Abstract Although royal entries have long been studied by scholars, those undertaken by nobles and other political figures have generally attracted less attention. This is particularly true in musicological literature, a fact undoubtedly attributable to the paucity of surviving documentation on this topic. Yet music often played an important part in these spectacles, both by underlining the dignitary’s status and by enhancing key components of the symbolism deployed. Rather than concentrating on one particular event, this article brings together information about as many entries as possible made by such figures into French cities in the late sixteenth and early seventeenth centuries. This enables us to make general observations about the types of music used in these events (such as fanfares, Te Deums and dance music) in order to draw possible connections with extant musical sources, and also to ponder why certain musical elements mattered more than others to the contemporaries describing these occasions.
{"title":"‘Remplis l’air d’alegresse pour ce seigneur chery des cieux’: Music in the Entries of Nobility and Other Dignitaries in Late Renaissance France (c.1585–c.1615)","authors":"Alexander Robinson","doi":"10.1017/rma.2021.3","DOIUrl":"https://doi.org/10.1017/rma.2021.3","url":null,"abstract":"Abstract Although royal entries have long been studied by scholars, those undertaken by nobles and other political figures have generally attracted less attention. This is particularly true in musicological literature, a fact undoubtedly attributable to the paucity of surviving documentation on this topic. Yet music often played an important part in these spectacles, both by underlining the dignitary’s status and by enhancing key components of the symbolism deployed. Rather than concentrating on one particular event, this article brings together information about as many entries as possible made by such figures into French cities in the late sixteenth and early seventeenth centuries. This enables us to make general observations about the types of music used in these events (such as fanfares, Te Deums and dance music) in order to draw possible connections with extant musical sources, and also to ponder why certain musical elements mattered more than others to the contemporaries describing these occasions.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"146 1","pages":"181 - 218"},"PeriodicalIF":0.3,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/rma.2021.3","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45416907","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}
{"title":"RMA volume 146 issue 1 Cover and Front matter","authors":"","doi":"10.1017/rma.2021.8","DOIUrl":"https://doi.org/10.1017/rma.2021.8","url":null,"abstract":"","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"146 1","pages":"f1 - f4"},"PeriodicalIF":0.3,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/rma.2021.8","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41544871","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 Dent Medal, struck in memory of the distinguished scholar and musician Edward J. Dent (1876–1957), has been awarded by the Royal Musical Association annually since 1961 to recipients selected for their outstanding contribution to musicology. A list of candidates is drawn up by the Council of the Association and the Directorium of the International Musicological Society. The Dent Medal for 2020 is awarded to ERIC DROTT. Eric Drott graduated with a Ph.D. from Yale University in 2001 and is currently Associate Professor of Music Theory at the University of Texas at Austin. He has produced an impressive body of scholarship that spans from post-war modernism to present-day streaming cultures and deftly traverses music theory, musicology and music sociology. Uniting this work with the sociopolitical frameworks in which music – understood in the broadest sense – is produced, used and acquires meaning is a pervading concern. Drott’s initial work was inmusic theory. He wrote his doctoral thesis on themusic of Ligeti and has established himself as an authoritative voice on experimentalism and the avant-garde. His article ‘The End(s) of Genre’ ( Journal of Music Theory, 2013) has been particularly influential in this respect. Here Drott challenges the commonly held perception that genre declined in importance with the onset of modernism, and draws on actor-network theory to produce a revised theory of genre that maps onto the contours of experimental music. Questions of genre also feature in Drott’s 2011 monographMusic and the Elusive Revolution: Cultural Politics and Political Culture in France, 1968–1981 (University of California Press). An illuminating study of the place of music in the history and legacies of France’s 1968 revolution, this book develops a highly innovative framework for thinking about howmusical genres and political cultures interact. Rather than examining any one type of music or music culture, Drott casts his net wide, with chapters on chanson, free jazz, avant-garde music and French rock. This diverse span allows for a richly multifaceted history to emerge and, crucially, serves