Sirompak is a traditional Minangkabau art originating from Taeh Baruah, Limapuluh Kota, West Sumatra. In the past, Sirompak was known as a magical ritual ceremony carried out by a sirompak handler whose aim was to avenge the heart of a woman who had insulted a man. The basirompak performance is a presentation of vocal music called dendang Minangkabau presentation of singing vocal music with the production of a wind instrument called saluang sirompak. This musical instrument is included in the classification of aerophone musical instruments (the main sound is produced by the vibration of blowing air). Traditional musical instruments accompany melodic vocals (dendang/mantras) by a singer (singer). The composition work "manyampai" consists of two parts, using a traditional reinterpretation approach, in the first part of this work using the 'emergent' technique, in the first part the composer provides several repetitive vocal compositions, using the instruments saluang Sirompak, kerinding, cymbals, didgeredo, gong, rain stick. The second part of this work emphasizes the production of several screaming vocals, screams, laughing vocals, animal sounds and crying. This second part also uses the instruments cymbals, gongs, Sirompak saluang
{"title":"Manyampai Perwujudan Musik Sirompak di Nagari Taeh Baruah Kabupaten Lima Puluh Kota","authors":"Dicky Chandra, Alfalah Alfalah, S. Sriyanto","doi":"10.26887/jmen.v3i2.4068","DOIUrl":"https://doi.org/10.26887/jmen.v3i2.4068","url":null,"abstract":"Sirompak is a traditional Minangkabau art originating from Taeh Baruah, Limapuluh Kota, West Sumatra. In the past, Sirompak was known as a magical ritual ceremony carried out by a sirompak handler whose aim was to avenge the heart of a woman who had insulted a man. The basirompak performance is a presentation of vocal music called dendang Minangkabau presentation of singing vocal music with the production of a wind instrument called saluang sirompak. This musical instrument is included in the classification of aerophone musical instruments (the main sound is produced by the vibration of blowing air). Traditional musical instruments accompany melodic vocals (dendang/mantras) by a singer (singer). The composition work \"manyampai\" consists of two parts, using a traditional reinterpretation approach, in the first part of this work using the 'emergent' technique, in the first part the composer provides several repetitive vocal compositions, using the instruments saluang Sirompak, kerinding, cymbals, didgeredo, gong, rain stick. The second part of this work emphasizes the production of several screaming vocals, screams, laughing vocals, animal sounds and crying. This second part also uses the instruments cymbals, gongs, Sirompak saluang","PeriodicalId":471383,"journal":{"name":"Jurnal Musik Etnik Nusantara","volume":" 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138618276","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Dabuih is a performance art that is Islamic religious in nature where in this art it shows the attraction of the body's immunity from various objects that can injure. As an art form with Islamic nuances, debuih performances are of course related to religious values. These religious values can be identified from several things, including the use of remembrance and recitation of several verses of the Koran. In this work of composition "KHIDMAT" which originates from the art of Dabuih Situjuah, it is divided into three parts. The first part focuses on dikia's vocal work, part two is composed by rabano and part 3 is a combination of vocals and rabano. In the form of a performance of the composition "KHIDMAT" a deep devotion and inspiration becomes a work achievement so that it can be realized.
{"title":"Khidmat Dabuih Nagari Situjuah Gadang Kecamatan Situjuah Limo Nagari","authors":"Afriandi Afriandi, Elizar Elizar, Rafiloza Rafiloza","doi":"10.26887/jmen.v3i2.4064","DOIUrl":"https://doi.org/10.26887/jmen.v3i2.4064","url":null,"abstract":"Dabuih is a performance art that is Islamic religious in nature where in this art it shows the attraction of the body's immunity from various objects that can injure. As an art form with Islamic nuances, debuih performances are of course related to religious values. These religious values can be identified from several things, including the use of remembrance and recitation of several verses of the Koran. In this work of composition \"KHIDMAT\" which originates from the art of Dabuih Situjuah, it is divided into three parts. The first part focuses on dikia's vocal work, part two is composed by rabano and part 3 is a combination of vocals and rabano. In the form of a performance of the composition \"KHIDMAT\" a deep devotion and inspiration becomes a work achievement so that it can be realized.","PeriodicalId":471383,"journal":{"name":"Jurnal Musik Etnik Nusantara","volume":" 37","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138618303","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
"Baboiyen" is a composition of karawitan music inspired by the traditional art form of Saluang Patiak Tigo, specifically the repertoire of the Tenggi song from the Ujung Jalan village in South Solok Regency, Minangkabau. Saluang Patiak Tigo is often presented in various traditional ceremonies and weddings. The inspiring Tenggi song repertoire features intriguing musical elements with fluctuating tones and a melodic journey that rises and falls, creating a captivating impression. "Baboiyen" is an expression of the artist's ideas and concepts, developing the modes of the Tenggi song into an engaging musical composition with a popular folk genre approach. Through this work, the creator aims to share their musical experiences, provide inspiration, and foster interest in the development of traditional music.
