Abstract The Regordosa-Turull wax cylinder collection, held at the Biblioteca de Catalunya, Barcelona, is unique among early recording collections. It contains 358 cylinders recorded by the textile industrialist Ruperto Regordosa, mostly at his Barcelona home, featuring prominent Spanish and non-Spanish singers of opera and zarzuela, as well as the composer Isaac Albéniz. This article aims to establish the significance of the collection for the study both of the amateur recording culture that existed alongside commercial phonograph recordings and of performance practices in opera and zarzuela. By examining the broader characteristics of the collection and textual sources from the period, and by closely analysing some of the cylinders, this article explores how Regordosa adopted (and in some cases adapted) certain generic conventions employed in commercial recordings of the time, and what the implications of this are when considering these early recordings as documents of performance practice.
{"title":"Amateur Recording on the Phonograph in Fin-de-siècle Barcelona: Practices, Repertoires and Performers in the Regordosa-Turull Wax Cylinder Collection","authors":"Eva Moreda Rodríguez","doi":"10.1017/rma.2020.17","DOIUrl":"https://doi.org/10.1017/rma.2020.17","url":null,"abstract":"Abstract The Regordosa-Turull wax cylinder collection, held at the Biblioteca de Catalunya, Barcelona, is unique among early recording collections. It contains 358 cylinders recorded by the textile industrialist Ruperto Regordosa, mostly at his Barcelona home, featuring prominent Spanish and non-Spanish singers of opera and zarzuela, as well as the composer Isaac Albéniz. This article aims to establish the significance of the collection for the study both of the amateur recording culture that existed alongside commercial phonograph recordings and of performance practices in opera and zarzuela. By examining the broader characteristics of the collection and textual sources from the period, and by closely analysing some of the cylinders, this article explores how Regordosa adopted (and in some cases adapted) certain generic conventions employed in commercial recordings of the time, and what the implications of this are when considering these early recordings as documents of performance practice.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"145 1","pages":"385 - 415"},"PeriodicalIF":0.3,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/rma.2020.17","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43290381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ideologically motivated attempts to elucidate Shostakovich’s political views and to determine whether and how they may be coded into his compositions have come to characterize the Western reception of the composer’s works since his death in 1975. Fuelled by the political oppositions of the cold war, Shostakovich’s posthumous reputation in the West has been largely shaped by two conflicting perspectives. These have positioned him on the one hand as a secret dissident, bent and broken under the unbearable strain of totalitarianism, made heroic through his veiled musical resistance to Communism; and on the other hand as a composer compromised by his capitulation to the regime – represented in an anachronistic musical style. Both perspectives surrender Shostakovich and his music to a crude oversimplification driven by vested political interests. Western listeners thus conditioned are primed to hear either the coded dissidence of a tragic victim of Communist brutality or the sinister submission of a ‘loyal son of the Communist Party’.1 For those prepared to accept Shostakovich as a ‘tragic victim’, the publication of his purported memoirs in 1979, ‘as related to and edited by’ the author Solomon Volkov, presents a tantalizing conclusion: bitterly yet discreetly scornful of the Stalinist regime, Shostakovich was indeed a secret dissident and this dissidence was made tangible in his music.
{"title":"‘There shall be no musical servitude’: Towards a Multitudinous Shostakovich in the West","authors":"Eirini Diamantouli","doi":"10.1017/rma.2020.19","DOIUrl":"https://doi.org/10.1017/rma.2020.19","url":null,"abstract":"Ideologically motivated attempts to elucidate Shostakovich’s political views and to determine whether and how they may be coded into his compositions have come to characterize the Western reception of the composer’s works since his death in 1975. Fuelled by the political oppositions of the cold war, Shostakovich’s posthumous reputation in the West has been largely shaped by two conflicting perspectives. These have positioned him on the one hand as a secret dissident, bent and broken under the unbearable strain of totalitarianism, made heroic through his veiled musical resistance to Communism; and on the other hand as a composer compromised by his capitulation to the regime – represented in an anachronistic musical style. Both perspectives surrender Shostakovich and his music to a crude oversimplification driven by vested political interests. Western listeners thus conditioned are primed to hear either the coded dissidence of a tragic victim of Communist brutality or the sinister submission of a ‘loyal son of the Communist Party’.1 For those prepared to accept Shostakovich as a ‘tragic victim’, the publication of his purported memoirs in 1979, ‘as related to and edited by’ the author Solomon Volkov, presents a tantalizing conclusion: bitterly yet discreetly scornful of the Stalinist regime, Shostakovich was indeed a secret dissident and this dissidence was made tangible in his music.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"145 1","pages":"495 - 505"},"PeriodicalIF":0.3,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/rma.2020.19","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48632890","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In 1863, Alexander Dargomyzhsky hatched plans for a gallery of humorous fantasias that would depict nationalities residing on the western border of the Russian Empire, including Baltic Germans, Poles, Ukrainians and Finns. On the one hand, this gallery of satirical portraits was an effective way of capturing the attention of domestic audiences, since the western borderlands were at the forefront of Russian popular attention in the wake of the Polish uprising. On the other hand, Dargomyzhsky repeatedly reiterated his intention that the fantasias should function as a means of achieving international recognition, and a year later he actually set off on a promotional tour across Europe. Together, the imperial implications of the three resulting fantasias, Dargomyzhsky’s attempts to market them abroad and the compositional inventiveness of the final fantasia, the Chukhon Fantasy, locate Dargomyzhsky’s orchestral oeuvre as a crucial node in the convoluted aesthetic and cultural negotiations of Russian nineteenth-century music.