as the basis for the formulation of a broader theory of how genre mediates political expression. Over the past decade, Drott has emerged as one of the most insightful and challenging thinkers on the political economies of music in contemporary society. He has written perceptively on the ‘gift economy’ of music ( Journal of Music Theory, 2010); has offered a piercing critique of Jacques Attali’sNoise (Critical Inquiry, 2015); has explored music’s roles in social movements including the Occupy Wall Street Protests (Contemporary Music Review, 2018; Twentieth-Century Music, 2019); and most recently has produced a comprehensive and thought-provoking suite of articles on the political, economic and social implications of contemporary streaming cultures (Sound Studies, 2017; Journal of the Society for American Music, 2018; Twentieth-Century Music, 2018; and Cult
{"title":"The Dent Medal","authors":"","doi":"10.1017/rma.2021.7","DOIUrl":"https://doi.org/10.1017/rma.2021.7","url":null,"abstract":"The Dent Medal, struck in memory of the distinguished scholar and musician Edward J. Dent (1876–1957), has been awarded by the Royal Musical Association annually since 1961 to recipients selected for their outstanding contribution to musicology. A list of candidates is drawn up by the Council of the Association and the Directorium of the International Musicological Society. The Dent Medal for 2020 is awarded to ERIC DROTT. Eric Drott graduated with a Ph.D. from Yale University in 2001 and is currently Associate Professor of Music Theory at the University of Texas at Austin. He has produced an impressive body of scholarship that spans from post-war modernism to present-day streaming cultures and deftly traverses music theory, musicology and music sociology. Uniting this work with the sociopolitical frameworks in which music – understood in the broadest sense – is produced, used and acquires meaning is a pervading concern. Drott’s initial work was inmusic theory. He wrote his doctoral thesis on themusic of Ligeti and has established himself as an authoritative voice on experimentalism and the avant-garde. His article ‘The End(s) of Genre’ ( Journal of Music Theory, 2013) has been particularly influential in this respect. Here Drott challenges the commonly held perception that genre declined in importance with the onset of modernism, and draws on actor-network theory to produce a revised theory of genre that maps onto the contours of experimental music. Questions of genre also feature in Drott’s 2011 monographMusic and the Elusive Revolution: Cultural Politics and Political Culture in France, 1968–1981 (University of California Press). An illuminating study of the place of music in the history and legacies of France’s 1968 revolution, this book develops a highly innovative framework for thinking about howmusical genres and political cultures interact. Rather than examining any one type of music or music culture, Drott casts his net wide, with chapters on chanson, free jazz, avant-garde music and French rock. This diverse span allows for a richly multifaceted history to emerge and, crucially, serves as the basis for the formulation of a broader theory of how genre mediates political expression. Over the past decade, Drott has emerged as one of the most insightful and challenging thinkers on the political economies of music in contemporary society. He has written perceptively on the ‘gift economy’ of music ( Journal of Music Theory, 2010); has offered a piercing critique of Jacques Attali’sNoise (Critical Inquiry, 2015); has explored music’s roles in social movements including the Occupy Wall Street Protests (Contemporary Music Review, 2018; Twentieth-Century Music, 2019); and most recently has produced a comprehensive and thought-provoking suite of articles on the political, economic and social implications of contemporary streaming cultures (Sound Studies, 2017; Journal of the Society for American Music, 2018; Twentieth-Century Music, 2018; and Cult","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"146 1","pages":"249 - 251"},"PeriodicalIF":0.3,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/rma.2021.7","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45115124","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 Hans Abrahamsen’s recent music has been the subject of much critical and public acclaim, with his output of the last decade finding a new directness of expression even as it incorporates and develops elements of his musical language that have remained consistent over many years. This article examines the use of compositional processes within a number of these large-scale works – Schnee (2008), Wald (2009), the Double Concerto (2011) and Let me tell you (2013) – and explores the ways in which Abrahamsen generates and controls material through a variety of techniques of transformation and repetition. How smaller-scale systems interact to create music of great allusive complexity is considered through discussion of the variation form of Wald; finally, Abrahamsen’s embracing of types of paradox and illusion are presented as strategies to unlock broader aesthetic issues within his music.
