MASIH ADA WAKTU UNTUK MEMPERBARUINYA

MATERI PELAJARAN MATEMATIKA SMP, KELAS VIII SEMESTER 2," BANGUN RUANG SISI DATAR ".

Standar Kompetensi (SK) : 5. Memahami sifat-sifat kubus, balok, prisma, limas dan bagian-bagianya, serta menentukan ukurannya.
 

Kompetensi Dasar (KD) :

5.1. Mengindentifikasi sifat-sifat kubus, balok, prisma dan limas serta bagian-               bagiannya

5.2. Membuat jaring-jaring kubus, balok, prisma, dan limas

5.3. Menghitung luas permukaan dan volume kubus, balok, prisma dan limas

Alokasi Waktu : 22 jam pelajaran ( 11 kali pertemuan x 2 jam pelajaran )

Tujuan Pembelajaran

Peserta didik dapat :

-         Menyebutkan unsur-unsur kubus, balok, prisma , limas seperti : titik sudut, rusuk-rusuk, bidang sisi, diagonal bidang, bidang diagonal, diagonal ruang, tinggi.

-         Membuat jaring-jaring kubus, balok, prisma tegak dan limas tegak .

-         Dapat menggunakan rumus untuk menghitung luas permukaan kubus, balok, prisma tegak dan limas tegak.

-         Dapat menggunakan rumus untuk menghitung volume kubus, balok, prisma tegak dan limas tegak.

-         Dapat mengerjakan soal-soal pada ulangan harian dengan baik berkaitan dengan materi mengenai kubus, balok, prisma tegak dan limas tegak.

Karakter siswa yang diharapkan :

-         Disiplin (discipline)

-         Rasa hormat dan perhatian (respect )

-         Tekun (diligent)

-         Tanggung jawab ( responsibility)

 Nilai- nilai Kewirausahaan

-         Kreatif dan berani mengambil resiko

Dalam eksplorasi , peserta didik diberikan stimulus dengan ditampilkan pajangan alat2 peraga yang berupa model-model bangun ruang sisi datar yaitu kubus, balok, limas tegak dan prisma tegak. Peserta didik di minta menunjukkan benda-benda yang disebutkan guru atau temannya berdasarkan pengetahuan sebelumnya ( karena di SD sudah pernah mendapat materi ini).

 Setelah itu guru membagi kelompok untuk pemberian tugas membuat presentasi tentang bangun ruang sisi datar ini. Adapun materi bagi tiap kelompok diundi, ada yang mendapat tugas membuat presentasi mengenai balok, kubus, limas tegak maupun prisma tegak.

Pembuatan presentasi berdasarkan sistimatimatika yang telah ditentukan guru, yaitu slide-slide nya berisi materi yang terdiri dari :

-         Judul presentasi (Kubus, Balok, Prisma, Limas )

-         Nama kelompok, anggota dan ketua

-         Tujuan pembuatan tugas (memenuhi tugas dari guru.....)

-         Pengertian/ definisi

-         Gambar-gambar bangun ruang dalam kehidupan se hari-hari

-         Bagian-bagian dari Kubus ( atau yang lainnya  sesuai materi hasil undian yang didapat kelompok)

-         Rumus-rumus

-         Contoh perhitungan

-         Latihan

-         Kata-kata BIJAK

-         Penutup

Berikut ini adalah salahsatu contoh tugas kelompok yang telah dibuat peserta didik kelas VIII C SMPN 3 IMOGIRI

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  March 13th Program Book English Document Transcript