{"title":"Satire, Empire and Chromaticism in Dargomyzhsky’s Orchestral Fantasias","authors":"Kirill Zikanov","doi":"10.1017/rma.2020.22","DOIUrl":"https://doi.org/10.1017/rma.2020.22","url":null,"abstract":"Abstract In 1863, Alexander Dargomyzhsky hatched plans for a gallery of humorous fantasias that would depict nationalities residing on the western border of the Russian Empire, including Baltic Germans, Poles, Ukrainians and Finns. On the one hand, this gallery of satirical portraits was an effective way of capturing the attention of domestic audiences, since the western borderlands were at the forefront of Russian popular attention in the wake of the Polish uprising. On the other hand, Dargomyzhsky repeatedly reiterated his intention that the fantasias should function as a means of achieving international recognition, and a year later he actually set off on a promotional tour across Europe. Together, the imperial implications of the three resulting fantasias, Dargomyzhsky’s attempts to market them abroad and the compositional inventiveness of the final fantasia, the Chukhon Fantasy, locate Dargomyzhsky’s orchestral oeuvre as a crucial node in the convoluted aesthetic and cultural negotiations of Russian nineteenth-century music.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"145 1","pages":"265 - 316"},"PeriodicalIF":0.3,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/rma.2020.22","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47039567","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Sibelius’s only balletic pantomime, Scaramouche, composed in 1913, remains one of his least-known works, even though it is one of his longest dramatic scores and belongs to his period of compositional re-evaluation. This article explores the pantomime in the context of its first production, performed in 1922 in Denmark and 1924 in Sweden. It argues that the pantomime’s reception both illuminates the importance of dance as a formative ‘modern’ genre within the Nordic countries during this period, and demonstrates that the score is defined by stylistic plurality, which was key to its theatrical success. The article calls for increased musicological attention to Nordic theatrical music, a genre that was extremely popular among early twentieth-century Nordic composers. It provided musicians with musical spaces that were more liberating than the concert hall or the opera house for the purposes of cultivating their musical language.
{"title":"Scaramouche, Scaramouche: Sibelius on Stage","authors":"Leah Broad","doi":"10.1017/rma.2020.15","DOIUrl":"https://doi.org/10.1017/rma.2020.15","url":null,"abstract":"Abstract Sibelius’s only balletic pantomime, Scaramouche, composed in 1913, remains one of his least-known works, even though it is one of his longest dramatic scores and belongs to his period of compositional re-evaluation. This article explores the pantomime in the context of its first production, performed in 1922 in Denmark and 1924 in Sweden. It argues that the pantomime’s reception both illuminates the importance of dance as a formative ‘modern’ genre within the Nordic countries during this period, and demonstrates that the score is defined by stylistic plurality, which was key to its theatrical success. The article calls for increased musicological attention to Nordic theatrical music, a genre that was extremely popular among early twentieth-century Nordic composers. It provided musicians with musical spaces that were more liberating than the concert hall or the opera house for the purposes of cultivating their musical language.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"145 1","pages":"417 - 456"},"PeriodicalIF":0.3,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/rma.2020.15","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45907544","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Reacting to recent materialist developments in music studies and beyond, I argue for the value of dialectics in accounting for compositional orientations vis-à-vis their objects – be these objects sound-producing, non-human entities, such as musical instruments, or the object that is ‘sound itself ’. Engaging the compositional thought and practice of Busoni, Russolo, Varèse, Cage and Tudor by way of example, I highlight two intersecting tendencies: the first constitutes a presumed mastery over the object in question; the second is suggestive of an exploration of the object on its own terms. Interweaving aspects of post-Marxist and psychoanalytic theory, I argue that, ultimately, our orientation towards the object manifests a negotiation of the self in a changing material world.
