Musical Ambivalence in the Performance of Saluang Orgen in West Sumatra
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Semiotic in Lyrics and Perception of Community of Nagari Suayan on Saluang Ratok Suayan Anguih
Semiotic in Lyrics and Perception of Community of Nagari Suayan on Saluang Ratok Suayan Anguih Hasnul Fikri, Syofiani Syofiani and Lolita Lestari Fakultas Keguruan dan Ilmu Pendidikan, Universitas Bung Hatta, Padang, Indonesia [email protected] Keywords: Semiotic code, people's perception, lyrics, Saluang. Abstract: This research aimed to describe the codes and their meanings that are used in the Saluang Ratok Suayan Anguih lyrics and the perception of Nagari Suayan community on Saluang Ratok Suayan Anguih. This research used descriptive qualitative method, while community perceptions were analyzed using simple statistics. The data of this study are the words in the lyrics of Saluang Ratok Suayan Anguih and responses of informants to questionnaire or interview. Based on data analysis, it is concluded that: First, there are three semiotic codes, namely denotation, connotation, and myth in the lyric. The semiotic codes are used to describe the suffering of people due the fire that hit their country. Second, the younger informants are unfamiliar with the Saluang Ratok Suayan Anguih, while the older ones are more familiar with it. It is because the fire event told in Saluang Ratok Suayan Anguih occurred long-long time ago and this storytelling is getting less and less performed. 1 INTRODUCTION saluangs are found in Nagari Suayan, one of which is saluang Ratok Suayan Anguih (in the next description Literature as a branch of art is an integral part of abbreviated with SRSA). SRSA lyrics is a literary culture. Literature has become part of the experience work created by a saluang singer (pendendang) of human life, both from the human aspect that named Gadih, a native from Nagari Suayan. -
Modul SENI BUDAYA (Musik) Draft 1 @2020, Direktorat SMA, Direktorat
Modul SENI BUDAYA (Musik) draft 1 @2020, Direktorat SMA, Direktorat Jenderal PAUD, DIKDAS dan DIKMEN Modul SENI BUDAYA (Musik) draft 1 MODUL SENI BUDAYA(MUSIK) KELAS X/1 SENI MUSIK 3.2 dan 4.2 ANALISIS ALAT MUSIK TRADISIONAL Naning Widayati, M.Pd SMA N 2 Bandar Lampung @2020, Direktorat SMA, Direktorat Jenderal PAUD, DIKDAS dan DIKMEN Modul SENI BUDAYA (Musik) draft 1 Daftar Isi Daftar Isi Daftar Isi ................................................................................................................................. 3 Glosarium ................................................................................................................................ 4 I. PENDAHULUAN .............................................................................................................. 5 A. Kompetensi Dasar dan IPK ........................................................................................ 5 B. Deskripsi ..................................................................................................................... 5 C. Petunjuk Penggunaan Modul ..................................................................................... 5 D. Peta Materi .................................................................................................................. 6 II. Pembelajaran .................................................................................................................. 7 A. Kegiatan Pembelajaran I ............................................................................................ 7 -
Peraturan Bupati Kab. Dharmasraya Nomor 12 Tahun 2018.Pdf
