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 system 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 carried 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 democratic 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.

Keywords: Lareh nan bunta; Power; Aesthetics; Talempong basaua; 50 Koto; Minangkabau

How to Cite: Andar Indra Sastra, Wilma Sriwulan, Yon Hendri. (2018). 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), 107-116. doi:http://dx.doi.org/10.15294/harmonia.v18i1.13280

INTRODUCTION This tradition consistently mentions two functionaries of the law, Dt. Parpatiah Nan Lareh Nan Bunta represents the dia- Sabatang and Dt. Katumangguangan, who lectic of a conflict between the ideologies according to legend quarreled about the of two legendary Minangkabau figures, government system to be enforced after namely: Dt. Katumanggungan and Dt. Par- the era of Adityawarman. Their disagree- patiah Nan Sabatang. According to legend, ment led to the establishment of two poli- these two figures were involved in a con- tical and legal systems – systems of leader- flict of ideology, especially after the end ship – namely Kalarasan Kotopiliang headed of Adityawarman’s reign of power (1347- by Dt. Katumangguangan and Kalarasan 1375) in Minangkabau. Christine Dobbin Bodicaniago headed by Dt. Parpatiah (Dob- states that from this time on, the history of bin, 1992). These two sources of law initi- Minangkabau entered into an oral traditi- ated the conflict between the followers of on – known by the local people as tambo. Parpatiah and Katumangguangan, and

 Corresponding author: Jln. Bahder Johan No. 35 Padangpanjang –Sumatra Barat, 27128 E-mail: [email protected]

107 108 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 107-116 each district (nagari) in Luhak Nan Tigo different legal tradition – known as lareh or Minangkabau has since had a tendency to laras. Limo Kaum is the central point for all follow the leadership of one of these two nagari which follow the Kalarasan Bodicania- traditions. V Rifai (2007), as quoted by Ju- go system. Sungai Tarab, meanwhile, is the naidi in Harmonia, states that leadership central point of the rival tradition – Lareh is the process of influencing, motivating, Kotopiliang (Dobbin, 1992) – both of which and improving the behavior of people in are found in Luhak Tanah Data. Mochtar an organization [community] in achieving Naim states that the conflict between these the goals of the group and their culture (Ju- two figures led to a kind of phratry dua- naidi, 2017). lism which up to the present day conti- Politics and law are related to a go- nues to colour all areas of life and culture vernment system, which in turn is oriented in Minangkabau. To the outside, and in all towards the system known as kalarasan (a intents and purposes, the Minangkabau customary government system), and this community is united, but on the inside, its refers back to these two legendary figures. social and cultural system displays dialec- Andar Indra Sastra in Humaniora states that ticism, dichotomy, and bipolarity (Naim, these two figures established the two go- 1983). This bipolarity in the conflict of the vernment systems that were subsequently two different ideologies led to the emer- followed by every district (nagari) in Mi- gence of a third figure, Rajo Babandiang, nangkabau. Dt. Parpatiah Nan Sabatang’s who took the initiative to integrate the two government system was known for its con- conflicting systems to create a third- sys cept of mambusek dari bumi (bursting from tem, known as Lareh Nan Bunta or Lareh the earth), which was more democratic in Nan Panjang. Over the course of time and nature. In this system, decisions were made as a result of the migration of some mem- by a government by process of deliberati- bers of the Minangkabau community, a fu- on. Dt. Parpatiah Nan Sabatang’s govern- sion between the two traditions began to ment system is also commonly referred appear in some nagari. In his dissertation, to as Lareh Bodicaniago (Andar, 2017). Dt. Andar Indra Sastra states that in general, Katumangguangan with his Kalarasan Ko- nagari which purely retain the tradition of topiliang established an autocratic govern- Koto Piliang are more prominent in Luhak ment system which nevertheless retained Tanah Data, while those who purely retain an element of deliberation and discussion. the tradition of Bodi Caniago are found Decisions were only discussed by officials primarily in Luhak Agam. In Luhak 50 at the highest level, while lower officials Koto, meanwhile, there is a combination of and the general public had to accept the re- the two traditions (Sastra, 2015). sults of the decisions made by those higher This ideological conflict has also in- up in rank. This Kalarasan Kotopiliang style fluenced the formation of a musical concept of government is known symbolically as which aesthetically is worth discussing in manitiak dari ateh (dripping down from the more detail. Musically, the