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. KEMENTERIAN PENDIDIKAN DAN KEBUDAYAAN, PROGRAM STUDI MAGISTER PENCIPTAAN DAN PENGKAJIAN SENI, FAKULTAS ILMU BUDAYA, UNIVERSITAS SUMATERA UTARA, Jalan Universitas No. 19, Kampus Universitas Sumatera Utara, Medan, 20155 |
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REPOSITORI TESIS PARA MAGISTER PENCIPTAAN DAN PENGKAJIAN SENI FIB USU
JON KARYA
NIM: 167037005
JUDUL TESIS:
PERKOLONG-KOLONG DALAM UPACARA PERKAWINAN PADA MASYARAKAT KARO: ANALISIS PENYAJIAN, FUNGSI, DAN MAKNA TEKSTUAL
ABSTRACT
This research is entitled "Perkolong-kolong in Marriage Ceremony in Karo Society: Analysis of Performance, Function, and Textual Meanings." Perkolong-kolong means the singer of the Karo tradition. This meaning can develop into a performance. Analysis was carried out on (a) the performance, (b) functions, and (c) textual meanings of the songs sung by perkolong-kolong. This study uses qualitative methods by collecting data through field work, interviews, recording audiovisual data, and as observers involved but limited. The ensemble of accompaniment music in the ceremony is the gendang kibot. (A) The analysis shows that the performance of the perkolong-kolong always follows directions from those who lead the ceremony. In the performance there are seven times singing songs. The four songs are pop Karo and one Karo traditional song is repeated three times. (B) The function of perkolong-kolong at the wedding ceremony is considered very important to the bride and groom, both the bride's family, and all the kinsfolk because the perkolong-kolong can perfect the speech act. (C) This can be seen by analyzing the important meaning of the song which sung by perkolong-kolong both pop songs and traditional songs. Among the very important meanings is the statement of marriage, the agreement agreed to be favored, if united do not divorce, all relatives pray for a new household, hopefully giving birth to boys and girls, hope of goodness in new households, sincerity in accepting conditions, giving advice and congratulations to the two brides' families, congratulations to the bride and groom, singing as an additional speech act, respect for the family spirit, and offering blessings to all relatives.
Keywords: perkolong-kolong, marriage ceremony, performance, function, meaning
| tesis-jonkarya.pdf |
TEGUH PRASETYO WIBOWO
NIM: 157037003
JUDUL TESIS:
ANALISIS STRUKTUR TARI DAN MUSIK IRINGAN SERTA FUNGSI TARI ULA-ULA LEMBEN DALAM KEBUDAYAAN ETNIK TAMIANG DI ACEH
ABSTRACT
This master thesis is entitled “Analysis of the Structure of Dance and Music and the Functions of Ula-ula Lemben in the Tamiang Ethnic Culture in Aceh.” The purpose of this research is to study and obtain research results from three aspects of the Ula-Ula Lemben performance, througout: (a) dance structure, (b) musikal structure (melody and text), and (c) functions in Tamiang ethnic culture in Aceh. To examine these three aspects the author uses a field research method that acts as a participant observer, by conducting interviews, recording data in audiovisual form, and analyzing data. This study also uses qualitative methods by selecting several key informants. To analyze the structure of dance structure theory is used, for the melodic structure we use the weighted scale theory, for vocal musik (text) semiotic theory, and for the function use the theory of functionalism. The results obtained from this study are as follows. (A) The structure of dance is formed by: the motion of prayer, the movement of swinging hands back and forth, the movement of martial arts, the forward movement with the pattern of circular floors, the movement of judging, pedaling movements, and the motion of the cover. This movement has the meaning of self-power in the face of nature. (B) The structure of vocal music (text) is composed by ten poetry stanzas, each stanza is four lines, and each line is a phrase sentence. The contents of the text starting with greetings, continued with the proposal, the theme of strength in love, and the final greeting. (C) The musikal melodic structure consists of: (1) C Major scales with fis extra notes, (2) C basic notes, (3) one octave tone area (200 cent), (4) tone usage distribution is dominated by tones c, (5) the most commonly used intervals are pure prime and major majors; (6) melody formulas are composed of four forms; (7) the cadence patterns tend to end in c notes with the duration of a quarter note or more (8) contours tend to be pendoulus. (D) The use of Ula-ula Lemben is: enlivening the event, welcoming guests or invitations, a means of channeling talents, presenting beauty, and means of learning art. On the other hand its functions are: entertainment, survival and continuity of culture, a symbol of community existence, communication, economy, and community unification.
Key word: structure, dance, musik, text, function
| tesis-teguh-prasetyo-wibowo.pdf |
NIELSON D.R. SIHOMBING
NIM: 157037006
JUDUL TESIS:
ANALISIS STRUKTUR MUSIKAL ENSAMBEL MUSIK TIUP YANG DISAJIKAN PADA UPACARA SAUR MATUA DALAM KONTEKS KEBUDAYAAN BATAK TOBA DI KOTA MEDAN
ABSTRACT
In the thesis entitled Analysis of Musical Structures of Inflatable Music Ensembles Presented at Saur Matua Ceremony in the Context of Toba Batak Culture in Medan City are analytical writings on musical structures contained in the wind music presented at the saur matua ceremony. The purpose of this study was to examine the musical structure of inflatable music presented at the saur matua ceremony in the Toba Batak community in Medan City. This paper will analyze the elements of the structure of wind music both melody, harmony and rhythm in the context of the ceremony of mate saur matua by using the theory function and structure and also put forward by Alan P. Merriam which suggests that to analyze a musical event, it must pay attention to aspects of (a) musical sound, (b ) concepts about music, (c) human behavior related to musical sounds that influence the concept of music. The method used is several ways, namely by way of fieldwork consisting of interviews and observations, laboratory work, and literature studies. The results of the research conducted by the researchers on the music used in the saur matua ceremony in Medan City experienced a shift from what used to use gondang in each ceremony, now using wind music. The songs used in wind music are freer both in terms of melody, harmony, and rhythm.
Keywords: saur matua, wind music, harmony, rhythmic, melody
| tesis-nielson-d-r-sihombing.pdf |
DENATA RAJAGUKGUK
167037001
ANALISIS STRUKTUR DAN FUNGSI GUAL DALAM UPACARA SAYUR MATUA MASYARAKAT SIMALUNGUN DI KECAMATAN RAYA
ABSTRACT
This thesis is titled "Analysis of Structural and Functions of Gual in the Sayur Matua Ceremony of the Simalungun Community in the Raya District." The analysis focused on: (1) the sayur matua ceremony, (2) functions, and (3) the gual structure. This study uses qualitative methods with data collection through field research, interviews, recording audiovisual data, and as a participant observer. To analyze the gual function in the sayur matua ceremony, Merriam's use and function theory was used, plus the functionalism theory of Malinowski. In terms of analyzing the gual structure, it was guided by the weighted scale theory of Malm coupled with the music structure theory of Nettl, Titon, Slobin, and Apel. In analyzing the sayur matua ceremony, ceremonial theory from Sunjata is used. The results obtained from this study are, conceptually for the Simalungun community if someone is already in the sayur matua death status (all of his children are married and succeed in life), then the deceased person is perceived as having succeeded in the life he left behind. The term gual for the people of Simalungun is the composition of music without vocals that carries the melody by sarunei (shawm). Usually the song is carried in two ensembles, namely gonrang sipitu-pitu and gonrang dua.(A) The stages that must be passed or carried out at the sayur matua ceremony: (a) padalan tugah-tugah, (b) riah tongah jabu, (c) tampei porsa, (d) pahata gonrang, (e) mandingguri, (f ) mangoromi, (g) pamasuk hu rumah-rumah, (h) pangiligion, (i) hio parpudi, and (j) paragendaon. (B) The use of gual activity in this ceremony are: (i) to accompany sayur matua traditional ceremonies and (ii) enliven the course of the ceremony, on the other hand the gual function in the sayur matua ceremony is: (a) to validate the ceremony, (b) as a means social integration, (c) as an emotional expression of joy and sadness, (d) as a means of prayer to God, and (e) as a means of entertainment. (C) There are five guals that must be played in the sayur matua ceremony: (1) Guda Huda-huda, (2) Gual Parahot, (3) Gual Sayur Matua, (4) Gual Rambing-Rambing, and (5) Gual Dinggur-dinggur. The structure obtained from gual is as follows: (1) the scales used hexatonic, bes - c - cis - f - g - as, (2) the number of tones is predominantly C tone 43% in the gual parahot, C tone 44% in gual huda-huda, F tone 45% on the gual rambing-rambing, C 47% on sayur matua, C tone 39% on the gual dinggur-dinggur, (3) the basic tone used in all guals is bes, (4) tone area that is, the lowest tone is C and the highest tone is G, (5) the cadence pattern consists of one and two cadence patterns. Those who have two patterns of gual parahot and dinggur-dinggur, while gual sayur matua, gual rambing-rambing, and gual huda-huda have one cadence pattern. (6) the contour at five guals are discending, pendulous, and teracced. (7) The meter used by the five bulls is 4/4, (8) The basic beat rate per minute is found on gual parahot 112, gual huda-huda 57, gual rambing-rambing 55, gual sayur matua 75, and gual dinggur-dinggur 110.
Keywords: function, gual, sayur matua, structure.
| tesis_denata-tertutup.pdf |
AQSA MULIA
167037002
JUDUL KARYA SENI MUSIK:
TAMBANG
INTISARI
Berangkat dari sebuah gagasan atas pengamatan terhadap salah satu peristiwa sosial budaya yaitu “tambang” melalui serangkaian kegiatan ilmiah bertujuan untuk menafsir ulang fenomena tersebut dalam sebuah perlakuan musikal yang akan dikomunikasikan melalui pengorganisasian unsur-unsur bebunyian yang berakar atas unsur resam budaya Melayu. Metode pengkaryaan yang dilakukan adalah dengan melaksanakan beberapa tahapan, yakni pelaksanaan observasi dan pengamatan prilaku budaya tambang, melakukan wawancara, melakukan perekaman data audio visual budaya, dengan terlibat langsung dalam beberapa aktivitas sosial budaya. Data-data lapangan kemudian diolah di laboratorium musik dengan menyeleksi data dan mengorganisasikan data yang bersifat ilmu pengkaryaan musik, dalam konteks lintas disiplin ilmu pengkajian dan penciptaan seni. Untuk mengkaji persoalan dalam pengkaryaan ini digunakan teori instrumentasi, teori etnosain Melayu termasuk menggunakan berbagai rujukan pembicaraan terhadap karya seni musik terdahulu. Hasil yang diperoleh dalam penciptaan karya seni musik ini adalah: menafsir ulang fenomena sosial budaya mendayung Tambang (sampan) dalam bentuk perbuatan karya musik yang utuh berjudul Tambang. Bentuk komposisi musik tambang dibagi dalam tiga bagian utama yaitu: 1) bentuk musik yang mengiterpretasikan bentuk aktivitas pada dimensi waktu pagi hari, 2) bentuk aktifitas siang hari, 3) bentuk aktifitas dimensi sore hari. Bentuk komposisi musik pada dimensi pagi hari adalah kwartet string dengan dengan mengadopsi pola ritem senandung, sistem harmoni diciptakan dengan melakukan pendekatan musik barat, motif lagu-lagu foklore Melayu (resam Melayu) dan menggunakan modus arabes (nahwan, bayati, saba). Bentuk komposisi musik pada bagian dimensi siang hari adalah ansambel perkusi, mengola pola irama ritem senadung dan joget dengan tambahan teknik pola interloking dan pola unisono. Untuk menyiasati penyambungan pada bagian-bagian tertentu digunakan tehnik komposisi sambung rapat. Pada bagian dimensi sore hari bentuk komposisi ditranspormasikan melalui pengabungan kwartet string dengan ansambel perkusi. Kwartet string dan perkusi secara keseluruhan mengadobsi pola ritem zapin, mengunakan modus melodi arbes dengan teknik glisando, morten, aksen, vibrato dan unisono dalam menciptakan resam Melayu sebagai rasa mahakarya yang telah ditinggalkan sebagai warisan budaya Melayu. Untuk menguatkan ilustrasi musikalnya juga dibantu dengan mengunakan konsef intermedia menghadirkan puisi yang termotipasi dari karya Amir Hamzah.
Kata kunci: karya seni musik, penciptaan, resam Melayu, Tambang.
Karya seni ini dapat dilihat tampilan audiovisualnya pada alamat: https://www.youtube.com/watch?v=1lbJSip87K0&t=2384s
AQSA MULIA
167037002
JUDUL KARYA SENI MUSIK:
TAMBANG
INTISARI
Berangkat dari sebuah gagasan atas pengamatan terhadap salah satu peristiwa sosial budaya yaitu “tambang” melalui serangkaian kegiatan ilmiah bertujuan untuk menafsir ulang fenomena tersebut dalam sebuah perlakuan musikal yang akan dikomunikasikan melalui pengorganisasian unsur-unsur bebunyian yang berakar atas unsur resam budaya Melayu. Metode pengkaryaan yang dilakukan adalah dengan melaksanakan beberapa tahapan, yakni pelaksanaan observasi dan pengamatan prilaku budaya tambang, melakukan wawancara, melakukan perekaman data audio visual budaya, dengan terlibat langsung dalam beberapa aktivitas sosial budaya. Data-data lapangan kemudian diolah di laboratorium musik dengan menyeleksi data dan mengorganisasikan data yang bersifat ilmu pengkaryaan musik, dalam konteks lintas disiplin ilmu pengkajian dan penciptaan seni. Untuk mengkaji persoalan dalam pengkaryaan ini digunakan teori instrumentasi, teori etnosain Melayu termasuk menggunakan berbagai rujukan pembicaraan terhadap karya seni musik terdahulu. Hasil yang diperoleh dalam penciptaan karya seni musik ini adalah: menafsir ulang fenomena sosial budaya mendayung Tambang (sampan) dalam bentuk perbuatan karya musik yang utuh berjudul Tambang. Bentuk komposisi musik tambang dibagi dalam tiga bagian utama yaitu: 1) bentuk musik yang mengiterpretasikan bentuk aktivitas pada dimensi waktu pagi hari, 2) bentuk aktifitas siang hari, 3) bentuk aktifitas dimensi sore hari. Bentuk komposisi musik pada dimensi pagi hari adalah kwartet string dengan dengan mengadopsi pola ritem senandung, sistem harmoni diciptakan dengan melakukan pendekatan musik barat, motif lagu-lagu foklore Melayu (resam Melayu) dan menggunakan modus arabes (nahwan, bayati, saba). Bentuk komposisi musik pada bagian dimensi siang hari adalah ansambel perkusi, mengola pola irama ritem senadung dan joget dengan tambahan teknik pola interloking dan pola unisono. Untuk menyiasati penyambungan pada bagian-bagian tertentu digunakan tehnik komposisi sambung rapat. Pada bagian dimensi sore hari bentuk komposisi ditranspormasikan melalui pengabungan kwartet string dengan ansambel perkusi. Kwartet string dan perkusi secara keseluruhan mengadobsi pola ritem zapin, mengunakan modus melodi arbes dengan teknik glisando, morten, aksen, vibrato dan unisono dalam menciptakan resam Melayu sebagai rasa mahakarya yang telah ditinggalkan sebagai warisan budaya Melayu. Untuk menguatkan ilustrasi musikalnya juga dibantu dengan mengunakan konsef intermedia menghadirkan puisi yang termotipasi dari karya Amir Hamzah.