SALINAN BUPATI DHARMASRAYA PROVINSI SUMATERA BARAT PERATURAN BUPATI DHARMASRAYA NOMOR 12 TAHUN 2018 TENTANG BESARAN ALOKASI DANA BAGI HASIL PAJAK DAERAH DAN RETRIBUSI DAERAH KEPADA NAGARI TAHUN 2018 DENGAN RAHMAT TUHAN YANG MAHA ESA BUPATI DHARMASRAYA, Menimbang : bahwa untuk melaksanakan ketentuan pasal 97 ayat (4) Peraturan Pemerintah Nomor 43 Tahun 2014 tentang Peraturan Pelaksanaan Undang-Undang Nomor 6 Tahun 2014 tentang Desa sebagaimana telah diubah dengan Peraturan Pemerintah Nomor 47 Tahun 2015, perlu menetapkan Peraturan Bupati tentang Besaran Alokasi Dana Bagi Hasil Pajak Daerah dan Retribusi Daerah kepada Nagari Tahun 2018; Mengingat : 1. Undang-Undang Nomor 38 Tahun tentang Pembentukan Kabupaten Dharmasraya,Kabupaten Solok Selatan dan Kabupaten Pasaman Barat (Lembaran Negara Republik Indonesia Tahun 2003 Nomor 153, Tambahan Lembaran Negara Republik Indonesia Nomor 4348); 2. Undang-Undang Nomor 28 Tahun 2009 tentang Pajak Daerah dan Retribusi Daerah (Lembaran Negara Republik Indonesia Tahun 2009 Nomor 130, Tambahan Lembaran Negara Republik Indonesia Nomor 5049); 3. Undang-Undang Nomor 6 Tahun 2014 tentang Desa (Lembaran Negara Republik Indonesia Tahun 2014 Nomor 7, Tambahan Lembaran Negara Republik Indonesia Nomor 5495); 4. Undang-Undang Nomor 23 Tahun 2014 tentang Pemerintahan Daerah (Lembaran Negara Republik Indonesia tahun 2014 Nomor 244, Tambahan Lembaran Negara Republik Indonesia Nomor 5587); sebagaimana telah beberapa kali di ubah terakhir dengan Undang- Undang Nomor 9 Tahun 2015 (Lembaran Negara Republik Indonesia Tahun 2015 Nomor 269); 5. Peraturan Pemerintah Nomor 43 Tahun 2014 tentang Peraturan Pelaksanaan Undang-Undang Nomor 6 Tahun 2014 tentang Desa sebagaimana telah diubah dengan Peraturan Pemerintah Nomor 47 Tahun 2015 tentang Perubahan Peraturan Pemerintah Nomor 43 Tahun 2014 tentang Peraturan Pelaksanaan Undang-Undang Nomor 6 Tahun 2014 tentang Desa (Lembaran Negara Republik Indonesia Tahun 2014 Nomor 157, Tambahan Lembaran Negara Republik Indonesia Nomor 5717); 6. -
Talempong Kreasi and Talempong Goyang in West Sumatra
HUMANIORA VOLUME 29 Number 3 October 2017 Page 245–255 Postcolonial Aesthetics: Talempong Kreasi and Talempong Goyang in West Sumatra Andar Indra Sastra, Nadya Fulzi, Syahri Anton E-mail: [email protected] ABSTRACT The aim of this article is to disclose the postcolonial aesthetics of talempong kreasi and talempong goyang in West Sumatra. Aesthetics can be defined as a sense of perception or the various kinds of feelings that are aroused by an art object that is being observed. Postcolonialism is understood to be the continuation of colonialism; hence postcolonial aesthetics discusses the sense of perception, in this case with reference to talempong kreasi and talempong goyang as the material object. Talempong is a type of bronze musical instrument found in West Sumatra; the word kreasi means ‘creation’ or something new, while the word goyang means ‘rocking’ or ‘swaying’ and refers to the body movements of the spectators as they appear to dance in time to the talempong music. The addition of the words kreasi and goyang after the word talempong create the impression that this type of music belongs to the domain of popular music. The emergence of these two concepts in West Sumatra cannot be separated from the influence and power of a number of leading figures in the field of education – specifically artists – from the colonial era, who had a background in Western music education. Talempong kreasi and talempong goyang are dynamic in nature and have the ability to play both major and minor melodies as the talempong instruments are tuned to chromatic pitches. The tuning system of the talempong is akin to that of diatonic musical instruments, and as a musical system it presents the harmonies of Western music through its melodies and chords. -
The Values of Minangkabau Culture's Found in The
THE VALUES OF MINANGKABAU CULTURE’S FOUND IN THE MALIN KUNDANG A PAPER BY NURHAYATI REG. NO. 102202002 DIPLOMA-III ENGLISH STUDY PROGRAM FACULTY OF CULTURE STUDY UNIVERSITY OF SUMATERA UTARA MEDAN 2013 UNIVERSITAS SUMATERA UTARA Approved by Supervisor, Drs. Chairul Husni, M.Ed.TESOL. NIP: 195703081984031004 Submitted to Faculty of Culture Study University of Sumatera Utara In partial fulfillment of the requirements for Diploma-III in English Study Program Approved by Head of Diploma III English Study Program, Dr. Matius C.A. Sembiring, M.A. NIP. 19521126198112 1 001 Approved by the Diploma III English Study Program Faculty of Culture Study, University of Sumatera Utara As a Paper for the Diploma (D-III) Examination UNIVERSITAS SUMATERA UTARA Accepted by the Board of Examiner in partial of the requirements for the D-III Examination of the Diploma-DIII of English Study Program, Faculty of Culture Study, University of Sumatera Utara. The Examination is held on June 2013 Faculty of Culture Study University of Sumatera Utara Dean, Dr. Syahron Lubis, M.A. NIP. 19511013197603 1 001 Board of Examiners Signature 1. Dr. Matius C.A. Sembiring, M.A. (Head of ESP) 2. Dra. Syahyar Hanum, DPFE (Supervisor) 3. Drs. Marzaini Manday, M.SPD. (Reader) UNIVERSITAS SUMATERA UTARA AUTHOR'S DECLARATION I, NURHAYATI declare that I am the sole author of this paper. Except where the reference is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree. -
