1,720,963 research outputs found
Analysis of the Textual and Musical Meaning of the Songs Ketabo – Ketabo, Siboru Enggan, Balun – Balun Bide in the Mandaling – Angkola Community in South Tapanuli Regency
No full textThis research paper aims to discuss the Analysis of Textual Meaning and Musical Structure in the songs Ketabo – ketabo, Siboru enggan, and Balun – balun Bide, within the Mandailing – Angkola community in South Tapanuli. The research techniques used by the author are field work and desk work, as proposed by Bruno Netll. The author uses a qualitative method by conducting observations, interviews, and audio and video recordings. To analyze the textual meaning contained in the song, the author uses Ferdinand De Saussure's semiotic theory regarding denotative and connotative meanings, or figurative and literal meanings. To obtain the results of the Musical Structure Analysis, the author uses Bruno Netll's theory to describe the musical content found in those songs, namely, the scale, tempo, phrase of the melodic contour, intervals, and range. Research findings reveal that the songs "Ketabo – ketabo," "Siboru enggan," and "Balun – balun bide" tell stories about the beauty of nature, togetherness, and journeys.107 PagesSkripsi Sarjan
The Influence of Music on the Congregation's Behavior in the Worship Activities of the Indonesian Faith Victory Church (GKII) at Sisingamangaraja Streets No. 249 Medan
No full textThis research examines how music in worship activities at the Indonesian Faith Victory Church (GKII) Central Medan plays a role in influencing congregational behavior during worship. This research aims to (1) describe the worship procedures and song selection in GKII Medan Central worship activities (2) Describe how music works in Medan Central GKII worship activities (3) Describe how music can influence congregation behavior and analyze the structure of the songs played during worship. The method the author uses in this research is a qualitative method obtained from field research. In this research the author uses the basics of music analysis approach introduced by William P. Malm to examine the influence of music on the behavior of the GKII congregation using the Uses and Function theory of music pioneered by Alan P. Merriam. The results obtained show that music can bring the congregation to various atmospheres which also produce various behaviors. In relatively slow music and in this research the author chose a sample of the song Goodness of God, the atmosphere created is a soft and majestic atmosphere, resulting in calm and peaceful behavior in the congregation. Where this song is sung at a slow tempo, namely 63 BPM (Beats per minute) which can bring the congregation into a calm and peaceful atmosphere. Then regarding happy and joyful behavior, the author uses the song God gives me joy as a song sample. This song has a relatively fast tempo, namely at a tempo of 130 BPM (Beats per minute) which can bring the congregation into a happy atmosphere and can cause happy and joyful behavior in the congregation, such as clapping their hands or dancing in their place. Then regarding the behavior of jumping and cheering, the author took a sample of the song One Way, a song that has a fast tempo at 140 BPM (Beats per minute) which can bring the congregation into an enthusiastic atmosphere. The music played in the song One Way has various fast beats and there is also tutti so the music seems to communicate with the congregation.95 PagesSkripsi Sarjan
Analysis of the Musical Structure of Duo Songs and the Structure of the Sikambang Art Selendang Dance at the Coastal Community Wedding Ceremony of Sibolga City
No full textThis study discusses the musical structure of lagu duo and tari selendang in Sikambang art in Sibolga City. The purpose of this study is to analyze the musical structure of lagu duo and tari selendang structures and to understand the relationship between musical and dance elements and the cultural meanings contained therein. The method used in this study is qualitative and data collection is carried out through observation, interviews, audio recordings, and visual field notes, and literature studies. To obtain the results of this study, the author uses the weighted scale theory by Wiliam P. Malm, namely, things that must be considered in describing the melody of lagu duo such as: scale, basic tone, tone area, number of tones, number of intervals, kandens patterns, melody formulas, and contours. And the author also uses the theory of form expressed by Soedarsono to help determine the structure of the selendang dance. The form referred to in his study includes elements of dance that are interrelated, including movement, floor