Musik Tiup dan Upacara Adat: Kasus Pengayaan Identitas Kebudayaan Musikal pada Masyarakat Batak Toba di Kota Medan

 Hingga dekade 1990an penggunaan gondang sabangunan, ensambel musik seremo- nial masyarakat Batak Toba Toba di kota Medan, masih memainkan peran yang penting di dalam upacara-upacara adat, antara lain upacara perkawinan dan kematian. Namun, dewasa ini ensambel yang dikenal sebagai musik tiup, yang merupakan kombinasi alat musik tiup logam (dari kebudayaan Barat) dengan alat musik dari kebudayaan Batak Toba, kelihatannya menggantikan posisi ensambel gondang sabangunan di dalam upacara-upa- cara adat; kondisi ini berkesinambungan. Apakah ini suatu dinamika proses sosial dalam rangka pembentukan identitas kebudayaan musikal yang baru bagi masyarakat Batak Toba di kota Medan? Pendekatan etnomusikologi dan etnohistori diaplikasikan dalam hal me- mahami dan menganalisa masalah ini. Penelitian ini menggunakan metode deskriptif dan hasilnya menunjukkan bahwa di satu sisi, masyarakat berusaha menjaga kesinambungan tradisi musik leluhur mereka melalui pelaksanaan upacara adat walaupun dengan format ensambel yang berbeda (musik tiup), tetapi tetap memberi ruang kepada elemen musik dan ekstra musikal tradisi gondang Batak Toba, khususnya instrumen dan melodi gondang. Di sisi yang lain, melalui musik tiup masyarakat memberikan kontribusi pada pengayaan identitas kebudayaan musikalnya.

Musik Tiup dan Upacara Adat: Kasus Pengayaan Identitas Kebudayaan Musikal pada Masyarakat Batak Toba di Kota Medan

ABSTRACT Up to the 1990’s the use of the gondang sabangunan, the traditional ceremonial music ensamble of the Batak Toba people,  still played an important role in the practice of their adat (customary law) ceremonies—such as wedding and funeral ceremonies. In present time, however, the so-called musik tiup, a combination of Western brass instruments and Batak Toba traditional musical instruments, tends  to take place of the role of the gondang sabangunan in the adat ceremonies; its use is in fact countinuous. This paper aims to investigate whether or not it is a kind of  social process of  forming a new musical culture identity of the Batak Toba people in Medan. Ethnomusicological and ethno- historical approaches are used in investigating this particular social phenomenon. This research uses decriptive method and the result shows that, on one hand, the people intend to look after their ances- tors’ traditions through the practice of adat ceremonies where they use musik tiup, yet at the same time, they not only perform traditional gondang repertoires (gondang compositions) but also employ certain instruments of the gondang sabangunan ensamble. On the other hand, through the use of musik tiup the people mean to construct and  enrich their musical culture identity. Keywords: Batak Toba, musik tiup, Gondang Sabangunan, identity, adat    ABSTRAK Hingga  dekade  1990an  penggunaan  gondang  sabangunan,  ensambel  musik  seremo- nial masyarakat Batak Toba Toba di kota Medan, masih memainkan peran yang penting di dalam upacara-upacara adat, antara lain upacara perkawinan dan kematian. Namun, dewasa ini ensambel yang dikenal sebagai musik tiup, yang merupakan kombinasi alat musik tiup logam (dari kebudayaan Barat) dengan alat musik dari kebudayaan Batak Toba, kelihatannya menggantikan posisi ensambel gondang sabangunan di dalam upacara-upa- cara adat; kondisi ini berkesinambungan. Apakah ini suatu dinamika proses sosial dalam rangka pembentukan identitas kebudayaan musikal yang baru bagi masyarakat Batak Toba di kota Medan? Pendekatan etnomusikologi dan etnohistori diaplikasikan dalam hal me- mahami dan menganalisa masalah ini. Penelitian ini menggunakan metode deskriptif dan hasilnya menunjukkan bahwa di satu sisi, masyarakat berusaha menjaga kesinambungan tradisi musik leluhur mereka melalui pelaksanaan upacara adat walaupun dengan format ensambel yang berbeda (musik tiup), tetapi tetap memberi ruang kepada elemen musik dan ekstra musikal tradisi gondang Batak Toba, khususnya instrumen dan melodi gondang. Di sisi yang lain, melalui musik tiup masyarakat memberikan kontribusi pada pengayaan identitas kebudayaan musikalnya. Kata kunci: Batak Toba, musik tiup, Gondang Sabangunan, identitas, ada

Seni Pertunjukan Hadrah di Kota Medan Analisis Teknik Interloking dalam Ansambel Musik Perkusi Hadrah