{"title":"Strategies of Conquest and Defence: Encounters with the Object in Twentieth-Century Music","authors":"Samuel Wilson","doi":"10.1017/rma.2020.18","DOIUrl":"https://doi.org/10.1017/rma.2020.18","url":null,"abstract":"Abstract Reacting to recent materialist developments in music studies and beyond, I argue for the value of dialectics in accounting for compositional orientations vis-à-vis their objects – be these objects sound-producing, non-human entities, such as musical instruments, or the object that is ‘sound itself ’. Engaging the compositional thought and practice of Busoni, Russolo, Varèse, Cage and Tudor by way of example, I highlight two intersecting tendencies: the first constitutes a presumed mastery over the object in question; the second is suggestive of an exploration of the object on its own terms. Interweaving aspects of post-Marxist and psychoanalytic theory, I argue that, ultimately, our orientation towards the object manifests a negotiation of the self in a changing material world.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"145 1","pages":"457 - 484"},"PeriodicalIF":0.3,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/rma.2020.18","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48688592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The year 1863 was one of the few in which Jacques Offenbach premièred no major stage work. And while it is true that he contributed music to the comédie by Henri Meilhac and Ludovic Halévy entitled Le Brésilien, his public output that year was overshadowed by the establishment by the Académie Française of the Prix Montyon, to be awarded ‘to French authors of works most beneficial for morality and commendable for their elevated and moral utility’.1 Perhaps predictably, the last time the prize was awarded to a work on a subject related to music was in 1948, when it was conferred on Robert Pitrou’sMusiciens romantiques, a book that gave little space to French ‘Romantic’ musicians.2 But in the 1920s, the Prix Montyon was awarded twice to the same author: the music critic Louis Schneider, who received the prize for his biography of JulesMassenet in 1927 and for the first of two books on opérette, his 1923 biography ofOffenbach.3 Schneider’s biography was the
{"title":"‘Der mächtigste Tanzmeister des Kaiserreiches’? Offenbach at 200","authors":"Mark Everist","doi":"10.1017/rma.2020.20","DOIUrl":"https://doi.org/10.1017/rma.2020.20","url":null,"abstract":"The year 1863 was one of the few in which Jacques Offenbach premièred no major stage work. And while it is true that he contributed music to the comédie by Henri Meilhac and Ludovic Halévy entitled Le Brésilien, his public output that year was overshadowed by the establishment by the Académie Française of the Prix Montyon, to be awarded ‘to French authors of works most beneficial for morality and commendable for their elevated and moral utility’.1 Perhaps predictably, the last time the prize was awarded to a work on a subject related to music was in 1948, when it was conferred on Robert Pitrou’sMusiciens romantiques, a book that gave little space to French ‘Romantic’ musicians.2 But in the 1920s, the Prix Montyon was awarded twice to the same author: the music critic Louis Schneider, who received the prize for his biography of JulesMassenet in 1927 and for the first of two books on opérette, his 1923 biography ofOffenbach.3 Schneider’s biography was the","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"145 1","pages":"485 - 494"},"PeriodicalIF":0.3,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/rma.2020.20","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46436624","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article examines Mahler’s Fourth Symphony and its role in what the composer called his ‘perfectly self-contained tetralogy’. Previous explanations for this phrase include the first four symphonies’ shared song quotations and ideological content, but the dramas of ancient Dionysian festivals present a better model: three serious tragedies and a comic satyr play, a performance grouping also known as a ‘tetralogy’. Following Mahler’s first three symphonies (his ‘Trilogie der Leidenschaft’), the Fourth Symphony – originally entitled ‘Humoreske’ – is compared to a light-hearted satyr play, featuring abrupt juxtapositions of moods and a setting of the humorous song ‘Das himmlische Leben’. Praise for the redemptive effects of this ancient tragicomic juxtaposition plays an important role in Nietzsche’s The Birth of Tragedy, and the importance of humour especially shaped the philosopher’s later writings, many of which Mahler knew from his time as a student in Vienna. This new reading not only provides a better explanation for Mahler’s comment, but also illustrates Nietzsche’s influence on the composer’s sense of drama.