Kata kunci: karya seni musik, penciptaan, resam Melayu, Tambang.
Karya seni ini dapat dilihat tampilan audiovisualnya pada alamat: https://www.youtube.com/watch?v=1lbJSip87K0&t=2384s
| laporan-ilmiah-karyaseni-tambang.pdf |
FITRI EVITA
NIM: 157037007
JUDUL TESIS:
NARASI SIMBOLIK KARYA SENI RUPA TIGA SENIMAN MEDAN
ABSTRACT
The title of this thesis is the Symbolic Narrative work of Three Vrtists visual Art Medan. Context this research is fine art work, that is art of painting, instalation art, and performance art from three artists in Medan who have different cultural backgrounds, that is etnic Karo, Batak Toba and Java Deli (Pujakusuma). This thesis aims to describe how to structure the aesthetics of the art work scrutinized by analizing elementary visual art who personally presented on art work. To gain meaning and narrative on work, required ethnography research of the three artists in researched, and analyzing relation simbols reflection on work by using the theory semiotic Charles Sanders Peirce and semiology Roland Barthes, who developed with the hermeneutik methods Paul Ricouer. To know entanglement the idea artist in his work, required research ethnography on these three artist who researched. So on works third artist who analyzed found
narrations like of the happen, paradoks idea, the story of mitology, legend, social criticism, and good avice. Finally, can be seen on the works of the fine arts subjects there are values life, includes: narrative culture spiritual, religious, the ideology of the political and power, as well as narrative tradition versus modernity, local versus global and economic value, value of humanity, brotherhood and harmony.
Keywords: narration, symbols, aesthetics, culture and values
NIM: 157037007
JUDUL TESIS:
NARASI SIMBOLIK KARYA SENI RUPA TIGA SENIMAN MEDAN
ABSTRACT
The title of this thesis is the Symbolic Narrative work of Three Vrtists visual Art Medan. Context this research is fine art work, that is art of painting, instalation art, and performance art from three artists in Medan who have different cultural backgrounds, that is etnic Karo, Batak Toba and Java Deli (Pujakusuma). This thesis aims to describe how to structure the aesthetics of the art work scrutinized by analizing elementary visual art who personally presented on art work. To gain meaning and narrative on work, required ethnography research of the three artists in researched, and analyzing relation simbols reflection on work by using the theory semiotic Charles Sanders Peirce and semiology Roland Barthes, who developed with the hermeneutik methods Paul Ricouer. To know entanglement the idea artist in his work, required research ethnography on these three artist who researched. So on works third artist who analyzed found
narrations like of the happen, paradoks idea, the story of mitology, legend, social criticism, and good avice. Finally, can be seen on the works of the fine arts subjects there are values life, includes: narrative culture spiritual, religious, the ideology of the political and power, as well as narrative tradition versus modernity, local versus global and economic value, value of humanity, brotherhood and harmony.
Keywords: narration, symbols, aesthetics, culture and values
| tesis-fitri-evita.pdf |
MUTIARA EFENDI NASUTION
NIM: 157037001
JUDUL TESIS:
ANALISIS STRUKTUR TEKS, MAKNA DAN MELODI ONANG-ONANG PADA ADAT PERKAWINAN MANDAILING DI PANYABUNGAN
ABSTRACT
This study is intended to evaluate, and acknowledge the existence of onangonang as a happiness song of the narrative singing of the panortor in the area Panyabungan Kabupaten Mandaling Natal (Panyabungan, Kota siantar, Hulu Pungkut and Desa Habincaran) of North Sumatra. To investigate the conceptual description of the Mandailing community in terms of its existence, singing concept, socialization process, and matters related to the ethnomusicological aspects, an analysis of the lyrics of the songs and the music is carried out. The research is conducted using multidisciplinary approach in order to achieve authentic clarity on the existence of onang-onang in the daily life of Mandailing community, especially among the paronang-onang. To reveal problem in this research, the qualitative method is used by means of multidisciplinary approach in which the emphasis is focused on semiotic and ethnomusicological approaches supported by other sciences. Method of investigation is classified into preparation; implementation; and report writing by watching, observing, and recording onang-onang orall, and visually, interview and analytical activities on the lyrics and the structural aspects of the musical melody were carried out. The research results showed that onang-onang is a hata andung reflecting theexperience and life of the panortor and the community where this song lived. This fact was evidently revealed through the lyrics and the musical melodious flow, in which the singer described panortor's life, ideals, expectations, and social situation of the culture where he belonged. This lyric is created spontaneously using metaphorical language in structural and semiotic approaches. In ethnomusicological manner, the arrangement of the lyrics and the song is done using euphonic technique (a technique used to beautify the sound by adding and reducing syllables), syllabic (one note for each syllable addition and reduction), This is arranged in the form of musical melody in tethratonic (four notes) melody which was repeated over and over again however the next material tended to be always new (strophic). Thus, it can be concluded that this song emphasized more on the lyrics than on the music (logogenic).
Keywords: onang-onang, siriaon, text, euphonic, strophic, and logogenic.
| tesis-mutiara-efendi-nasution.pdf |
AFRI DELIANSYAH
NIM: 137037006
JUDUL TESIS:
LOGO SEBAGAI TANDA; ANALISIS MAKNA BENTUK DAN PERANAN WARNA PADA HASIL CIPTAAN PARA MAHASISWA POLIMEDIA
ABTRACT
This thesis titled Logo as a sign: Meaning Analysis of Form and Color Role In Creation Results The Student Polimedia. Theoretically driven sense of desire to understand the meaning of symbols and colors that produce communications role a sign of local wisdom North Sumatra as a material for making the logo on the work of students Polimedia PSDD Medan. It is interesting to be studied through the disciplines of graphic design and technology based on local wisdom, given the lack of student knowledge about the cultures, philosophy aesthetic and cultural anthropology. With basic courses that are vocation, diseharusnya students are able to create an applied art products with charges of local wisdom as an enticement to compete in international markets.Therefore, this thesis attempts to explain the process the concept of line, shape, form, volume, color, texture, and lighting by reference to the aesthetics and the local knowledge of North Sumatra that can be classified into three types, namely design with loads of traditional, modern, and contemporary. This study uses qualitative descriptive method and analyzed through pendekatnan science of semiotics, and the disciplines of art plus science imu-aids (auxilary disciplines) such as: cultural sciences, anthropology, aesthetics, psychology, and others. in order communicate of expression of the identity of a mark on the logo through the meaning of shapes and colors created role. Accomplishment research logo as a sign, can reinforce, markers generated from textual objects that are tangibly a symbol and a marker of conception typo (text) and color abstraction that is a symbol. If the meaning of the form (textual) coupled with the role of color (conceptual) will produce a logo, and the logo is an indication. The logo creation can not be separated from that category of logo, logotype, Logograms, and combination typo and gram. Logograms and separate type and logotype and blend gram. Typographic Logo, Logo gramgraphic, Logograms transform typo, Logotypo transform gram. Meaning the shape and role of color presented by students Polimedia PSDD Terrain in the logo is a sign of local wisdom North Sumatra as a means of communication and identity on the international market.
Keywords: logo, mark, shape, color, and culture
NIM: 137037006
JUDUL TESIS:
LOGO SEBAGAI TANDA; ANALISIS MAKNA BENTUK DAN PERANAN WARNA PADA HASIL CIPTAAN PARA MAHASISWA POLIMEDIA
ABTRACT
This thesis titled Logo as a sign: Meaning Analysis of Form and Color Role In Creation Results The Student Polimedia. Theoretically driven sense of desire to understand the meaning of symbols and colors that produce communications role a sign of local wisdom North Sumatra as a material for making the logo on the work of students Polimedia PSDD Medan. It is interesting to be studied through the disciplines of graphic design and technology based on local wisdom, given the lack of student knowledge about the cultures, philosophy aesthetic and cultural anthropology. With basic courses that are vocation, diseharusnya students are able to create an applied art products with charges of local wisdom as an enticement to compete in international markets.Therefore, this thesis attempts to explain the process the concept of line, shape, form, volume, color, texture, and lighting by reference to the aesthetics and the local knowledge of North Sumatra that can be classified into three types, namely design with loads of traditional, modern, and contemporary. This study uses qualitative descriptive method and analyzed through pendekatnan science of semiotics, and the disciplines of art plus science imu-aids (auxilary disciplines) such as: cultural sciences, anthropology, aesthetics, psychology, and others. in order communicate of expression of the identity of a mark on the logo through the meaning of shapes and colors created role. Accomplishment research logo as a sign, can reinforce, markers generated from textual objects that are tangibly a symbol and a marker of conception typo (text) and color abstraction that is a symbol. If the meaning of the form (textual) coupled with the role of color (conceptual) will produce a logo, and the logo is an indication. The logo creation can not be separated from that category of logo, logotype, Logograms, and combination typo and gram. Logograms and separate type and logotype and blend gram. Typographic Logo, Logo gramgraphic, Logograms transform typo, Logotypo transform gram. Meaning the shape and role of color presented by students Polimedia PSDD Terrain in the logo is a sign of local wisdom North Sumatra as a means of communication and identity on the international market.
Keywords: logo, mark, shape, color, and culture
| tesis-afrideliansyah.pdf |
USAHA GINTING
NIM: 107037003
JUDUL TESIS:
KATONENG-KATONENG PADA UPACARA CAWIR METUA DALAM BUDAYA KARO:
KAJIAN FUNGSI, STRUKTUR MELODI, DAN MAKNA TEKSTUAL
ABSTRACT
This magister thesis entitled Katoneng-Katoneng in Cawir Metua Ceremony at Karonese Culture: Analysis of Function, Music Structure, and Textual Meaning. The aims of this research are analyze and reach the goal about three aspect of katoneng-katoneng (Karonese traditional ceremony song genre): (a) uses and functions, (b) melodic musical structure; and (c) the meaning of song text. To analyze the three aspects in katoneng-ketoneng I uses field works metodhs, as a participant observer, interview works, and recording data in the audiovisual formats. This research project also use qualitative method, which choose the key informant (as traditional Karonese singer called in Karo terminology perkolong-kolong) Siti Aminah (Sumpit) br Ginting. To study about katoneng-katoneng functions in Karo cultural generally or specially in cawir metua ceremony (“grand” die ceremony), I use functionalism theory both in cultural anthropology and ethnomusicology disciplines. Then, to analyze musical structure in the focus for melody aspect which singing by Sumpit br Ginting, I use weighted scale theory. After that, to studied the meaning of katoneng-katoneng, I use semiotic theory which based on both emic and ethic approaches. In this research discover some scientific results as follows. Generally, katoneng-katoneng use in the context of mengket rumah mbaru (coming to the new house ceremony in Karonese culture), pesta tahun (yearly fiesta), and cawir metua (“grand “ die ceremony). These three contexs link to the thanks expression to the God with Her blessing. Especially in cawir metua ceremony, this songs functioned as: honorably to ancestor which die; thanks to the God about die as the complete human; ritual legitimation; emotional expression; continuity of culture; and social integration. Then the melodic structure of katoneng-katoneng is using scales hexatonic (six-tone), using prime perfect intervals until major sixth, it’s ambitus in one octave, and strophic melodic formulas. Textual meanings contained in katoneng-katoneng is stressed to counsel and consolation to the raccoon rakut sitelu to sukut (host) and gratitude at implementation of the party, with the use of diction and style language that is motivated by concepts of culture Karo.
Keywords: katoneng-katoneng, cawir metua, function, structure of music, textual meaning.
Advisors: Muhammad Takari, Ph.D. dan Irwansyah, M.A.
| tesis-usaha-gintings.pdf |
WIWIN SYAHPUTRA NASUTION
NIM: 107037004
JUDUL TESIS:
MUNAJAT DALAM TAREKAT NAQSYABANDIAH BABUSSALAM LANGKAT:
KAJIAN TERHADAP FUNGSI, MAKNA TEKS, DAN STRUKTUR MELODI
ABSTRACT
This study focused on the analysis of form, function and meaning Munajat as ideology and the media in keeping the congregation Naqsyabandiah lineage in the village of Padang Tualang Besilam Langkat District, North Sumatra Province. The study was conducted to provide a thorough understanding of the role of the congregation chanting Munajat Naqsyabandiah used as a sign of the entry of Fajr prayers, Maqhrib and Friday prayers. As the creator and the civilizing traditions of chanting Munajat reading this is the first master teacher who is also the founder of the Order of Naqsyabandiah in the village of Sheikh Abdul Wahab Babussalam Rokan Khalidy Naqsyabandy. The approach used in this study is an interdisciplinary approach to qualitative research methods to describe and transcribe humming Munajat conducted research location. Some of the theories used in support of this research include functionalism theory, ethnomusicology theory, the theory of semiotics, the theory Tringulasi, Theory of Weighted Scale (weight scales), atqakum theory, the theory takmilah. Data collected through library, research, observation, interview and documentation. Once the analysis is done, it was found that the congregation Naqsyabandiah Munajat in its important role as a tool to maintain cultural continuity and the reinforcement of the integrity of the congregation Naqsyabandiah Babussalam. Munajat also has a function as a means of education, manners and keep the congregation Naqsyabandiah pedigree. Analysis of the meaning of the text with semiotic theory approach has been found that in addition to poetry Munajat text associated with the concepts of the concept of the sign, it also has elements of traditional Malay elements like prose poems, rhymes, seloka, or couplets. When viewed from the meaning of the Munajat activity is as a manifestation of devotion to God. Munajat has 44 (forty four) stanza poem in its presentation using Malay ornamentation such as patah lagu, cengkok, and gerenek. Maqom used in this Munajat is Shika maqom use pattern. Munajat contained in this order priority to serving text (logogenik) is the primary means of communication is verbal. In practice, Munajat always begins with a beating over the past ten to fifteen minutes by hitting the inside of the nakus section and ends with beating out the total number of prayers to be implemented. Further readings will be held on Munajat's tallest tower at madrasah Babussalam until it was time to worship azan prayers.
Keywords: Munajat, The essence of Tauhid, Tarekat, Lineage, function, meaning and music analysis.
Advisors: Dr. Muhizar Muchtar and Muhammad Takari, Ph.D.