significance of top) which means instructions are given this concept can be seen in the music sys- from the highest level (Andar, 2017). In ot- tem that was created, both from bronze her words, the government system of Dt. music (talempong) and from the concept of Katumangguangan was oriented towards vocal music. This new form of talempong the system of a monarchy; and from this music promotes the concept of basaua. The time onward, the two systems that were concept of basaua is a talempong playing based on different ideologies became in- technique which produces different melo- volved in the conflict. dies from those used in the performance of The conflict described between these talempong bararak (played in procession) two figures led to the implementation of and talempong duduak (played while sea- these two systems in every nagari. Accor- ted). ding to Christine Dobbin, each imposes a Numerous studies related to the po- Andar Indra Sastra, Wilma Sriwulan, Yon Hendri, Lareh Nan Bunta: Power Systems ... 109 wer system in Minangkabau have been viewing the informants. The data obtained carried out, amongst others by Christine from the interviews with informants was Dobbin (1992); Muchtar Naim (1983); A.A. divided into two sections, first about the Navis (1986); Taufik Abfullah (1987); and concept of lareh nan bunta in the social Zuryadan Zubir (2010). Their thought con- system of the Luhak 50 Koto community; cepts are used to construct a framework of and second, related to the performance of thought and provide an explanation of the talempong basaua, including: the number of social system – of politics and law – in the players and musical concept of talempong community of Luhak Nan Tigo Minangka- – polong, tongah and tingkah, each holding 2 bau. Meanwhile, studies about talempong (two) talempong. The polong plays talem- from a different perspective have been pong 2 and 4; the tongah plays talempong written by Nadiya Fulzi (2014) and Andar 1 and 3, and the tingkah plays talempong 5 Indra Sastra (2015). The information ob- and 6. tained from these two researchers can be In addition to interviews, documen- used as secondary and comparative data tation was also made through audio-visu- for writing this article. The research results al and visual media. This was needed to related to music as the material object ori- complement the other data and strengthen ginate from the knowledge or thought con- the argumentation that this event really cepts of talempong basaua artists in Luhak is taking place and is in accordance with 50 Koto, Minangkabau. its context. Equally important in connecti- on with the documentation is the re-ena- METHOD ctment of a talempong basaua performance in accordance with its context – for the A qualitative method was chosen for purposes of the analysis. The data analysis this research since it was considered sui- was carried out inductively – in accordance table and relevant for the focus of study. with the nature of the qualitative research. The researcher was the main instrument The researcher constructed an emic way responsible for the collection of data about of thought to provide an explanation. The the material object – talempong basaua in explanation was strengthened with a theo- Luhak 50 Koto (Kabupaten 50 Kota). The retical thought concept – etic – in order to collection of primary data was carried out add to the scientific level of the problem through participant observation, intervie- addressed. wing, and documentation. The primary data obtained through these three models RESULTS AND DISCUSSION of investigation formed the basis of the analysis in accordance with the focus of Lareh Nan Bunta: Adaik Kotopiliang, the research. In addition, secondary data Langgam Bodicaniago was also needed to strengthen the argu- Rajo Babandiang’s system of ka- mentation so that the results of the rese- larasan, known as Lareh Nan Bunta, is a arch could reach a level of credibility that combination of Kalarasan Kotopiliang in its could be accounted for. structure of customary leaders and Kala- Participant observation was the se- rasan Bodicaniago in the implementation cond step and involved watching a live of its government system. This model of performance of talempong basaua in Luhak government, which combines the two sys- 50 Koto, after the writer had first read a va- tems, is referred to with the expression riety of literature and articles related to ta- adaik Kotopiliang, langgam Bodicaniago (cus- lempong basaua in the Luhak 50 Koto com- toms of koto piliang, style of bodicaniago). munity. The information collected along A.A. Navis states that in Luhak Agam, the with the empirical knowledge acquired nagari that follow the two systems are cal- through direct involvement in the perfor- led lareh nan bunta, which literally means mance provided the guidelines for inter- a round district. In Tanah Datar the term 110 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 107-116 used is lareh nan panjang (a long