•   1  In concert Presents Conductor MARC MINKOWSKI Piano WALEED HOWRANI March 13th 2010, 7:30 - 9:30 pm Aspire Zone (Ladies Club)
•     2  Program Haitham Sukkarieh – Petra Tchaikovsky – Concerto No. 1 in B Flat Minor for Piano & Orchestra, Op. 23 1. Allegro non troppo e molto maestoso – Allegro con spirito (B flat minor → B flat major) 2. Andantino simplice – Prestissimo (D flat major) 3. Allegro con fuoco (B flat minor → B flat major) Intermission Berlioz – Symphony Fantastic, Op. 14 1. Rêveries - Passions (Daydreams - Passions) 2. Un bal (A ball) 3. Scène aux champs (Scene in the country) 4. Marche au supplice (March to the scaffold) 5. Songe d'une nuit de sabbat (Dream of a witches' Sabbath) This program is part of the Doha Capital of Arab Culture
• 3. Haitham Sukkarieh The ancient city of Petra has been a World Heritage Site since 1985 and is known in the popular culture of the Western world as the backdrop for numerous films including Indiana Jones and the Last Crusade. Petra dates from the 6th century B.C. and was the capital of the Aramaic-speaking Semites, known as the Nabateans. The city was located on an important trade route and its inhabitants had learned how to control any water that flowed through the area thus creating a very advan- tageous natural oasis. One of the unique aspects of Petra is the color of the rock - a rosy red. It is believed to be the site of several important biblical events including that in which Moses struck rock with his staff and brought forth water. Under the rule of various peoples, the city declined in the 4th century A.D. under the Romans because of changes in trade routes and due to a serious earthquake that destroyed many buildings and the water system. Its ruins were admired by the Egyptians in the Middle Ages and rediscovered by Westerners in the early 19th century. Even those who had never visited the site were fascinated by what they had heard and the city was even immortalized in print by Englishman John William Burgon, the last line of whose poem “Petra” captured the ancient city. “But rose-red as if the blush of dawn, that first beheld them were not yet withdrawn; The hues of youth upon a brow of woe, which Man deemed old two thousand years ago, match me such marvel save in Eastern clime, a rose-red city half as old as time.” The symphonic poem “Petra” was written in 2008 by Jordanian composer Haitham Sukkarieh (b. 1966) to commemorate the monument’s designation in 2007 as one of the “New Seven Wonders of the World”. What words cannot describe, Sukkarieh set out to paint through the international language of music. The introduction of the piece begins with a sequence of rippling and accented chords representing the journey through the crevice in the rock known as the Siq which opens up to the city of Petra. Sukkarieh uses a pulsating ostinato pattern un- derneath a melody with Jordanian rhythms to represent the history of the city. A sequence of scales brings us into the present day and introduces the popular melody Habbat habout elshe- mal (The Northern Breeze Blows). Small solos in various instruments represent the varied colors of the sky. The texture vastly changes with a substantial piano solo in the form of a taqasim (a typical Arabic multi-sectional improvisation based on a single melodic idea). The piece comes full circle with a full orchestration of the opening melody of the piece. Haitham Sukkareih is currently chief conductor of the National Jordan Orchestra which he established in 1997. In 2007 he earned a master’s degree in composition and conducting from the Academy of Arts in Cairo where he is currently working on his doctoral dissertation entitled, “The use of Jordanian popular melodies in the composition of a symphonic poem”. His compositions have won several awards including the Golden Microphone Award at the Arab Song Competition in Tunisia and King Abdullah’s Excellence Award at the 2nd Jordan Song Fes- tival. He was also honored with recognition by Queen Rania in 2001 and 2002 as an innovator in the field of arts and culture in Jordan and King Abdullah II granted him a scholarship in 2003 for his graduate studies. As a conductor, he is the first Jordanian to be invited to conduct the Cairo Symphony Orchestra which has performed a number of his own works.