{"title":"‘A Perfectly Self-Contained Tetralogy’: Mahler’s Tragicomic Inspirations","authors":"Leah Batstone","doi":"10.1017/rma.2020.14","DOIUrl":"https://doi.org/10.1017/rma.2020.14","url":null,"abstract":"Abstract This article examines Mahler’s Fourth Symphony and its role in what the composer called his ‘perfectly self-contained tetralogy’. Previous explanations for this phrase include the first four symphonies’ shared song quotations and ideological content, but the dramas of ancient Dionysian festivals present a better model: three serious tragedies and a comic satyr play, a performance grouping also known as a ‘tetralogy’. Following Mahler’s first three symphonies (his ‘Trilogie der Leidenschaft’), the Fourth Symphony – originally entitled ‘Humoreske’ – is compared to a light-hearted satyr play, featuring abrupt juxtapositions of moods and a setting of the humorous song ‘Das himmlische Leben’. Praise for the redemptive effects of this ancient tragicomic juxtaposition plays an important role in Nietzsche’s The Birth of Tragedy, and the importance of humour especially shaped the philosopher’s later writings, many of which Mahler knew from his time as a student in Vienna. This new reading not only provides a better explanation for Mahler’s comment, but also illustrates Nietzsche’s influence on the composer’s sense of drama.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"145 1","pages":"351 - 384"},"PeriodicalIF":0.3,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/rma.2020.14","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46341921","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-18DOI: 10.24843/jrma.2020.v08.i03.p14
Zainul Fikri, N. Wartini, L. P. Wrasiati
Globe amaranth is one of the flowers contain betacyanin that potentially used as natural dye by extracting. This research aimed to find out the characteristics of natural dye extract of globe amaranth on the treatment of solvent types and extraction temperature as well as to determine the correlation between a total of betacyanin with the yield and color intensity of the natural dye extract of globe amaranth. This experiment was designed using two factors. The first factor was solvent types consisting of aquades, ethanol 48 percent, and ethanol 96 percent. The second factor was the extraction temperature consisting of 25, 35, and 45ºC. The data analysis used a bivariate correlation test. The results showed the characteristics of the natural dye extract of globe amaranth on the treatment of the type of solvent and extraction temperature were as follows: yield of 8.65 – 16.13 percent, betacyanin total 30.01 – 185.51 mg / 100g, brightness level (L*) 12.08 – 17.09, redness level (a*) 8.19 – 10.93, and yellowish level (b*) 4.77 – 7.87. A total of betacyanin was positively correlated with yield and the redness level (a*) with correlation coefficient value (r) 0.504 (strong) and 0.986 (very strong) and determination coefficient value (R2) 0.2541 and 0.9719, while a total of betacyanin was negatively correlated with the brightness level (L*) and the yellowish level (b*) with the correlation coefficient value (r) -0.932 (very strong) and -0.907 (very strong) and determination coefficient value (R2) 0.8679 and 0.8226. Keywords: Gomphrena globosa L., betacyanin, extraction, correlation
{"title":"Karakteristik Ekstrak Pewarna Alami Bunga Kenop (Gomphrena globosa L.) pada Perlakuan Jenis Pelarut dan Suhu Ekstraksi serta Korelasi antar Variabel","authors":"Zainul Fikri, N. Wartini, L. P. Wrasiati","doi":"10.24843/jrma.2020.v08.i03.p14","DOIUrl":"https://doi.org/10.24843/jrma.2020.v08.i03.p14","url":null,"abstract":"Globe amaranth is one of the flowers contain betacyanin that potentially used as natural dye by extracting. This research aimed to find out the characteristics of natural dye extract of globe amaranth on the treatment of solvent types and extraction temperature as well as to determine the correlation between a total of betacyanin with the yield and color intensity of the natural dye extract of globe amaranth. This experiment was designed using two factors. The first factor was solvent types consisting of aquades, ethanol 48 percent, and ethanol 96 percent. The second factor was the extraction temperature consisting of 25, 35, and 45ºC. The data analysis used a bivariate correlation test. The results showed the characteristics