Hadrah is a traditional Islamic music performance art that integrates singing in the form of praises and veneration to the Prophet Muhammad SAW with accompaniment from a percussion music ensemble. Percussion instruments such as rebana, bedug, kecrek, and others play the main role in this performance. This research conducted in the city of Medan focuses on analyzing the specific playing techniques used in the hadrah percussion music ensemble, especially the interlocking technique where the rhythmic patterns played by each instrument interlock with one another, creating a distinctive rhythmic complexity that characterizes the hadrah performance art. Hadrah performances are usually held during Islamic religious celebrations such as the Prophet's Birthday, Isra' Mi'raj, religious study gatherings, and other commemorations. The interlocking technique in hadrah percussion music performances shows similarities with the way traditional Indonesian percussion instruments are played. This research employs an ethnographic approach relevant for observing, analyzing, and understanding the interlocking playing technique and the function of hadrah musical instruments within the context of Islamic religious performances and rituals in Indonesia, specifically in the city of Medan. Through direct observation, the researcher aims to capture the essence of the hadrah performance art as an expression of the cultural identity of the Muslim community in the city of Medan

Continuity and Change of Silat Pelintau as a Cultural Heritage of the Tamiang Community in Aceh Tamiang Regency

Silat Pelintau is a traditional art of the Tamiang Malay ethnic community which originates from local wisdom and then became a performing art and underwent changes in function and use. Specifically, this research aims to determine the exact continuity and changes of Silat Pelintau in the Tamiang Malay community over several periods in Aceh Tamiang Regency. The research method used is descriptive qualitative. The continuity and changes of silat pelintau in the Tamiang Malay Ethnic community have connected periods within a certain period of time up to the present. The continuity of Silat Pelintau itself starts from colonialism, independence, the New Order, and up to the present

Peluang, Tantangan dan Harapan Trio Batak Perempuan di Kota Medan

The rise of modern music is growing in all circles so that the female Batak trio is never noticed and finds a place to look for job opportunities in the city of Medan. This research is a type of qualitative research by observing artistic phenomena, especially the opportunities, challenges and hopes of the Batak Women Trio in Medan City. Data collection techniques using interviews and observation. Data analysis techniques use data reduction, data presentation and drawing conclusions. This research was carried out in Medan City. Research results: 1) This female Batak trio is starting to become less popular with music listeners in the city of Medan, this is due to the many developments in modern music which are more popular for the people of Medan to listen to in the city of Medan. 2) This female Batak trio singer still has a place in the hearts of the people of Medan, but not like before, who was in demand by all groups. As a singer, he hopes that this Batak trio will get more attention, meaning this is the hope of the female Batak trio in the city of Medan. 3) The female Batak trio in the city of Medan must also be able to adapt to the challenges which have resulted in a change in the musical concept from the Batak trio to modern music so that the Batak trio is also able to compete with the existing challenges. Where the Batak trio must change their musical presentation to make it more modern so that Batak trio music lovers feel the same musical perception as their musical tastes

Arkeomusikologi

Disunting oleh seorang pakar di bidangnya, Ben M. Pasaribu, buku Arkeomusikologi ini diramu menjadi sebuah potret fenomena aktivitas musik yang terjadi pada masa lampau melalui serangkaian tulisan yang esensial. Namun potret semacam ini tidak seharusnya hanya dijadikan romantisme pada realitas yang telah berlalu saja, melainkan membuka berbagai kemungkinan pengungkapan dinamika yang lebih kompleks baik yang terjadi pada masa lampau, sekarang, dan kelak di masa depan

Empowering Huruk Gabe Aeksorseang Musical Studio as Bataknese Musical Instrument Craftman in Lintongnihuta Village, Samosir

Huta Gabe Aeksorseang studio is a traditional art studio that helped preserve traditional culture, especially the Batak Toba. The presence of this art studio has stimulated creative economy activities within the region. The problems currently being faced by the Huta Gabe Aeksorseang studio have not been made optimal yet. Products that had been sold nationally but had not well known to many other Indonesian consumers due to there is no product brand. The daily activities of this art gallery cultivate traditional music. This community services is carried out with a focus on solving partner problems by providing appropriate science and technology for the local community, especially for the management of the Studio. The method of making traditional musical instruments is still not optimal so that the resulting sound quality is not correctly produced. Science and technology has been given to partners related to production and marketing techniques that have been carried out. We also provided online marketing strategies to assist the online marketing activities of the Huta Gabe Aeksorseang studio. Technical equipment is also provided to help partners improve product quality and product competitiveness with lower production costs. Heavy equipment such as welding machines in the area makes production costs high. With the help of the equipment provided, partners will be more efficient in production, thereby increasing partner competitiveness