NIM: 107037004
JUDUL TESIS:
MUNAJAT DALAM TAREKAT NAQSYABANDIAH BABUSSALAM LANGKAT:
KAJIAN TERHADAP FUNGSI, MAKNA TEKS, DAN STRUKTUR MELODI
ABSTRACT
This study focused on the analysis of form, function and meaning Munajat as ideology and the media in keeping the congregation Naqsyabandiah lineage in the village of Padang Tualang Besilam Langkat District, North Sumatra Province. The study was conducted to provide a thorough understanding of the role of the congregation chanting Munajat Naqsyabandiah used as a sign of the entry of Fajr prayers, Maqhrib and Friday prayers. As the creator and the civilizing traditions of chanting Munajat reading this is the first master teacher who is also the founder of the Order of Naqsyabandiah in the village of Sheikh Abdul Wahab Babussalam Rokan Khalidy Naqsyabandy. The approach used in this study is an interdisciplinary approach to qualitative research methods to describe and transcribe humming Munajat conducted research location. Some of the theories used in support of this research include functionalism theory, ethnomusicology theory, the theory of semiotics, the theory Tringulasi, Theory of Weighted Scale (weight scales), atqakum theory, the theory takmilah. Data collected through library, research, observation, interview and documentation. Once the analysis is done, it was found that the congregation Naqsyabandiah Munajat in its important role as a tool to maintain cultural continuity and the reinforcement of the integrity of the congregation Naqsyabandiah Babussalam. Munajat also has a function as a means of education, manners and keep the congregation Naqsyabandiah pedigree. Analysis of the meaning of the text with semiotic theory approach has been found that in addition to poetry Munajat text associated with the concepts of the concept of the sign, it also has elements of traditional Malay elements like prose poems, rhymes, seloka, or couplets. When viewed from the meaning of the Munajat activity is as a manifestation of devotion to God. Munajat has 44 (forty four) stanza poem in its presentation using Malay ornamentation such as patah lagu, cengkok, and gerenek. Maqom used in this Munajat is Shika maqom use pattern. Munajat contained in this order priority to serving text (logogenik) is the primary means of communication is verbal. In practice, Munajat always begins with a beating over the past ten to fifteen minutes by hitting the inside of the nakus section and ends with beating out the total number of prayers to be implemented. Further readings will be held on Munajat's tallest tower at madrasah Babussalam until it was time to worship azan prayers.
Keywords: Munajat, The essence of Tauhid, Tarekat, Lineage, function, meaning and music analysis.
Advisors: Dr. Muhizar Muchtar and Muhammad Takari, Ph.D.
| tesiswiwinsyah.pdf |
JAMAL KARO-KARO
NIM: 107037001
JUDUL TESIS:
ANALISIS PERAN KETENG-KETENG DALAM ENSAMBEL GENDANG TELU SENDALANEN
SEBAGAI MEDIA DALAM KONTEKS UPACARA ERPANGIR KU LAU DI DESA KUTA MBELIN,
KECAMATAN LAU BELENG, KABUPATEN KARO
ABSTRAK
Penelitian ini fokus pada analisis peran keteng-keteng dalam konteks ansambel gendang telu sendalanen sebagai media dalam upacara erpangir kulau di desa Kuta Mbelin Kecamatan Lau Baleng Kabupaten Karo, Provinsi Sumatera Utara. Kajian ini dilakukan untuk memberikan pemahaman menyeluruh tentang peranan alat musik keteng-keteng dalam ensambel gendang telu sendalanen yang digunakan sebagai media dalam pelaksanaan kerja erpangir ku lau pada etnik Karo, dimana erpangir ku lau merupakan salah satu tradisi berpangir ke air mengalir yang diyakini dapat membersihkan diri, membuang sial, mengobati penyakit, dan mendatangkan rezeki yang dipandu oleh guru. Pendekatan yang digunakan dalam penelitian ini adalah pendekatan interdisiplin dengan metode penelitian kualitatif dengan mendeskripsikan kondisi pelaksanaan di lokasi penelitian. Beberapa teori yang digunakan dalam mendukung penelitian ini di antaranya teori fungsional, teori ritual, teori semiotika, dan teori difusi kebudayaan. Data-data dikumpulkan melalui, studi pustaka, observasi, wawancara, dan dokumentasi. Setelah analisis dilakukan, ditemukan hasil bahwa alat musik keteng-keteng dalam ensambel gendang telu sendalanen memiliki peran yang sangat penting sebagai pembawa ritme. Peranan keteng-keteng lebih dominan pada saat memainkan gendang perseluken, peranan irama yang kian cepat akan berpengaruh dalam proses terjadinya seluk pada guru yang merupakan pemimpin dalam pelaksanaan upacara tersebut. Dalam pelaksanaan ergendang, musik diawali dengan tempo lambat. memainkan lagu mari-mari, yang artinya kemari. Lagu ini biasa dimainkan untuk memanggl roh-roh yang ada di sekitar tempat tersebut. Kemudian pada saat memainkan lagu pesuluken, sekitar 25 menit kemudian guru mengalami kesurupan (trance), kemudian pihak sukut berkomunikasi dengan roh-roh melalui tubuh guru. Mereka mengucap syukur atas kesembuhan dari penyakit dan menanyakan berbagai hal mengenai langkah-langkah atau rencana yang akan dilakukan pada masa-masa yang akan datang. Pembelajaran alat musik tradisional keteng-keteng sebagaimana dengan pembelajaran alat musik tradisional lainnya, dilakukan secara lisan oleh orang yang telah terampil memainkan salah satu alat musik ke generasi berikutnya yang berkeinginan. Demikian halnya dengan alat musik keteng-keteng dilakukan secara lisan dari satu generasi ke generasi berikutnya. Selain belajar langsung dengan guru, sebagian masyarakat Karo juga ada yang mempelajari alat musik tradisional keteng-keteng secara mandiri (otodidak) dengan cara mendengar rekaman, kemudian memainkannya.
Kata kunci: Keteng-keteng, gendang telu sendalanan, fungsi, media.
Advisors: Muhammad Takari, Ph.D. and Dr. Asmyta Surbakti
| tesisjamalkarokaro.pdf |
ANDRY PERMANA BARUS
127037004
JUDUL TESIS:
PEMBELAJARAN PRAKTIK INSTRUMEN GITAR KURIKULUM ABRSM DASAR I DI CHANDRA KUSUMA SCHOOL:
KAJIAN TERHADAP MASALAH DAN SOLUSINYA
ABSTRAK
Penulis mengambil tiga buah lagu (pieces) yang berjudul Here There, and Everywhere, Ode to Joy, dan Nel Cor Piu Non Mi Sento dengan transkripsi notasi balok, yang diambil dari kurikulum ABRSM untuk kepentingan pembelajaran dan ujian pelajar praktik instrumen gitar dasar I di sekolah Chandra Kusuma School. Kemudian lagu tersebut diaplikasikan dalam proses pembelajaran dengan teknik-teknik yang terdapat pada tangan kanan dan tangan kiri kemudian memberikan sebuah solusi yang berbentuk bahan latihan siswa untuk mempelajari ketiga lagu yang dipilih sebegai proses dan ujian siswa. Dalam hal ini penulis akan menggunakan teknik membaca movable do dan fixed do untuk mendukung proses pembelajaran instrumen gitar yang menjadi bahan ajar guru melalui sistem untuk melatih siswa-siswi sebelum mengaplikasikan teknik penjarian tangan kanan dan tangan kiri pada sebuah lagu yang terdapat pada buku panduan yang telah dipilih seorang siswa untuk sebuah ujian dan proses pembelajaran instrumen gitar klasik. Kemudian setelah menganalisis buku panduan melalui penerapan kedua teknik tangan kanan dan tangan kiri pada pembelajaran instrumen gitar klasik di Sekolah Chandra Kusuma School, penulis akan menuliskan sebuah solusi pelatihan dari sebuah permasalahan yang terdapat pada buku panduan serta memberikan latihan maupun contoh-contoh untuk mempelajari kesulitan dalam pembelajaran instrumen gitar yang terdapat dalam buku panduan kurikulum ABRSM dengan memilih teknik membaca mana yang lebih tepat pada pembelajaran gitar terhadap ketiga buah lagu. Kemudian penulis juga menggunakan kedua teknik membaca movable do dan fixed do, untuk pencapaian sebuah interpretasi maupun pengenalan sebuah lagu yang dilakukan seorang guru melalui solmisasi. Semua permasalahan penelitian ini dilakukan penulis melalui penulisan trankripsi atau notasi balok, yang diambil dari buku panduan kurikulum ABRSM great I, Adapun pokok permasalahan atau pertanyaan dalam penelitian ini adalah: bagaimana praktik pembelajaran gitar pada tiga buah lagu yang terdapat pada buku panduan Kurikulum ABRSM di Chandra Kusuma School? Masalah seperti apa yang ditemukan dan bagaimana solusinya ketika siswa mempelajari instrumen gitar Chandra Kusuma School?
AdvisorsL Muhammad Takari, Ph.D. and Heristina Dewi, M.Pd.
| tesis-andry-barus.pdf |
:
SANNUR D.F. SINAGA
097037013
JUDUL TESIS:
TORTOR DALAM PESTA HORJA PADA KEHIDUPAN MASYARAKAT BATAK TOBA:
SUATU KAJIAN STRUKTUR DAN MAKNA
ABSTRACT
This research discusses about Tortor in Horja ceremony for Batak Toba’s society. How the Tortor presented in Horja ceremony, and what is it mean and the floor’s pattern? Tortor is a dancing that is moving all body with Gondang Sabangunan music and it is central moving from feet, hand, fingers, feet palm, back and shoulder. Tortor has spirit of togetherness, brotherhood, or solidarity principles to common interest. Tortor is about custom ceremony, ritual ceremony and also entertainment amusement. In this research, researcher focused for Horja ceremony in Rahut Bosi village, Pangaribuan, North Tapanuli. Tortor is danced equal with the status of Dalihan Na Tolu. From it is moving we will know who is hula-hula, dongan tubu and also boru. Tortor from Batak Toba’s society are still coherent in their life wherever they live. The activity of manortor is dancing in every activity in Batak Toba’s custom society life. Though, the using of Tortor has many growth after christian’s, but the basic motif of Tortor dancing is still pure, even though the context has changed the limits that is equivalent with the Christian’s religion. The presented of Tortor that are the basic dancing, danscript of Tortor dancing, the floor’s pattern and also the clothes are focuses of discussed by researcher about the Tortor in Horja ceremony.
Keywords: Tortor, Horja, Batak Toba, Gondang Sabangunan, Dalihan na tolu, hula-hula, dongan tubu, boru Universitas.
Advisors: Rithaony, M.A. and Yusnizar Heniwaty, M.Hum., Ph.D.
SANNUR D.F. SINAGA
097037013
JUDUL TESIS:
TORTOR DALAM PESTA HORJA PADA KEHIDUPAN MASYARAKAT BATAK TOBA:
SUATU KAJIAN STRUKTUR DAN MAKNA
ABSTRACT
This research discusses about Tortor in Horja ceremony for Batak Toba’s society. How the Tortor presented in Horja ceremony, and what is it mean and the floor’s pattern? Tortor is a dancing that is moving all body with Gondang Sabangunan music and it is central moving from feet, hand, fingers, feet palm, back and shoulder. Tortor has spirit of togetherness, brotherhood, or solidarity principles to common interest. Tortor is about custom ceremony, ritual ceremony and also entertainment amusement. In this research, researcher focused for Horja ceremony in Rahut Bosi village, Pangaribuan, North Tapanuli. Tortor is danced equal with the status of Dalihan Na Tolu. From it is moving we will know who is hula-hula, dongan tubu and also boru. Tortor from Batak Toba’s society are still coherent in their life wherever they live. The activity of manortor is dancing in every activity in Batak Toba’s custom society life. Though, the using of Tortor has many growth after christian’s, but the basic motif of Tortor dancing is still pure, even though the context has changed the limits that is equivalent with the Christian’s religion. The presented of Tortor that are the basic dancing, danscript of Tortor dancing, the floor’s pattern and also the clothes are focuses of discussed by researcher about the Tortor in Horja ceremony.
Keywords: Tortor, Horja, Batak Toba, Gondang Sabangunan, Dalihan na tolu, hula-hula, dongan tubu, boru Universitas.
Advisors: Rithaony, M.A. and Yusnizar Heniwaty, M.Hum., Ph.D.
| tesis-sanur-sinaga.pdf |
ADE HERDIJAT
107037002
JUDUL TESIS:
GENJRING BONYOK DAN TARDUG DI SUBANG JAWA BARAT:
KAJIAN KONTINUITAS, PERUBAHAN, DAN STRUKTUR PERTUNJUKAN
ABSTRACT
This research aim to analyze of genjring bonyok and tardug continuities, changes, and performing structure, in Sundanese ethnic cultural in West Java. To analyze of these two art genres I use continuities and changes theory. In the other hand, to analyze the performing art structure I use semiotic and weighted scale theories. Then, I use qualitative research in this study, based on field work method. The tardug (genjring bonyok) art, exist in 2000-s. Before this art developing in the Subang society, they have some arts, which parts of continuities and changes of them. This arts genre are: genjring sholawat, rudat, adem ayem, and genjring bonyok. When viewed from the aspects of development that include forms of presentation, art materials, tools, community support, and future growth, arts that seems to have a relationship historically. Art genjring gederan known since 1960, have similarities in terms of the use of instruments and techniques of the art rudat wasps. Both types of art does not have pitched instrument that plays the melody. Then after entering instrument tarompet, around 1969 as a carrier melodic songs, this art is known as genjring bruised. Not long after kawih elements come around 1987. In line with the wishes of the market, the next development, the songs in the arts genjring bruised dominated by songs dangdut style. But still limited to traditional dangdutan songs, which can be accompanied by musical instruments that exist as well as the technical ability kawih vocal interpreter. With the increasing demand of modern dangdut songs were applying diatonic scales, to accompany the songs needed musical instruments and singers in diatonic scales that can chant. Then in 2000 the guitar's entry into the art tardug. The structure of the show is to do with the opening stages, content, and closing. The structure of the melody based on the pentatonic Sundanese system and then developing into diatonic.
Key words: continuity, change, genjring bonyok, tardug, dangdut.
