwig Van Beethoven
Luigi Boccherini
Mily Balakirev
Modest Petrovich Mussorgsky
Nicol Paganini
Piotr Ilyich Tchaikovsky
Robert Alexander Schumann
Scott Joplin
Sergei Prokofiev
Sergei Rachmaninoff
Tomaso Albinoni
Wolfgang Amadeus Mozart


sumber: ctozmusic.blogspot.com
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Wednesday, March 30, 2011

Easy Step to Happy

Saat ini semakin banyak individu yang stres karena tekanan hidup yang semakin berat. Ekonomi yang tak menentu, penyakit yang semakin banyak, bencana yang terjadi di mana-mana, dan banyak hal lainnya yang dapat membuat individu mengalami stres. Apakah Anda salah satunya? Pada artikel ini saya ingin membahas tentang cara – cara yang dapat digunakan untuk membuat diri kita menjadi lebih bahagia.

Tubuh manusia memang unik. Berbagai emosi yang dirasakan individu dapat mempengaruhi keadaan fisik individu tersebut. Sebagai contoh, saat individu mengalami stress maka individu tersebut dapat mengalami sakit maag, pusing, mual, dsb. Sedangkan bila individu sedang bahagia, maka rasa lelah, pegal, dan penat seakan – akan tidak terasa.

Sebaliknya, fisik juga dapat mempengaruhi emosi. Sebagai contoh, ekspresi wajah kita dapat menentukan juga emosi apa yang kita rasakan. Saat kita tersenyum, maka emosi yang kita rasakan menjadi lebih positif. Sedangkan bila kita cemberut, maka emosi yang kita rasakan menjadi lebih negatif. Contoh lainnya, posisi tubuh kita juga mempengaruhi emosi yang kita rasakan. Bila posisi tubuh kita seperti individu yang sedang bersedih (bertopang dagu, membungkuk, dll) maka emosi kita juga akan lebih negatif dibandingkan bila posisi tubuh kita seperti yang dilakukan individu yang sedang bahagia (kepala tegak, menaikkan kedua tangan ke atas, dll).

Bagaimana proses terjadinya fisik mempengaruhi emosi? Otak ternyata dapat “tertipu” oleh fisik kita. Otak telah memiliki memori tentang apa yang kita lakukan saat merasakan emosi tertentu. Seperti telah disebutkan di atas, saat individu sedih pada umumnya akan bertopang dagu, saat individu bahagia akan merentangkan kedua tangan ke atas. Memori itu yang kemudian membuat otak “tertipu” oleh fisik kita. Saat fisik kita melakukan sesuatu yang merupakan tanda-tanda dari emosi tertentu tersebut, otak membuat kita berpikir kalau kita sedang merasakan emosi tersebut sehingga kita akhirnya seakan-akan merasakan emosi tersebut.

Dengan mengetahui bahwa kita dapat “menipu” otak untuk merasakan emosi yang kita inginkan tentu dapat membantu kita ketika kita sedang sedih, tidak bersemangat, atau kesal. Apabila kita sedang merasakan emosi negatif, cobalah untuk mengubah posisi tubuh atau tersenyum, tertawa sehingga dapat membuat otak kita berpikir kita sedang merasakan sebaliknya.

sumber; ww.ruangpsikologi.com
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16 Album Indonesia Terlaris

Menentukan 25 album terlaris sepanjang sejarah dunia musik Indonesia bukanlah hal gampang. Jujur saja, tak ada data yang valid tentang berapa jumlah angka penjualan sebuah album yang laku terjual.

Lalu bagaimana mendapatkan 25 album terlaris ini? Pertama, kami menanyakan ke beberapa perusahaan rekaman, album apa saja yang angka penjualannya tinggi. Soal angka penjualan ini, kami tanyakan juga ke beberapa wartawan musik senior yang paham benar lika liku dunia musik lokal. Cara lain, lewat penelusuran pustaka. Semua artikel musik, terutama yang berhubungan dengan angka penjualan album.


1. Bintang di Surga (2004) - Peterpan

Inilah album yang paling banyak terjual sepanjang sejarah musik Indonesia. Bintang di Surga laku 3 juta keping, rinciannya, sekitar 2,7 juta album laku di dalam negeri, sisanya terjual di negara tetangga seperti Malaysia, Brunei Darusallam dan Singapura. Fenomenalnya, album sebanyak itu terjual di tengah angka pembajakan yang makin menggila.