of the natural dye extract of globe amaranth on the treatment of the type of solvent and extraction temperature were as follows: yield of 8.65 – 16.13 percent, betacyanin total 30.01 – 185.51 mg / 100g, brightness level (L*) 12.08 – 17.09, redness level (a*) 8.19 – 10.93, and yellowish level (b*) 4.77 – 7.87. A total of betacyanin was positively correlated with yield and the redness level (a*) with correlation coefficient value (r) 0.504 (strong) and 0.986 (very strong) and determination coefficient value (R2) 0.2541 and 0.9719, while a total of betacyanin was negatively correlated with the brightness level (L*) and the yellowish level (b*) with the correlation coefficient value (r) -0.932 (very strong) and -0.907 (very strong) and determination coefficient value (R2) 0.8679 and 0.8226. \u0000Keywords: Gomphrena globosa L., betacyanin, extraction, correlation","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"8 1","pages":"460"},"PeriodicalIF":0.3,"publicationDate":"2020-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42550691","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-18DOI: 10.24843/jrma.2020.v08.i03.p15
Kadek Mei Ahadianti, L. P. Wrasiati, G. P. G. Putra
Body scrub cream is a semi-solid dosage form containing one or more dissolved or dispersed medicinal ingredients in suitable base ingredients and serves to smooth the body's skin and remove damaged skin cells with the help of scrub material. Oyong fiber (Luffa acutangula) is used as a scrubber material that is natural, biodegradable and inexpensive. The aim of this study to know the effect of the addition of oyong fiber powder and stirring time to the characteristics of body scrub cream and to determine the percentage of the addition of oyong fiber powder and length of stirring to produce the best body scrub cream. This research uses factorial randomized block design with two factors. The first factor is the percentage of the addition of the Oyong fiber powder consisting of 3 levels namely 5, 7, 9 and 11% and the second factor is the stirring time consisting of 10, 15, and 20 minutes. Data were analyzed by analysis of variance and continued by Tukey's test. The results of the study showed that the addition loofah (Luffa acutangula) fiber powder addition and the stirring time very affected the pH, viscosity, spreadability power, adhesion power and overall acceptance of the body scrub cream. The interaction between the addition loofah (Luffa acutangula) fiber powder addition and the stirring time very affected the viscosity and the spreadability power. Addition of 9% of loofah (Luffa acutangula) fiber powder and 20 minutes of the stirring time was the best treatment for body scrub cream with characteristics as follows: pH 4.60, viscosity 37600 cp, homogeny, spreadability power 4.6 cm, adhesion power 9.88 seconds, separation ratio=1 and overall acceptance 5,90 (rather like to like). Keywords : body scrub cream, Luffa acutangula, stirring time
{"title":"Pengaruh Persentase Penambahan Bubuk Serat Oyong (Luffa acutangula) dan Lama Pengadukan terhadap Karakteristik Krim Body Scrub","authors":"Kadek Mei Ahadianti, L. P. Wrasiati, G. P. G. Putra","doi":"10.24843/jrma.2020.v08.i03.p15","DOIUrl":"https://doi.org/10.24843/jrma.2020.v08.i03.p15","url":null,"abstract":"Body scrub cream is a semi-solid dosage form containing one or more dissolved or dispersed medicinal ingredients in suitable base ingredients and serves to smooth the body's skin and remove damaged skin cells with the help of scrub material. Oyong fiber (Luffa acutangula) is used as a scrubber material that is natural, biodegradable and inexpensive. The aim of this study to know the effect of the addition of oyong fiber powder and stirring time to the characteristics of body scrub cream and to determine the percentage of the addition of oyong fiber powder and length of stirring to produce the best body scrub cream. This research uses factorial randomized block design with two factors. The first factor is the percentage of the addition of the Oyong fiber powder consisting of 3 levels namely 5, 7, 9 and 11% and the second factor is the stirring time consisting of 10, 15, and 20 minutes. Data were analyzed by analysis of variance and continued by Tukey's test. The results of the study showed that the addition loofah (Luffa acutangula) fiber powder addition and the stirring