251 research outputs found
Deskripsi Analisis Musik pada Upacara Adat Perkawinan Masyarakat Simalungun di Desa Bangun Purba
No full textBangun Purba merupakan salah satu desa yang ada di Kabupaten Deli Serdang, yang penduduknya terdiri dari beragam suku, antara lain suku Simalungun, suku Karo, suku Jawa dan Batak Toba. Keragaman suku ini menghadirkan beragam kebudayaan pula. Namun demikian karena dari sisi kwantitas anggota masyarakatnya lebih dominan dari suku Simalungun, maka sangat dapat dirasakan kehadiran kebudayaan mereka lebih dominan pula. Musik yang biasanya digunakan pada upacara adat perkawinan di desa bangun purba tidak berbeda jauh pada setiap sukunya yaitu menggunakan jenis (genre) musik yang sama, yaitu genre musik pop dengan menggunakan satu unit alat musik keyboard dan seorang penyanyi atau sering disebut “Biduan”.
Berdasarkan observasi yang penulis lakukan di lapangan, tampak bahwa instrument musik yang digunakan dalam upacara perkawinan adalah penggabungan antara alat musik populer Barat (seperti keyboard) dengan instrument musik tradisional Simalungun (seperti gondrang) walaupun penggabungan itu dilakukan, musik yang dihasilkan masih mengedepankan ‘rasa’ lokal baik Simalungun. Persoalannya adalah bagaimana penyajian kedua musik tradisi tersebut dalam upacara adat masyarakat Bangun Purba dan bagaimana masyarakat Bangun Purba menanggapi fenomena tersebut.
Hasil penelitian ini merupakan Deskripsi Analisis Musik Pada Upacara Adat Perkawinan Simalungun di desa Bangun Purba109 HalamanSkripsi Sarjan
Gondang Learning Methods at Maranatha Vocational School and Rismaduma Vocational School in Dairi District
No full textThis research focuses on the Gondang Learning method at Maranatha Vocational School and Rismaduma Vocational School in Dairi Regency. The thesis discuss of this research is to describe the gondang learning methods that exist at Maranatha Vocational School and Rismaduma Vocational School. This research uses enculturation theory by Hercovits and learning method theory developed by Sujadna. The method used in this research is a qualitative descriptive method and data collection was carried out using two methods through literature study and field study consisting of observation, interviews, recording and laboratory work. The results of this research are that there are similarities in the learning methods of Maranatha Vocational School and Risamduma Vocational School, namely using the demonstration method, practice method and lecture method, while the difference is that Rismduma Vocational School uses the peer tutoring method, question and answer method and upperclassmen method. Apart from that, there are differences in the teaching staff of the two vocational schools, where Maranatha Vocational School has teaching staff who are not academics who focus on learning Gondang musical instruments, while Rismaduma Vocational School has teaching staff who come from academics. The author's reason for reviewing this title is to find out the learning process and methods used in the two vocational schools. Even though both schools are a means of learning gondang, there are differences in the gondang learning methods.78 PagesSkripsi Sarjan
Gondang Learning Methods at Maranatha Vocational School and Rismaduma Vocational School in Dairi District
No full textThis research focuses on the Gondang Learning method at Maranatha Vocational School and Rismaduma Vocational School in Dairi Regency. The thesis discuss of this research is to describe the gondang learning methods that exist at Maranatha Vocational School and Rismaduma Vocational School. This research uses enculturation theory by Hercovits and learning method theory developed by Sujadna. The method used in this research is a qualitative descriptive method and data collection was carried out using two methods through literature study and field study consisting of observation, interviews, recording and laboratory work. The results of this research are that there are similarities in the learning methods of Maranatha Vocational School and Risamduma Vocational School, namely using the demonstration method, practice method and lecture method, while the difference is that Rismduma Vocational School uses the peer tutoring method, question and answer method and upperclassmen method. Apart from that, there are differences in the teaching staff of the two vocational schools, where Maranatha Vocational School has teaching staff who are not academics who focus on learning Gondang musical instruments, while Rismaduma Vocational School has teaching staff who come from academics. The author's reason for reviewing this title is to find out the learning process and methods used in the two vocational schools. Even though both schools are a means of learning gondang, there are differences in the gondang learning methods.78 PagesSkripsi Sarjan