{"title":"Processes, Paradoxes and Illusions: Compositional Strategies in the Music of Hans Abrahamsen","authors":"Daniel March","doi":"10.1017/rma.2021.1","DOIUrl":"https://doi.org/10.1017/rma.2021.1","url":null,"abstract":"Abstract Hans Abrahamsen’s recent music has been the subject of much critical and public acclaim, with his output of the last decade finding a new directness of expression even as it incorporates and develops elements of his musical language that have remained consistent over many years. This article examines the use of compositional processes within a number of these large-scale works – Schnee (2008), Wald (2009), the Double Concerto (2011) and Let me tell you (2013) – and explores the ways in which Abrahamsen generates and controls material through a variety of techniques of transformation and repetition. How smaller-scale systems interact to create music of great allusive complexity is considered through discussion of the variation form of Wald; finally, Abrahamsen’s embracing of types of paradox and illusion are presented as strategies to unlock broader aesthetic issues within his music.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"146 1","pages":"47 - 79"},"PeriodicalIF":0.3,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/rma.2021.1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44799038","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}
K. Jarausch, Neue Mensch, Jüngste Entwicklungen, IN Der Stalinismusforschung, Susanne Schattenberg, Ilja Ehrenburg, Fjodor Gladkow, Nikolaj Pogodin
Das große Ereignis des Sommersemesters war die Konferenz über „Zeitgeschichte als Streitgeschichte“, die sich mit der Wirkung von historischen Fachkontroversen auf die Entwicklung der politischen Kultur der Bundesrepublik beschäftigte. Nach der feierlichen Eröffnung im renovierten Kutschstall (dem Haus der Brandenburgisch-Preußischen Geschichte) tagten etwa 200 Teilnehmer im Alten Rathaus. Eine Gruppe hochkarätiger Vortragender ließ die scharfen Auseinandersetzungen in Wissenschaft, Öffentlichkeit und Politik von der Fischer-Kontroverse bis zu den Protesten gegen die Wehrmachtsausstellung Revue passieren, um den Beitrag geschichtspolitischer Debatten bei der Abwendung von einem affirmativen Nationalismus und Hinwendung zu einem selbstkritischen Geschichtsbild nachzuzeichnen. Vor allem der internationale Vergleich mit ähnlichen Debatten in Frankreich, Polen und der Schweiz machte die besondere Intensität deutscher Diskussionen über die Vergangenheit deutlich. Wie der ausführliche Bericht von Albrecht Wiesener zeigt, ging es gleichsam um den scheinbar paradoxen Versuch der Selbsthistorisierung der Zeithistoriker. Die Konferenz fand eine erfreuliche Resonanz in den gedruckten wie elektronischen Medien. Trotz der Beschränktheit der Räumlichkeiten geht das wissenschaftliche Leben des Instituts am Neuen Markt nun wieder seinen gewohnten Gang. Besonders hervorzuheben ist die anregende öffentliche Vortragsreihe „Europa denken“, in der Zeithistoriker versucht haben, die Kategorie Europa zu konkretisieren. In den wöchentlichen institutsinternen Kolloquien variierten die Themen von der geteilten Geschichte Irlands bis zur Konsumpolitik der DDR, um nur zwei der Vorträge herauszugreifen. Die von André Steiner organisierte Arbeitstagung über die „DDR als Fußnote der deutschen Wirtschaftsgeschichte“ brachte eine Reihe führender deutscher Wirtschaftshistoriker ins Haus (Bericht Irmgard Zündorf). Auch das Transatlantische Doktorandenseminar, das vom Deutschen Historischen Institut in Washington organisiert wurde, fand diesmal im ZZF statt (Bericht Patrice G. Poutrus). Die programmatische Ausrichtung und institutionelle Zukunft des Instituts waren Thema einer öffentlichen Podiumsdiskussion mit der Ministerin im ZZF (Bericht Jennifer Schevardo). Niemand erwartete, daß angesichts knapper Mittel rosige Aussichten versprochen würden. Dennoch: die politischen Signale waren eindeutig positiv.