Gondang Mandudu: The Ritual of Rejecting Disasters During the COVID-19 Pandemic in Samosir Regency

This study explores the Gondang Mandudu ceremony, a sacred ancestral ritual in the Batak Toba community, specifically practiced to ward off the threat of COVID-19. Conducted by the Ruma Parsaktian Ompung Raja Isumbaon Community, this ceremony features the unique phenomenon of playing gondang sabangunan for approximately one hour, which is believed to invoke spiritual protection. This research aims to provide a descriptive account of the ceremony and understand its objectives in the context of the COVID-19 pandemic. Primary data was gathered through direct field research using a qualitative descriptive method, and secondary data from academic books and articles was added to the primary data. This triangulation-validated data ensured that the secondary sources and field observations were consistent. The findings highlight the significance of the ritual in the cultural and spiritual context of the community, showcasing its role in invoking protection from misfortune. This study contributes to the understanding of indigenous responses to global health challenges. It offers insights into the cultural significance of traditional rituals in modern times

Music Transformation of Gondrang Sipitu-pitu in Simalungun Community

This study investigates the transformation and adaptation processes of gondrang sipitu-pitu music within Simalungun society in response to social, cultural, and technological dynamics. Originally serving as a medium for ritual and spiritual communication in the context of Simalungun customs, gondrang sipitu-pitu has undergone significant changes in its musical structure, social function, and performance style due to the influence of religion, modernization, and external cultural forces. The research employs a descriptive qualitative method with a phenomenological approach, drawing upon Margaret Kartomi theory of transformation and adaptation, Jeff Todd Titon theory of musical style, and William F. Ogburn theory of socio-cultural change. The findings reveal that although modern instruments have begun to challenge the dominance of traditional ones, key musical elements such as rhythm, sarunei melodies, and ensemble structure remain preserved. The emerging musical style reflects the creative adaptation of traditional artists to contemporary performance contexts. However, this transformation is also accompanied by critical issues, including the erosion of sacred meaning, the influence of modern aesthetic pressures, and the commodification of local culture. The shift from sacred ritual to popular entertainment raises concerns regarding the authenticity and sustainability of cultural values. Thus, this transformation must be understood not merely as an adaptive process, but as a contested arena of meaning, identity, and cultural power within Simalungun society

Sinunö Falöwa sebagai Pelegitimasi Upacara Adat Perkawinan pada Masyarakat Nias di Kota Gunungsitoli: Kajian Konteks dan Kontinuitas

Tulisan ini membahas tentang ritual perkawinan pada masyarakat Nias di Gunungsitoli. Dua hal yang menjadi fokus diskusi pada tulisan ini adalah, pertama, terkait tradisi nyanyian perkawinan yang dikenal sebagai sinunö falöwa, dan kedua, terkait kepercayaan lokal masyarakat Nias yang dikenal sebagai sanömba adu, penyembah Patung. Dengan mengaplikasikan pendekatan etnomusikologis dan metode penelitian deskriptif komparatif, artikel ini mengungkapkan: (i) ritual perkawinan pada masyarakat Nias di Gunungsitoli terlegitimasi lewat penyajian nyanyian perkawinan yang dikenal sebagai sinunö falöwa; (ii) sebagai aspek yang melegitimasi ritual perkawinan, sinunö falöwa merefleksikan aspek-aspek kepercayaan lokal, dan (iii) keberadaan sinunö falöwa menggambarkan keberlanjutan kepercayaan kuno masyarakat Nias yang eksis melalui proses transmisi sinunö falöwa dan harus dilaksanakan melalui ritual perkawinan, falöwa.Sinunö Falöwa As Legitimacy of Indigenous Marriage Ceremony in Nias Community in Gunungsitoli City: Study of Context and Continuity. This paper presents an overview of marriage rituals of the Nias community in Gunungsitoli. Two things become the main focus of the discussion, namely the one related to the tradition of marriage singing known as sinunö falöwa, and the one related to the local beliefs of the Nias community known as sanömba adu, worshipers of the Statue. By applying the ethnomusicological approaches and comparative descriptive research methods, this article reveals: (i) marriage rituals in the Nias community in Gunungsitoli which are legitimized through the presentation of marriage songs known as sinunö falöwa; aspects of local beliefs, and (ii) the existence of sinunö falöwa illustrates the continuation of the ancient beliefs of the Nias community that has been existed through the transmission process of sinunö falöwa and must be carried out through marriage rituals, falöwa.Keywords: sinunö falöwa; sanömba adu; Nias trib