Study of the Use of Saxophone Instruments in Traditional Music of the Toba Batak Community in Medan City
No full textThe distribution of the Saxophone instrument has undergone significant development in the repertoire of popular music internationally since the end of the 19th century. The Saxophone instrument is an instrument originating from Europe which is classified into the woodwind group. The colonialism and missionary era in the Batak Toba community resulted in cultural changes, one of which was a change in musical culture. The Batak Toba community initially used traditional ensembles in traditional music, but with the development of the wind ensemble era, one of which was the Saxophone, it was used as the traditional music of the Batak Toba community in Medan City. The theory used is the theory of cultural change, the theory of social change and musical aesthetics. The research method used is a descriptive qualitative method with data collection techniques using interviews, observation and documentation. The results of the study show that the use of the Saxophone in traditional music is one way for the Medan City community to preserve culture by renewing the traditional music used. Traditional music using the Saxophone is one of the choices for the Batak Toba community, especially for those who use traditional music in the presentation of traditional music because the Saxophone is a flexible instrument for genres so that it can adapt to various musical styles. Saxophone in its presentation contains elements of expressiveness allowing players to express deep emotions and nuances in their performances and this adds to the visual appeal and entertainment. In terms of musical function, the use of Saxophone in traditional music is also used as a lead melody replacing sulim or hasapi and Saxophone is also used for "mambunga-bungai" or providing variations of the melody of the repertoire presented. The dynamics of the development of Saxophone cannot be separated from the development of wind music (Brass) in the Batak Toba Community. This is the result of cultural change to produce an innovation and to carry out a dynamic culture. In the development of wind music, the most frequently used instrument is the Saxophone because it has timbre and is used as a substitute for ensemble melody instruments138 PagesTesis Magiste
Deskripsi Analitis Tata Kelola Organsasi, Produksi, dan Dinamika Orientasi Musikal Grup Equaliz Sebagai Salah Satu Band Rock di Kota Medan
No full textEqualiz adalah sebuah group band beraliran musik rock yang terbentuk pada tanggal 01 Oktober 2014 di kota Medan. Group band ini terdiri dari lima orang personil, yaitu, Benny Yogi Purba (vocalist), Ranto Okto Samuel Manik (guitarist), Joseph.Reno N. Manurung (bassist), Salomo Sianturi (keyboard), dan Pandde Gopaz M. Aruan (drummer). Dalam pengelolaan organisasi, produksi dan pemasarannya, group band ini juga memiliki sebuah tim manajemen yang terdiri dari seorang manager, content creator, soundman dan road crew. Group band ini telah menunjukkan hiburan progresif untuk para penggemar dengan cara memasarkan karya lagu orisinilnya ke dalam sebuah album kompilasi bertajuk musik rock di tingkat nasional.
Dalam penulisan skripsi ini penulis menggunakan teori Pendekatan Operasional yang dikemukakan oleh George R. Terry (2000), fungsi manajemen antara lain perencanaan, pengorganisasian, penentuan sumber daya manusia, pengarahan dan pengawasan. Adapun metode yang digunakan dalam penelititan ini adalah metode kualitatif, yaitu prosedur penelititan yang menghasilkan data deskriptif berupa kata-kata tertulis atau lisan dari orang-orang dan perilaku yang dapat diamati (Bogdan dan Taylor dalam Moleong, 1989:3). Penulis juga berpedoman kepada pendapat yang dikemukakan oleh Allan P. Meriam yang mengatakan bahwa penelitian dalam Etnomusikologi ada tiga yaitu metode ilmu pengetahuan (methods of science), kerja lapangan (field work), dan kerja laboratorium (desk work) (Netll, 1964:62-64)
Skripsi ini diharapkan dapat menghasilkan deskripsi pengelolaan organisasi, produksi, pemasaran dan dinamika orientasi musikalnya.196 HalamanSkripsi Sarjan
Dinamika Pertunjukan Martumba pada Masyarakat Batak Toba di Pangururan Samosir (1960-2023) dengan Referensi Khusus 2013-2023