{"title":"Baboiyen Interpretasi Lagu Tenggi Kekomposisi Pendekatan Populer Bergenre Folk","authors":"Hedrianto Hedrianto, Arif Anas, Susandra Jaya","doi":"10.26887/jmen.v3i2.4062","DOIUrl":"https://doi.org/10.26887/jmen.v3i2.4062","url":null,"abstract":"\"Baboiyen\" is a composition of karawitan music inspired by the traditional art form of Saluang Patiak Tigo, specifically the repertoire of the Tenggi song from the Ujung Jalan village in South Solok Regency, Minangkabau. Saluang Patiak Tigo is often presented in various traditional ceremonies and weddings. The inspiring Tenggi song repertoire features intriguing musical elements with fluctuating tones and a melodic journey that rises and falls, creating a captivating impression. \"Baboiyen\" is an expression of the artist's ideas and concepts, developing the modes of the Tenggi song into an engaging musical composition with a popular folk genre approach. Through this work, the creator aims to share their musical experiences, provide inspiration, and foster interest in the development of traditional music.","PeriodicalId":471383,"journal":{"name":"Jurnal Musik Etnik Nusantara","volume":" 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138619595","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Talempong pacik is a type of percussion music that is classified as a percussion instrument (idiophone). which is made from a mixture of metal and copper or brass which is played by four or five players consisting of five or six talempongs and one gandang instrument. This talempong art is played in processions during wedding ceremonies and Batagak Pangulu ceremonies. The aim of this research is to describe the form of presentation of talempong and its function in wedding ceremonies and batagak pangulu in the lives of the people of Jorong Subarang Nagari Paninggahan, Solok Regency. This research uses a descriptive method with a qualitative approach that uses primary data through interviews and direct observations in the field and secondary data, namely data obtained through literature study in the form of books related to the art of talempong pacik. The result achieved is that the form of presentation of talempong pacik in Jorong Subarang Nagari Paninggahan, Solok Regency is that the talempong instrument is played by three players, each of whom holds two talempongs which function as the parent talempong, paningkah talempong and child talempong and one drum. The function of talempong in wedding ceremonies and batagak penghulu is as a means of ritual, entertainment, aesthetic presentation, emotional expression and means of communication.