Is Eastern Insulindia a Distinct Musical Area? L’Est Insulindien Est-Il Une Aire Musicale Distincte ?
Archipel Études interdisciplinaires sur le monde insulindien 90 | 2015 L’Est insulindien Is Eastern Insulindia a Distinct Musical Area? L’Est insulindien est-il une aire musicale distincte ? Philip Yampolsky Electronic version URL: http://journals.openedition.org/archipel/373 DOI: 10.4000/archipel.373 ISSN: 2104-3655 Publisher Association Archipel Printed version Date of publication: 15 October 2015 Number of pages: 153-187 ISBN: 978-2-910513-73-3 ISSN: 0044-8613 Electronic reference Philip Yampolsky , « Is Eastern Insulindia a Distinct Musical Area? », Archipel [Online], 90 | 2015, Online since 01 May 2017, connection on 14 November 2019. URL : http://journals.openedition.org/archipel/ 373 ; DOI : 10.4000/archipel.373 Association Archipel PHILIP YAMPOLSKY 1 Is Eastern Insulindia a Distinct Musical Area? 1In this paper I attempt to distinguish the music of “eastern Insulindia” from that of other parts of Insulindia.2 Essentially this is an inquiry into certain musical features that are found in eastern Insulindia, together with a survey of where else in Insulindia they are or are not found. It is thus a distribution study, in line with others that have looked at the distribution of musical elements in Indonesia (Kunst 1939), the Philippines (Maceda 1998), Oceania (McLean 1979, 1994, 2014), and the region peripheral to the South China Sea (Revel 2013). With the exception of McLean, these studies have focused exclusively on material culture, namely musical instruments, tracing their geographical distribution and the vernacular terms associated with them. The aim has been to reveal cultural continuities and discontinuities and propose hypotheses about prehistoric settlement and culture contact in Insulindia and Oceania. -
Land- En Volkenkunde
Music of the Baduy People of Western Java Verhandelingen van het Koninklijk Instituut voor Taal- , Land- en Volkenkunde Edited by Rosemarijn Hoefte (kitlv, Leiden) Henk Schulte Nordholt (kitlv, Leiden) Editorial Board Michael Laffan (Princeton University) Adrian Vickers (The University of Sydney) Anna Tsing (University of California Santa Cruz) volume 313 The titles published in this series are listed at brill.com/ vki Music of the Baduy People of Western Java Singing is a Medicine By Wim van Zanten LEIDEN | BOSTON This is an open access title distributed under the terms of the CC BY- NC- ND 4.0 license, which permits any non- commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https:// creativecommons.org/ licenses/ by- nc- nd/ 4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder. Cover illustration: Front: angklung players in Kadujangkung, Kanékés village, 15 October 1992. Back: players of gongs and xylophone in keromong ensemble at circumcision festivities in Cicakal Leuwi Buleud, Kanékés, 5 July 2016. Translations from Indonesian, Sundanese, Dutch, French and German were made by the author, unless stated otherwise. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2020045251 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. -
Lareh Nan Bunta: Power Systems and the Concept of Musical Aesthetics in Talempong Basaua in Luhak 50 Koto Minangkabau