Get PDFThe aim of this research is to discuss songs, dances, musical instruments, and traditional games combined in an activity called Martumba. Martumba is a traditional art of the Toba Batak people which is thought to have existed since the 1930s or before Indonesian independence in Siburian Village, Pahae Jae, North Tapanuli. Martumba has spread to several areas in North Tapanuli to the outskirts of Lake Toba. Two important things that will be discussed in this article are the dynamics of Martumba performances around 1960-2023 and the dynamics of Martumba performances specifically in 2013-2023. To explain these two things, the author uses the contact theory of culture and innovation. The research method applied in this research is a comparative descriptive method because it is very suitable for discussing the dynamics of Martumba. Research methods are divided into two, namely literature study and field study. Comprehensive field studies again include observations, interviews, taking pictures, and laboratory work. The research results describe the dynamics of the Martumba performance in Pangururan Samosir Village in the specified time period, namely 1960-2023. The reason researchers focus on the 1960s is because data from informants in Pangururan ranging from 1960-2023 is a comparison of the last 10 years, namely 2013-2023. The author found many variations, colors, shapes, and contexts compared to conditions in the 1960s102 PagesSkripsi Sarjan
Cafe as a Content to Channel Musician Talent and Become a Livelihood for Musicians in Medan
No full textThis research examines how cafes have become a place for musicians to channel their talents and provide a livelihood in Medan. This research aims to; (1) know the role of Cafes in accommodating musicians in their work and hobbies. (2) knowing how musicians and cafes build relationships. The method used by the author in this research is a qualitative method obtained from field research. (1) This research uses the functionalism theory put forward by Lorimer et al. To emphasize the interdependent relationship between institutions (institutions) and habits in a particular society. This theory is used to see how dependent Cafe and Musicians are. (2) To see how residents in a society fulfill their daily needs, the author uses the ethnomethodology theory put forward by Harold Garfinkel. After observing several cafes in Medan, the author found that there was a mutually beneficial relationship between musicians and cafes. Musicians make cafes their livelihood. Playing music is the main source of income for musicians to make ends meet. Cafes also benefit from presenting music in them. Music also attracts customers to come.89 PagesSkripsi Sarjan
Analisis Fungsi Sosial dan Karakteristik Musikal Lagu-Lagu Karya Djaga Depari
No full textDjaga Depari is a composer from Seberaya, Tiga Panah, Karo, North Sumatera. He began writing songs from 1943 to the end of his life in 1963. This research will discuss about the social functions contained in the songs by Djaga Depari when the Karo people listen to his song. Also, will see what kind of musical characteristics that characterize Djaga Depari when creating the song. In the process of this research, the author uses quantitative methods in which this research will be descriptive and analysis of the data that have been collected. For that, in collecting data writers do field work which includes several aspects of which are: interviews, visual documentation, and audio recording. Then to analyze the data that has been collected in the field work, the author performs laboratory work or we can say desk work, which includes: transcription, analysis and make conclusions from the overall data. Then the theories that the authors use as a reference in this research is the theory of Local Wisdom proposed by Sirtha, then the Function of Music theory by Alan P. Merriam, the theory of Popular Music by Theodeor W. Adorno to see the social functions contained in Djaga Depari’s songs, while the theory of Musical Analysis by Chris and DeLone used to see the musical characteristics.Djaga Depari adalah seorang komponis yang berasal dari Desa Seberaya, Kecamatan Tiga Panah, Kabupaten Karo, Sumatera Utara. Beliau mulai katif mencipta lagu sejak tahun 1943 sampai akhir masa hidupnya pada tahun 1963.
Penelitian ini akan membahas tentang fungsi sosial yang termuat dalam lagu-lagu karya Djaga Depari ketika masyarakat Karo mendengarkan lagunya. Juga, akan melihat seperti apa karakteristik musikal yang menjadi ciri khas Djaga Depari ketika menciptakan lagunya.