district). wisdom of the Minang people is harmony; The meaning of the words bunta and pan- anything that is dualistic in nature is not jang in this sense can be understood as an resolved through the victory or defeat of expression that has the same meaning (Na- either side; instead both sides must remain vis, 1986). Lareh Nan Bunta and Lareh Nan as themselves – harmony is a paradox in Panjang in the Minangkabau system of lea- peace (Sumardjo, 2010) – existing within dership are the syntheses of the creation two conceptions. However, one thing that of a dialectical balance between Kalarasan escaped Sumardjo’s attention is that this Bodicaniago and Kalarasan Kotopiliang. Lareh paradox produces a third party, in this Nan Bunta or Lareh Nan Panjang in a custo- case Lareh Nan Bunta/Panjang – thus crea- mary expression are described as follows: ting a three-way pattern. Each of the three systems has its own style of architecture Pisang sikalek-kalek utan for the traditional houses, and at the same Pisang tambatu nan bagatah time this acts as a symbol of identity that Bodi caniago inyo bukan distinguishes the three different figures. Koto piliang inyo antah

Tranlatated in English: A type of banana from the forest A type of banana with seeds and sap Bodi caniago he is not Koto piliang he is not either

This customary expression means that their system does not take sides – Figure 2. Concept of a Three-way Pattern: Tali tigo sapilin dan tungku nan tigo sajarangan whether of Kalarasan Bodicaniago or Kala- rasan Kotopiliang – but is a combination of Note: the two. It states that they are neither Bodi- = Conflict caniago nor Kotopiliang (see the explanation above). Both Lareh Nan Bunta and Lareh = Symbol of conflict Nan Panjang show that there is a consensus = Lareh Nan Bunta to epitomize the process of synthesizing as = Middle world an attempt to seek balance – to share power. This balance of power ultimately led = Three-way pattern to the concept of a trilogy in the traditional Information: Minangkabau government system (kala- LBC = Lareh Bodi Caniago rasan), known as tali tigo sapilin-tungku nan LKP = Lareh Koto Piliang tigo sajarangan (literally: “a rope made of LNB = Lareh Nan Bunta three strands, a stove supported by three stones”). All three systems have legal Lareh Nan Bunta/Panjang is a synt- norms which reflect the power of each, and hesis that combines the two traditional are not integrated but exist within three government systems (kalarasan) in a new conceptions. For a clearer picture, see the customary tradition. Nadya Fulzi agrees Figure 2. that the Lareh Nan Bunta system is a combi- The Figure 2 shows that the dialogic nation of Lareh Kotopiliang in the structure or dialectic process that took place between of its customary leaders and Lareh Bodica- Lareh Bodicaniago and Lareh Kotopiliang re- niago in the implementation of its govern- sulted in the formation of Lareh Nan Bun- ment system. The system through which ta/Panjang, which symbolizes the process the customs or traditions of an area are of a synthesis that has created balance or implemented is referred to using the ex- harmony. Yakob Sumardjo states that the pression “Adaik Kotopiliang, Langgam Bodi- Andar Indra Sastra, Wilma Sriwulan, Yon Hendri, Lareh Nan Bunta: Power Systems ... 111 caniago” (Fulzi, 2011). Ibrahim Dt. Sanggo- flict not only brings about division; on the eno Diradjo states that Lareh Kotopiliang is contrary, it is a source of dynamics for characterized by a style of leadership that the community. Zayardam Zubir states is reflected in the philosophy kato surang that conflict holds an important position gadang sagalonyo (with one word alone in developing the dynamics of a culture. everything is decided) (Diradjo, 1986). Conflict not only results in division, on This means that in decision-making, prio- the contrary it is a source for the dynamics rity is given to the person with the highest in the Minangkabau community (Zubir, position, while the task of those in a lower 2010). position is to implement the decisions that The dynamics in the life of the Mi- have been made. nangkabau community are founded on a On the other hand, the implemen- dichotomy of two systems of values which tation of the customs of Lareh Nan Bunto define the behaviour and views of the com- displays the characteristics of Bodicania- munity, both in Lareh Kotopiliang and Lareh go in which democracy, with deliberation Bodicaniago, and from both a traditional and discussion to reach a consensus are perspective and a religious perspective (Is- the methods followed in decision-making, lam). The two systems can sometimes exist and the system is strongly oriented to- side by side but on other occasions there wards the common interests of the people, is a potential for bitter and prolonged con- as reflected in the traditional philosophy: flict in the life of the community. A simple kato surang dibuleki, kato basamo kato mufa- example of this is in the case of marriage, in kat (the