2. Ningrat (2000) - Jamrud

Album ini terjual sampai 1,8 juta keping. Angka penjualan ini bukan tanpa makna. Dibandingkan generasi pendahulu mereka yang sama-sama berkubang di blantika musik rock, mulai Super Kid, Staccato, AKA, Rollies, hingga God Bless, tidak pernah membuat catatan penjualan sebesar itu. Rekor penjualan album rock tertinggi hanya bisa dicapai "Semut Hitam" God Bless yang terjual di kisaran 300-400 ribu keping.

3. Sesuatu yang Tertunda (2001) – Padi

Ini album kedua Padi yang amat fenomenal. Bayangkan, dalam waktu 14 hari, album yang memuat hit "Semua Tak Sama" dan "Kasih Tak Sampai" ini laku sebanyak 450 ribu keping. Setahun lebih dari waktu rilisnya, album ini laku sampai 1,8 juta keping. Melihat jumlahnya, ini album dengan angka penjualan tertinggi yang pernah diraih Padi. Sekedar informasi, album perdana Padi laku sebesar 800 ribu keping.

4. Bintang Lima (2000) - Dewa

Di album "Bintang Lima", Dewa hadir dengan vokalis baru bernama Once serta dramer Tyo Nugros. Kala itu banyak yang pesimis kalau Dewa bakal bisa sukses. Namun ketakutan itu tak terjadi, album tersebut malah meledak. Albumnya terjual sebanyak 1,7 juta kopi. Sampai kini, rekor penjualan ini tak bisa ditandingi album Dewa lainnya. Bintang Lima mengandalkan hit sarat lirik bermuatan cinta seperti Separuh Nafas, Cemburu, Risalah Hati dan Dua Sejoli. Sukses album ini tergolong cepat. Dalam 3 bulan album ini saja terjual lebih dari 700 ribu keping. Lewat album ini, Dewa meraih penghargaan Ami Sharp 2000 untuk kategori Penyanyi/Grup Terbaik, Album Terbaik dan lagu Terbaik (Roman Picisan).

5. Kisah Klasik untuk Masa Depan (2000) - Sheila on 7

Awalnya, banyak yang pesisimis, album kedua Sheila ini bakal mengulang sukses. Tapi ramalan itu berhasil mereka jungkir balikkan lewat tembang Sahabat Sejati, Bila Kau Tak Disampingku, Sephia dan Just For My Mom yang menghuni album Kisah Klasik Untuk Masa Depan Sheila on 7 malah lebih sukses dari album perdananya. Buktinya, di Indonesia album ini terjual 1,7 juta keping atau 11 platinum. Album perdana mereka laku sebanyak 1,3 juta keping. Di Malaysia album ini menjadi Top Best Sellers. Tak heran album ini tercetak dalam Hits of The World Majalah Billboard. Oh ya, salah satu lagu di album ini, Sephia, saking populernya dijadikan sebuah judul sinetron.

6. Langkah Baru (2005) – Radja

Lewat album inilah, Radja mendominasi blantika musik di tahun 2005. Alasannya gampang saja, penjualan album yang digawangi Ian Kasela (vokal), Moldy (gitar), Seno (dram) dan Indra (bas) paling ciamik dibanding grup musik atau penyanyi yang merilis album tahun itu. Totalnya, band ini sukses menjual 1,3 juta album. Sepanjang tahun 2005, tak ada penyanyi/grup band yang mampu menjual album sebanyak ini.

7. 07 Des (2002) - Sheila on 7

Ini album ketiga Sheila on 7. Di album ini, anak-anak Yogyakarta ini masih membuktikan ketangguhannya. Buktinya, album ini terjual 1,3 juta keping. Sukses album ini terhitung mengejutkan. Pasalnya, album ini cuma mengandalkan 1 hit, Seberapa Pantas. Seberapa Pantas dijadikan sebagai theme-song sinetron "Siapa Takut Jatuh Cinta?" Seandainya Sheila punya banyak hit, angka penjualan album ini pasti lebih besar dari 1,2 juta keping.

8. Cinta Rasul 1 (2000) - Hadad Alwi

Kalau ada album rohani yang angka penjualannya menembus angka 1 juta keping, pastilah album Cinta Rasul 1. Persisnya, album ini terjual 1,3 juta keping. Si empunya album ini adalah Hadad Alwi. "Saya nggak pernah menyangka semua itu bisa terjadi. Cuma bermodal konsep sederhana, komunikatif, dan nuansa isinya penyegaran rohani, ternyata album ini disambut antusias oleh masyarakat," ujar bapak 1 anak yang memulai olah vokal dari pesantren ini.