patterns, music, make-up and costumes, properties, time and place of performance. The results of the study show that duo songs have a dynamic rhythm and have a form that tends to be repetitive or repeating and lyrics that reflect the values of the community and local wisdom of Sibolga City, such as unity and togetherness. Tari selendang can be classified as a pair dance group and tari selendang is very related and cannot be separated from lagu duo. The relationship between music and dance in this performance creates a deep aesthetic experience, while strengthening the cultural identity of the people of Sibolga City. This study is expected to contribute to the understanding and preservation of local arts.114 PagesSkripsi Sarjan
Presentation of Gondang Sabangunan and Uning-Uningan by Sanggar Gemilang Sentosa at the Saur Matua Ceremony in Medan City: Analysis of Musical Function and Structure
No full textThis thesis is entitled "Presentation of Gondang Sabangunan and Uning-Uningan by Sanggar Gemilang Sentosa at the Saur Matua Ceremony in Medan City: Analysis of Musical Function and Structure". The purpose of this study is to analyze the function and musical structure of the presentation of Gondang Sabangunan and Uning-Uningan by Sanggar Gemilang Sentosa in Glugur Darat Village, East Medan District, Medan. To answer the above problems, the author uses Bruno Nettl's structural analysis theory, namely about the treasury of tones, scales, tonality, intervals, melodic cantour, rhythm, tempo, and form. Allan P. Merriam's theory about the meaning of use and function in the context of music. The research method used is a descriptive qualitative research method by conducting observations, interviews, and recordings in the field. The results of this study are the death ceremony of Saur Matua which in its traditional event uses gondang sabangunan and uning-uningan.76 PagesSkripsi Sarjan
Description of the Sulim Batak Toba Learning Method for People with Visual Disabilities at the Karya Murni Orphanage in Medan
No full textThis study focuses on the learning process of Sulim Batak Toba for visually
impaired individuals at the Karya Murni Orphanage in Medan. Visually impaired
individuals are those who have impairments in their sense of sight. When learning,
each student needs to pay attention to the teacher when presenting the material. The
purpose of this study is to obtain information about appropriate teaching methods
for visually impaired individuals, particularly when learning Sulim Batak Toba, and
to examine how a music teacher's innovation and creativity influence the delivery
of instructional material. This research uses a descriptive qualitative approach with
data collection techniques involving field observations, interviews, documentation,
and literature studies to be conducted at the Karya Murni Medan Orphanage,
located at Jl Karya Wisata No. 6, Medan Johor District, Medan, North Sumatra. For
a more in-depth analysis, the author uses the learning theory proposed by Sumiati
and Asra, as well as the music theory proposed by E. Edwin Gordon. The results of
this study reveal that the primary and most frequently applied method by music
teachers when teaching Sulim Batak Toba to visually impaired individuals is
through lectures, demonstrations supplemented with assignment methods, and
cooperative methods. The innovation of music teachers during the learning process
is evident through the concept of learning stages divided into five phases: the
introduction to musical instruments phase, the basic playing techniques phase, the
song-playing phase, the improvisation phase, and the finishing or assessment phase,
as well as the creativity of music teachers in using the “blowing method” version
by Brother Yohanes (). The “Tiupan Dirja” method, the role of social media through
recording methods, and the use of Braille notation also contribute to enhancing the
abilities of visually impaired individuals participating in the Sulim Batak Toba
learning process.92 PagesSkripsi Sarjan
Gospel Music at the Naposobulung Service of the HKBP Glugur Church, Glugur Darat II District in Medan City