word of one person is unanimous, which tradition forbids marriage between the word of many is a consensus). As Na- two people from the same ethnic group or dya Fulzi states, in the traditional system clan (kawin sapasukan), while Islam allows for decision-making in Lareh Nan Bunto, it, with the exception of marriage between every person [leader] has the freedom to a brother and sister or with one’s own mot- express an opinion, regardless of position. her. If this rule is violated, it may lead to A meeting is not allowed to begin if one of conflict in the community. the traditional leaders is not present in the The meaning of conflict is reflected meeting hall (Fulzi, 2011). in the traditional expression: basilang kayu The emergence of Lareh Nan Bunta dalam tungku, di sinan api makonyo hiduik, in a democratic system – or leadership – in which means that cross-disputes or dif- Luhak Nan Tigo Minangkabau has cre- ferences are acknowledged as something ated harmony in the social system of the that are necessary to create conflict in the community. Harmony symbolizes the po- community. Conflict is an integral part of tential for conflict that imagines dynamics a community and is a way to create balan- to be the result of a dichotomy of dualism ce. Balance is transformed into a three-way and bipolarity in the community. Conflict pattern, both in the concept of Minangka- exists because of the difference in values bau culture and also in the concept of the which form the behaviour and knowledge musical aesthetics in the performance of of the people. Taufik Abdullah states that talempong basaua (intertwined). the meaning of conflict is viewed from the dual perspective of traditional and religi- The Concept of Musical Aesthetics in on (Islam). In Minangkabau, the concept Talempong Basaua of conflict is not only recognized but also The creation of music in a commu- developed within the social system itself. nity cannot be separated from a number Conflict is viewed dialectically, as an int- of concepts, in that a concept is a source rinsic element for achieving balance in the of knowledge originating from a world of community (Abdullah, 1987). This means ideas. In order to understand music in the that conflict plays a significant role in -de life of a community – in this case the music veloping the dynamics of a culture. Con- of talempong lagu dendang, we must look 112 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 107-116 at its concept, which is rich in a variety of cific role in accordance with the register of meanings. From these meanings discourse the pitches in the melodic structure of the will then arise about the paradigms of kno- dendang. Conceptually, the three parts are wledge about talempong basaua as a mu- related, each having a different role or aut- sic, both as a culture and also in a cultural hority. Gilles Deleuze states that all con- context. J.O. Ihlau states that a concept is a cepts are joined together through a variety symbol that is given a particular meaning of problems, without which the concepts (conception) for a particular event (object) would be meaningless. A concept has a (John J.O.I. Ihalaw, 2004). Basaua is a sym- sense of becoming which involves relation- bol that is conceived as a form of playing ships with various other concepts situated – performing – talempong using a special on the same plane (Gilles Deleuze & Fellex technique, the basic principle of which can Guattari, 2010). From the perspective of the be compared to the technique of hocketing anthropology of music, Alan. P. Merriam in Western music. states that on the whole, concepts form the The name basaua (intertwining) framework for music that is regulated in comes from the impression of basaua that the community and the framework for the is present in the performance of the melo- people who think about what the music is dy, which at a glance displays similarities and what the music should be (Merriam, with the performance of talempong renjeang 1964). As a concept, polong, tongah and (carried). Apel (1972) states that hocketing tingkah are a musical framework created is a technique which uses the quick and by the community which invented or first continuous alternation of single or groups gave rise to the music with all its unique- of short notes played by a number of diffe- ness. Sandi Gunara (2016) in Harmonia rent sound sources. While one part plays, states that in the practice of this music … the other parts remain silent, so there is there is a unique way that can be learned seldom, or never, a clash of notes [sounds] and inherited so that it does not disappear in this process and the end product is a (Gunara, 2017). perfect melody. The melody referred to As a musical genre, talempong ba- here is a melody produced from the rhyth- saua is closely related to the cultural con- mic vocabulary of dendang (vocal music) cept of the community by which it was that is commonly played in a performance created, namely the community of Luhak