{"title":"Fungsi Talempong Pacik Dalam Upacara Perkawinan Dan Batagak","authors":"Gea Lesmana Putra, Yurnalis Yurnalis, Syafniati Syafniati","doi":"10.26887/jmen.v3i2.4066","DOIUrl":"https://doi.org/10.26887/jmen.v3i2.4066","url":null,"abstract":"Talempong pacik is a type of percussion music that is classified as a percussion instrument (idiophone). which is made from a mixture of metal and copper or brass which is played by four or five players consisting of five or six talempongs and one gandang instrument. This talempong art is played in processions during wedding ceremonies and Batagak Pangulu ceremonies. The aim of this research is to describe the form of presentation of talempong and its function in wedding ceremonies and batagak pangulu in the lives of the people of Jorong Subarang Nagari Paninggahan, Solok Regency. This research uses a descriptive method with a qualitative approach that uses primary data through interviews and direct observations in the field and secondary data, namely data obtained through literature study in the form of books related to the art of talempong pacik. The result achieved is that the form of presentation of talempong pacik in Jorong Subarang Nagari Paninggahan, Solok Regency is that the talempong instrument is played by three players, each of whom holds two talempongs which function as the parent talempong, paningkah talempong and child talempong and one drum. The function of talempong in wedding ceremonies and batagak penghulu is as a means of ritual, entertainment, aesthetic presentation, emotional expression and means of communication.","PeriodicalId":471383,"journal":{"name":"Jurnal Musik Etnik Nusantara","volume":"23 27","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138624283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This research focuses on the traditional musical instrument called Sunai, which is a wind and melodic instrument made from telang Kapa bamboo. The study aims to explore the organology of Sunai, including the manufacturing concepts, materials, processes, and sound production techniques. A qualitative research method with an ethnomusicological approach was employed.The research reveals that Sunai making involves several stages, such as material selection, drying, cutting, and creating tone holes according to the artist's preferences. Sunai is classified as an aerophone instrument, producing sound through the air. The instrument is commonly played during public events like weddings and the annual Gandai Dance, typically performed at night after the Isha prayer and concluding before dawn. This study specifically examines Mr. Ma'rup's unique technique in making Sunai, which differentiates his instruments from those made by other artisans. The findings highlight the distinctive characteristics of Mr. Ma'rup's Sunai. The research findings contribute to a deeper understanding of Sunai as a traditional musical instrument and its significance in the cultural heritage of Bengkulu.
{"title":"Study Deskriptif Pembuatan Sunai Pondok Kandang Muko Muko Provinsi Bengkulu","authors":"M. Widodo, Desmawardi Desmawardi, I. Supenida","doi":"10.26887/jmen.v3i2.4063","DOIUrl":"https://doi.org/10.26887/jmen.v3i2.4063","url":null,"abstract":"This research focuses on the traditional musical instrument called Sunai, which is a wind and melodic instrument made from telang Kapa bamboo. The study aims to explore the organology of Sunai, including the manufacturing concepts, materials, processes, and sound production techniques. A qualitative research method with an ethnomusicological approach was employed.The research reveals that Sunai making involves several stages, such as material selection, drying, cutting, and creating tone holes according to the artist's preferences. Sunai is classified as an aerophone instrument, producing sound through the air. The instrument is commonly played during public events like weddings and the annual Gandai Dance, typically performed at night after the Isha prayer and concluding before dawn. This study specifically examines Mr. Ma'rup's unique technique in making Sunai, which differentiates his instruments from those made by other artisans. The findings highlight the distinctive characteristics of Mr. Ma'rup's Sunai. The research findings contribute to a deeper understanding of Sunai as a traditional musical instrument and its significance in the cultural heritage of Bengkulu.","PeriodicalId":471383,"journal":{"name":"Jurnal Musik Etnik Nusantara","volume":"32 17","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138624672","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The research entitled Ratik Basa as a Tulak Bala Ritual in Nagari Singgalang, X Koto District, Tanah Datar Regency, aims to describe the series of implementation of "Ratik Basa in the Tulak Bala ritual and the views of the people who adhere to the Syattariah sect in Nagari Singgalang, X Koto District, Tanah Datar Regency" . Ratik Basa is a worship service that is integrated into religious traditions in the form of reciting dhikr in various contexts in the lives of the people of Nagari Singgalang. The research uses qualitative methods, field data collection techniques, literature study, observation, interviews and documentation using ritual theory, religious theory and perception theory. The results of the research show that the implementation of the Ratik Basa tradition is sung using a monophonic vocal technique, namely sung in one type of voice. For the people who adhere to the Syattariah sect in Nagari Singgalang, X Koto District, Tanah Datar Regency, Ratik Basa as a Tulak Bala Ritual ceremony is very essential. Because it is closely related to people's lives, especially the threat to the safety of nagari children in various forms of disaster, including natural disasters, dangerous disease attacks, famine, and others. Ratik Basa as a Tulak Bala Ritual is very important for people's lives because apart from being able to avoid all disasters, it has a positive value as an identity for Nagari Singgalang, and as a ritual means to foster ties of brotherhood between groups of adherents of the Syattariah sect and society in general.