• 4. Pyotr Ilyich Tchaikovsky Pyotr Il'yich Tchaikovsky (1840-1893) was a precocious child. By the age of six he was already reading and writing in Russian, French and German. He was a sensitive soul with a brain that would not stop, often interfering with his sleep. Long improvisation sessions at the piano left him mentally exhausted. A number of traumatic events took place in his early years including his entire large family being uprooted from their home, extended illnesses and the early death of his mother while he was studying away from home at the School for Jurispru- dence in St. Petersburg. Tchaikovsky was appointed to the Ministry of Justice upon graduation in 1859 and his social life flourished. Up until this point, his musical education had been partly in the hands of his aunt with whom he studied various operas, and otherwise in the hands of teachers of both voice and piano. In 1861, he began studying music theory and when the new St. Petersburg Conservatory opened in 1862, he was one of its first students. Although nobody, including his teacher Anton Rubinstein, seemed to have any clue about Tchaikovsky’s prowess as a composer, he surprised them all, and within a few short years his works were already being heard in public, including in a performance conducted by Johan Strauss. By the time he left the conservatory in 1865, one of his classmates, Herman Laroche is known to have said, ‘You are the greatest musical talent in present-day Russia…I see in you the greatest, or, better said, the sole hope of our musical future’. Tchaikovsky began working on his first piano concerto in November of 1874. He often consulted other musicians about his work and so, on the following Russian New Year, he played it for Nicolay Rubinstein, who had hired the young composer to be a professor at the new Mos- cow Conservatory in 1866. Rubinstein’s disparaging remarks about the work’s unplayability, awkwardness and lack of originality put Tchaikovsky into a sudden tailspin of stubbornness. He remained steadfast and changed almost nothing, choosing to rededicate the piece to the Ger- man pianist Hans von Bülow who premiered it in Boston in October of 1875. At the beginning of the Allegro non troppo e molto maestoso - Allegro con spirito of the Piano Concerto No. 1 in B-flat minor, it is actually the solo piano that accompanies the sweeping melody of the orchestra. When the piano does take up the melody, it is already in an embellished version. Early on, the solo piano already meets up with the first of several cadenzas or pure solos. One of the techniques which Tchaikovsky frequently employs is that of outlining the melody in the accompaniment which is highly ornamented in the solo piano part. At over twenty minutes in length, the first movement is a mammoth all by itself. The Andantino simplice opens with a small set of variations on a simple lullaby melody introduced by the flute and ac- companied by muted, plucked strings. The central section of the movement marked Prestissimo scurries around before it becomes calm again. The raucous and upbeat Allegro con fuoco incor- porates a traditional Ukrainian dance ushering in spring, the vsnyanka.. The second theme of the movement comes from the Russian folksong Podoydi, podoydy vo Tsar-Gorod (Come, come to the Tsar’s City). In spite of Rubinstein’s initial misgivings, Tchaikovsky’s Piano Concerto No. 1 has be- come a standard and well-loved part of the piano literature. In fact, the opening melody of the first movement is probably the first that comes to mind when one thinks of a piano concerto. Van Cliburn won the First International Tchaikovsky Competition in 1958 with it and Vladimir Horow- itz performed it in World War II fund-raising concerts with Arturo Toscanini at the baton.
• 5. Hector Berlioz Throughout history, artists of all types have taken their inspiration from various sourc- es, but perhaps the most fascinating is the “muse” which was known to the ancient Greeks as a spirit who inspires artistic creation. The Greeks had nine of them – one for every branch of the arts. Later on, Dante had Beatrice, Beethoven had his “Immortal Beloved”, Gustav Mahler had Alma Mahler, Lewis Carroll had young Alice Liddell, George Balanchine had Suzanne Farrell, John Lennon had Yoko Ono and Hector Berlioz had Harriet Smithson. Hector Berlioz (1803-1869) hailed from a small town near Lyon, France called La Côte- Saint-André. The son of a doctor, he was sent to medical school in Paris and was expected to carry on the family tradition. Prior to moving to Paris, his rather provincial knowledge of music was limited to guitar and flute lessons and what he experienced in church. The capitol city opened up a whole new world for him. He began composing seriously alongside his medical studies and within two years, he turned completely toward music and there was no going back. In 1826 he entered the Paris Conservatoire as a composition student. The following year, while attending a performance of Shakespeare’s “Hamlet”, he fell