of bagurau saluang (a kind of Minangkabau 50 Koto. According to Minangkabau cultu- music played by a traditional wind instru- re, the people of Luhak 50 Koto fall under ment). the control of Lareh Nan Bunta. This con- Talempong basaua is performed by nection is in line with Alan P. Merriam’s three talempong musicians; Nadya Ful- idea that the sound of music as the result zi states that musically each player holds of human behaviour has a specific structu- a pair of talempong, the three pairs being re – separate from the cultural concept of known as polong, tongah and tingkah. The its community (Merriam, 1964: 32). From polong consists of talempong 2 and 4; ton- a sociological perspective, Fabio Dasilva gah consists of talempong 1 and 3, and (1983) in M. Jazuli states that the existen- tingkah consists of talempong 5 and 6. The ce of music in a community in fact shows ensemble also includes a double-headed the social and cultural phenomena or con- drum, or gandang (Nadia Fulzi, 2014). The ditions of the community (Jazuli, 2014). structure of the instrumentation is ideal for What Merriam and Fabio Dasilva are say- developing a composition of talempong ing reinforces the argument that a music basaua music with a rhythmic character, culture – in this case talempong basaua and developing a melody filled with imp- – must be synchronous with the cultural rovisation and dynamic ornamentation. concept that gave birth to the music. Musically – aesthetically – the po- From a musical – or aesthetical – long, tongah, and tingkah each play a spe- perspective, the concept of talempong ba- Andar Indra Sastra, Wilma Sriwulan, Yon Hendri, Lareh Nan Bunta: Power Systems ... 113 saua is different from that of talempong Bunta. The talempong basaua which uses a renjeang. The differences are in the pairing hocketing technique is only found in Lu- of the talempong instruments played by hak 50 Koto Minangkabau. The rhythms each musician (Table 2). of the drum (gandang) in talempong basaua The Figure above explains that mu- make up an essential part of the musical sically, there is a difference in the concept composition, and the main function of the of the talempong pairings between talem- gandang is to provide rhythmic accents and pong basaua and talempong renjeang. This to accompany the melodic line. However, difference is not only related to the musi- the gandang does not have the function of cal or aesthetical principle but also inclu- determining the tempo of the music, since des the form of the music or the talempong this is completely controlled by the talem- melody. Talempong renjeang plays melo- pong players. dies formed from the interlocking rhythms Nadya Fulzi states that the perfor- of the three musicians. Talempong basaua mance of the music begins with the player uses the technique of hocketing to produce who is responsible for playing the first the rhythmic melodies of dendang Minang- note of the melody. The other players then kabau (see photo and notation below). join in, playing their notes in turn to form a melody. This continues, with the musicians taking turns to play their individual notes to create an unbroken melodic line (unless a particular piece requires that there is a break in the melody). In principle, the three players all have the same role, namely to form a melody, but based on a careful audio and visual observation, the talempong that are more dominant in the process of forming the Figure 2. Talempong basaua performance melody are the polong and tongah players, (Photo. Documentation Andar 2017) since the majority of the pieces from the saluang dendang darek repertoire that are The notation of dendang Mudiak played by this ensemble use mainly notes Arau shows that the music is created using 1 to 4. The use of note 5 in the formation of the technique of hocketing amongst the the melody occurs mainly at the beginning three talempong players, who play the of the melodic cycle (though there is an ex- polong (talempong 2 and 4), tongah (ta- ception in Mudiak Arau), and subsequent- lempong 1 and 3), and tingkah (talempong ly, note 5 is used more often to provide a 5 and 6). The three musicians each strike kind of ornamentation (tingkah/garitiak) the talempong to create a sound, in accor- throughout the course of the piece. dance with the course of the dendang me- This indicates that a higher level of lody. Meanwhile, the talempong renjeang skill is required for the polong and tongah – Jantan, Paningkah, and Pangawinan – is players, who must display a high level also played by three musicians using in- of musicality to produce a complete and terlocking techniques. The talempong ba- perfect melody, while at the same time saua with its hocketing technique can be displaying creativity and spontaneity in described as a representation of Lareh Nan

Table 2. Difference in pairing between talempong basaua and talempong renjeang Talempong Basaua Talempong Renjeang Talempong Pair Talempong Pair Polong Tongah Tingkah Jantan Paningkah Pangawinan 2 and 4 1 and 3 5 and 6 1 and 6 3 and 5 2 and 4 114 Harmonia: Journal of Arts Research and Education 18 (1) (2018): 107-116