这项名为“拉提克巴沙作为图拉克巴拉仪式”的研究，旨在描述“拉提克巴沙在图拉克巴拉仪式中的一系列实施，以及在纳拿Datar reggency X Koto区纳加里Singgalang坚持Syattariah教派的人的观点”。ratk Basa是一种礼拜仪式，在Nagari Singgalang人民生活的各种环境中以背诵dhikr的形式融入宗教传统。本研究采用定性方法、实地资料收集技术、文献研究法、观察法、访谈法和文献法，运用仪式理论、宗教理论和感知理论。研究结果表明，ratk Basa传统的实现是使用单音声乐技术，即用一种声音演唱。对于在纳加里Singgalang, X Koto区，Tanah Datar摄政的Syattariah教派的人来说，ratk Basa作为Tulak Bala仪式是非常重要的。因为它与人们的生活密切相关，特别是在各种形式的灾难中对nagari儿童的安全构成威胁，包括自然灾害，危险的疾病袭击，饥荒等。ratk Basa作为Tulak Bala仪式对人们的生活非常重要，因为除了能够避免所有灾难之外，它作为Nagari Singgalang的身份具有积极的价值，作为一种仪式手段，可以促进Syattariah教派和整个社会的信徒群体之间的兄弟关系。
{"title":"Ratik Basa Ritual Tulak Bala Di Nagari Singgalang X Koto Kabupaten Tanah Datar","authors":"Sabri Darmawan, F. Firdaus, M. Zulfahmi","doi":"10.26887/jmen.v3i2.4061","DOIUrl":"https://doi.org/10.26887/jmen.v3i2.4061","url":null,"abstract":"The research entitled Ratik Basa as a Tulak Bala Ritual in Nagari Singgalang, X Koto District, Tanah Datar Regency, aims to describe the series of implementation of \"Ratik Basa in the Tulak Bala ritual and the views of the people who adhere to the Syattariah sect in Nagari Singgalang, X Koto District, Tanah Datar Regency\" . Ratik Basa is a worship service that is integrated into religious traditions in the form of reciting dhikr in various contexts in the lives of the people of Nagari Singgalang. The research uses qualitative methods, field data collection techniques, literature study, observation, interviews and documentation using ritual theory, religious theory and perception theory. The results of the research show that the implementation of the Ratik Basa tradition is sung using a monophonic vocal technique, namely sung in one type of voice. For the people who adhere to the Syattariah sect in Nagari Singgalang, X Koto District, Tanah Datar Regency, Ratik Basa as a Tulak Bala Ritual ceremony is very essential. Because it is closely related to people's lives, especially the threat to the safety of nagari children in various forms of disaster, including natural disasters, dangerous disease attacks, famine, and others. Ratik Basa as a Tulak Bala Ritual is very important for people's lives because apart from being able to avoid all disasters, it has a positive value as an identity for Nagari Singgalang, and as a ritual means to foster ties of brotherhood between groups of adherents of the Syattariah sect and society in general. ","PeriodicalId":471383,"journal":{"name":"Jurnal Musik Etnik Nusantara","volume":" 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138614887","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ratok Paninggahan is an art form found in Nagari Paninggahan, Junjung Sirih District, Solok Regency, West Sumatra. in the middle of the house as an expression of sadness and disappointment and regret over the death of a family member. However, after the entry and development of Islam in Minangkabau, this activity is no longer functioned because it is contrary to Islamic teachings. This results in the disappearance of the ratok paninggahan existence in the death ritual. However, the local community is very enthusiastic about maintaining Ratok Paninggahan as part of their culture, so that Ratok Paninggahan can be present again in their community in a different context. The existence of ratok paninggahan in its supporting community has always experienced various developments that have brought ratok paninggahan into various changes. The phenomenon of changes in ratok paninggahan offers various interesting aspects to study, but in this paper it will be limited to two main things, namely how ratok paninggahan is presented and how ratok paninggahan functions in its supporting community. The method used is descriptive analysis method.