9. Cintailah Cinta (2002) – Dewa

Album Cintailah Cinta terjual sekitar 1,04 juta keping. Cintailah Cinta memuat hit Pupus. Pupus bukan satu-satunya hit di album ini. Masih ada Arjuna, Mistikus Cinta, Kasidah Cinta dan Kosong. Menyimak album ini, Anda bakal menangkap suasana klasik. Wajar saja, pasalnya di album ini Dhani (kibor), Once (vokal), Andra (gitar), Erwin (bas) sengaja ingin menciptakan sound ‘60-an. “Kami ingin penggemar kembali ke era 60-an, dimana saat itu The Beatles masih berjaya,” ceplos Dhani. Suatu kali, album ini sempat terganjal masalah lantaran lagu Arjuna Mencari Cinta dianggap mencontek.

10. Alexandria (2005) - Peterpan

Kalau ada album soundtrack paling laku, barangkali Alexandria. Album ini mengalahkan angka penjualan album soundtrack "Ada Apa dengan Cinta?" Garapan Melly Goeslaw dan Anto Hoed maupun "30 Hari Mencari Cinta" milik Sheila on 7 yang terjual di kisaran 600 ribu keping. Total penjualan Alexandria mencapai angka penjualan 1 juta keping.

11. Sheila on 7 (1997) - Sheila on 7

Vidni, Vidi, Vici. Datang, lihat dan menang. Kalimat itu barangkali cocok buat menggambarkan kehebatan Sheila on 7 di percaturan musik Indonesia. Lewat album perdananya, Sheila on 7, kala itu Eross (gitar), Duta (vokal), Adam (bas), Anton (dram) sekarang diganti oleh Bryan, dan Sakti (gitar) berhasil meraih angka penjualan 1 juta keping. 6 ratus ribu di antaranya diraih cuma dalam waktu 6 bulan. Itu artinya, dalam sebulan mereka sukses menjual 100 ribu keping. Lucunya, beberapa bulan sebelum mereka sukses, band ini sempat sesat ketika mencari kantor perusahaan rekaman Sony Music (sekarang SonyBMG). Mereka nyasar ke Tangerang, ke pabrik yang memproduksi alat-alat elektronik bermerek Sony.

12. Madu dan Racun (1986) – Bill & Broad

Tembang Madu dan Racun pernah begitu populer di medio 80-an. Konon saking populenya, album yang memuat lagu yang dibawakan grup musik Bill & Broad, vokalisnya bernama Ari Wibowo yang gemar memakai topi pet dan kacamata hitam ini terjual lebih dari 1 juta keping! Buntut dari kesuksesan ini, Bill & Broad kebanjiran tawaran manggung di mana-mana. Tampang Ari Wibowo dkk, dengan dandanan khasnya menghiasi halaman-halaman banyak media cetak. Puncaknya, lagu ini dijadikan judul film. Film besutan sutradara Abdi Wiyono ini dibintangi Lia Waroka, Nurul Arifin, Ekki Soekarno, dan Rico Tampatty.

13. Tak Ingin Sendiri (1985) - Dian Pisesa

Di era ‘80-an penyanyi-penyanyi solo bagai cendawan tumbuh di musim hujan, jumlahnya begitu banyak. Salah satunya adalah Dian Pisesa. Nama Dian Pisesa melejit setelah menembangkan "Tak Ingin Sendiri." Berkat tembang ini, album bertajuk sama terjual sampai 1 juta keping. Berkat lagu ini pula, Dian dianggap sebagai salah satu penyanyi populer di zamannya. Album "Tak Ingin Sendiri" diproduksi oleh perusahaan rekaman JK Records.

14. Kalangkang (1988) - Nining S. Maeda

Album daerah angka penjualannya tak terlalu dahsyat. Tapi di tangan Nining S. Meida, fakta itu tak berlaku. Lewat album berlanggam pop Sunda, Kalangkang, berhasil meraih angka penjualan 1 juta album. Pencapaian ini sampai kini sulit dicapai oleh album tradisional lain.