Figure 3. Notation of Mudiak Arau (Transcription by Nadya Fulzi 2011) developing and interpreting the saluang lempong lagu dendang. dendang darek melody (providing melodic In order to perform a technique kno- interpolations (sisik) or ornaments (bun- wn as basilang, the three talempong players go)) according to the version of talempong each strike their own notes, in turn, accor- lagu dendang, so that the melody created ding to the melodic line that has been cho- is treated in a different way from the ori- sen. In this process, all three players must ginal version. The terms sisik and bungo pay careful attention to be accurate in the describe the types of ornamentations that placement and duration of the notes so as the talempong players create to produce a to define the melodic line rhythmically. more attractive sound. For this reason, it Therefore, in order to apply the basilang is only possible for senior players with a technique properly in talempong lagu den- high level of musicality to exchange roles dang, it is necessary for the players to have with each other in the performance of ta- memorized the melody so that they are fa- Andar Indra Sastra, Wilma Sriwulan, Yon Hendri, Lareh Nan Bunta: Power Systems ... 115 miliar with the order of the notes that they dialectic that led to a conflict of ideologies must play. between two legendary figures in Minang- The problem of timing and accuracy kabau, namely Dt. Katumangguangan and in the striking of every note is an essential Dt. Parpatiah Nan Sabatang. This ideolo- part of the basilang technique. If a note is gical conflict was based on the implemen- played too soon, it will clash with the pre- tation of the two different power systems vious note, and if it is played too late, it by these two figures, in which Dt. Katu- will make the melodic line disjointed. Ta- mangguangan was more autocratic or mo- lempong lagu dendang artists describe this narchy-oriented, leading to the birth of the as donga-mandongakan (listening to each government system known as Lareh Koto- other) or nanti-banantian (waiting for each piliang. On the other hand, the Lareh Bodi- other), which means that the players must caniago system, established by Dt. Parpa- be constantly watching and paying careful tiah Nan Sabatang, was more democratic attention to each other, and control their in nature. Lareh Nan Bunta is a synthesis of emotions while they play in order to cre- the ideological conflict between Parpatiah ate a perfect melody. They compare this and Katumangguangan. Lareh Nan Bunta to a group of people who are discussing a is a combination of Lareh Kotopiliang, in problem. When one person speaks, the ot- terms of the structure of its customary lea- hers remain silent and listen, and only give ders, and Lareh Bodicaniago, in terms of the their answer when the first person has -fi implementation of its government system nished speaking. – which in the Minangkabau tradition is The development of talempong lagu known as the concept of adaik kotopiliang, dendang involves the use of ornamentation langgam bodicaniago. (tingkah/garitiak); Willi Apel describes or- The musical – aesthetical – the con- namentation as follows: cept of talempong basaua is built on the Musical ornamentation originates concept of polong, tongah, and tingkah. from the spontaneity of the players, in This means that each of the three players the way they present, enhance, develop, plays 2 talempong instruments. The po- or vary a written or traditional melody long consists of the talempong pair 2 and through their own technique of improvi- 4; the tongah talempong 1 and 3; and the sation. Melodic figures that are more or tingkah talempong 5 and 6. Talempong ba- less “cliché” or “stereotypical” in nature, saua uses a technique of hocketing to create when altered or added to within the ori- the rhythmic melodies of dendang Minang- ginal notes of the melody, are known as kabau. Talempong renjeang uses the con- ornaments. One form of ornamentation is cept of Jantan, Paningkah, and Pangawinan improvisational ornamentation, which de- – consisting respectively of the talempong pends entirely on the improvisation of the pairs 1 and 6, 3 and 5, and 2 and 4 – also player (Apel, 1972). using three players. The rhythmic patterns In talempong lagu dendang, ornamen- created by the interlocking technique cre- tation is provided by the tingkah player, ates the short melodies that characterize who plays note 5 with a short duration and talempong renjeang Minangkabau (see the a regular rhythmic pattern throughout, to notation for Malin Kailia). In extra-aesthe- accompany the melodic line. This kind of tical terms, the talempong basaua is a rep- ornamentation is known by local musi- resentation of the concept Lareh Nan Bunta cians as tingkah or garitiak. (Naim, 1981)

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