{"title":"Komposisi Musik Marango Pendekatan Tradisi Musik Runguih Panutuik Dari Dendang Ratok Paninggahan","authors":"D. Syahputra, F. Firman., Asep Saepul Haris","doi":"10.26887/jmen.v3i2.4065","DOIUrl":"https://doi.org/10.26887/jmen.v3i2.4065","url":null,"abstract":"Ratok Paninggahan is an art form found in Nagari Paninggahan, Junjung Sirih District, Solok Regency, West Sumatra. in the middle of the house as an expression of sadness and disappointment and regret over the death of a family member. However, after the entry and development of Islam in Minangkabau, this activity is no longer functioned because it is contrary to Islamic teachings. This results in the disappearance of the ratok paninggahan existence in the death ritual. However, the local community is very enthusiastic about maintaining Ratok Paninggahan as part of their culture, so that Ratok Paninggahan can be present again in their community in a different context. The existence of ratok paninggahan in its supporting community has always experienced various developments that have brought ratok paninggahan into various changes. The phenomenon of changes in ratok paninggahan offers various interesting aspects to study, but in this paper it will be limited to two main things, namely how ratok paninggahan is presented and how ratok paninggahan functions in its supporting community. The method used is descriptive analysis method.","PeriodicalId":471383,"journal":{"name":"Jurnal Musik Etnik Nusantara","volume":" 19","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138617150","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Silantai merupakan salah satu Nagari yang terletak di Kecamatan Sumpur Kudus Kabupaten Sijunjung Sumatera Barat yang memiliki beragam kesenian. Salah satunya adalah kesenian bakayat. Bakayat merupakan seni tutur berbentuk nyanyian dan dibawakan dengan dialek lokal yang termasuk ke dalam tradisi lisan yang biasanya hadir dalam upacara mambilang aghi ka-100. Bakayat disajikan di sela-sela istirahat dalam pelaksanaan mauluak dan sesudah manamat kaji. Penelitian pada pertunjukan bakayat menggunakan metode penelitian kualitatif bersifat deskriptif sesuai dengan upacara yang dilaksanakan. Teori yang dipakai untuk membahas penelitian ini adalah teori bentuk yang dicetuskan oleh Bagus Susetyo dan teori struktur oleh Singer. Penelitian ini bertujuan untuk mendeskripsikan bakayat ditinjau dari bentuk, struktur dan aspek musikal yang dimilikinya, serta mendeskripsikan bentuk dari upacara mambilang aghi ka-100 yang ada di Nagari Silantai, yangbertujuan untuk mengetahui struktur dan aspek musikal dalam penyajian bakayat, sehingga hasil penelitian ini dapat dijadikan referensi dalam upaya pelestarian seni tradisi. Hasil penelitian menunjukkan bahwa bakayat bukan sebuah kesenian tunggal yang hadir dalam kegiatan mambilang aghi ka-100, melainkan pertujukan bakayat saling berkaitan satu sama lain dengan pelaksanaan mauluak dalam kegiatan mambilang aghi ka-100.