No full textHuria Kristen Batak Protestan (HKBP) is a Protestant Christian denomination church with a Lutheran tradition heritage. Thus, music is one of the main elements of worship that can greatly influence the value of a worship itself. The music played in the naposobulung worship is called gospel music. The purpose of this study is to describe the worship system, role, structure and form of gospel music in the naposobulung worship of the HKBP Glugur Medan Church. The method used in this study is a qualitative method. To support this method, the work process carried out by the author is: observation, field studies, interviews and recording. The theory used in this study is the theory of Bruno Nettl and Koentjaraningrat. The results obtained by gospel music in worship at HKBP Glugur have a big role in giving a new impression to the congregation when worshiping, music also has a role in limiting how contemporary worship arrangements are still in accordance with central HKBP regulations. Music in HKBP worship only uses keyboard instruments, and still maintains worship according to the rules of the central HKBP, but there is one worship service, namely the Naposobulung service at the HKBP Glugur Church which is accompanied by several modern musical instruments such as organs, drums, keyboards, pianos, bass guitars, saxophones, and electric guitars and the simple arrangement of worship makes something new and interesting to be unique in the worship model at the HKBP Glugur Church. And the continuity of contemporary worship can be carried out well at HKBP Glugur without releasing the true meaning of worship.107 PagesSkripsi Sarjan
Description of Function and Symbolic Interaction of Gendang Si Sangkar Laus in The Ncayur Ntua Death Ceremony of The Pakpak Bharat Community
No full textThe aim of this research is to describe the function of the Gendang Si Sangkar Laus in the context of the Ncayur Ntua death ceremony in the Pakpak Bharat community, to describe the symbolic interaction of the Gendang Si Sangkar Laus within this context, and to analyze the musical aspects of the Gendang Si Sangkar Laus in the same context. The research method used is a qualitative approach, incorporating data collection through fieldwork, observation, interviews, documentation, and laboratory work. In discussing the description of the function and symbolic interaction of the Gendang Si Sangkar Laus in the context of the Ncayur Ntua death ceremony, the author utilizes Alan P. Merriam's theory of function to describe the function of the Gendang Si Sangkar Laus, Wardi Bachtiar's theory of symbolic interaction to describe the symbolic interaction, and William P. Malm's rhythmic pattern theory to analyze the musical aspects of the Gendang Si Sangkar Laus through the transcription of musical notation. The research findings reveal that the Gendang Si Sangkar Laus is one of the crucial elements in the Ncayur Ntua death ceremony conducted by the Pakpak Bharat community. In this context, the drum not only serves as a musical instrument but also carries deep significance in the effort to honor and guide the spirit of the deceased to the next realm. The primary function of the Gendang Si Sangkar Laus is to mark the end of the ceremony, signaling the departure of the corpse to the burial site. The sound produced by this drum creates a sacred atmosphere that combines spiritual and emotional aspects of the ceremony. Its music is also believed to connect the physical world with the spirit world, calling upon ancestors and spirits to be present and honor the deceased. In the context of the Ncayur Ntua death ceremony, the symbolic interaction of the Gendang Si Sangkar Laus reflects the complexity of the Pakpak Bharat community's culture, spirituality, and social life. The musical composition involving the Gendang Si Sangkar Laus consists of two main instruments: the genderang silima and the gung sada rabaan. The genderang silima, played by four players with different roles and rhythmic patterns, creates a unique rhythmic diversity and harmony. Techniques used include single stroke and flam for si raja gemuruhguh, flam and triple paradiddle for si raja dumerendeng, flam for si raja menak-menak and si raja kumerincing, and a combination of single stroke, flam, and drag for si raja mengampuh. The gung sada rabaan, a gong ensemble with four gongs, adds an additional dimension with its specific rhythm, creating a profoundly sacred atmosphere.186 PagesSkripsi Sarjan
Analysis of the Function and Structure of the Gondang Sabangunan Ensemble Musical at the Mangongkal Holi Ceremony in Bah Sorma Village, Pematang Siantar City