Advisors: Muhammad Takari, Ph.D. and Dr. Budi Agustono
107037002
JUDUL TESIS:
GENJRING BONYOK DAN TARDUG DI SUBANG JAWA BARAT:
KAJIAN KONTINUITAS, PERUBAHAN, DAN STRUKTUR PERTUNJUKAN
ABSTRACT
This research aim to analyze of genjring bonyok and tardug continuities, changes, and performing structure, in Sundanese ethnic cultural in West Java. To analyze of these two art genres I use continuities and changes theory. In the other hand, to analyze the performing art structure I use semiotic and weighted scale theories. Then, I use qualitative research in this study, based on field work method. The tardug (genjring bonyok) art, exist in 2000-s. Before this art developing in the Subang society, they have some arts, which parts of continuities and changes of them. This arts genre are: genjring sholawat, rudat, adem ayem, and genjring bonyok. When viewed from the aspects of development that include forms of presentation, art materials, tools, community support, and future growth, arts that seems to have a relationship historically. Art genjring gederan known since 1960, have similarities in terms of the use of instruments and techniques of the art rudat wasps. Both types of art does not have pitched instrument that plays the melody. Then after entering instrument tarompet, around 1969 as a carrier melodic songs, this art is known as genjring bruised. Not long after kawih elements come around 1987. In line with the wishes of the market, the next development, the songs in the arts genjring bruised dominated by songs dangdut style. But still limited to traditional dangdutan songs, which can be accompanied by musical instruments that exist as well as the technical ability kawih vocal interpreter. With the increasing demand of modern dangdut songs were applying diatonic scales, to accompany the songs needed musical instruments and singers in diatonic scales that can chant. Then in 2000 the guitar's entry into the art tardug. The structure of the show is to do with the opening stages, content, and closing. The structure of the melody based on the pentatonic Sundanese system and then developing into diatonic.
Key words: continuity, change, genjring bonyok, tardug, dangdut.
Advisors: Muhammad Takari, Ph.D. and Dr. Budi Agustono
| tesis-adeherdiyat.pdf |
SOPIAN LOREN SINAGA
117037004
JUDUL TESIS:
PENERAPAN PEMBELAJARAN PRAKTIK BIOLA MELALUI TIGA BUKU KARYA HARFURG,
SUZUKI, DAN ABRSM PADA TINGKATAN PRADASAR DAN DASAR I DI CHANDRA KUSUMA SCHOOL
Abstrak
Perkembangan musik Barat sangat meluas di Indonesia banyaknya peminat dalam mempelajari instrumen musik, menjadikan sekolah dan instansi maupun lembaga musik menjadi sebuah wadah untuk pembelajaran musik terhadap seorang anak sampai pada orang dewasa. Sekolah dan instansi musik yang berdiri di Indonesia lebih kepada sebuah praktik instrumen musik, salah satu instrumen
yang dipelajari pada sekolah dan instansi musik adalah biola. Proses mempelajari instrumen biola Sebagian sekolah, instansi atau lembaga musik sering sekali menggunakan kurikulum dan sebuah metode dalam bentuk buku panduan seperti Suzuki Violin, A Tune A Day, kurikulum ABRSM, buku paduan inilah yang menjadikan interaksi antara guru dan murid dalam proses belajar-mengajar pada instrumen musik yaitu biola. Namun Permasalahan yang ada, pemilihan bahan untuk pembelajaran instrumen biola yang dipilih guru terkadang tidak begitu baik terhadap pembelajaran biola yang dilakukan terhadap peserta didik karena kurangnya konsep edukasi terhadap guru dan metode pengajaran. Selain buku panduan untuk pembelajaran biola, terdapat juga sebuah kurikulum ABRSM yang sebagian instansi menggunakannya untuk ujian internasional yang ada di Indonesia. Melalui permasalahan ini penulis ingin meneliti penerapan buku A Tune A Day, Suzuki Violin, dan buku ABRSM di sekolah Candra Kusuma School dalam bentuk proses belajar-mengajar praktik instrumen biola. Kemudian meneliti guru mengajarkan ketiga buku panduan kepada peserta didik, melalui teknik permaianan biola pada tangan kanan seperti tehnik gesekan legato, staccato, dan detache dan tangan kiri pada penjarian 1 (satu) sampai penjarian 4 (empat), posisi jari dan bentuk jari serta permasalahan penjarian lainnya. Ketiga buku panduan yang menjadi bahan penelitian penulis untuk melihat kepentingan dan mengatasi permasalahan-permasalahan pada pembelajaran instrumen biola. Teori yang dipakai penulis untuk kepentingan praktik instrumen biola adalah teori musik barat untuk kepentingan proses pembelajaran biola yang diterapkan pada peserta didik diSekolah Candra Kusuma School dan instansi musik Ipac.
Kata kunci: pembelajaran, biola, dan teknik biola.
Advisors: Muhammad Takari, Ph.D. dan Heristina Dewi, M.Pd.
117037004
JUDUL TESIS:
PENERAPAN PEMBELAJARAN PRAKTIK BIOLA MELALUI TIGA BUKU KARYA HARFURG,
SUZUKI, DAN ABRSM PADA TINGKATAN PRADASAR DAN DASAR I DI CHANDRA KUSUMA SCHOOL
Abstrak
Perkembangan musik Barat sangat meluas di Indonesia banyaknya peminat dalam mempelajari instrumen musik, menjadikan sekolah dan instansi maupun lembaga musik menjadi sebuah wadah untuk pembelajaran musik terhadap seorang anak sampai pada orang dewasa. Sekolah dan instansi musik yang berdiri di Indonesia lebih kepada sebuah praktik instrumen musik, salah satu instrumen
yang dipelajari pada sekolah dan instansi musik adalah biola. Proses mempelajari instrumen biola Sebagian sekolah, instansi atau lembaga musik sering sekali menggunakan kurikulum dan sebuah metode dalam bentuk buku panduan seperti Suzuki Violin, A Tune A Day, kurikulum ABRSM, buku paduan inilah yang menjadikan interaksi antara guru dan murid dalam proses belajar-mengajar pada instrumen musik yaitu biola. Namun Permasalahan yang ada, pemilihan bahan untuk pembelajaran instrumen biola yang dipilih guru terkadang tidak begitu baik terhadap pembelajaran biola yang dilakukan terhadap peserta didik karena kurangnya konsep edukasi terhadap guru dan metode pengajaran. Selain buku panduan untuk pembelajaran biola, terdapat juga sebuah kurikulum ABRSM yang sebagian instansi menggunakannya untuk ujian internasional yang ada di Indonesia. Melalui permasalahan ini penulis ingin meneliti penerapan buku A Tune A Day, Suzuki Violin, dan buku ABRSM di sekolah Candra Kusuma School dalam bentuk proses belajar-mengajar praktik instrumen biola. Kemudian meneliti guru mengajarkan ketiga buku panduan kepada peserta didik, melalui teknik permaianan biola pada tangan kanan seperti tehnik gesekan legato, staccato, dan detache dan tangan kiri pada penjarian 1 (satu) sampai penjarian 4 (empat), posisi jari dan bentuk jari serta permasalahan penjarian lainnya. Ketiga buku panduan yang menjadi bahan penelitian penulis untuk melihat kepentingan dan mengatasi permasalahan-permasalahan pada pembelajaran instrumen biola. Teori yang dipakai penulis untuk kepentingan praktik instrumen biola adalah teori musik barat untuk kepentingan proses pembelajaran biola yang diterapkan pada peserta didik diSekolah Candra Kusuma School dan instansi musik Ipac.
Kata kunci: pembelajaran, biola, dan teknik biola.
Advisors: Muhammad Takari, Ph.D. dan Heristina Dewi, M.Pd.
| tesis-sopian-biola.pdf |
ROY J.M. HUTAGALUNG
117037003
JUDUL TESIS:
TRIO PADA MUSIK POPULER BATAK TOBA:
ANALISIS SEJARAH, FUNGSI, DAN STRUKTUR MUSIK
ABSTRACT
In this research, I focuse to analyze three aspects of trio in the Batak Toba popular music: (a) historical, (b) functional, and (c) the structure of vocal music. For historical aspect, researcher use continuitis and change theory. Then, to analyzing the functional of trio in Batak Toba popular music I use uses and function theory from Merriam (1964). Beside that, to analyze structure of trio vocal music I use weighted scale theory from Malm (1977) plus harmony theory. The result of this research shows that trio in Batak Toba popular music which also born in the Batak Toba society, changed continuously in every life such as in technology, politic, economy, education and specially changing in religion, also in social sector that pushed the changing in Batak Toba cultural product. Until now trio in Batak Toba society still stick and get along with their life activities no matter where they live. The functions of trio music in Batak Toba popular music were as: entertainment, communication, economy, expression of cultural indetity, symbolic representation, continuity of culture. These functions fill the social and cultural systems of Toba Batak society. Trio in Batak Toba popular music is three people who present vocal instrument that consists of only male or only female members or the mix of male and female members the revearse it’s performance, each one of the member has certain kind of voice. That three kind of voices emphasize the harmonic combination, between each voices when the singers sing together and also emphasize the harmonic balance between each category or singer voice type (marsada means the first voice or sopran, “mardua” means the second voice or alto, “martolu” means the third voice or tenor, marlima means the fifth voices or high alto/octave. Trio also has the habit to sing all of those voices together in one time, that’s why people recognized trio as the group who composed four different kind of voices become only three voice. Assesment results of the text and structure shows how Batak Toba trio has developed from the traditional era, transition era until it’s reached the modern era that also became the beginning of the rapid development of trio it self, and also the constellation era where the Batak Toba trio has contextualized the culture that came from outside it’s culture in Batak Toba popular music.
Keywords: trio, analizing, historical, function, music structure
Advisors: Muhammad Takari, Ph.D. and Setia Dermawan Purba, M.Si.
117037003
JUDUL TESIS:
TRIO PADA MUSIK POPULER BATAK TOBA:
ANALISIS SEJARAH, FUNGSI, DAN STRUKTUR MUSIK
ABSTRACT
In this research, I focuse to analyze three aspects of trio in the Batak Toba popular music: (a) historical, (b) functional, and (c) the structure of vocal music. For historical aspect, researcher use continuitis and change theory. Then, to analyzing the functional of trio in Batak Toba popular music I use uses and function theory from Merriam (1964). Beside that, to analyze structure of trio vocal music I use weighted scale theory from Malm (1977) plus harmony theory. The result of this research shows that trio in Batak Toba popular music which also born in the Batak Toba society, changed continuously in every life such as in technology, politic, economy, education and specially changing in religion, also in social sector that pushed the changing in Batak Toba cultural product. Until now trio in Batak Toba society still stick and get along with their life activities no matter where they live. The functions of trio music in Batak Toba popular music were as: entertainment, communication, economy, expression of cultural indetity, symbolic representation, continuity of culture. These functions fill the social and cultural systems of Toba Batak society. Trio in Batak Toba popular music is three people who present vocal instrument that consists of only male or only female members or the mix of male and female members the revearse it’s performance, each one of the member has certain kind of voice. That three kind of voices emphasize the harmonic combination, between each voices when the singers sing together and also emphasize the harmonic balance between each category or singer voice type (marsada means the first voice or sopran, “mardua” means the second voice or alto, “martolu” means the third voice or tenor, marlima means the fifth voices or high alto/octave. Trio also has the habit to sing all of those voices together in one time, that’s why people recognized trio as the group who composed four different kind of voices become only three voice. Assesment results of the text and structure shows how Batak Toba trio has developed from the traditional era, transition era until it’s reached the modern era that also became the beginning of the rapid development of trio it self, and also the constellation era where the Batak Toba trio has contextualized the culture that came from outside it’s culture in Batak Toba popular music.
Keywords: trio, analizing, historical, function, music structure
Advisors: Muhammad Takari, Ph.D. and Setia Dermawan Purba, M.Si.
| tesis-royhutagalung-01.pdf |
ERIZON
127037006
JUDUL TESIS:
IDIOM MUSIKAL MINANGKABAU DALAM KOMPOSISI KARAWITAN INSTITUT SENI
INDONESIA PADANGPANJANG: SEBUAH ANALISIS DALAM KONTEKS ADAPTASI MUSIKAL
ABSTRACT
The title of this research is Minangkabau Musical Idioms in the Karawitan Composition in Indonesia Fine Art Institute of Padangpanjang: an Analytical to Musical adaptation context. This reasearch attend to answere the problems as : (a) analyzing and understanding the meaning about terminology of composition and working methode so that the term arranging and composing can be understood contextualy, (b) analyzing and understanding the the making of Minangkabau musical idioms that developed in use of the Wastern musical instruments and elemens till to be a musical work, and (c) analyzing and understanding the adaptating of Minangkabau tradional music to the concepts of Western music in the musical work at Karawitan Department of Indonesia Fine Art Institute of Padangpanjang. This research is a field, laboratorium, and literature studies. The field research covered the observation, interview, recording. The laboratorium study covered treatment, sellection, and filtering the field data. Qualitative and verificative method is used in this research and started by collected field, interview, and literature data and then finding out the theorycal approach to analyzed the datas. The analyzed shows (a) There are misunderstanding to the term of composition. The meaning of composition term is ambigue to the term of arranging. There is treference to say the karawitan musical work by the term composition. The analyzed shows that Galodo Saluang Panjang is obsolutely used partly or fully the melodic structure of Duo Duo song. The work Bagaluik Di Nan Batingkah is absolutely used the talempong interlocking pattern as tradtionaly used. The making process of the work is done by group or colletively so that the work is not purely as a product of creativity by someone personaly. In fact the musical work is in the name of personaly, (b) there are using the Western musical elemen and instrumentasion like a tertian harmoni, homophonic and polyphonic texture, flute, alto saxophone, tenor saxophone,trumpet, trombone, tuba, electical guitar, electrical bass, keyboard, and drum set, and (c) Minangkabau traditional music have adaptated to the Western Music. In the academical context, it has adaptated Minangkabau music to the Western music in the Indonesia Fine Art Institute of Padangpanjang musical work in form.
Key words : idiom, minangkabau, composition, adaptation, and diatonic.
Advisors: Dr. Ridwan Hanafiah and Irwansyah, M.A.
| tesis-erizon.pdf |
AGUSTINA HELENA SAMOSIR
127037011
JUDUL TESIS:
MUSIK DALAM IBADAH GEREJA HKBP PASAR MELINTANG MEDAN:
PENGGUNAAN, FUNGSI, DAN PERUBAHAN
ABSTRACT
This study discusses the Music In Worship HKBP Pasar Melintang, covers three aspects, namely: (1) The use of music in ritual HKBP ‘Market Crossing; (2) The function of music in worship HKBP Pasar Melintang; and (3) Changes in the composition of music includes hymns and the use of musical instruments as accompaniment hymns. In discussing these three aspects, the author uses the theory of Alan P. Merriam on the use and function; theory of Carol R. Ember and Sztompka for theory change. The study of aspects of the use of music in worship can be concluded that the variation of musical worship hymns to build more vivid and passionate. The use of hymns in worship at HKBP Pasar Melintang always adapted to HKBP ritual. Considerations in the selection of hymns of worship based on the text to align to the theme song of the week. Hymn melody is not the main cause of the results of the research, it has been found that there are some hymns from the buku Ende HKBP uses the same melody but different meanings poem. The study of aspects of the function of music in worship shows that Alan P. Merriam theory can be applied in accordance with the opinion of his congregation. Research results in a change aspects of music in worship HKBP, found that there are some differences in the composition of hymns HKBP the composition of hymns at first. Changes seen in the melody, rhythm and harmony. Other changes have occurred is a change in the mindset of people HKBP about musical understanding in worship, giving rise to a wide variety of musical forms. This condition is seen ranging from the use of harmonium, trumpet, organ, brass/brass bands, musical ensembles (two or more keyboards, merging traditional
music), a full band and the use of music box.