in love with the young Irish actress who played Ophelia – Harriet Smithson. He became obsessed with her, developing a picture of her as a Shakespearean heroine which had little to do with reality. Repeated attempts to get close to her failed, but resulted in incredible bursts of creative energy. One of the greatest results of Berlioz’ energy was his best-known piece which was written in 1830, the Symphonie Fantastique. For a man who had so recently turned his full at- tention toward writing music, it is an absolute masterpiece in orchestration (in fact, he later wrote a very influential treatise on the subject). In the first printed version, which was published some fifteen years later, he stipulated that the audience should receive a program at each per- formance telling the story of the piece, which is clearly highly autobiographical.
• 6. Part one Daydreams, passions The author imagines that a young musician, afflicted by the sickness of spirit which a famous writer has called the vagueness of passions (le vague des passions), sees for the first time a woman who unites all the charms of the ideal person his imagination was dreaming of, and falls desperately in love with her. By a strange anomaly, the beloved image never presents itself to the artist’s mind without being associated with a musical idea, in which he recognizes a certain quality of passion, but endowed with the nobility and shyness which he credits to the object of his love. This melodic image and its model keep haunting him ceaselessly like a double idée fixe. This explains the constant recurrence in all the movements of the symphony of the melody which launches the first allegro. The transitions from this state of dreamy melancholy, interrupted by occasional upsurges of aimless joy, to delirious passion, with its outbursts of fury and jealousy, its returns of tenderness, its tears, its religious consolations – all this forms the subject of the first movement. Part two A ball The artist finds himself in the most diverse situations in life, in the tumult of a festive party, in the peaceful contemplation of the beautiful sights of nature, yet everywhere, whether in town or in the countryside, the beloved image keeps haunting him and throws his spirit into confusion. Part three Scene in the countryside One evening in the countryside he hears two shepherds in the distance dialoguing with their ‘ranz des vaches’; this pastoral duet, the setting, the gentle rustling of the trees in the wind, some causes for hope that he has recently conceived, all conspire to restore to his heart an unaccustomed feeling of calm and to give to his thoughts a happier colouring. He broods on his loneliness, and hopes that soon he will no longer be on his own… But what if she betrayed him!… This mingled hope and fear, these ideas of happiness, disturbed by dark premonitions, form the subject of the adagio. At the end one of the shepherds resumes his ‘ranz des vaches’; the other one no longer answers. Distant sound of thunder… solitude… silence…
• 7. Part four March to the scaffold Convinced that his love is spurned, the artist poisons himself with opium. The dose of narcotic, while too weak to cause his death, plunges him into a heavy sleep accompanied by the strangest of visions. He dreams that he has killed his beloved, that he is condemned, led to the scaffold and is witnessing his own execution. The procession advances to the sound of a march that is sometimes sombre and wild, and sometimes brilliant and solemn, in which a dull sound of heavy footsteps follows without transition the loudest outbursts. At the end of the march, the first four bars of the idée fixe reappear like a final thought of love interrupted by the fatal blow. Part five Dream of a witches’ sabbath He sees himself at a witches’ sabbath, in the midst of a hideous gathering of shades, sorcerers and monsters of every kind who have come together for his funeral. Strange sounds, groans, outbursts of laughter; distant shouts which seem to be answered by more shouts. The beloved melody appears once more, but has now lost its noble and shy character; it is now no more than a vulgar dance tune, trivial and grotesque: it is she who is coming to the sabbath… Roar of delight at her arrival… She joins the diabolical orgy… The funeral knell tolls, burlesque parody of the Dies irae,** the dance of the witches. The dance of the witches combined with the Dies irae. **A hymn sung in funeral ceremonies in the Catholic Church. [HB] Although Miss Smithson did not attend the premier of the work, in 1832 she did attend a performance of Lelio, a work for chorus and orchestra which Berlioz wrote to be a sequel to the symphony. They met at the performance and actually married the following year, but they did not live happily ever after. They had a son together in 1834, but within six years, they were clearly unhappy and in 1854, Berlioz lost his muse to death.
