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Reffiee@@@ Pengamh Reklor Lsl Padangpanjang ?Ol Dr reffiEE@@@ Pengamh Reklor lsl Padangpanjang ?ol Dr. Mllrdi Bahar, S.Kai, M Hum. Pen&ggung Jard/Kopda PUSTNDOK Yumidi, S.Sn., M Sn. Pinpinan Redaksikerua Penynntitrg Edisar, S.Sn, M.Hum. Ds-IHdit?rlMrSnf 'l^ @I!@l14 a I-E.h .-P-""il -- rl-- - H, n: llslIPaddnmarEj prrdone\,a) +.r+of oi.rvi"Dr.Mohtain;O-m ?ii1ft-*!6 I D n1Lr"i,,-hh:-p.}oirs:liil*ilLd;,,i!Efit; kib-d u.-E**w" iir,,v..rrVd dy.'d, b, D"',fiH,ait iaF{ " rram*a ",6r n* iiEIffi ,Isr-li-rsr,y"iiii'liliI l*."r Prol Dr. Eodaro,!rJir.i.r*;Dr---;;e;""r)"1(*r.1i,t 3-rtlriFati, 5.(411VErn:iSTSItB;lrd!, 8-l1do$L) v2r:Y-^r1P' K*,i:ri ndr, l-.-s6li-. M.ri, Ea Ohavianus, S.Sn.. M.S.. Arga Budaya. S.Sn., M.Pd. llhm SuSesli, S.Kom. Caraian: k i/Materi Jumal adalah t n&.lun g i awab penu I h. PENCANIARREDAKSI .ff.tPnEt1,t rV/" Juarat llin!Pengctahuandan KaryaSeni tnenuSeni irdonesid (l5l) Padanspanjans merIpxkan sebuah rempat pengungkapanpiknan t]kjran pemcfiari scni sccrra ,lrnrah, blik kdian bidaig keilnNan maupun bidans karya so.t Tenlu s.ja kchadnan frSPXa,t/jE 7 dihldapan pembaca ,ka. mcmberi Mi rc6endnt untuk informasi lcntang berbasai prcblemlik scm yans xkrrt. Dunia krcativitas bida.gkescnianscca6berkelarjutanb.rkembnsdensmbajk,m!!!nbanrrakyurgrid,k'nendapalkar lahudengahpqkembangan itr. Beyak kdrya karya seniyangnenusenruhan{c.lur kririk dan sardn secara ilnriah, tapi karena mcdranya yang sangal terbatas, pada akhimya perknrbangan kitik scni kurdg bc*c'nbars. Aaaknya ].riP,(Es/.ttN/ sat.h sarL rc'npaL Pada kesenrpatan ini ffyRf.y.tE V/ Vol. l3 No 2, Nopember 201 I nrnghadnkan pcntr]n p€nuli yang mcnrpokit, khsanah aDresiasl scni pemblca, yaiir Dctfi Ftrida dcngxnjudullntedeDcrdcnsiseniTa,idan\,lusiktringanryaiLnat\'&inteb,h,nclilul kc?adaselarahda.pcrk.nbang,nobocsenainplcmcn6snryalelhadaFteknikpcmrainan KemudiaD p.nulis renlang scDi krya dirutis oteh Khaintrras dengln rajukBonggol Kxyu Seb0exi lvledia Rksprcsi kiya Logam Senrenl.ra dua penulis tannya melihar seni lradisi dalam hubl.ga(nra densa. pc.gmh modcm dan posrnrodem. yaitr Mei! Eliza inelllatreaterrulurkunoungtrLpaijaijanenrrladisptilredqnroden Mnnaklla Selvi K.sman men$ahaskonrodifikasi k.scnian 1'!dGionatsacana eslelika poshodem datam Pcnulis yang mcorbahas lcmang pen,lidikaD ka'akreryans lel,(udungdatanr karya sinra ad0lah Silvir rlanani dcngdn rajLk fulGanny! Sasrra Lisrn r-okat Sebagai Ienibrrsunan Pendidikan Mordl. Kenrudian pcmtis yrns mernbjlras esLerika D Lsik rddnional adal.h NadyaFtrlzi LlcnganjuduL rulkannyr Estctitra \,ltrsik TatenrporgLagr De.danediNasariLnnbanang. ScfteDlam RozaMutiarimcDskaji pcrlaNanan pcr.n1puf drlaD karraduakorcosdcraniaraHanatidan Susasira Lomvian!. penutjslainnya).ang srrgaja dalans dai furrncgaraialah Manop ursuflipalyangjnensnrfonnasiku icnlaDs nrusik Thlrland dan Cafrboja dalamjudrt Pipar Trxdirtoi Majtrtand sorrhcaslAsiatr \,lio. Tradilional Mlsrc Thaihrd a.d Caorbodid. Pculislcdkhl.dalainjurnxl lni irlahSusrDdratayaying mcngereDsrh(anb,sl kar.va .,plany!dcnganjudulPiamanDalmlRilnrc:lramdKchidupaDLakitakiDatamKonrposrsi TcnnLsajrkchldiranpenulh-pentrlisdiaks"kaidapalmenrbenkjD,naknar.recndi,i br,q, rcrkcnrbffgrh dunir ilrn pengerrhaun lan scni. Dcwrn rcdnksi E(pl??Z.t/ .trN/ !lxlu mcntrnggtr ungkap.n pikiir p,knandxi Dcmbxca. PI\III\\\RED\KS. INTENDEPENDENS! SENI ARI DAN Ml,sIK rRINCANNYA...u8126 ihal.) SEJARAH DAN PERI(EIIBANGAN OBOE SERIA ItrIPLEiI ENTASINYA 'l ER}IAD,\P TI'jK:'{IK PERMAINAN ,,.12?-140(hal.) BONCOOL (AYU SaBACAI [Il']DlA EXSPRESI KRIYA LOOAM ...I41I49 TDAI'ER TUTUR KUNOUNG'IUPAT JANJANG MENJADI SPIRIT TEATER NIODERT\ ... 150- 162 ihal.) (ON{ODIFIKASI KESENIITN TRADISIONAI \IACANA ESTETII(A POSNIODERN DALAI\I PARI\\'ISAT,\ -.161-174(hal.) SASTRA LISAN LOKAL SEBAGAI PEMBAT\CUN PEN DIDI llAN l\loRAL -.17t133(hall ESTE'I'II<A II!USIK'T/LF'M PONC ,,.I CU DI NACARI LII{BANANO"ND,4NC ... 131_190 (hal.) PERLAWANAN PERT]IIIPUAN DALAM KARYA DU,\ KOREOGRAI-ER: tIARTATI DA\ susAsRlTA LoRAVI{NTI.,, 191-201 PI?.AT TRi\DTTION IN NIAINLAND SOI]'I'HEi\SA ASIAN N TIONS: TRANITIONAI, NIUSIC I\ THAN,.AND AND CAIIIBODIA '" 201' 219(hal,) "PIAIIIA]I DAI,A]I1 RITME" (lrama K€[iduPnn Laki-hki dalad Konposisi lrusik lnor.ti!... 220-2ls PIPAT TRADITION IN MAINLAND SOUTHEAST ASIAN NATIONS: TRADITIONAL MUSIC IN THAILAND AND CAMBODIA Manop Wisuttipat, M.M., Ph.D. Abstract: Pipat tradition would be referred to a type of traditional music which was once court music in Thailand. At present, the tradition is abundantly in practice in central Thailand. The details of Pipat tradition are discussed briefly in different perspectives in order to understand the whole panorama of the present Pipat tradition phenomena. In the post-genocidal war era, Pinpeat still prevails and retains its strength culturally. It can be reflected from widespread, intensive