Keywords: HKBP Pasar Melintang, Use, Function and Change
Advisors: Dr. Martongo Sitinjak, M.Th. and Drs. Setia Dermawan Purba, M.Si.
| tesis-agustina-samosir.pdf |
ACHI ASKWANA
127037012
JUDUL TESIS:
ANALISIS KARAKTERISTIK ORNAMEN DI MASJID RAYA AL-MASHUN MEDAN
ABSTRACT
This research deals with ornaments which found in the Mosque of Al- Mashun in Medan North Sumatera Province. Based on the analysis of form characteristic and its background concept, the writer find out that the ornament consist of several values which have close relationship to visual art, ideology and religion. In this thesis the writer uses several relevant theories to drow conclusion for determination, he uses semiotic and visual art theories. Based on the theories, the writer tries to understand and appreciate themeaning of the selected ornaments to classify the form. He also makes these activities be come the reference of the material of the research. The result of the research shows that the beauty of the ornaments in the mosque Al-Mashun is not merely only the visual art, but dhey also express the glory of Deli Sultante, the culture of Deli Malaya the adoration to the Almighty God.
Key word: characteristics, ornaments, mosque of Al-Mashun, semiotics, visual art.
Advisors: Prof. Dr. Ikhwanuddin Nasution, M.Si and Drs. Azmi, M.Si.
| tesis-achy-askwana.pdf |
ANDI K. MANURUNG
097037006
JUDUL TESIS:
MUSIK DALAM IBADAH KONTEMPORER DI GBI MEDAN PLAZA:
SUATU KAJIAN STRUKTUR, KONTEKS, DAN FUNGSI SOSIAL
ABSTRACT
This writing discussed about how Christian Charismatic movements used music as a religious service to communicate to God in GBI Medan Plaza. By using scientific and theology approach, this recitation will be doing by other approach which used qualitative research method. By using several approach like multidiscipline, interdiscipline and transdiscipline, this writing will research how a Charismatic religious service is—contemporary worship—done by using Christian contemporary music. By using ethnology theories, it will be analyze how the cultures of Charismatic applied as a congregation effort to fulfill their religious necessity. A finding that have gotten from this research is as following, contemporary worship performed flexible structurally and the characteristic is more spontaneous. It is very different with traditional churches which is used liturgy “style”. In contemporary worship, music has a dominant role when worship is performing. Thus from the first second till the end of worship, music sounds always have a role to produce and build an atmosphere in worship God. Music domination in worship looks like a strong relevance by perspective of GBI Medan Plaza to restore tabernacle of David which have overthrown. Tabernacle of David is full of praise and worship (music) to God. Thus the worship is identical with music and it is a form of contextual what does King David do when he worships God. Christian contemporary music and contemporary worship have functions in it’s social- culture context. Music and contemporary worship still can go on and applies in GBI Medan Plaza because of social functions like : (a) social-culture integration, (b) conservation and culture continuity, (c) education, (d) consolation, (e) as tool of Evangelist, (f) as tool of communication, (g) as reflection of Christian spiritual.
Keywords: contemporary worship, Christian contemporary worship, structure, context, social function, tabernacle of David,
praise and worship.
Advisors: Prof. Drs. Mauly Purba, M.A., Ph.D. and Dr. Paul Kwangjong Suh
| tesis-andi-manurung.pdf |
ANGGA EKA KARINA
127037001
JUDUL TESIS:
ANALISIS STRUKTUR MUSIK DAN FUNGSI SOSIO BUDAYA RAPA’I PASE
DI BIARA TIMU JAMBO AYE ACEH UTARA PROVINSI ACEH
ABSTRACT
This research is titled An Analysis of Music Structures and The Social-Culture Function of Rapa’i at Biara Timu, Jambo Aye, Aceh Utara, Aceh Province. It learned about the function of socio-cultural and music structures in art traditional performance of Rapa’i Pasee. The background of this research is Rapa’i in Aceh has been a media which used by the societies to give motivation of spirit live struggle and relegion messages. This research is important because Rapa’i Pasee has used by Aceh society for a long time continually until now. The purpose of this research is to know the function of social-culture and how are the music structure of Rapa’i Pasee art in Panton Labu, Aceh Utara. The research method is qualitative-descriptive method and explained with social science interdicipliner. The main problem of this research are the music traditional instrument of Rapa’i is the music structures, that was the kind of songs rhytme in Rapa’i Pasee that has social meaning and the spirit live in daily live. The social-culture’s function of Rapa’i Pasee toward the societies in Panton Labu, Aceh Utara which included emosional expression, estetis, entertaiment, communication and symbol related with social norms, culture, society integration and problem related with music structures such as rhytme of Rapa’i Pasee’s songs. The result of the research show that the music structures of Rapa’i Pasee is devided into some hit that has kind of sound (timbre) dum and teng, sound of dum was heard lower and sound of teng was heard higher. Kind of hit in Rapa’i pasee is devided into lagu sa that show the music performance was start. lagu dua, lagu lhee, lagu limeung, lagu tujoh, lagu sikureung, and lagu duablah. The kind of hit in Rapa’i Pasee show togetherness and spirit of struggle. Rapa’i Pasee has eight functions in field research result. Based on Merriam that has ten function of social-culture, not all of the functions suitable with Rapa’i Pasee it self, the functions are entertainment, communication, symbol, social
norm, culture, society integration, and emotional function.
Keywords: Rapa’i Pasee, Music structure and social-culture function.
Advisors: Dr. Ridwan Hanafiah, M.A. and Drs. Irwansyah, M.A.
| tesis-angga-eka-karina.pdf |
ANTON SITEPU
127037014
JUDUL TESIS:
NYANYIAN KATONENG-KATONENG DALAM UPACARA MENGKET RUMAH PADA MASYARAKAT KARO:
KAJIAN SEMIOTIK DAN MUSIKOLOGI
ABSTRACT
The intent and purpose of this research is to uncover, evaluate, analyze and understand the existence of singing katoneng-katoneng in the context of work on the house mengket Karo society. To obtain maximum results and authentic, on-katoneng katoneng singing in the context of work mengket home, the research done is to pproach multisciplinary. To uncover the problem in this study, the method used is qualitative with a multidisciplinary approach that is more focused on the semiotic approach and assisted etnomusicology with other sciences as a supporter. The research divided on the preparation, execution, and reporting with a view, observing, recording of the singing-katoneng katoneng audio-visual, conduct interviews, job analysis of the text of the song and aspect-building aspect musical melody. From the results obtained, Katoneng-katoneng as traditional singing in the work context mengket this house is a mirror and reflection of sukut Sitepu mergana life as a party conducting the work. This is clearly revealed through lyric and melody of his music, which is mixed with the use of languages metaphorically through structural and semiotic approach. In the tradition of singing katoneng-katoneng study done by oral-informal. This means that the learning process carried out disembarang place, any time (not tied to a rules like in an organization/ institution. Based filmed singing katoneng-katoneng built using techniques sillabic (one note for each syllable, sillabis) and melismatic techniques (merging several notes to one syllable, melismatis). Should be assumed that sillabis technique is an expression of the feeling of perkolong-kolong under which poured through the words or lyrics, while the technique is the expression of feelings perkolong-kolong melismatis-under which poured through the groove melodic music (melodic line) . As rengget who worked with the tended to be melismatis techniques are at the end of the phrase.
Keywords: katoneng-katoneng. mengket rumah, perkolong-kolong, semiotic, musicology
Advisors: Dr. Muhizar Muchtar and Irwansyah, M.A.
127037014
JUDUL TESIS:
NYANYIAN KATONENG-KATONENG DALAM UPACARA MENGKET RUMAH PADA MASYARAKAT KARO:
KAJIAN SEMIOTIK DAN MUSIKOLOGI
ABSTRACT
The intent and purpose of this research is to uncover, evaluate, analyze and understand the existence of singing katoneng-katoneng in the context of work on the house mengket Karo society. To obtain maximum results and authentic, on-katoneng katoneng singing in the context of work mengket home, the research done is to pproach multisciplinary. To uncover the problem in this study, the method used is qualitative with a multidisciplinary approach that is more focused on the semiotic approach and assisted etnomusicology with other sciences as a supporter. The research divided on the preparation, execution, and reporting with a view, observing, recording of the singing-katoneng katoneng audio-visual, conduct interviews, job analysis of the text of the song and aspect-building aspect musical melody. From the results obtained, Katoneng-katoneng as traditional singing in the work context mengket this house is a mirror and reflection of sukut Sitepu mergana life as a party conducting the work. This is clearly revealed through lyric and melody of his music, which is mixed with the use of languages metaphorically through structural and semiotic approach. In the tradition of singing katoneng-katoneng study done by oral-informal. This means that the learning process carried out disembarang place, any time (not tied to a rules like in an organization/ institution. Based filmed singing katoneng-katoneng built using techniques sillabic (one note for each syllable, sillabis) and melismatic techniques (merging several notes to one syllable, melismatis). Should be assumed that sillabis technique is an expression of the feeling of perkolong-kolong under which poured through the words or lyrics, while the technique is the expression of feelings perkolong-kolong melismatis-under which poured through the groove melodic music (melodic line) . As rengget who worked with the tended to be melismatis techniques are at the end of the phrase.
Keywords: katoneng-katoneng. mengket rumah, perkolong-kolong, semiotic, musicology
Advisors: Dr. Muhizar Muchtar and Irwansyah, M.A.
| tesis-anton-sitepu.rar |
BRIAN LASO SARO HAREFA
1370037002
JUDUL TESIS:
MUSIK POPULER NIAS: KAJIAN SEJARAH, TEKSTUAL, DAN GAYA MUSIKAL
&nnbsp;
ABSTRACT
This master thesis, entitled Nias Popular Music: Study of History, Textual, and Musical Style. The objective ofthis research to analyze and then given the goals, from three aspects of Nias popular music: (a) history, (b) textual meaning, and (c) musical style, both rhythm and melody. To analyse those aspects, I use the field work method, and as paticipant observer, and then work in the form interwiewing, recording the data in audiovisual format, and analyze the data. This research ise qualitative method and choose the key informants. To study of the history of Nias popular music, I use the diachronic (the development in the space dimension) and synchronic (the development in the time). To analyzedthe textual of Nias popular music use Riffaterre’s semiotic theory, which based on the study of heuristic (the linguistic denotative meanings), hermeneutic (the social and cultural meanings); matrix and model, and the intertextual link. After that to analyze the melodies of Nias popular music, I use weighted scale theory. The results of this research were as follows. From (A) history, that the Nias popular music is the result of cultural long process, in the music there are elements of Nias tradition musics, and then acculturated with Western music, which come throughout the church institution, Western popular music, and Indonesian popular music, This music developing in the commercial context, and have main function as entertainment. Nias popular music had been developed in the five period, namely: (1) past tradition (of the people of Nias until the end of the 19th century), (2) transition (late 19th century until 1950); (3) church music and modernization (1950 to 1965); (4) the era of Nias popular music in the band form(1969 to 1990), and the era of the keyboard (organ) single (1990 until now). Then viewed the aspect (B) textual, then popular music Nias, have themes such as love for the island of Nias, appreciate and respect their parents and kinship, memories of love, interest someone to idol of the heart due to physical factors and behaviors, and others. This text in heuristic reading is continuing elements of Niasasn poetry (songs) tradition and dicreated by creator, and the overall Nias popular music use the Niasan language, so the music can be categorized as logogenic. From the hermeneutic reading, Nias popular music text reflects the values of indigenous people of Nias, like wisdom: to love the homeland, strengthen Nias identity, repay their parents and kinship, cultural preservation, and others. From the point of the study (C) musical style, then Nias popular music is the result of acculturation with several styles (genres) ofworld music and the Indonesia, such as: rock n roll, ballads, pop, new age, slow rock, Malay langgam, dangdut, and so on. The structure of the melody are: (i) scales were used largely in Western diatonic, (ii) tonica used also as prevalent in Western pop music, (iii) the area tone average of about one octave, (iv) tones commonly used is the notes in the major scale, (v) interval used was of prime to major seventh, (vi) the patterns most likely to recur appropriate cadence melodic phrases, but nothing has changed constantly; (vii) the formula melodies tend strophic; (viii) there are three types of commonly used contours: pendulum in upward, ascending, and descending.
Keywords: popular music, Nias, history, textual, musical style.
Advisors: Muhammad Takari, Ph.D. and Rithaony, M.A.
1370037002
JUDUL TESIS:
MUSIK POPULER NIAS: KAJIAN SEJARAH, TEKSTUAL, DAN GAYA MUSIKAL
&nnbsp;
ABSTRACT
This master thesis, entitled Nias Popular Music: Study of History, Textual, and Musical Style. The objective ofthis research to analyze and then given the goals, from three aspects of Nias popular music: (a) history, (b) textual meaning, and (c) musical style, both rhythm and melody. To analyse those aspects, I use the field work method, and as paticipant observer, and then work in the form interwiewing, recording the data in audiovisual format, and analyze the data. This research ise qualitative method and choose the key informants. To study of the history of Nias popular music, I use the diachronic (the development in the space dimension) and synchronic (the development in the time). To analyzedthe textual of Nias popular music use Riffaterre’s semiotic theory, which based on the study of heuristic (the linguistic denotative meanings), hermeneutic (the social and cultural meanings); matrix and model, and the intertextual link. After that to analyze the melodies of Nias popular music, I use weighted scale theory. The results of this research were as follows. From (A) history, that the Nias popular music is the result of cultural long process, in the music there are elements of Nias tradition musics, and then acculturated with Western music, which come throughout the church institution, Western popular music, and Indonesian popular music, This music developing in the commercial context, and have main function as entertainment. Nias popular music had been developed in the five period, namely: (1) past tradition (of the people of Nias until the end of the 19th century), (2) transition (late 19th century until 1950); (3) church music and modernization (1950 to 1965); (4) the era of Nias popular music in the band form(1969 to 1990), and the era of the keyboard (organ) single (1990 until now). Then viewed the aspect (B) textual, then popular music Nias, have themes such as love for the island of Nias, appreciate and respect their parents and kinship, memories of love, interest someone to idol of the heart due to physical factors and behaviors, and others. This text in heuristic reading is continuing elements of Niasasn poetry (songs) tradition and dicreated by creator, and the overall Nias popular music use the Niasan language, so the music can be categorized as logogenic. From the hermeneutic reading, Nias popular music text reflects the values of indigenous people of Nias, like wisdom: to love the homeland, strengthen Nias identity, repay their parents and kinship, cultural preservation, and others. From the point of the study (C) musical style, then Nias popular music is the result of acculturation with several styles (genres) ofworld music and the Indonesia, such as: rock n roll, ballads, pop, new age, slow rock, Malay langgam, dangdut, and so on. The structure of the melody are: (i) scales were used largely in Western diatonic, (ii) tonica used also as prevalent in Western pop music, (iii) the area tone average of about one octave, (iv) tones commonly used is the notes in the major scale, (v) interval used was of prime to major seventh, (vi) the patterns most likely to recur appropriate cadence melodic phrases, but nothing has changed constantly; (vii) the formula melodies tend strophic; (viii) there are three types of commonly used contours: pendulum in upward, ascending, and descending.