No full textThis study discusses the Analysis of the Function and Structure of the Gondang Sabangunan Ensemble Musical at the Mangongkal Holi Ceremony in Bah Sorma Regency, Pematang Siantar City. The purpose of the study is to describe the function and musical structure of the Gondang Sabangunan ensemble presented at the Mangongkal Holi ceremony in Bah Sorma Village, Pematang Siantar City. The research method used is a qualitative research method with an observation approach, interviews, documentation, and laboratory work. In analyzing the Gondang Sabangunan ensemble at the Mangongkal Holi ceremony, the theory of uses and function pioneered by Alan P. Merriam was used. To analyze the musical structure of the Gondang Sabangunan ensemble, the weightscale theory pioneered by William P. Malm was used. In discussing the implementation of the Mangongkal Holi ceremony from the first day to the last day, the theory of the implementation of the ceremony from Koentjaraningrat was used. The results of this study revealed that the implementation of the Mangongkal Holi ceremony was carried out in accordance with the procedures that had been implemented by the hasuhuton (event organizer). The functions of the Gondang Sabangunan ensemble in the Mangongkal Holi ceremony ritual are: 1) Communication Function (2) Function of Ratification of Social Institutions and Religious Ceremonies (3) Function of Emotional Expression (4) Function of Cultural Sustainability (5) Function of Physical Reaction (6) Function of Symbolism (7) Function Related to Social Norms. In the musical structure of the Gondang Sabangunan ensemble, there are five types of gondang repertoire that are played with different compositions and meters so that they experience tempo changes from 150MM to 100MM tempo with the meter used is meter 4 isometric (same/unchanged from the beginning to the end of the repertoire).
Keywords: Mangongkal Holi, Gondang, Function, and Musical Structure138 PagesSkripsi Sarjan
The Utilization of Artificial Intelligence in the Creation Process of the "Kopi Roda" Jingle: A Case Study of Music Producer Adrian Timothy
No full textThis study examines the utilization of Artificial Intelligence (AI) in the creation process of the jingle "Kopi Roda" through a case study of music producer Adrian Timothy. The objective of this research is to analyze and describe the creative process that employs AI and conventional methods separately, to analyze the integration of both approaches, and to understand public responses to the resulting work. The method employed is a mixed-method approach, encompassing observation, interviews, and surveys. This study applies Alan P. Merriam's music composition theory, Margaret Boden's combinatorial creativity theory, and William P. Malm's melodic structure analysis theory, which collectively demonstrate that AI serves as a novel tool that expands creativity without diminishing the essential role of humans. The findings reveal that AI acts as a creative partner that enriches and accelerates musical exploration without replacing the human role. Adrian Timothy uses ChatGPT for lyric composition and Suno AI for musical structuring, which are subsequently artistically refined by Adrian himself. AI enables time efficiency and idea exploration, particularly in the early stages of production. Public responses toward the use of AI vary; the majority accept it as long as the human role remains dominant, although some express concerns over the potential loss of creativity and artistic value. The study concludes that AI holds significant potential to foster innovation in music, provided it is used wisely and responsibly, and can enhance collaboration between humans and technology in the creation of artistic works such as jingles.105 PagesSkripsi Sarjan
Analysis of Dance Structure and its Relationship with Martumba Music Presented by Students of State Junior High School 4 Pahae Julu Tapanuli Utara
No full textThis study analyzes the structure of dance and its relationship with the music of
martumba presented by the students of the 4th Pahae Julu State High School,
North Tapanuli. Martumba is a traditional art of the Batak Toba community that
combines elements of music and dance. The research methods used are qualitative
descriptive with data collection techniques through observations, interviews and
recordings. The analysis of dance structures was carried out using the theory of
dance structure by Sumandiyo Hadi who looked at dance by extending it into
choreographic elements such as forms of motion, techniques of movement, and
styles of movement. Meanwhile, the analysis of the structure of martumba music
focused on vocal aspects, taking into account elements like tone scale, base tone,
tone region, interval, melody formula, cadence pattern, and contour using the
weighted scale theory proposed by William P. Malm. The results of the research
showed that there was a close correlation between the structure of dance and
music in the presentation of martumba. The dance movements are adapted to the
hymns of the songs sung, creating their own uniqueness in the performance. The
research also reveals the development of martumba as a means of preserving the
culture and identity of the Batak Toba community, especially among the younger
generation.212 PagesSkripsi Sarjan
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