15. Air (1998) - Joshua

Album perdana Joshua bertajuk "Cit Cit Cuit". Diluncurkan Maret 1996 (waktu itu usia Jojo baru 3 tahun 4 bulan), album "Cit Cit Cuit" terjual 400 ribu keping. Ini angka yang fantastis buat penyanyi anak-anak seperti Joshua. Album kedua, "Kapal Terbang", yang dirilis Maret 1997 oleh Selecta Record, juga maraih angka penjualan memuaskan. Nah, album ketiganya, "Air", meledak. Album ini terjual 1 juta keping.

16. Sarjana Muda (1981) - Iwan Fals

Album ini bisa dibilang awal karier Iwan Fals di dunia musik Indonesia. Setelah kontrak dengan ABC records selesai, Musica rupanya mencium bakat besar Iwan. Musica lantas teken kontrak dengan Iwan Fals. Album perdana Iwan Fals bersama Musica Studio’s benar-benar dikerjakan secara serius. Lihat saja musisi pendukungnya bukan orang sembarangan. Music director dikerjakan oleh Willy Soemantri, didukung oleh Amir Katamsi, Luluk Purwanto dan Idris Sardi menjadi bintang tamu mengisi suara biola pada lagu Guru Oemar Bakrie. Begitu beredar, album ini langsung menjadi pembicaraan masyarakat Indonesia yang pada saat itu kenyang disuguhi lagu dengan nuansa cinta mungkin kaget mendengar lirik lagu Iwan Fals yang bernuansa sosial. Album ini menjadi titik awal perubahan warna musik Indonesia. Lagu yang ada pada album ini adalah Sarjana Muda, Guru Oemar Bakrie, Bung Hatta, Doa Pengobral Dosa, Si Tua Sais Pedati’, Ambulance Zig Zag, 22 Januari, Puing, Yang Terlupakan, Bangunlah Putra Putri Pertiwi. Album ini terjual sampai 1 juta keping.


sumber: www.vivanews.com
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Sunday, March 27, 2011

Hormat Kepada Bendera Haram? Benarkah?

Salah satu ketua Majelis Ulama Indonesia (MUI), KH Cholil Ridwan, berpendapat bahwa memberikan hormat kepada bendera adalah tindakan yang tidak diperbolehkan.

Dia berpendapat, manusia tidak sewajarnya menghormati sebuah benda, termasuk bendera. Menurut dia, yang seharusnya dihormati adalah orang yang lebih tua dari kita secara usia. Cara menghormati pun harus ditunjukan dengan etika salah satunya memberikan salam.

“Saya berpendapat seperti ini karena sudah melakukan diskusi dengan sejumlah guru besar di Timur Tengah. Mereka berpendapat bahwa menghormati bendera itu hukumnya haram,” kata Cholil Ridwan kepada okezone, Selasa (22/3/2011).

Namun, Cholil menegaskan bahwa pendapatnya tersebut adalah bersifat pribadi dan tidak membawa lembaga MUI. Sebab, kata dia, MUI belum pernah mengeluarkan fatwa demikian. “Ini hanya pendapat saya pribadi, bukan MUI,” tandasnya.

Bahkan, di salah satu media keagamaan, Cholil secara rinci menuliskan alasannya tentang haramnya hukum menghormat kepada bendera. Cholil mengaku tidak khawatir jika pendapatnya tersebut menimbulkan kontroversi.

“Dalam persoalan seperti ini pro-kontra biasa. Ulama saja masih berdebat soal fatwa haram rokok. Satu sisi ada yang mengharamkan, tapi sisi lain banyak juga ustaz yang merokok. Lagi pula, pendapat saya ini merupakan referensi dari guru besar di Timur Tengah,” tukasnya.

sumber:www.vivanews.com


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Lucid Dream, What is that?

Pada tahun 2010, bioskop Indonesia sempat dihadiri oleh film karya Christoper Nolan yang berjudul Inception. Singkatnya, film ini bercerita tentang Dom Cobb yang mencoba mengambil informasi dengan cara masuk ke dalam alam mimpi dan menginsepsi pikiran korbannya. Untuk bisa masuk dan menginsepsi, tentunya Dom Cobb harus sadar ia bermimpi. Tapi apakah betul manusia bisa sadar saat ia sedang bermimpi?