Keywords: popular music, Nias, history, textual, musical style.
Advisors: Muhammad Takari, Ph.D. and Rithaony, M.A.
| tesis-brian_lasso-saro-harefa.pdf |
ELISABETH PURBA
137037004
JUDUL TESIS:
KAJIAN MANAJEMEN ORGANISASI, PRODUKSI, DAN PEMASARAN
GRUP MUSIK TIUP DI KOTA MEDAN: STUDI KASUS MANGAMPU TUA DAN TAMBUNAN
ABSTRACT
This magister thesis entitled The Study of Organization, Production, and Marketing Management in Brass Band Ensamble Groups: Case Study in Mangampu Tua and Tambunan. The main question in this research are three aspects, how management application, in (a) organization, (b) production, and (c) marketing in two brass (wind) band group at Medan, Mangampu Tua and Tambunan. The researcher use the method in this study of organization, production, and marketing two group wind bands by qualitative method. The technique of this research use: bibliography, social media, internet, interview, recording data as audio, visual, and audiovisual. The researcher works as participant observer. The fieldwork data then analyzed in laboratory, in the perspective management and ethnomusicological science, in the context of scientific multidisciplines. To analyze three main problems in this thesis, I use three main theory: organization management, production management, and marketing management. In this research I use some facts as that. (A) The organization management of two wind band group based on Batak Toba tradition management, with the specific process, they adopted the musicians based on patrilineal kinship (marga) and friendly system, meeting with verbal media, not write as notariat acte, the two group in their operations very focused the role of the leader, the musicians majority as freelance player (“pemain cabutan”). (B) The production management of two wind band groups based on repertoire which always use in Toba Batak musical tradition, to encompaniment some rituals, plus some repertoar of North Sumatran another ethnic musics, Indonesian’s national popular musics, and world popular musics. There are variations the group of musicians accordingly to market demand, as simple in sulim and keyboard, the trio vocalist plus keyboard, and the full ensamble (wood wind instrument section, keyboard, drum set, always plus the gondang sabangunan). (C) The marketing management two brass band groups use the oral media, the group card name, plank, to stability the quality of performance,
applied discount the money of performance, variated the performances to equilibrium the economic power of demander, etc.
Key words: management, organization, production, marketing, brass (wind) band.
Advisors: Muhammad Takari, Ph.D. and Setia Dermawan Purba, M.Si.
137037004
JUDUL TESIS:
KAJIAN MANAJEMEN ORGANISASI, PRODUKSI, DAN PEMASARAN
GRUP MUSIK TIUP DI KOTA MEDAN: STUDI KASUS MANGAMPU TUA DAN TAMBUNAN
ABSTRACT
This magister thesis entitled The Study of Organization, Production, and Marketing Management in Brass Band Ensamble Groups: Case Study in Mangampu Tua and Tambunan. The main question in this research are three aspects, how management application, in (a) organization, (b) production, and (c) marketing in two brass (wind) band group at Medan, Mangampu Tua and Tambunan. The researcher use the method in this study of organization, production, and marketing two group wind bands by qualitative method. The technique of this research use: bibliography, social media, internet, interview, recording data as audio, visual, and audiovisual. The researcher works as participant observer. The fieldwork data then analyzed in laboratory, in the perspective management and ethnomusicological science, in the context of scientific multidisciplines. To analyze three main problems in this thesis, I use three main theory: organization management, production management, and marketing management. In this research I use some facts as that. (A) The organization management of two wind band group based on Batak Toba tradition management, with the specific process, they adopted the musicians based on patrilineal kinship (marga) and friendly system, meeting with verbal media, not write as notariat acte, the two group in their operations very focused the role of the leader, the musicians majority as freelance player (“pemain cabutan”). (B) The production management of two wind band groups based on repertoire which always use in Toba Batak musical tradition, to encompaniment some rituals, plus some repertoar of North Sumatran another ethnic musics, Indonesian’s national popular musics, and world popular musics. There are variations the group of musicians accordingly to market demand, as simple in sulim and keyboard, the trio vocalist plus keyboard, and the full ensamble (wood wind instrument section, keyboard, drum set, always plus the gondang sabangunan). (C) The marketing management two brass band groups use the oral media, the group card name, plank, to stability the quality of performance,
applied discount the money of performance, variated the performances to equilibrium the economic power of demander, etc.
Key words: management, organization, production, marketing, brass (wind) band.
Advisors: Muhammad Takari, Ph.D. and Setia Dermawan Purba, M.Si.
| tesis-elisabeth-purba.pdf |
BOHO PARULIAN PARDEDE
097037009
JUDUL TESIS:
KOOR DI HURIA KRISTEN BATAK PROTESTAN (HKBP): ANALISIS SEJARAH, FUNGSI, DAN STRUKTUR MUSIK
ABSTRACT
This study examines the existence of choir in the Huria Kristen Batak Protestant (HKBP) regarding when the choir began to be known in HKBP, who has introduced them, what it holds in worship, the function of chorus in HKBP and the developmen of the HKBP choir until now. These questions will be answered by using qualitative research methods utilized with the theories of interdisciplinary science. The results of this study indicate that the choir at HKBP emerged along with the inclusion of Christianity in the Land of Batak. The choir is a forerunner in the developmen of congregational songs. This is evidenced by the historical fact that the congregational songs were originally songs sung by the groups of choir brought by the missionaries and the work of local congregations. Assessment results on the church choir text indicate that the HKBP congregations are able to apply and even able to create new works in accordance with their cultural needs, eventough they have been taugh with songs that do notoriginate from their own culturefor hundread of year. Choir really plays an important role in worship because of the functions that attached to the choir itself; these functions are: function of emotional expression, function of the aesthetic appreciation, entertainment function, has a function of choir as a mean of communication, function of choir as a symbol, physical reaction function, function associated with the social norms, cultural continuity and community integration functions. Assesment results of the text and structure shows that eventhough the of HKBP have been taught with songs originating from outside their culture, for hundreds of years, but the Christian choir music taught HKBP congregations with songs originating from outside the culture but Christian congregations – were this tudy are Christian congregations, are able to contextualize their cultural creations in choir.
Keywords: Choir, Analizing , Historical, Function, Music Structure.
Advisors: Prof Mauly Purba, Ph.D. and Prof. Dr. Robert Sibarani
097037009
JUDUL TESIS:
KOOR DI HURIA KRISTEN BATAK PROTESTAN (HKBP): ANALISIS SEJARAH, FUNGSI, DAN STRUKTUR MUSIK
ABSTRACT
This study examines the existence of choir in the Huria Kristen Batak Protestant (HKBP) regarding when the choir began to be known in HKBP, who has introduced them, what it holds in worship, the function of chorus in HKBP and the developmen of the HKBP choir until now. These questions will be answered by using qualitative research methods utilized with the theories of interdisciplinary science. The results of this study indicate that the choir at HKBP emerged along with the inclusion of Christianity in the Land of Batak. The choir is a forerunner in the developmen of congregational songs. This is evidenced by the historical fact that the congregational songs were originally songs sung by the groups of choir brought by the missionaries and the work of local congregations. Assessment results on the church choir text indicate that the HKBP congregations are able to apply and even able to create new works in accordance with their cultural needs, eventough they have been taugh with songs that do notoriginate from their own culturefor hundread of year. Choir really plays an important role in worship because of the functions that attached to the choir itself; these functions are: function of emotional expression, function of the aesthetic appreciation, entertainment function, has a function of choir as a mean of communication, function of choir as a symbol, physical reaction function, function associated with the social norms, cultural continuity and community integration functions. Assesment results of the text and structure shows that eventhough the of HKBP have been taught with songs originating from outside their culture, for hundreds of years, but the Christian choir music taught HKBP congregations with songs originating from outside the culture but Christian congregations – were this tudy are Christian congregations, are able to contextualize their cultural creations in choir.
Keywords: Choir, Analizing , Historical, Function, Music Structure.
Advisors: Prof Mauly Purba, Ph.D. and Prof. Dr. Robert Sibarani
| tesis-boho-parulian-pardede.rar |
MAGHFIRAH MURNI BINTANG P.
147037010
JUDUL TESIS:
ANALISIS STRUKTUR TARI GUEL PADA MASYARAKAT GAYO DI KABUPATEN ACEH TENGAH
ABSTRAK
Tari Guel merupakan tarian yang mencerminkan hidup masyarakat Gayo, berasal dari kisah kakak beradik paa masa kerajaan Linge. Kajian ini memfokuskan pada kajian struktur tari Guel dalam kaitannya dengan pemahaman sosial masyarakat pendukungnya. Tujuan dari penelitian ini adalah menganalisis struktur tari Guel pada masyarakat Gayo di Aceh Tengah dan mendeskripsikan serta ungkapan-ungkapan konsep estetik melalui struktur teknik artistik Penelitian ini menggunakan pendekatan kualitatif, karena mementingkan makna dan konteks, dengan pengumpulan dan analisis data berlangsung secara simultan. Penelitian berlokasi di Kotacane Kab. Aceh Tengah. Subyek penelitian, adalah para pemangku adat yang memiliki kredibilitas di dalam tari Guel. Dalammenganailsa data digunakan pendekatan struturalisme dengan memfokuskan pada konsep struktur tari Guel, dengan menitik beratkan teori struktur geraktari dari Kaepler Temuan penelitian ini menunjukkan bahwa tari Guel adalah tari yang awalnya diciptakan untuk kebutuhan upacara adat, kemudian berkembang menjadi tari hiburandilaksanakan dalam berbagai kegiatan. Struktur Tari Guel terdiri dari struktur bentuk/luar dan struktur isi/dalam. Struktur bentuk memiliki hubungan erat dengan struktur pertunjukan berkaitan dengan elemen dalam pendukung tari yang terdiri dari struktur koreografi, struktur gerak, struktur musik, dan sturuktur bentuk. Struktur koreografi terdiri dari unsur gerak, unsur penokohan/karakter, unsur norma/adat, unsur komunikasi, unsur tata rias dan busana, unsur musik pengiring dan unsur tempat pertunjukan. Struktur isi/dalam berkaitan dengan ungkapan konsep estetik yang merupakan simbol dari keluhuran nilai-nilai moral, adat dan agama suku Gayo dan menjadi simbol masyarakatnya. Kesemua simbol ini tampak jelas dalam pertunjukan tari Guel yang dilakonkan dalam empat babak (babak munatap, babak redep dep, babak ketibung, babak cincang nangka), masing-masing memiliki alur cerita, dituangkan dalam ragam-ragam gerak yang memiliki makna dari kehidupan suku Gayo. Simbol tersebut berfungsi ganda, yaitu; sebagai petanda peristiwa/kejadian dari peristiwa pencarian seorang adik kepada abangnya yang mencerminkan kesetiaan, tanggungjawab, persaudaraan, kepahlawanan, dan kewaspadaan, yang memberikan pesan kepada masyarakat, bahwa dalam melakukan sesuatu haruslah mempersiapkan diri baik lahir maupun batin. Sedangkan sebagai penanda peristiwa, memiliki makna dari simbol visual yang sekaligus berfungsi sebagai penuntun bagi pengamatnya.
Kata Kunci: Tari Guel, Gayo, Analisis, Struktur, Simbol.
147037010
JUDUL TESIS:
ANALISIS STRUKTUR TARI GUEL PADA MASYARAKAT GAYO DI KABUPATEN ACEH TENGAH
ABSTRAK
Tari Guel merupakan tarian yang mencerminkan hidup masyarakat Gayo, berasal dari kisah kakak beradik paa masa kerajaan Linge. Kajian ini memfokuskan pada kajian struktur tari Guel dalam kaitannya dengan pemahaman sosial masyarakat pendukungnya. Tujuan dari penelitian ini adalah menganalisis struktur tari Guel pada masyarakat Gayo di Aceh Tengah dan mendeskripsikan serta ungkapan-ungkapan konsep estetik melalui struktur teknik artistik Penelitian ini menggunakan pendekatan kualitatif, karena mementingkan makna dan konteks, dengan pengumpulan dan analisis data berlangsung secara simultan. Penelitian berlokasi di Kotacane Kab. Aceh Tengah. Subyek penelitian, adalah para pemangku adat yang memiliki kredibilitas di dalam tari Guel. Dalammenganailsa data digunakan pendekatan struturalisme dengan memfokuskan pada konsep struktur tari Guel, dengan menitik beratkan teori struktur geraktari dari Kaepler Temuan penelitian ini menunjukkan bahwa tari Guel adalah tari yang awalnya diciptakan untuk kebutuhan upacara adat, kemudian berkembang menjadi tari hiburandilaksanakan dalam berbagai kegiatan. Struktur Tari Guel terdiri dari struktur bentuk/luar dan struktur isi/dalam. Struktur bentuk memiliki hubungan erat dengan struktur pertunjukan berkaitan dengan elemen dalam pendukung tari yang terdiri dari struktur koreografi, struktur gerak, struktur musik, dan sturuktur bentuk. Struktur koreografi terdiri dari unsur gerak, unsur penokohan/karakter, unsur norma/adat, unsur komunikasi, unsur tata rias dan busana, unsur musik pengiring dan unsur tempat pertunjukan. Struktur isi/dalam berkaitan dengan ungkapan konsep estetik yang merupakan simbol dari keluhuran nilai-nilai moral, adat dan agama suku Gayo dan menjadi simbol masyarakatnya. Kesemua simbol ini tampak jelas dalam pertunjukan tari Guel yang dilakonkan dalam empat babak (babak munatap, babak redep dep, babak ketibung, babak cincang nangka), masing-masing memiliki alur cerita, dituangkan dalam ragam-ragam gerak yang memiliki makna dari kehidupan suku Gayo. Simbol tersebut berfungsi ganda, yaitu; sebagai petanda peristiwa/kejadian dari peristiwa pencarian seorang adik kepada abangnya yang mencerminkan kesetiaan, tanggungjawab, persaudaraan, kepahlawanan, dan kewaspadaan, yang memberikan pesan kepada masyarakat, bahwa dalam melakukan sesuatu haruslah mempersiapkan diri baik lahir maupun batin. Sedangkan sebagai penanda peristiwa, memiliki makna dari simbol visual yang sekaligus berfungsi sebagai penuntun bagi pengamatnya.