四楼位于西苏门答腊的苏普尔圣苏普尔区，拥有多种艺术。其中之一是巴拉亚省的艺术。它是一种诗歌形式的语言艺术，使用当地方言，包括口头传统，通常参加曼加说aghi ka-100的仪式。在毛獾和麦卡伊被杀期间，在麦卡伊和麦卡伊被杀后，在休息时间供应圣经书刊。在巴库亚节演示中使用描述性研究方法进行的研究与所进行的仪式相匹配。用来讨论这项研究的理论是由优秀的Susetyo提出的形式理论和Singer提出的结构理论。(united nations high commissioner for refugees)表示这项研究旨在描述bakayat音乐剧的形式、结构和方面,以及仪式的形式描述mambilang aghi的ka-100在Nagari Silantai, yangbertujuan知道和结构方面的音乐剧演出中bakayat,这使得研究结果可以作为参考,以保护传统艺术。研究表明，在aghi ka-100活动中，bakepic并不是一种单一的艺术形式，而是将字符串的行为与mauluak在mamsay -100活动中的表现联系起来。
{"title":"BAKAYAT DALAM UPACARA MAMBILANG AGHI KA-100 DI NAGARI SILANTAI KECAMATAN SUMPUR KUDUS KABUPATEN SIJUNJUNG","authors":"Ivan Alfimus, Yurnalis Yurnalis, Asril Asril","doi":"10.26887/jmen.v3i1.3793","DOIUrl":"https://doi.org/10.26887/jmen.v3i1.3793","url":null,"abstract":"Silantai merupakan salah satu Nagari yang terletak di Kecamatan Sumpur Kudus Kabupaten Sijunjung Sumatera Barat yang memiliki beragam kesenian. Salah satunya adalah kesenian bakayat. Bakayat merupakan seni tutur berbentuk nyanyian dan dibawakan dengan dialek lokal yang termasuk ke dalam tradisi lisan yang biasanya hadir dalam upacara mambilang aghi ka-100. Bakayat disajikan di sela-sela istirahat dalam pelaksanaan mauluak dan sesudah manamat kaji. Penelitian pada pertunjukan bakayat menggunakan metode penelitian kualitatif bersifat deskriptif sesuai dengan upacara yang dilaksanakan. Teori yang dipakai untuk membahas penelitian ini adalah teori bentuk yang dicetuskan oleh Bagus Susetyo dan teori struktur oleh Singer. Penelitian ini bertujuan untuk mendeskripsikan bakayat ditinjau dari bentuk, struktur dan aspek musikal yang dimilikinya, serta mendeskripsikan bentuk dari upacara mambilang aghi ka-100 yang ada di Nagari Silantai, yangbertujuan untuk mengetahui struktur dan aspek musikal dalam penyajian bakayat, sehingga hasil penelitian ini dapat dijadikan referensi dalam upaya pelestarian seni tradisi. Hasil penelitian menunjukkan bahwa bakayat bukan sebuah kesenian tunggal yang hadir dalam kegiatan mambilang aghi ka-100, melainkan pertujukan bakayat saling berkaitan satu sama lain dengan pelaksanaan mauluak dalam kegiatan mambilang aghi ka-100.","PeriodicalId":471383,"journal":{"name":"Jurnal Musik Etnik Nusantara","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135807107","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Saluang pauah merupakan alat musik tradisional yang tumbuh dan berkembang di Nagari Pauah, Kecamatan Kuranji,Kota Padang. Pertunjukan saluang pauah biasanya disajikan pada malam hari selepas isya sampai menjelang subuh. Adapun permainan saluang pauah ditampilkan pada acara-acara tertentu seperti acara perhelatan ataupun acara adat lainnya. Bentuk gaya musikal serta irama yang dibawakan bersumber dari patri nada dan dialek lokal.Artinya secara aspek musikal, nada saluang pauah terdiri dari scale minor diatonis. Uniknya dalam penyajian kesenian tersebut di atas dendang dan saluang tidak bermain secara synchronism, melainkan terdapat bentuk gerak irama berlawanan yang unik. Karya ini terinspirasi dari kesenian tradisi saluang pauah, dimana saluang pauah mempunyai salah satu ciri khas yaitu dendang lambok malam. Dendang tersebut mempunyai keunikan tersendiri seperti kuaian (respon spontanitas) yang membuat komposer sangat tertarik dalam menggarap karya dengan judul “Balapoh”.