• 8. Marc Minkowski, Conductor Marc Minkowski’s family background is scientific, musical and literary. Originally trained as a bassoonist, he began conducting from an early age, studying with Charles Bruck at the Pierre Monteux Me- morial School in the United States. At the age of twenty he founded Les Musiciens du Louvre, an ensemble specialising in French baroque repertoire (Lully, Charpentier, Marais, Rameau, Mondonville) as well as Monteverdi, Purcell, Handel, Gluck, Mozart, Haydn and Beethoven. The orchestra now performs regularly in the most important French theatres (the Paris and Lyon Operas, the Châtelet, the Théâtre des Champs-Élysées, Cité de la Musique, Salle Pleyel, the Aix-en-Provence Festival) as well as throughout Europe (London, Amsterdam, Madrid, Vienna, and Salzburg). Based in Grenoble since 1996, Les Musiciens du Louvre • Grenoble are associated with the city’s prestigious MC2 cultural centre. Marc Minkowski’s opera career developed rapidly and since 1996 Mozart’s operas have held a favoured place in his musical life: Idomeneo at the Paris Opera, Abduction from the Seraglio and Mitridate at the Salzburg Festival, Le Nozze di Figaro at the Aix-en-Provence festival in Tokyo and Toronto, The Magic Flute in Bochum, Madrid and Paris, and Don Giovanni in Toronto. French opera is also fundamental to him, and he has performed popular works from this repertoire such as Manon (Monte Carlo), The Tales of Hoffmann (Lausanne, Lyon), Carmen (Paris, Bremen), and Pelléas et Mélisande which, in 2007, he conducted the first performance of this show in Russia (the preparatory work with Olivier Py on this production has been filmed by Philippe Béziat: Le Chant des aveugles, released in March 2009), he conduct. He has also presented Boieldieu’s La Dame Blanche at the Opéra-Comique, Auber’s Le Domino Noir at La Fenice, Massenet’s Cendrillon at Flanders Opera, Meyerbeer’s Robert le Diable at the Berlin State Opera, and Offenbach productions with the stage director Laurent Pelly in Paris, Lyon, Geneva and Lausanne, Platée (third time in December 2009 at the Paris Opera in the unforget- table staging of Laurent Pelly). From 2004 Marc Minkowski has regularly been invited to the Paris Opera where in June 2006 he conducted a new production of Gluck’s Iphigénie en Tauride which attracted intense critical acclaim, particularly for the contribution of his own orchestra, Les Musiciens du Louvre-Grenoble. In 2007, again with his own orchestra and again by propos- ing the creation of a “new” sonority on period instruments, he scored a significant triumph in a new production of Carmen which he conducted at the Châtelet Theatre in Paris. Since 2003 he has a special relationship with Zurich Opera, where he has conducted Handel’s Il trionfo del Tempo and Giulio Cesare, Donizetti’s La Favorite and Rameau’s Les Boréades de Rameau as well as Fidelio (2007) and Agrippina (2009). Future seasons will see him conduct Paris Opera, the Châtelet, the Opéra comique, La Monnaie, the Zurich opera as well as the Netherlands opera in Amsterdam. Amongst the great opera singers with whom he has regularly worked are Cecilia Bartoli, Felicity Lott, Anne-Sophie von Otter, Magdalena Kozena or Mireille Delunsch amongst others.
• 9. With Les Musiciens du Louvre • Grenoble he has continued to open up and explore the symphonic repertoire, a repertoire which now occupies an increasingly important place in his conducting activities elsewhere as well. In 2006 and 2008 he toured Europe with Les Musiciens du Louvre • Grenoble, presenting the twelve London Symphonies of Haydn, as well as a tour to South America in October 2006 with Mozart’s final two symphonies (40 and 41). In addi- tion to Beethoven, Schubert, Mendelssohn and Brahms, he devotes himself to defending the works of the great French composers such as Berlioz, Bizet, Chausson, Franck, Debussy, Fauré, Roussel, Poulenc, Greif and Lili Boulanger. Recent guest conducting engagements include the Staatskapelle Dresden, Berlin Philharmonic, the Bavarian Radio Symphony, the Los Angeles Philharmonic, the Orchestre de Paris, the Birmingham Symphony Orchestra, the Deutschs Sym- phonie Orchester, the National Orchestra of Spain and the Cleveland Orchestra with whom he has a special relationship and who have invited him back for the current season. In 2007 he signed a contract with the French record label Naïve, and a first