Kata Kunci: Tari Guel, Gayo, Analisis, Struktur, Simbol.
| tesis-maghfirah-murni-bintang-p.pdf |
CATHRINA SUMIATY TAMPUBOLON
127037004
JUDUL TESIS:
MAENA PADA UPACARA FALÕWA DI ÕRI LARAGA KOTA GUNUNG SITOLI: ANALISIS TEKSTUAL, MUSIKAL, DAN TARI
ABSTRACT
This research studies about an analysis of Maena poems’s structure in cultural wedding occasion ‘ori laraga’ in Gunung Sitoli. The writer wants to see the purposes are and why Nias people are so happy when they sing and move their body when the poems sung. In this thesis, the writer tries to use some semiotics theories and functional theories to know the meanings deeper which are contained in every poem sung in Maena. The writer selecs ‘fanema’õ tome to be the source to see the transcript of the song texts, the tone, the basic tone used, the tone area, the number of the tone, the tone interval, and the conture. From the beauty side, the writer wants to analyze Maena dance itself, the structure of Maena and the poems of Maena, so that the writer is able to analyze the textual poems of maena which are often sung in the cultural wedding ‘Ori Laraga’ in Gunung Sitoli. The results found that maena dance is a form of entertainment in the ceremonies conducted at Gunung Sitoli. That's what makes all people can come together and become familiar among one of the family with other families regardless of background and social status of the people who follow it. Dance maena not be a necessity that in the absence of maena the ceremony can not take place, only without the dancing maena there seems to be something missing from the ceremonial meaning.
Key Words: Maena, Semiotic, Function, Õri laraga, Fanema’õ Tome
Advisors: Muhammad Takari, Ph.D. and Kumalo Tarigan, Ph.D.
127037004
JUDUL TESIS:
MAENA PADA UPACARA FALÕWA DI ÕRI LARAGA KOTA GUNUNG SITOLI: ANALISIS TEKSTUAL, MUSIKAL, DAN TARI
ABSTRACT
This research studies about an analysis of Maena poems’s structure in cultural wedding occasion ‘ori laraga’ in Gunung Sitoli. The writer wants to see the purposes are and why Nias people are so happy when they sing and move their body when the poems sung. In this thesis, the writer tries to use some semiotics theories and functional theories to know the meanings deeper which are contained in every poem sung in Maena. The writer selecs ‘fanema’õ tome to be the source to see the transcript of the song texts, the tone, the basic tone used, the tone area, the number of the tone, the tone interval, and the conture. From the beauty side, the writer wants to analyze Maena dance itself, the structure of Maena and the poems of Maena, so that the writer is able to analyze the textual poems of maena which are often sung in the cultural wedding ‘Ori Laraga’ in Gunung Sitoli. The results found that maena dance is a form of entertainment in the ceremonies conducted at Gunung Sitoli. That's what makes all people can come together and become familiar among one of the family with other families regardless of background and social status of the people who follow it. Dance maena not be a necessity that in the absence of maena the ceremony can not take place, only without the dancing maena there seems to be something missing from the ceremonial meaning.
Key Words: Maena, Semiotic, Function, Õri laraga, Fanema’õ Tome
Advisors: Muhammad Takari, Ph.D. and Kumalo Tarigan, Ph.D.
| tesis-cathrina-sumiaty-tampubolon.pdf |
HUBARI GULO
097037004
JUDUL TESIS:
HOHO FALUAYA TRADISI LISAN MASYARAKAT NIAS DI DESA BAWÖMATALUO, KECAMATAN FANAYAMA, KABUPATEN NIAS SELATAN, SUMATERA UTARA: ANALISIS TEKS DAN STRUKTUR MUSIK
ABSTRACT
This research learns Hoho Faluaya in the context ritual of title nobility ceremonies at Bawömataluo village, District Fanayama, South Nias regency, North Sumatra Province. The study was conducted to provide a understanding of the Hoho Faluaya as an inherited form of oral tradition’s society in Nias that very exotic where Hoho Faluaya used as a media to convey ideas, thoughts or feelings in an effort for understanding the values that give culture insight. The existence of language elements (text), musical elements (vocal music), as well as the elements of movement (dance), a major review of this research in looking at the function, the meaning of texts, and musical structure of the Hoho Faluaya consist of Fanguhugö (Hugö), Hivfagö, Hoho Fualö, Hoho Fadölihia, and Hoho Siöligö. There are some approaching that has be done is an interdisciplinary approach with qualitatively methods of inquiry, which is based on field investigations. Some of the theories are used in support of this research include Functional Theory, Semiotic Theory, Transcription Theory, Weighted Scale Theory. The results of this research indicate that the Hoho Faluaya is an important role because inherent functions in Hoho Faluaya. Those functions are implementation function of the traditional feast, the function as a symbol of strength, reinforcing the function of social status, the adhesive function of social life, the function as communication and telling message, the function of aesthetic values, the function of entertainment and thanksgiving, the function of dance accompaniment, and the function as a cultural defense. The result of text analysis indicate the presence of connotative intention of the text Hoho Faluaya consist of Fohuhugö (Hugö) text which is a calling of approve, Hivfagö is an calling for confirmation of the Hugö and there are 3 (three) types of hoho structures in it, that is: (1) Hoho Fu ' alö is a hymn that be inciter preparation and burning the zeal of the soldiers war or war dancers, (2) Hoho Fadölihia is the as a way of hoho group for extolling the greatness of their village, and (3) Hoho Siöligö have the meaning for unity and integrity for the sake of prosperity of the village. The results of musical analysis, Hoho Faluaya has a pentatonic characteristic in using the scale, the musical structures have styles as call response, counters motifs and counter phrases and using the typical of vocal techniques in their presentation calls "gözö" or vibrate the base of the tongue in the throat area. This is a local wisdom that is only had by the people of Nias, especially in South Nias.
Keyword: Hoho, Faluaya, function, text, music structure.
Advisors: Prof. Dr. Robert Sibarani and Irwansyah, M.A.
| tesis-hubari-gulo.pdf |
DISPER ANTONI RICARDO SAMOSIR
127037002
JUDUL TESIS:
TIGA LAGU POPULER BATAK TOBA DENGAN MELODI YANG DIADOPSI DARI MUSIK BARAT:
KAJIAN KOMPARATIF MELODI, MAKNA TEKS, DAN RESPONS PENDENGAR
ABSTRACT
This arts master thesis entitled as: “Three Toba Batak Popular Songs which Adopted from Western Music: Comparative Analysis in Melody, the Meaning of Text, and Response of Listeners.” The aims of this research in the context to write this thesis, focused in three problems, to analyzed of: (a) melody comparative, (b) the text meaning, and (c) listener’s response about three popular songs of Toba Bataks music which it’s melody adopted from Western pop culture. I use ethnomusicology discipline in the context of multidiscipline in this thesis. I use two method in this research. In one side, to analyze melodic comparative and the meaning of text I uses qualitative method. In another hand, to analayze about audience (listener’s) responses, I use quantitative method, which spread the questioners to 50s respondens in Sidikalang Town, which choosing sampling method to respondent who always listening these songs. To analyze of melodic comparative, writer uses weighted scale theory. Then, to analyze song texts, I use semiotic theory. Finally, to analyze about responses of respondent I use behaviourism theory which always use in psichology and sociology disciplines. The results of this study show the following. (a) By doing a comparative study of the three songs are: melodic popular Batak Toba music adopted from Western music, then there is a change in the form of rhythm in melody, as the main factor is due to the use of Toba Batak language texts of the first English. However, the shape (form) in general is the same melody. In addition it was found that the difference in the Western pop music tendency to repeat certain parts into the main characteristics, while in three pop songs Batak less use repetition of forms, or tends to reduce repetition. For scales, tone region, tone center, intervals, contour, melodic formulas, pattern of cadence, the same can be said of Western pop melodies with three melodic pop derivative Batak Toba. In addition to performances, especially by means of audiovisual looked to the influence of musical culture of Batak in the third showing the song, be it lyrics, fashion, instrumentation, and cultural concepts contained . From the point of the text's meaning, then the third Batak pop song has a new theme song theme in the West compared. Text that is the main differentiator between the three Batak pop songs whose melodies adopted from Western music. Audience response is like pop songs whose melodies Batak taken from Western music, especially because the text element in Toba Batak language. In a proportion of respondents know the origin of this Batak pop music of Western music, but others not know the origin of these. When asked how their opinion about the copyright, then they need to be made largely of the opinion juridical policy regarding copyrighted works of pop music.
Keywords: song, popular, melody, comparative, text, response
Advisor: Setia Dermawan Purba, M.Si.
127037002
JUDUL TESIS:
TIGA LAGU POPULER BATAK TOBA DENGAN MELODI YANG DIADOPSI DARI MUSIK BARAT:
KAJIAN KOMPARATIF MELODI, MAKNA TEKS, DAN RESPONS PENDENGAR
ABSTRACT
This arts master thesis entitled as: “Three Toba Batak Popular Songs which Adopted from Western Music: Comparative Analysis in Melody, the Meaning of Text, and Response of Listeners.” The aims of this research in the context to write this thesis, focused in three problems, to analyzed of: (a) melody comparative, (b) the text meaning, and (c) listener’s response about three popular songs of Toba Bataks music which it’s melody adopted from Western pop culture. I use ethnomusicology discipline in the context of multidiscipline in this thesis. I use two method in this research. In one side, to analyze melodic comparative and the meaning of text I uses qualitative method. In another hand, to analayze about audience (listener’s) responses, I use quantitative method, which spread the questioners to 50s respondens in Sidikalang Town, which choosing sampling method to respondent who always listening these songs. To analyze of melodic comparative, writer uses weighted scale theory. Then, to analyze song texts, I use semiotic theory. Finally, to analyze about responses of respondent I use behaviourism theory which always use in psichology and sociology disciplines. The results of this study show the following. (a) By doing a comparative study of the three songs are: melodic popular Batak Toba music adopted from Western music, then there is a change in the form of rhythm in melody, as the main factor is due to the use of Toba Batak language texts of the first English. However, the shape (form) in general is the same melody. In addition it was found that the difference in the Western pop music tendency to repeat certain parts into the main characteristics, while in three pop songs Batak less use repetition of forms, or tends to reduce repetition. For scales, tone region, tone center, intervals, contour, melodic formulas, pattern of cadence, the same can be said of Western pop melodies with three melodic pop derivative Batak Toba. In addition to performances, especially by means of audiovisual looked to the influence of musical culture of Batak in the third showing the song, be it lyrics, fashion, instrumentation, and cultural concepts contained . From the point of the text's meaning, then the third Batak pop song has a new theme song theme in the West compared. Text that is the main differentiator between the three Batak pop songs whose melodies adopted from Western music. Audience response is like pop songs whose melodies Batak taken from Western music, especially because the text element in Toba Batak language. In a proportion of respondents know the origin of this Batak pop music of Western music, but others not know the origin of these. When asked how their opinion about the copyright, then they need to be made largely of the opinion juridical policy regarding copyrighted works of pop music.
Keywords: song, popular, melody, comparative, text, response
Advisor: Setia Dermawan Purba, M.Si.
| tesis-disperantoni_ricardo_samosir.pdf |
MUHAMMAD YUSUF
127037007
JUDUL TESIS:
REALISASI NYANYIAN DARI BUKU ENDE DAN KIDUNG JEMAAT YAMUGER DALAM IBADAH MINGGU PADA
TIGA GEREJA HKBP DI SUMATERA UTARA: KONTINUITAS, PERUBAHAN, DAN STRUKTUR MUSIK
ABSTRACT
This study discusses about the existence of the book Songs of Worship Church on Sunday Enda HKBP. The selection of songs in the book ende existence on the author's involvement in the drama Turgi "History of Book Ende", which is motivated by terlaksanaya performances, there kersahan Batak Protestant church officials in North Sumatra Batak people against the erosion of loyalty to the songs ende book, at a Sunday service church, especially among young people of the church. The emergence of alternative worship can be seen by many to undermine the existence of songs in the book ende, because the alternative worship, songs used in worship songs out of books ende, and the church is dominated by the younger generation. According to Hymes, in theory, the process of communication by using a language, one needs more than just the ability to use language in accordance with the rules of grammar. The use of language must be appropriate to the context, namely the things that the scope and influence the use of language itself, means penerjemahaan effort into Indonesian ende book is not as easy as imagined, so that erosion will occur in the meaning. Batak language has been very fulfilled become a language of choice of religion in worship, from the view of Bourdieu's a religious choice of language can reinforce societal sentiment that led to the emergence of religious emotion and the attainment of the inner atmosphere of the congregation. The meaning is, in the church worship HKBP, Batak language has become a very fulfilled in the preferred language of religious worship. This can be done only by a system that can be built and maintained as described by Parsons with Structural functionalist theory. One such system can be built on a curriculum in the subjects of Religion on the greeting, meaning or understanding of the theological meaning in the songs ende book. community sentiment that led to the emergence of religious emotions and moods achievement of the congregation at an early age.
Keywords: Book Ende, HKBP church ritual, existence, religious cultural studies
Advisors: Dr. Ridwan Hanafiah, S.H., M.A. and Drs. Bebas Sembiring, M.Si.
127037007
JUDUL TESIS:
REALISASI NYANYIAN DARI BUKU ENDE DAN KIDUNG JEMAAT YAMUGER DALAM IBADAH MINGGU PADA
TIGA GEREJA HKBP DI SUMATERA UTARA: KONTINUITAS, PERUBAHAN, DAN STRUKTUR MUSIK
ABSTRACT
This study discusses about the existence of the book Songs of Worship Church on Sunday Enda HKBP. The selection of songs in the book ende existence on the author's involvement in the drama Turgi "History of Book Ende", which is motivated by terlaksanaya performances, there kersahan Batak Protestant church officials in North Sumatra Batak people against the erosion of loyalty to the songs ende book, at a Sunday service church, especially among young people of the church. The emergence of alternative worship can be seen by many to undermine the existence of songs in the book ende, because the alternative worship, songs used in worship songs out of books ende, and the church is dominated by the younger generation. According to Hymes, in theory, the process of communication by using a language, one needs more than just the ability to use language in accordance with the rules of grammar. The use of language must be appropriate to the context, namely the things that the scope and influence the use of language itself, means penerjemahaan effort into Indonesian ende book is not as easy as imagined, so that erosion will occur in the meaning. Batak language has been very fulfilled become a language of choice of religion in worship, from the view of Bourdieu's a religious choice of language can reinforce societal sentiment that led to the emergence of religious emotion and the attainment of the inner atmosphere of the congregation. The meaning is, in the church worship HKBP, Batak language has become a very fulfilled in the preferred language of religious worship. This can be done only by a system that can be built and maintained as described by Parsons with Structural functionalist theory. One such system can be built on a curriculum in the subjects of Religion on the greeting, meaning or understanding of the theological meaning in the songs ende book. community sentiment that led to the emergence of religious emotions and moods achievement of the congregation at an early age.