Dalam psikologi, nyatanya ada beberapa individu yang menyadari bahwa ia tahu ia sedang bermimpi. Aktivitas mental seperti ini dinamakan lucid dream. Lucid dream dapat terjadi melalui dua cara: dream-initiated lucid dream (DILD) yaitu saat manusia mengalami mimpi seperti biasa kemudian ia menyadari bahwa ia sedang bermimpi dan wake-initiated lucid dream (WILD) yaitu manusia sadar ia bermimpi semenjak ia dalam fase bangun hingga di alam mimpi. Inception adalah contoh dari WILD ini.

Konsep yang dikemukakan Frederik van Eden tentang individu mengontrol mimpi tersebut memang bertolak belakang dengan pandangan umum. Selama ini, penelitian menunjukan bahwa mimpi merupakan sebuah pengalaman mental orang yang sedang tidur yang terjadi begitu saja dan tanpa tujuan (Domhooff, 1996). Mimpi dilihat sebagai hal yang misterius, pasif, dan aktivitas mental yang diproduksi oleh bagian otak yang mengatur tentang tidur (Flanaga, 2000; Hobson, 2002; Windt & Metzinger, 2007). Selain itu, para pemimpi dilihat memiliki kemampuan yang sangat kecil bahkan tidak ada sama sekali untuk mengendalikan kejadian-kejadian yang terjadi saat mimpi. Hobson’s (2002) menjelaskan—“secara normal kita kehilangan … kesadaran merefleksi diri; kita tidak sadar dimana kita berada; kita tidak dapat mengendalikan pikiran-pikiran kita; dan kita tidak bisa melakukan penilaian kritis” (hal 141)— secara eksplisit mengasumsikan bahwa sebagai besar orang dewasa mengalami pengalaman mimpi tanpa sadar bermimpi tersebut. Maka, eksistensi lucid dream, adalah dimana individu sadar bahwa ia sedang bermimpi dan mampu mengendalikan tindakan di dalam mimpi.

Dalam penelitian yang dilakukan oleh Schredl dan Erlacher (2004) ditemukan bahwa 82% dari partisipan pernah mengalami lucid dream setidaknya satu kali seumur hidup dan hampir 37% dilaporkan mengalami lucid dream setidaknya satu bulan satu kali. Individu yang memiliki keterlibatan lebih tinggi terhadap teknologi (seperti video games) dikatakan lebih sering mengalami lucid dreams dibanding individu lain (Gackenback, 2006, 2009). Lucid dream juga lebih sering dialami pada dewasa muda, sebagaimana pengalaman banyak dewasa muda yang dapat dengan mudah menghubungkan beberapa pengalaman sadar yang dikendalikan pada saat terbangun.

Individu yang berada pada tahap perkembangan dewasa muda, terutama wanita lebih mempercayai kemungkinan mengendalikan mimpi (Woolley & Boerger, 2002) . Lalu penelitian selanjutnya setelah Woolley dan Boerger menemukan adanya hubungan gender, pengalaman mimpi, kepercayaan tentang mimpi, dan struktur batas. Sekitar 165 mahasiswa (68 perempuan) mengisi kuesioner Control of Dreams Questionnaire dan Dream Experiences Interview-nya Wolley dan Boerger dan ditemukan bahwa sekitar 94% responden berusaha untuk mengendalikan mimpinya, 70% responden menjelaskan setidaknya ada satu yang episode mimpi yang berhasil kontrol, dan 80% yakin bahwa orang lain dapat mengendalikan mimpinya dalam situasi tertentu. Perempuan dilaporkan memiliki keberhasilan mengendalikan mimpi daripada laki-laki.

Lucid dream ini dijadikan treatment untuk mengurangi mimpi buruk. Dalam penelitian Antonio L. Zadra tahun 1997 dilakukan dalam 5 studi kasus. Penelitian yang berlangsung selama satu tahun ini menunjukkan bahwa 4 orang sudah tidak mengalami mimpi buruk dan 1 orang mengalami penurunan intensitas dan frekuensi mimpi buruk. Hasil ini mendukung ide bahhwa treatment menggunakan lucid dream ini dapat menjadi dasar dari terapetik.