Harmonia: Journal of Arts Research and Education 18 (1) (2018), 107-116 p-ISSN 2541-1683|e-ISSN 2541-2426 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: 10.15294/harmonia.v18i1.13280 Lareh Nan Bunta: Power Systems and The Concept of Musical Aesthetics in Talempong Basaua in Luhak 50 Koto Minangkabau Andar Indra Sastra, Wilma Sriwulan, Yon Hendri Institut Seni Indonesia Padangpanjang, Indonesia Received: February 6, 2018. Revised: April 23, 2018. Accepted: June 10, 2018 Abstract The goal of this article is to bring to light lareh nan bunta as a form of representation of the sys- tem of democracy – or power – developed by Dt. Nan Sakelap Dunia. The discussion in this paper uses a qualitative method which is backed up by quantitative data. The data was collected through participant observation, interviewing, discussion, and analysis. The analysis was car- ried out using a descriptive method using theoretical reasoning, with knowledge of aesthetics and art. The results of the research show that conceptually, talempong basaua is a musical reality which represents lareh nan bunta in Luhak 50 Koto Minangkabau. Lareh nan bunta is a synthesis of the influence of power – or dialectic – between lareh kotopiliang (autocracy) and lareh bodicaniago (democracy), each with its own system of leadership. The dualism in the autocratic and demo- cratic systems of power form a balancing power known as lareh nan bunta – a combination of all three existing conceptions. Lareh nan bunta is also reflected in the concept of musical aesthetics in talempong basaua in Luhak 50 Koto Minangkabau. Talempong basaua represents a combination of two musical concepts, namely talempong and the rhythms or irama of dendang (vocal music), which are combined to create a new genre. -
Download Article (PDF)
Advances in Social Science, Education and Humanities Research, volume 463 Proceedings of the Eighth International Conference on Languages and Arts (ICLA-2019) Inventory, Identification, and Analysis of Randai Performing Arts Elements for the Development of Minangkabau Theatrical Dance Tulus Handra Kadir1 1 Universitas Negeri Padang, Padang, Indonesia, (email), [email protected] ABSTRACT This article describes the inventory, identification and analysis of elements of Randai performing art for the development of the Minangkabau theatrical dance based on Randai in the context of developing the Minangkabau performing arts. The development of contemporary performing arts, Randai and Minangkabau dance are not able to compete with modern performing arts. On the other hand, Randai has elements of performance that can be used in the development of theatrical dance, as a new form of Minangkabau performing art that combines elements of Randai and dance in Minangkabau. It is expected to be able to keep abreast of developments of contemporary performing arts. Development is based on research conducted qualitatively (the first phase of research) and experimentally (the second phase of research). Qualitative research was used to inventory and analyze data of Randai performance who were unable to compete in the realm of contemporary performing arts as well as inventory and analyze data, especially the elements of the performance that will be used in the development of the Minangkabau theatrical dance. Experimental research was used to create innovative dance that refers to the results of the first phase of research. This research uses an interdisciplinary approach (sociology /anthropology of dance and music, theater, choreography/dance composition, as well as the artistic performances). -
The Genealogy of Muslim Radicalism in Indonesia A
The Genealogy of Muslim Radicalism in Indonesia THE GENEALOGY OF MUSLIM RADICALISM IN INDONESIA A Study of the Roots and Characteristics of the Padri Movement Abd A’la IAIN Sunan Ampel Surabaya, Indonesia Abstract: This paper will trace the roots of religious radicalism in Indonesia with the Padri movement as the case in point. It argues that the history of the Padri movement is complex and multifaceted. Nevertheless, it seems to be clear that the Padri movement was in many ways a reincarnation of its counterpart in the Arabian Peninsula, the Wahhabi> > movement, even though it was not a perfect replica of the latter. While the two shared some similarities, they were also quite different in other respects. The historical passage of the Padris was therefore not the same as that of the Wahhabi> s.