time very affected the pH, viscosity, spreadability power, adhesion power and overall acceptance of the body scrub cream. The interaction between the addition loofah (Luffa acutangula) fiber powder addition and the stirring time very affected the viscosity and the spreadability power. Addition of 9% of loofah (Luffa acutangula) fiber powder and 20 minutes of the stirring time was the best treatment for body scrub cream with characteristics as follows: pH 4.60, viscosity 37600 cp, homogeny, spreadability power 4.6 cm, adhesion power 9.88 seconds, separation ratio=1 and overall acceptance 5,90 (rather like to like). \u0000Keywords : body scrub cream, Luffa acutangula, stirring time","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"8 1","pages":"472"},"PeriodicalIF":0.3,"publicationDate":"2020-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46027502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-07DOI: 10.24843/jrma.2020.v08.i03.p12
I. K. A. Nuada, N. Wartini, Lutfi Suhendra
Bunga kenikir dapat digunakan sebagai pewarna alami yang mengandung karotenoid melalui proses ekstraksi dan enkapsulasi. Tujuan dari penelitian ini adalah untuk mengetahui pengaruh perlakuan perbandingan kasein dan maltodekstrin terhadap karakteristik enkapsulat ekstrak bunga kenikir dan menentukan perlakuan perbandingan kasein dan maltodekstrin terbaik untuk mendapatkan enkapsulat ekstrak pewarna bunga kenikir. Percobaan dalam penelitian ini menggunakan Rancangan Acak Kelompok dengan perlakuan perbandingan kasein dan maltodekstrin, yang terdiri dari 5 taraf yaitu (1: 1.0), (1: 1.5), (1: 2.0), (1: 2.5), dan ( 1: 3.0). Hasil penelitian menunjukkan bahwa perbandingan kasein dan maltodekstrin berpengaruh sangat nyata (P <0,01) terhadap kadar air, kadar karotenoid total, kadar karotenoid permukaan, kelarutan, tingkat kecerahan, tingkat kemerahan, tingkat kekuningan, dan efisiensi enkapsulasi. Perlakuan perbandingan kasein dan maltodekstrin 1: 2.0 adalah perlakuan terbaik untuk menghasilkan enkapsulat ekstrak pewarna bunga kenikir dengan karakteristik rendemen 91,45 ± 0,19 %, kadar air 5,29 ± 0,04 %, total karotenoid 0,46 ± 0,00 %, karotenoid permukaan 0,22 ± 0,00 %, efisiensi enkapsulasi 52,40 ± 1,40 %, kelarutan 80,81 ± 0,07 %, tingkat kecerahan 49,27 ± 1,40, tingkat kemerahan 26,07 ± 0,02, dan tingkat kekuningan 38,71 ± 0,18. Kata kunci: Tagetes erecta L, kasein, maltodekstrin, enkapsulasi
{"title":"Karakteristik Enkapsulat Ekstrak Pewarna Bunga Kenikir (Tagetes erecta L.) pada Perlakuan Perbandingan Kasein dan Maltodekstrin","authors":"I. K. A. Nuada, N. Wartini, Lutfi Suhendra","doi":"10.24843/jrma.2020.v08.i03.p12","DOIUrl":"https://doi.org/10.24843/jrma.2020.v08.i03.p12","url":null,"abstract":"Bunga kenikir dapat digunakan sebagai pewarna alami yang mengandung karotenoid melalui proses ekstraksi dan enkapsulasi. Tujuan dari penelitian ini adalah untuk mengetahui pengaruh perlakuan perbandingan kasein dan maltodekstrin terhadap karakteristik enkapsulat ekstrak bunga kenikir dan menentukan perlakuan perbandingan kasein dan maltodekstrin terbaik untuk mendapatkan enkapsulat ekstrak pewarna bunga kenikir. Percobaan dalam penelitian ini menggunakan Rancangan Acak Kelompok dengan perlakuan perbandingan kasein dan maltodekstrin, yang terdiri dari 5 taraf yaitu (1: 1.0), (1: 1.5), (1: 2.0), (1: 2.5), dan ( 1: 3.0). Hasil penelitian menunjukkan bahwa perbandingan kasein dan maltodekstrin berpengaruh sangat nyata (P <0,01) terhadap kadar air, kadar karotenoid total, kadar karotenoid permukaan, kelarutan, tingkat kecerahan, tingkat kemerahan, tingkat kekuningan, dan efisiensi enkapsulasi. Perlakuan perbandingan kasein dan maltodekstrin 1: 2.0 adalah perlakuan terbaik untuk menghasilkan enkapsulat ekstrak pewarna bunga kenikir dengan karakteristik rendemen 91,45 ± 0,19 %, kadar air 5,29 ± 0,04 %, total karotenoid 0,46 ± 0,00 %, karotenoid permukaan 0,22 ± 0,00 %, efisiensi enkapsulasi 52,40 ± 1,40 %, kelarutan 80,81 ± 0,07 %, tingkat kecerahan 49,27 ± 1,40, tingkat kemerahan 26,07 ± 0,02, dan tingkat kekuningan 38,71 ± 0,18. \u0000Kata kunci: Tagetes erecta L, kasein, maltodekstrin, enkapsulasi","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"8 1","pages":"435"},"PeriodicalIF":0.3,"publicationDate":"2020-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48464008","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：