Ada sebuah teknik mudah dari beragam teknik agar individu bisa mengalami lucid dream yaitu teknik Stephen LaBerge’s Mnemonic Induction of Lucid Dreaming (MILD).

a. Pasang alarm Anda untuk membangunkan 4.5, 6, atau 7.5 jam setelah tidur

b. Ketika Anda terbangun karena alarm, cobalah untuk mengingat mimpi yang telah Anda lalui sebanyak mungkin

c. Ketika Anda berpikir bahwa Anda dapat mengingat banyak, kembali ke tempat istirahat, imajinasikan Anda berada di mimpi sebelumnya dan menjadi sadar (aware) terhadap apa yang sedang dimimpikan. Bilang kepada diri Anda, “Saya akan sadar ketika saya bermimpi,” atau hal-hal lainnya. Lakukan hal ini hingga Anda hingga Anda benar-benar tenggelam di dalamnya lalu pergi tidur

d. Jika ada pemikiran-pemikiran yang secara acak keluar ketika Anda mencoba untuk tidur, ulangi berimajinasi, beri sugesti pada diri, dan cobalah terus menerus. Jangan khawatir jika Anda memerlukan waktu yang lama untuk ini. Semakin lama waktu yang dibutuhkan, maka Anda akan jatuh tenggelam di dalamnya dan Anda akan merasakan lucid dream.

Selamat berpetualang di dunia mimpi!

Sumber:

Boerger, Elizabeth A., 2009. Associations among boundary structure, gender, and beliefs about control of dreams. Dreaming, Vol 19(3), Sep, 2009. pp. 172-186. US: Educational Publishing Foundation

Zadra, Antonio L. 1997. Lucid Dreaming as a Treatment For Recurrent Nightmares. Psychotherapy and Psychosomatics, Vol 66(1), Jan-Feb, 1997. pp. 50-55. Switzerland: Karger


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Jeles???

“Ketika saya sedang merayakan 3 bulan saya berpacaran, teman saya memberitahukan bahwa saat ini ada 3 laki – laki yang menyukai pacar saya… ketika saya tanyakan, pacar saya pun tidak membantahnya … hati saya cemburu sampai saat ini walaupun cewe saya tidak menyukai 3 orang cowo tersebut tetap saja suatu-waktu dia bisa pergi meninggalkan saya dan jadian dgn salah satu dr mereka.”

Suka atau tidak, banyak dari kita pernah mengalami perasaan seperti pada kutipan diatas. Entah karena kita merasa ada orang lain yang dekat dengan orang yang kita sayangi, entah pasangan kita sedang ‘agak jauh’ dengan kita, atau pasangan yang sedang tenggelam dalam kesibukannya. Meskipun berbeda, pada intinya garis besar perasaan yang muncul adalah sama: individu takut akan kehilangan yang dikasihi nya karena adanya ‘pihak ketiga’.

Saat individu merasa bahwa ‘pihak ketiga’ muncul, sadar tidak sadar pihak ketiga tersebut akan mempengaruhi hubungan yang berlangsung. Teman, orangtua, mantan suami / istri, mantan kekasih, anak dari pernikahan sebelumnya, bahkan kesibukan dapat dikategorikan sebagai pihak ketiga. Diantara para pihak ketiga tersebut, mantan kekasih merupakan yang paling berpotensi mempengaruhi hubungan yang sedang dijalani. Biasanya salah satu pihak akan merasa bahwa pasangan lebih ‘memilih’ mantan kekasihnya dibanding pasangannya saat ini. Seperti yang telah saya jelaskan sebelumnya pada artikel http://ruangpsikologi.com/mantan-kekasih-yang-sulit-dilupakan , mantan kekasih dipersepsikan lebih mudah untuk dihubungi, tidak terkecuali untuk dijadikan pasangan selingkuh.

Ketika mengalami cemburu, individu yang sedang merasa terancam akan menampilkan beberapa perilaku tertentu, seperti menjadi murung, muncul rasa ingin tahu yang kadang berlebihan terhadap pasangan, serta perilaku agresif. Sering meng – sms menelpon pasangan secara terus menerus, mencurigai setiap telepon di handphone pasangan karena rasa cemburunya tersebut.

Di sisi lain, pasangan yang merasa dicurigai secara berlebihan bukan tidak mungkin akan menarik diri. Keadaan akan semakin buruk karena disatu sisi pasangan merasa dicurigai sedangkan disisi lain pasangan masih merasa terancam keberadaannya. Jika dibiarkan terus menerus tanpa ada usaha untuk mengomunikasikannya, maka akan timbul frustasi, putus asa, bahkan kekerasan.