> Each movement had its own dimensions and peculiarities according to its particular context and setting. Despite these differences, both were united by the same objective; they were radical in their determination to establish what they considered the purest version of Islam, and both manipulated religious symbols in pursuit of their political agendas. Keywords: Padri movement, fundamentalism, radicalism, Minangkabau, Wahhabism.> Introduction Almost all historians agree that Islam in the Malay Archipelago – a large part of which subsequently became known as Indonesia – was disseminated in a peaceful process. The people of the archipelago accepted the religion of Islam wholeheartedly without any pressure or compulsion. To a certain extent, these people even treated Islam as belonging to their own culture, seeing striking similarities between the new religion and existing local traditions. -
Merantau : Aspects of Outmigration of the Minangkabau People
MERANTAU : ASPECTS OF OUTMIGRATION OF THE MINANGKABAU PEOPLE by Auda Murad A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Demography in the Australian National University Canberra, May 1978. i D E C L A R A T I O N % Except where otherwise indicated, this thesis is my own work. Auda Murad May, 1978 ACKNOWLEDGEMENTS At the preliminary stage of this thesis, the scholar has benefited from the assistance of a number of persons in the Demography Department of Research School of Social Sciences at the Australian National University. My greatest debt of gratitude is to my supervisor, Dr. Peter F. McDonald, Department of Demography, for his supervision of the thesis and for his interest, encouragement, patience and guidance at all times during the period of study. I am also indebted to Dr. V.J. Hull and Dr. David Lucas, in the Department of Demography, for their constructive criticism and comments on various aspects of the thesis so that the study has been improved considerably. I sincerely thank Dr. A. Maude, School of Social Sciences at the Flinders University, who provided some information and data necessary for this study. My thanks also go to Mrs. Pat Ashman, secretary, who has been a help in many respects and typed the final version of my thesis. Finally, I wish to thank the Australian Government for providing me with the Colombo Plan Scholarship which has enabled me to study at the Australian National University. iii ABSTRACT Merantau is a unique form of migration found in the Minangkabau society. -
Concept of Sound in Tifa As Papua's Contextual Learning Media
Advances in Social Science, Education and Humanities Research, volume 394 3rd International Conference on Innovative Research Across Disciplines (ICIRAD 2019) Concept of Sound in Tifa as Papua’s Contextual Learning Media Supriyadi1, I. D. Palittin2, Desy Kumala Sari3 Dept. of Physics Education Universitas Musamus Merauke, Indonesia [email protected] [email protected] [email protected] Abstract- This study aimed to determine the use of Tifa hitting a surface or a string by using hands, fingers, or sticks music instruments in sound concepts as a contextual science and other support media. Some musical instruments that are learning media. The focus of this research is the use of Tifa classified as percussion instruments are gamelan, arumba, music instruments which are often used in traditional kendang, kolintang, tifa, talempong, rebana, bedug, jimbe ceremonies by the Malind tribe in Sota District, Merauke and many others [3]. Regency. The research method was descriptive qualitative, where the data collection techniques applied are observation, The development of technology today is the impact of the literature study and in-depth interviews. There were three development of science. Because technology is inevitable, it respondents that researchers interviewed. They were the requires people to be involved if they do not want to be left indigenous societies of Malind tribe. Research data are then behind by development. That is how the interaction between represented and interpreted into sound concepts. This research concluded that there are sound concepts in Tifa musical science and technology and society became one important instruments that can be implemented in science learning. dimension [4]. This is in accordance with the concept of STEM (Science, Technology, Engineering and Mathematics), Keywords—sound; Tifa; learning media.