practice of the tradition in ritual or ceremony, as part of Cambodian way of life. The emergence of Donti Puenmuang has a great effect to the court Pinpat tradition in many facets. Keywords: Pipat tradition, strength culturally, the emergence. A. CULTURAL DIMENSIONS musicians may be not proudly recognized in the THAILAND: society, but they are honored among musicians themselves. Some musicians also earn their living Thai culture and Pipat culture share several from other jobs at the same time, their status would common characteristics. Cultural dimensions can be more recognized. The musicians who are be briefed as follow: proficient and well-trained would have a better - Transmission, (teacher-pupil tradition) chance to be appointed in governmental Adult and senior people are always departments. These governmental music officers respected by younger members in society. The are more prestigious than village musicians. pupil must respect and obey their teachers. Once Music teacher in educational institutions of any the new learner is accepted by a master as the level is probably the most preferable profession. disciple, there is a close link and relationship between them. This close tie is a major Cambodia: - The nature and status of musicians phenomena hidden in the process of transmission. Cambodian musicians are not as highly Oral method is the important means of prestigious as some other professions in society. transmission of Pipat culture to the next There are three main statuses of musicianship in generations. Cambodia i.e. a government officer, an employee - Status of musicians in an NGO and a private musician. A musician in The musicians are in different status in the a governmental office would be considered to be a society. There are number of musicians who play virtuoso and would command wider acceptance. music for their living, mostly they are the owner of Musicians who work with NGOs also get wide the ensemble inherited from their ancestors. These 1 recognition, but not as wide as those in system written with Thai alphabets. Western governmental offices, than village musicians who notation is also applied. are recognized only in the community level. Most - Main melody of the village musicians also earn their living with Main melody is now accepted as the other professions. National Artist proclamation is main element of Thai music. The Khong Wong another mean to honor and acknowledge the Yai melody is accepted as the main melody of the virtuosities of the renowned musicians. There are, piece. however, scarce financial contribution from the - Variation government. Variation is another important element in Theoretical Concepts Thai music. In Pipat ensembles, this element is Thailand: played by every melodic instruments in the Pipat culture has long been in Thai society ensemble other than Khong Wong, which for centuries. The principles, theories and concepts maintains the main melody. However, Khong have been crystallized. When music is brought Wong Yai plays variation in solo manner. into educational curriculum, all those theoretical - Rhythmic element concepts have been studied, scrutinized, analyzed Ching and various kinds of drums execute and synthesized systematically rather than orally. this important element. States of “Chan” and the The major issues can be discussed as follow; patterns of drum strokes are strictly rendered. - “Thang” Creation of a new drum pattern seems not to be in “Thang” is probably the most important the interest of traditional musicians. However, basic concept of Thai music. This concept has variations on the traditional patterns for drums been mentioned by many musicians, music strokes are rather admired. scholars and music teachers even they do not - Form understand this concept in the same way. More There are some numbers of new clarifications need to be made. compositions with unconventional forms, but - Pitch name these forms are not in favor for traditional Thai music is now widely notated and musicians and those who love traditional well-documented but does not acquire any native repertoires. The forms are transient. The pitch names. The cipher notation which was once traditional forms and types of music are used is not applicable at present. The pitch consistently in practice e.g. Pleng Napat, Pleng denominations used for Thai music are sol-fa Ruang, Pleng Thao, Pleng Tap. Cambodia: Practically, the Sralai does not play only the main In Pinpeat tradition, transmission has been melody but also make variations for itself. done with few explanations on theoretical and - The concept of “Chaon” – melodic time level or other related issues. There are some phenomena melodic stratum that can be discussed below; Theoretically, Cambodian Pinpeat - Pitch Denomination compositions are designated to a
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