{"title":"Editorial","authors":"K. Jarausch, Neue Mensch, Jüngste Entwicklungen, IN Der Stalinismusforschung, Susanne Schattenberg, Ilja Ehrenburg, Fjodor Gladkow, Nikolaj Pogodin","doi":"10.1017/rma.2021.10","DOIUrl":"https://doi.org/10.1017/rma.2021.10","url":null,"abstract":"Das große Ereignis des Sommersemesters war die Konferenz über „Zeitgeschichte als Streitgeschichte“, die sich mit der Wirkung von historischen Fachkontroversen auf die Entwicklung der politischen Kultur der Bundesrepublik beschäftigte. Nach der feierlichen Eröffnung im renovierten Kutschstall (dem Haus der Brandenburgisch-Preußischen Geschichte) tagten etwa 200 Teilnehmer im Alten Rathaus. Eine Gruppe hochkarätiger Vortragender ließ die scharfen Auseinandersetzungen in Wissenschaft, Öffentlichkeit und Politik von der Fischer-Kontroverse bis zu den Protesten gegen die Wehrmachtsausstellung Revue passieren, um den Beitrag geschichtspolitischer Debatten bei der Abwendung von einem affirmativen Nationalismus und Hinwendung zu einem selbstkritischen Geschichtsbild nachzuzeichnen. Vor allem der internationale Vergleich mit ähnlichen Debatten in Frankreich, Polen und der Schweiz machte die besondere Intensität deutscher Diskussionen über die Vergangenheit deutlich. Wie der ausführliche Bericht von Albrecht Wiesener zeigt, ging es gleichsam um den scheinbar paradoxen Versuch der Selbsthistorisierung der Zeithistoriker. Die Konferenz fand eine erfreuliche Resonanz in den gedruckten wie elektronischen Medien. Trotz der Beschränktheit der Räumlichkeiten geht das wissenschaftliche Leben des Instituts am Neuen Markt nun wieder seinen gewohnten Gang. Besonders hervorzuheben ist die anregende öffentliche Vortragsreihe „Europa denken“, in der Zeithistoriker versucht haben, die Kategorie Europa zu konkretisieren. In den wöchentlichen institutsinternen Kolloquien variierten die Themen von der geteilten Geschichte Irlands bis zur Konsumpolitik der DDR, um nur zwei der Vorträge herauszugreifen. Die von André Steiner organisierte Arbeitstagung über die „DDR als Fußnote der deutschen Wirtschaftsgeschichte“ brachte eine Reihe führender deutscher Wirtschaftshistoriker ins Haus (Bericht Irmgard Zündorf). Auch das Transatlantische Doktorandenseminar, das vom Deutschen Historischen Institut in Washington organisiert wurde, fand diesmal im ZZF statt (Bericht Patrice G. Poutrus). Die programmatische Ausrichtung und institutionelle Zukunft des Instituts waren Thema einer öffentlichen Podiumsdiskussion mit der Ministerin im ZZF (Bericht Jennifer Schevardo). Niemand erwartete, daß angesichts knapper Mittel rosige Aussichten versprochen würden. Dennoch: die politischen Signale waren eindeutig positiv.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"146 1","pages":"1 - 1"},"PeriodicalIF":0.3,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/rma.2021.10","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45127477","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}
{"title":"Contributors","authors":"","doi":"10.1017/rma.2021.6","DOIUrl":"https://doi.org/10.1017/rma.2021.6","url":null,"abstract":"","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"146 1","pages":"253 - 254"},"PeriodicalIF":0.3,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/rma.2021.6","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42712678","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 The music of The Whole Book of Psalms (first printed in 1562) was not a product of English tradition, but a new congregational system brought home from Geneva. Psalm tunes in Edward VI’s time had been secular, iambic and based on dance rhythms; in so far as Thomas Sternhold’s metrical psalms were sung in church, they were chanted by choirs to Sarum tones. The tunes created for congregational use by the Marian exiles had to satisfy Calvin’s principle that they must be distinct from secular songs. They avoided strong rhythms and imitated the Huguenot psalter, which catered for a very different French prosody. Elizabethan congregations were enthusiastic about singing, but did not take to many of these tunes. Evidence shows a growing tendency for the printed tunes to be ignored in practice, and to be replaced by orally transmitted ‘common tunes’ restoring the secular Edwardian idiom. These, rather than the Elizabethan tunes, became the lasting model for the English hymn tune.