Dalam proses pengerjaan penelitian ini, penulis menggunakan metode kuantitatif yang mana peneltian ini akan bersifat deskriptif dan analisis dari data-data yang sudah dikumpulkan. Untuk itu, dalam pengumpulan data penulis melakukan kerja lapangan (field work) yang meliputi beberapa aspek di antaranya ialah: wawancara, dokumentasi visual, dan perekaman audio. Kemudian untuk menganalisa data-data yang sudah berhasil dikumpulkan di lapangan, penulis melakukan kerja laboratorium (desk work), yang meliputi: transkripsi, analisa dan membuat kesimpulan dari keseluruhan data.
Kemudian teori-teori yang penulis gunakan sebagai acuan dalam penelitian ini adalah teori Kearifan Lokal yang dikemukakan oleh Sirtha, kemudian teori Fungsi Musik oleh Alan P. Merriam, teori Musik Populer oleh Theodeor W. Adorno untuk melihat fungsi sosial yang termuat dalam lagu-lagu karya Djaga Depari sementara teori analisis musik oleh Chris dan DeLone digunakan untuk melihat karakteristik musikal yang terdapat pada lagu-lagu karya Djaga Depari.Skripsi Sarjan
The Dynamics of The Development of Traditions “Musik Tiup” at Toba Batak Community in North Sumatra
No full textThis research examine the “Musik Tiup” tradition of the Toba Batak community in North Sumatra. The discussion includes the dynamics of the development of function, context, reportage, and instrumentation of the “Musik Tiup” tradition. The understanding of wind music ensembles is emicly varied from the formation of instruments, some understand that wind music is an ensemble consisting ofalto saxophone, tenor saxophone, trumpet, trombone, tuba, bass drum andsnare drum. Another understanding of wind music is mergingelectric guitar, electric bass, keyboard, drum kit, trumpet and saxophone. Therefore, the understanding of wind music in the Toba Batak community should be understood by paying attention to the context, meaning that wind music is a term that differentiates the ensemble from the ensemble. Gondang Sabangunan and Gondang Hasapi. In the 1980s, the use of wind music, which was initially only used in religious contexts, developed to replace the functionGondang A match andGondang Hasapi in the context of traditional ceremonies, because religious followers who are also traditional practitioners want to be free from negative assumptions as adherentsin the beginning. On the other hand, the use of wind music is also considered more practical in comparison Gondang Sabangunan to bring it about there are norms that must be fulfilled. This phenomenon contributes to the new musical identity of the Toba Batak people, the process of change, adjustment and development is an interesting thing to study. Through this research, the author will discuss the dynamics of the Toba Batak Wind Music Tradition in 3 periods, namely starting from the colonial period (1860s to 1942), then the Toba Batak Migration period (1930-1954), and finally from 1950 until now.142 PagesTesis Magiste
The Diversity of Musical Genres Accompanying Sunday Services at The Protestant Batak Christian Huria Church HKBP in Medan City
No full textThe diversity of musical genres is a multidimensional phenomenon in the realm of musical arts that reflects the systematic heterogeneity of musical styles, forms, and practices that develop in various cultural, historical, and social contexts. In a theoretical-musical perspective, this diversity is reflected through the differentiation of basic elements of music: such as melody, harmony, rhythm, timbre, texture, form, and dynamics that form the idiomatic characteristics of each genre. This study aims to examine the diversity of HKBP church music genres used in performing songs in Sunday services, to examine the choice of musical genres used in church services in HKBP and to examine church policies towards HKBP church music. The method used is descriptive qualitative with a phenomenological approach, supported by observation, in-depth interviews, and documentation. The theories used include the Theory of Music Diversity, the Theory of Cultural Contact and the Theory of Music Management. The results of the study show that the diversity of musical genres has undergone significant changes in the musical structure of each HKBP church, the use of modern instruments, but still maintains traditional elements such as hymn music (organ). The new music style (genre) that was formed was the result of Cultural Contact of HKBP church musicians with the demands of the times, the tastes of musicians or congregations and contemporary performance spaces. The music policy in each HKBP church is different because musicians in each church are not trained and practices in the field are different, the leadership of the Pastor in the church does not all understand HKBP church music. For musicians accompanying Sunday services in HKBP churches, knowing the many music genres is due to the freedom to appreciate playing music because there is no written HKBP music policy but the policy exists through Oral Tradition.139 PagesTesis Magiste
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