Perilaku – perilaku cemburu tersebut tentu dilakukan oleh pria dan wanita. Meskipun demikian, bentuk dan penyebab cemburu dirasakan berbeda oleh pria dan wanita. Selama ini sejarah menjelaskan bahwa wanita merupakan ‘property’ miliki pria. Hal tersebut ternyata dirasakan tidak terlalu banyak berubah, ketika pria merasa cemburu mereka merasa bahwa seseorang akan mengambil apa yang sudah menjadi miliknya. Sebaliknya, wanita diasumsikan sebagai individu yang lemah dan akan bergantung pada pria, oleh sebab itu rasa cemburu wanita muncul saat mereka merasa takut kehilangan kesejahteraan serta keamanan yang diberikan oleh pasangannya.

Penelitian – penelitian menunjukkan bahwa cemburu terbagi kedalam beberapa tingkatan:

Yang pertama adalah cemburu yang lumrah. Pada tahap ini, individu merasa terancam karena hal lain diluar hubungannya. Pada tahap ini, individu yang merasa cemburu mampu mengontrol perasaannya tersebut sehingga hubungan yang dijalani tidak terlalu berpengaruh.

Yang kedua adalah ketika individu merasa cemas terus menerus dan menjadi obsesif terhadap pasangan. Hal ini dapat terjadi karena di masa lalu, pihak yang cemburu pernah merasa tersakiti. Perasaan pernah tersakiti tersebut membuatnya merasa lebih berhati – hati sehingga sering membuatnya cemas. Untuk mengurangi perasaan tersebut individu akan melakukan berusaha untuk selalu mengetahui keberadaan pasangannya serta jika memungkinkan akan terus bersama pasangannya tersebut.

Yang ketiga adalah sindrom Othello’. Pada tahap ini, individu mengalami yang lazim dikatakan ‘cemburu buta’. Individu akan mengalami pikiran yang tidak berdasar, irasional, dan paranoid bahwa pasangannya memiliki pasangan lain. Individu juga tidak akan peduli meskipun pada kenyataannya tidak ada bukti yang menunjukkan hal tersebut.

Menghadapi rasa cemburu bukanlah sesuatu yang mudah. Meskipun telah berusaha maksimal, tidak sedikit hubungan yang gagal karena perasaan cemburu. Kegagalan tersebut dapat terjadi karena beberapa hal, seperti salah satu pihak tidak mau mengalah, salah satu pihak merasa paling benar, dan sebagainya. Berbagai penelitian telah dilakukan untuk mengatasi masalah tersebut, beberapa metode yang dapat kita pergunakan adalah:

Bersama pasangan kita membuat daftar apa saja yang dapat memicu cemburu tersebut muncul. Kemudian dari daftar tersebut kita membuat urutan mana saja yang paling memicu cemburu sampai yang paling tidak memicu cemburu.
Berlatih membuat bagian tubuh tertentu menjadi rileks.
Berlatih untuk menjaga tubuh kita tetap rileks sambil membayangkan perilaku apa saja yang ada dalam list no 1 diatas. Ketika membayangkan suatu perilaku dan kita tidak mampu rileks, maka kita kembali melakukan relaksasi seperti pada nomor 2.
Setelah membuat perilaku yang dapat memicu rasa cemburu. Buatlah daftar perilaku apa saja yang membuat kita merasa bahagia. Kemudian urutkan mana yang paling berpengaruh sampai yang paling tidak berpengaruh.
Setelah mengurutkan dari yang paling berpengaruh sampai yang paling tidak berpengaruh, berikanlah skor pada setiap perilaku di daftar no 4 diatas. Ketika pasangan mencapai skor tertentu berikanlah semacam hadiah (yang telah disepakati bersama) untuk kedua belah pihak.
Metode diatas tentu saja tidak memiliki tingkat keberhasilan seratus persen dalam mengatasi masalah cemburu. Namun demikian, seperti yang telah dijelaskan sebelumnya, membangun kepercayaan merupakan hal utama yang harus dilakukan pasangan. Membayangkan berada diposisi pasangan diharapkan dapat membantu mengatasi rasa cemburu. Tidak hanya itu, walaupun sulit, bangunlah komunikasi sebaik mungkin sehingga perlahan rasa percaya tersebut muncul kembali.

Nova JoNo Ariyanto

Sumber:

Pines, A. M. 1992. Romantic Jealousy. Psychology Today; MAR 1992; 25, 2; ABI/INFORM Global page 48.

Scheinkman, M. & Werneck, D. 2010. Disarming Jealousy in Couples Relationships: A Multidimensional Approach. Family Process; Dec 2010; 49, 4; Academic Research Library pg. 486



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