{"title":"Victims of Compromise: The Elizabethan Psalm Tunes","authors":"N. Temperley","doi":"10.1017/rma.2021.4","DOIUrl":"https://doi.org/10.1017/rma.2021.4","url":null,"abstract":"Abstract The music of The Whole Book of Psalms (first printed in 1562) was not a product of English tradition, but a new congregational system brought home from Geneva. Psalm tunes in Edward VI’s time had been secular, iambic and based on dance rhythms; in so far as Thomas Sternhold’s metrical psalms were sung in church, they were chanted by choirs to Sarum tones. The tunes created for congregational use by the Marian exiles had to satisfy Calvin’s principle that they must be distinct from secular songs. They avoided strong rhythms and imitated the Huguenot psalter, which catered for a very different French prosody. Elizabethan congregations were enthusiastic about singing, but did not take to many of these tunes. Evidence shows a growing tendency for the printed tunes to be ignored in practice, and to be replaced by orally transmitted ‘common tunes’ restoring the secular Edwardian idiom. These, rather than the Elizabethan tunes, became the lasting model for the English hymn tune.","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"146 1","pages":"3 - 46"},"PeriodicalIF":0.3,"publicationDate":"2021-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/rma.2021.4","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41821884","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 : 2021-03-30DOI: 10.24843/JRMA.2021.V09.I01.P12
Ida R Hasibuan, N. S. Antara, I. M. A. Wijaya
Lignin is an organic polymer compound that is difficult to degrade in the environment because of its very complex structure consisting of an aromatic ring group and three carbons in the side chain. This exploratory study aims to determine whether white rot fungi isolated from wastewater from eucalypt pulp and weathered wood are lignolytic and the ability of the isolates to degrade tannins as an approach in the lignin degradation process. The experimental design is divided into two stages, namely: 1) Isolation of fungi that have the ability to degrade tannins quantitatively and qualitatively as well as characterization of fungi morphologically (macroscopic and microscopic). 2) Testing the ability of superior white rot fungus isolates in degrading tannins at concentrations of 0.5%, 1%, 1.5% and 2% of tannins. The brown zone formed in white rot fungal isolates was measured the zone diameter and intensity of the brown color. The results of this study indicate that of the 29 isolates obtained, there were five superior isolates capable of degrading tannins, namely isolates LD06, LD07, BE01.3, BE01.4 and BE02.2. BE01.3 was isolated at 2% tannin concentration, the second largest diameter of the brown zone after LD06 isolate and the highest brown color intensity level three with a slightly dark brown color intensity, namely slightly blackish brown. Keywords: Isolation, characterization, white rot fungi, tannins, lignin degradation
{"title":"Isolasi dan Karakterisasi Jamur Pelapuk Putih Pendegradasi Lignin dari Limbah Cair Pulp dan Kayu Lapuk Eukaliptus (Eucalyptus sp)","authors":"Ida R Hasibuan, N. S. Antara, I. M. A. Wijaya","doi":"10.24843/JRMA.2021.V09.I01.P12","DOIUrl":"https://doi.org/10.24843/JRMA.2021.V09.I01.P12","url":null,"abstract":"Lignin is an organic polymer compound that is difficult to degrade in the environment because of its very complex structure consisting of an aromatic ring group and three carbons in the side chain. This exploratory study aims to determine whether white rot fungi isolated from wastewater from eucalypt pulp and weathered wood are lignolytic and the ability of the isolates to degrade tannins as an approach in the lignin degradation process. The experimental design is divided into two stages, namely: 1) Isolation of fungi that have the ability to degrade tannins quantitatively and qualitatively as well as characterization of fungi morphologically (macroscopic and microscopic). 2) Testing the ability of superior white rot fungus isolates in degrading tannins at concentrations of 0.5%, 1%, 1.5% and 2% of tannins. The brown zone formed in white rot fungal isolates was measured the zone diameter and intensity of the brown color. The results of this study indicate that of the 29 isolates obtained, there were five superior isolates capable of degrading tannins, namely isolates LD06, LD07, BE01.3, BE01.4 and BE02.2. BE01.3 was isolated at 2% tannin concentration, the second largest diameter of the brown zone after LD06 isolate and the highest brown color intensity level three with a slightly dark brown color intensity, namely slightly blackish brown. \u0000Keywords: Isolation, characterization, white rot fungi, tannins, lignin degradation","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"9 1","pages":"119"},"PeriodicalIF":0.3,"publicationDate":"2021-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47600483","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 : 2021-03-30DOI: 10.24843/JRMA.2021.V09.I01.P10
Bambang Admadi Harsojuwono