{"title":"KOMPOSISI MUSIK ‘BALAPOH’ TERINSPIRASI DARI KARAKTER KUAIAN DENDANG LAMBOK MALAM PADA KESENIAN SALUANG PAUAH KOTA PADANG","authors":"Boby Fernandes Eka Putra, Rafiloza Rafiloza, Sriyanto Sriyanto","doi":"10.26887/jmen.v3i1.3792","DOIUrl":"https://doi.org/10.26887/jmen.v3i1.3792","url":null,"abstract":"Saluang pauah merupakan alat musik tradisional yang tumbuh dan berkembang di Nagari Pauah, Kecamatan Kuranji,Kota Padang. Pertunjukan saluang pauah biasanya disajikan pada malam hari selepas isya sampai menjelang subuh. Adapun permainan saluang pauah ditampilkan pada acara-acara tertentu seperti acara perhelatan ataupun acara adat lainnya. Bentuk gaya musikal serta irama yang dibawakan bersumber dari patri nada dan dialek lokal.Artinya secara aspek musikal, nada saluang pauah terdiri dari scale minor diatonis. Uniknya dalam penyajian kesenian tersebut di atas dendang dan saluang tidak bermain secara synchronism, melainkan terdapat bentuk gerak irama berlawanan yang unik. Karya ini terinspirasi dari kesenian tradisi saluang pauah, dimana saluang pauah mempunyai salah satu ciri khas yaitu dendang lambok malam. Dendang tersebut mempunyai keunikan tersendiri seperti kuaian (respon spontanitas) yang membuat komposer sangat tertarik dalam menggarap karya dengan judul “Balapoh”.","PeriodicalId":471383,"journal":{"name":"Jurnal Musik Etnik Nusantara","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135807372","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Dikia Baruda merupakan salah satu kesenian yang benafaskan Islam yang saat ini masih digunakan oleh masyarakat sebagai media dalam ritual manyaratuih hari di Jorong Baruh Bukit Nagari Andaleh Baruh Bukit, Kecamatan Sungayang, Kabupaten Tanah Datar. Penampilan berupa lantunan dzikir dengan alat musik pengiringnya yaitu Rabano. Di Nagari Andaleh Baruh Bukit ini ritual manyaratuih hari merupakan ritual untuk memperingati hari keseratus setelah wafatnya almarhum. Kegiatan ini biasanya dilaksankan di rumah orang tua atau saudara almarhum dengan mempertunjukkan Dikia Baruda, yang bagi masyarakat setempat disebut dengan badikia. Kesenian ini dimainkan oleh laki-laki dan perempuan. Sekarang ini kesenian Dikia Baruda sudah jarang di gunakan dalam ritual manyaratuih hari karena kepercayaan masyarakat, dari jumlah pemain dan akibat perkembangan zaman.
Dikia Baruda是一种高度伊斯兰化的艺术，今天在jagar hill na加里安达莱山下的Jorong Baruh hill, river yang village，平坦的河床区，仍然被公众用作仪式的媒介。伴随着乐器Rabano的dzikir的表演。在纳加里，这座山的祭祀日是死者逝世一百周年的仪式。这些活动通常通过展示当地被称为badikia的地方，在死者的父母或兄弟的家里举行。这种艺术是由男人和女人演奏的。今天，由于公众对Dikia的数量和时间发展的信心，新的Dikia艺术很少被用于日常仪式。
{"title":"Dikia Baruda dalam Ritual Manyaratuih Hari di Jorong Baruh Bukit Nagari Andaleh Baruh Bukit Kecamatan Sungayang Kabupaten Tanah Datar","authors":"Azizah Ramadhani, Arnailis Arnailis, Yurnailis Yurnailis","doi":"10.26887/jmen.v3i1.3804","DOIUrl":"https://doi.org/10.26887/jmen.v3i1.3804","url":null,"abstract":"Dikia Baruda merupakan salah satu kesenian yang benafaskan Islam yang saat ini masih digunakan oleh masyarakat sebagai media dalam ritual manyaratuih hari di Jorong Baruh Bukit Nagari Andaleh Baruh Bukit, Kecamatan Sungayang, Kabupaten Tanah Datar. Penampilan berupa lantunan dzikir dengan alat musik pengiringnya yaitu Rabano. Di Nagari Andaleh Baruh Bukit ini ritual manyaratuih hari merupakan ritual untuk memperingati hari keseratus setelah wafatnya almarhum. Kegiatan ini biasanya dilaksankan di rumah orang tua atau saudara almarhum dengan mempertunjukkan Dikia Baruda, yang bagi masyarakat setempat disebut dengan badikia. Kesenian ini dimainkan oleh laki-laki dan perempuan. Sekarang ini kesenian Dikia Baruda sudah jarang di gunakan dalam ritual manyaratuih hari karena kepercayaan masyarakat, dari jumlah pemain dan akibat perkembangan zaman.","PeriodicalId":471383,"journal":{"name":"Jurnal Musik Etnik Nusantara","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135807371","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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