Keywords: Book Ende, HKBP church ritual, existence, religious cultural studies
Advisors: Dr. Ridwan Hanafiah, S.H., M.A. and Drs. Bebas Sembiring, M.Si.
| tesis-muhammad-yusuf.pdf |
DINDIN ACHMAD NAZMUDDIN
NIM 117037009
JUDUL TESIS:
ANALISIS FUNGSI SOSIAL BUDAYA DAN STRUKTUR MUSIK KESENIAN RAPAI GELENG DI KOTA BANDA ACEH
ABSTRACT
This study reviewed the existence of Rapai Geleng as traditional performing arts by using traditional music instruments by Acehnese in general and particular by the arts community in Banda Aceh, which has a historical and philosophical background as a social function of culture in Aceh. The analysis of this paper focuses on the socio-cultural function of art as a product Rapai urban culture in Banda Aceh. The method used is qualitative and quantitative research methods by utilizing interdisciplinary theories. The results of study shown that Rapai Geleng is a form of public art that uses traditional music instrument composed of movement and music elements of that emerged along with the spread of Islam in Aceh. In its development, Rapai Geleng is the art peforming by using the instrument percussion, such as tambourine with one side surface (frame drum), which initially has a function as a medium of propaganda and accompanying religious ceremonies to worship Allah Subhanahuwa Ta 'ala, in the form of tradition called "meurateb" or "meudike" (zikir, that usually by moving the body) and meuseualaweut for Muhammad as Prophet (Rasulullah Shalalhualaihi Shalalhu Wassalaam), and later evolved into urban culture, as a form of Banda Aceh’s people. This is proved by some of the opinion that Rapai Geleng is not the original art of Banda Aceh. The original one was emerged from South Aceh, and later penetrated into Banda Aceh. This art developed and pavored by the people of Banda Aceh. Hence, it evolved into art galleries and studios around Banda Aceh. The communities and education institution nearby this city practice and learn Rapai Geleng as a form art for Banda Aceh. The result of this review was shown that Rapai Geleng was evolved from Rapai Saman for decades ago. Rapai Saman emerged from South Aceh, and Banda Aceh revitalize this art as a cultural development of arts community in Banda Aceh. This has been done by many art galleries and art community in Banda Aceh. Lately, the local government of Banda Aceh established Rapai Geleng art as the cultural identity that contained the social and cultural functions for the cultural development of people in Banda Aceh. Rapai Geleng instrumental in Islam preaching as a socio-cultural foundation in Aceh, particularly in Banda Aceh that has a vision as a model of Islamic city. The review of the social-culture function in the arts shown that Rapai Geleng has inherent element in the culture of the Acehnese. Such element functions are: religious, emotional expression, aesthetic appreciation, entertainment, communications, and function that related to social norms, cultural continuity and cultural integration, and functions of the tourism industry. As a form of art, Rapai Geleng evolved into "urban art" in the form of appearance, movement and rhythmic patterns by studios in enhance the Rapai Geleng appearance.
Keywords: Rapai Geleng, Rapai head-shaking, Analy.
Advisors: Dr. Ridwan hanafiah, M.A. and Irwansyah, M.A.
NIM 117037009
JUDUL TESIS:
ANALISIS FUNGSI SOSIAL BUDAYA DAN STRUKTUR MUSIK KESENIAN RAPAI GELENG DI KOTA BANDA ACEH
ABSTRACT
This study reviewed the existence of Rapai Geleng as traditional performing arts by using traditional music instruments by Acehnese in general and particular by the arts community in Banda Aceh, which has a historical and philosophical background as a social function of culture in Aceh. The analysis of this paper focuses on the socio-cultural function of art as a product Rapai urban culture in Banda Aceh. The method used is qualitative and quantitative research methods by utilizing interdisciplinary theories. The results of study shown that Rapai Geleng is a form of public art that uses traditional music instrument composed of movement and music elements of that emerged along with the spread of Islam in Aceh. In its development, Rapai Geleng is the art peforming by using the instrument percussion, such as tambourine with one side surface (frame drum), which initially has a function as a medium of propaganda and accompanying religious ceremonies to worship Allah Subhanahuwa Ta 'ala, in the form of tradition called "meurateb" or "meudike" (zikir, that usually by moving the body) and meuseualaweut for Muhammad as Prophet (Rasulullah Shalalhualaihi Shalalhu Wassalaam), and later evolved into urban culture, as a form of Banda Aceh’s people. This is proved by some of the opinion that Rapai Geleng is not the original art of Banda Aceh. The original one was emerged from South Aceh, and later penetrated into Banda Aceh. This art developed and pavored by the people of Banda Aceh. Hence, it evolved into art galleries and studios around Banda Aceh. The communities and education institution nearby this city practice and learn Rapai Geleng as a form art for Banda Aceh. The result of this review was shown that Rapai Geleng was evolved from Rapai Saman for decades ago. Rapai Saman emerged from South Aceh, and Banda Aceh revitalize this art as a cultural development of arts community in Banda Aceh. This has been done by many art galleries and art community in Banda Aceh. Lately, the local government of Banda Aceh established Rapai Geleng art as the cultural identity that contained the social and cultural functions for the cultural development of people in Banda Aceh. Rapai Geleng instrumental in Islam preaching as a socio-cultural foundation in Aceh, particularly in Banda Aceh that has a vision as a model of Islamic city. The review of the social-culture function in the arts shown that Rapai Geleng has inherent element in the culture of the Acehnese. Such element functions are: religious, emotional expression, aesthetic appreciation, entertainment, communications, and function that related to social norms, cultural continuity and cultural integration, and functions of the tourism industry. As a form of art, Rapai Geleng evolved into "urban art" in the form of appearance, movement and rhythmic patterns by studios in enhance the Rapai Geleng appearance.
Keywords: Rapai Geleng, Rapai head-shaking, Analy.
Advisors: Dr. Ridwan hanafiah, M.A. and Irwansyah, M.A.
| tesis-dindin-nazmuddin.pdf |
RIMA KARTINA
NIM:
JUDUL TESIS:
PERTUNJUKAN TARI MAKAN SIRIH DALAM KEBUDAYAAN MASYARAKAT ACEH TAMIANG: ANALISIS STRUKTUR TARI, MUSIK, DAN TEKS.
ABSTRACT
Betel Dance Eating is one of the dance show is still in existence in the region of Aceh Tamiang New Coraland surrounding areas. Dance Eat Betel, also called Dance offerings. In Aceh Taming particularly in the District of New Coral, still in a dance showb etel nut. Dance the dance of chewing betel nut is a welcome guest, guest glory, with as lap contains betel nut, gambier, betel nut, lime, all of which have been prepared as a sense of joyin presenting containing betel symbol million messages. (setepak betel, a million messages). The problems that will be studied in this thesis is to analyze the structure and the structure of dancemusic betel nutchewing betel nut and dance accompanis texaminet he implicit meaning and betel nut and song fragments Foreword Foreword dance. Through these problems the authoruses the theory of structural, functional theory and the theory of meaning. The results obtained showed that the structure of the dance chewing betel nut, betel nut dance consists of a main motionis nomotion worship, sitting cross-legged, picking flowers, white was hing and folding, movement greeting of fered betel cover andmovement. From themusicalstructureresults obtained can bean alyzed and transcribed the song and the song betel nut Foreword. From the author oft he text structure to understand the meaning of the symbolisimplied in the text of the song eat chewing betel nut and song and song Foreword fractions.
Key words: Eat Betel Dance, Dance Foreword, Structure Music, Dance, and Text.
Advisors: Drs. Muhammad Takari, M.hum., Ph.D. and Drs. Kumalo Tarigan, M.A., Ph.D.
NIM:
JUDUL TESIS:
PERTUNJUKAN TARI MAKAN SIRIH DALAM KEBUDAYAAN MASYARAKAT ACEH TAMIANG: ANALISIS STRUKTUR TARI, MUSIK, DAN TEKS.
ABSTRACT
Betel Dance Eating is one of the dance show is still in existence in the region of Aceh Tamiang New Coraland surrounding areas. Dance Eat Betel, also called Dance offerings. In Aceh Taming particularly in the District of New Coral, still in a dance showb etel nut. Dance the dance of chewing betel nut is a welcome guest, guest glory, with as lap contains betel nut, gambier, betel nut, lime, all of which have been prepared as a sense of joyin presenting containing betel symbol million messages. (setepak betel, a million messages). The problems that will be studied in this thesis is to analyze the structure and the structure of dancemusic betel nutchewing betel nut and dance accompanis texaminet he implicit meaning and betel nut and song fragments Foreword Foreword dance. Through these problems the authoruses the theory of structural, functional theory and the theory of meaning. The results obtained showed that the structure of the dance chewing betel nut, betel nut dance consists of a main motionis nomotion worship, sitting cross-legged, picking flowers, white was hing and folding, movement greeting of fered betel cover andmovement. From themusicalstructureresults obtained can bean alyzed and transcribed the song and the song betel nut Foreword. From the author oft he text structure to understand the meaning of the symbolisimplied in the text of the song eat chewing betel nut and song and song Foreword fractions.
Key words: Eat Betel Dance, Dance Foreword, Structure Music, Dance, and Text.
Advisors: Drs. Muhammad Takari, M.hum., Ph.D. and Drs. Kumalo Tarigan, M.A., Ph.D.
| tesis-rima-kartina.pdf |
SUCI PURNANDA
147037009
TARI INAI PADA UPACARA MALAM BERINAI MASYARAKAT MELAYU DI KOTA BINJAI: ANALISIS STRUKTUR DAN MAKNA
ABSTRACT
This thesis titled Inai Dance At Night Ceremony Berinai Malay Community In The City Of Binjai : Analyzed Structure And Meaning. With this thesis, the author has analyzed two aspects of Inai Dance at berinai night ceremony in the context of the Malay traditional wedding ceremony in the city of Binjai. These two aspects are: (1). The structure of Inai Dance, dan (2). The meaning of Inai Dance inside the culture of Malay people in Binjai city. Thus the main purpose of this study was to analyze the structure of Inai Dance, and to analyze the meaning of the range of motion in this Inai Dance, which is referred to berinai night ceremony in the context of the Malay traditional
wedding ceremony in the city of Binjai In This study, the writer used qualitative interpretative methods, which is applied four critical theories, namely: Structure Dance Theory, Music Theory, Semiotic Theory and Signifying Theory. The result from this analysis is to show the structure of Inai Dance consist of some aspects, those are the motion that consist of opening, content, and closing movement and has elevent range of motion which taken from the motion of silat. Silat is a martial art in the Malay culture. Starts with free pattern, and then divided inti pair pattern, circle pattern, and the last was four direction pattern. The pattern concept of Inai Dance is free and varied. Musical accompaniment for Inai Dance used ensemble composed of violin and accordion with the melody, plus two ronggeng drum that consit of the main and sub drums with rentak music. The song dan rentak that used patam-patam. The meaning of Inai Dance is to keep the bride from supernatural disturbance that come from human or supernatural creature and the all of dance motions are to teach the process of the journey of life and event in the world to all society proponent.
Keywords: marriage, dance, inai, structure, meaning.
Advisors: Dr. Muhizar Muchtar, M.S. and Yusnizar Heniwati, SST., M.Hum.
| tesis-suci-purnanda.pdf |
ELFRIDA EKASUMA TARIGAN
NIM: 157037005
JUDUL TESIS: DIDONG DOAH BIBI SIREMBAH KU LAU DALAM UPACARA ADAT PERKAWINAN KARO DI DUSUN TONGKOH, DESA DOLAT RAKYAT, KECAMATAN DOLAT RAKYAT: KAJIAN TERHADAP UPACARA, STRUKTUR MUSIKAL, MAKNA TEKS, DAN FUNGSI
ABSTRACT
This master thesis is titled Didong Doah Bibi Sirembah Ku Lau in Karo Traditional Ceremony in Tongkoh Village, Dolat Rakyat Village, Dolat Rakyat Subdistrict: Study on Ceremony, Musical Structure, Text Meaning, and Function. The purpose of this study is to examine and obtain research results from where the traditional singing aspects of Karo didong doah sirembah ku lau, namely: (a) marriage ceremony, (b) musical structure, (c) the meaning of the text, and (d) its function in Kaaronese society. To examine these three aspects the authors use methods: field research that acts as a participant observer, by conducting interviews, and recording data in audiovisual form. This research also uses qualitative method by choosing key informant that is Nande Beru Tarigan at Karo marriage custom ceremony. To study the ceremony is used ceremonial theory. Furthermore, to study the musical structure used the weighted scale theory and rhythm structure. Then to study the meaning of the text used semiotic theory, and finally to examine the use of functionalism theory. The results obtained from this study are as follows. (I) Didong doah in Karo culture consists of three contexts, namely to lullabying the child, bathing the child into the river, and for marriage ceremonies commonly referred to didong doah bibi sirembah ku lau. Karo custom ceremony itself consists of pre-ceremony, ceremony, and post ceremony: nganting manuk, erdemu bayu, bahbelo selambar, ose, pudun, and so on. Didong prayer is used in the sub-ceremony of the girls with anak beru carrying indigenous debt. (II) Then the musical structure of the praying bow is singular (A) with four variants (A1, A2, A3, A4) consisting of six phrases. The tone is hexatonic (Gis-B-Cis-E-Fis-G-Gis'), the basic tone of Gis, the octave one-note region, the highest distribution on the physical tone of B, E, Cis, Gis, and the least G. Intervals tend to move, especially second major. Reversing and strophic melodic formulas, cadences with static and rising patterns, and pendulum contours. (III) The meaning of this didong doah text is the content of the comfort and forgiveness of the aunt to the bride in the framework of forming a new household. (IV) In order to doong this prayer is for the event to lullabying the children, bathing children into the river, and for traditional marriage ceremony Karo. Its functions are: (a) integration of kinship, (b) giving thanks to God, (c) ceremonial validity, (d) emotional disclosure, (e) cultural continuity, and (f) social integration.
Key words: didong doah, marriage, ceremony, musical structure, textual, meanings, function.
Advisors: 1. Drs. Muhammad Takari, M.Hum., Ph.D. and 2. Drs. Kumalo Tarigan, M.A., Ph.D.
| tesis-elfrida-ekasuma.pdf |
TESIS-TESIS DARI PROGRAM-PROGRAM STUDI SEJENIS
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LoKASI |
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Alamat Kantor:
Jalan Universitas No. 19, Kampus Universitas Sumatera Utara, Padangbulan, Medan, 20155. Telefon: (061)8952947, email: magisterseniusu@gmail.com; mtakari@yahoo.com; fadlindjafar@yahoo.com; takarimhd@yahoo.co.id
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