This study aims to determine the effect of variations in the ratio of cornstarch-glucomannan and types of plasticizer on the characteristics of bioplastic composites to produce the best bioplastic composites. This study uses the two factorial randomized block design. The first factor is the variation in the ratio of cornstarch-glucomannan which consists of three levels, namely 5:1 ; 4,5:1,5 ; 4:2. The second factor is the type of plasticizer, namely glycerol, sorbitol, and propylene glycol. Each treatment was devided into two groups based on the time of making the bioplastic, so that 18 experimental units are obtained. The variables observed were tensile strength, elongation at break, elasticity, swelling, and biodegradation. The data obtained were analyzed for diversity and continued with a test of Significant Honest Difference. The results show that the variation of the cornstarch-glucomannan ratio and the type of plasticizer and their interactions had a very significant effect on tensile strength, elongation at break, and elasticity. The variation in the ratio of cornstarch-glucomannan and the type of plasticizer had a very significant effect, but the interaction had a significant effect on swelling. The best bioplastic characteristics are found in the variations of cornstarch-glucomannan (4:2) with the type of glycerol plasticizer with a tensile strength value of 5.685 MPa, elongation at break of 20,110%, elasticity of 26,735 MPa, swelling of 1.149%, duration of degradation is 6 days. Keywords: bioplastics, cornstarch-glucomannan ratio, glycerol, propylene glycol, sorbitol
{"title":"Karakteristik Komposit Bioplastik dalam Variasi Rasio Maizena-Glukomanan dan Jenis Pemlastis","authors":"Bambang Admadi Harsojuwono","doi":"10.24843/JRMA.2021.V09.I01.P10","DOIUrl":"https://doi.org/10.24843/JRMA.2021.V09.I01.P10","url":null,"abstract":"This study aims to determine the effect of variations in the ratio of cornstarch-glucomannan and types of plasticizer on the characteristics of bioplastic composites to produce the best bioplastic composites. This study uses the two factorial randomized block design. The first factor is the variation in the ratio of cornstarch-glucomannan which consists of three levels, namely 5:1 ; 4,5:1,5 ; 4:2. The second factor is the type of plasticizer, namely glycerol, sorbitol, and propylene glycol. Each treatment was devided into two groups based on the time of making the bioplastic, so that 18 experimental units are obtained. The variables observed were tensile strength, elongation at break, elasticity, swelling, and biodegradation. The data obtained were analyzed for diversity and continued with a test of Significant Honest Difference. The results show that the variation of the cornstarch-glucomannan ratio and the type of plasticizer and their interactions had a very significant effect on tensile strength, elongation at break, and elasticity. The variation in the ratio of cornstarch-glucomannan and the type of plasticizer had a very significant effect, but the interaction had a significant effect on swelling. The best bioplastic characteristics are found in the variations of cornstarch-glucomannan (4:2) with the type of glycerol plasticizer with a tensile strength value of 5.685 MPa, elongation at break of 20,110%, elasticity of 26,735 MPa, swelling of 1.149%, duration of degradation is 6 days. \u0000Keywords: bioplastics, cornstarch-glucomannan ratio, glycerol, propylene glycol, sorbitol","PeriodicalId":17438,"journal":{"name":"Journal of the Royal Musical Association","volume":"9 1","pages":"99"},"PeriodicalIF":0.3,"publicationDate":"2021-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47623083","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 : 2021-03-30DOI: 10.24843/JRMA.2021.V09.I01.P11
Luh Kurnia Dwi Indriyani, L. P. Wrasiati, Lutfi Suhendra
Kenikir is a plant easily found in Indonesia. Kenikir leaves contain high levels of antioxidants, phenols, flavonoids, and vitamin C that kenikir leaves can be used as tea. This study aims to determine the effect of drying temperature and particle size on the content of bioactive compound in kenikir herbal tea and to determine the right drying temperature and particle size in order to produce the best characteristics of kenikir herbal tea. This experiment used a group factorial randomized design with two factors. The first factor was drying temperature which consisted of 50 ± 2 °C, 60 ± 2 °C, and 70 ± 2 °C. The second factor was the particle size consisted of 40, 60, and 80 mesh. The variables observed in this study were total phenols, total flavonoids, vitamin C and antioxidants. The data obtained were analyzed by analysis of variation (ANOVA) and analysis with real difference test (tukey) using Minitab 16 software. The results showed that the interaction between drying temperature and particle size had a very significant effect on total phenolics, total flavonoids, total vitamin C and antioxidant activity of kenikir herbal tea. The best treatment to produce kenikir leaf herbal tea was at a drying temperature of 70 ° C and a particle size of 80 mesh, with characteristics total phenol of 83.85 ± 0.12 mg GAE / g, total flavonoids of 7.25 ± 0.12 mg QAE / g, vitamin C 2.05 ± 027 mg / g and antioxidant activity (IC50) of 157.87 ± 0.08 ppm. Keywords : bioaktives compound ,drying temperature, kenikir herbal tea , size reduction
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