recording of Bizet’s Arlésienne and extracts from Carmen (released in march 2008), Bach’s Mass in B minor (released in december 2008). His album Tribute to Saint Cecilia registered at MC2 Grenoble in January is published in autumn. Previously, he made numerous recordings for the Deutsche Grammophon, Erato and EMI-Virgin labels. (Une symphonie imaginaire by Rameau, La Grande- Duchesse de Gérolstein by Offenbach and Opera proibita with Cecilia Bartoli, Symphonies No. 40 and 41 by Mozart, an album dedicated to the romantic works of Offenbach and a DVD of the Salzburg performances of Mitridate). The 2009/2010 season is rich in important events. In September 2009, Marc Minkows- ki opens the first season of the Paris Opera under the direction of Nicolas Joel, with a new production of Charles Gounod's Mireille. He directs Les Musiciens du Louvre • Grenoble at the gala concert marking the reopening of the royal Opera of Versailles while pursuing to be the musical director of the Sinfonia Varsovia which he is named in June 2008. In January 2010, he resumed Idomeneo at the Salzburg Festival in the staging of Olivier Py, and in concert version in Grenoble and in Lyon. He has received invitations with the Orchestra of the Finnish Radio in February 2010 and he will lead a new production of Don Quixote at La Monnaie in May 2010. In 2004, Marc Minkowski was named Chevalier du Mérite by the French President.
• 10. Waleed Howrani, Piano Awarded the Certificate of Honour at the Tchaikovsky Interna- tional Piano Competition at the age of eighteen and the Laureate in the Queen Elizabeth of Belgium Competition two years later, Waleed How- rani established early his credentials as a significant new talent. This was confirmed by subsequent concert tours in the former U.S.S.R., East and West Europe, the Middle East, as well as in Canada and the United States. Born in New York in 1948, Howrani was reared in Beirut where he studied piano with Sonia Aharonian and Zvart Sarkissian. At thirteen, he came to the attention of the late com- poser, Aram Khatchatourian, who was responsible for his receiving scholarships to study in Moscow. After graduating with high distinction from the Central Music School under the tute- lage of Oleg Ivanov, he then studied at the famed Tchaikovsky Conservatory for seven years for his Master’s degree and other post-graduate work under the celebrated pianists Yakov Zak and Emil Gilels. In addition to the aforementioned awards, Howrani has been the recipient of the Prize of Sa’eed Akl, the Lebanese Medal of Cedar, and the Khalil Gibran Fine Arts Scholar Award. Also, the Hariri Foundation acknowledged his work as a composer by awarding him a grant that funded his Concerto for Alto Saxophone, Strings, and Percussion which received its world premiere in London in 2008 by the English Chamber Orchestra. “Today, after touring half of the world, one can label him as a faultless virtuoso who can display a sensitive singing sonority.” Der Tagesspiegel, Berlin “Despite appearing with a large symphony orchestra, he dominated the stage and his listeners from the first to the last notes of this difficult work.” Glos Wybrzeza, Gdansk, Poland “He has the hands of a master.” Journal des Beaux Arts, Brussels “Critics worldwide have justifiably sung their praises for Howrani. His technical com mand, close attention to minute details, and lucid interpretive powers are buoyed by a poetic sensitivity that is at once refined and free-spirited.” The Washington Post
• 11. Qatar Philharmonic Orchestra Upcoming events “1st Chamber Music Festival 2010” 23-24-25-26 March, 7:30 - 9:30 pm 23 March 2010 Chamber Concert for Strings 24 March 2010 Chamber Concert for Strings & Woodwinds 25 March 2010 Chamber Concert for Woodwinds 26 March 2010 Chamber Concert for Brass & Percussion Aspire Zone (Ladies Club) ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ April 12-13, 8:00 pm C. Orff Carmina Burana (Songs of Beuren) Mittteldeutschen Rundfunds Choir, Leipzig, Germany The Children choir of the American School of Doha Whal-ran Seo, soprano Hans-Werner Bunz, tenor Eike-Wilm Schulte, baritone ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ For more information send an email to qpopr@qf.org.qa
• 12. Why Not Attending The QPO Rehearsals? The Qatar Philharmonic Orchestra would like to invite you to come and see the Orchestra in a daytime setting . The Conductor and Guest artists will speak with the audience about the concert preparation, giving you a sneak peek of the upcoming concert. To receive the schedule of our rehearsals send an e-mail to qpopr@qf.org.qa

 

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