Sambira, Zefanya
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Presentation of Ma'badong Music in the Context of Social Action in Lembang Gandangbatu Sambira, Zefanya; Wadiyo, Wadiyo; Syakir, Syakir
Catharsis Vol 9 No 2 (2020)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v9i2.44526

Abstract

Ma'badong music is a music that is presented in the Ma'badong performance at the Rambu Solo' ritual or death ritual in Lembang Gandangbatu, Gandangbatu Sillanan District, Tana Toraja Regency as an expression and lamentation for someone who has died. This study uses qualitative research method with a sociological approach. The data analysis used to analyze the presentation of Ma'badong music in the context of social action consists of three stages, namely: data reduction, data presentation, and drawing conclusions. The data collection techniques used were observation, interview, and documentation techniques. The results suggest that the presentation of Ma'badong music in Lembang Gandangbatu consists of four types of social action proposed by Max Weber, namely: objective rational action, value rational action, affective action, and traditional action. Pa'badong acts as an actor or music presenter of Ma'badong that tried to present their best performance through melodies, rhythms, and lyrics in Badong which are full of meaning and noble values upheld by the Toraja tribe. Meanwhile, individuals or groups of people who watch Ma'badong performance act as appreciators or audience. The presentation of Ma'badong music is not only seen as part of religious rituals and performing arts, but also as a form of social action that occurs in Tana Toraja community, especially in Lembang Gandangbatu. Ma'badong music is a music that is presented in the Ma'badong performance at the Rambu Solo' ritual or death ritual in Lembang Gandangbatu, Gandangbatu Sillanan District, Tana Toraja Regency as an expression and lamentation for someone who has died. This study uses qualitative research method with a sociological approach. The data analysis used to analyze the presentation of Ma'badong music in the context of social action consists of three stages, namely: data reduction, data presentation, and drawing conclusions. The data collection techniques used were observation, interview, and documentation techniques. The results suggest that the presentation of Ma'badong music in Lembang Gandangbatu consists of four types of social action proposed by Max Weber, namely: objective rational action, value rational action, affective action, and traditional action. Pa'badong acts as an actor or music presenter of Ma'badong that tried to present their best performance through melodies, rhythms, and lyrics in Badong which are full of meaning and noble values ​​upheld by the Toraja tribe. Meanwhile, individuals or groups of people who watch Ma'badong performance act as appreciators or audience. The presentation of Ma'badong music is not only seen as part of religious rituals and performing arts, but also as a form of social action that occurs in Tana Toraja community, especially in Lembang Gandangbatu.
Presentation of Ma'badong Music in the Context of Social Action in Lembang Gandangbatu Sambira, Zefanya; Wadiyo, Wadiyo; Syakir, Syakir
Catharsis Vol 9 No 2 (2020)
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/catharsis.v9i2.44526

Abstract

Ma'badong music is a music that is presented in the Ma'badong performance at the Rambu Solo' ritual or death ritual in Lembang Gandangbatu, Gandangbatu Sillanan District, Tana Toraja Regency as an expression and lamentation for someone who has died. This study uses qualitative research method with a sociological approach. The data analysis used to analyze the presentation of Ma'badong music in the context of social action consists of three stages, namely: data reduction, data presentation, and drawing conclusions. The data collection techniques used were observation, interview, and documentation techniques. The results suggest that the presentation of Ma'badong music in Lembang Gandangbatu consists of four types of social action proposed by Max Weber, namely: objective rational action, value rational action, affective action, and traditional action. Pa'badong acts as an actor or music presenter of Ma'badong that tried to present their best performance through melodies, rhythms, and lyrics in Badong which are full of meaning and noble values upheld by the Toraja tribe. Meanwhile, individuals or groups of people who watch Ma'badong performance act as appreciators or audience. The presentation of Ma'badong music is not only seen as part of religious rituals and performing arts, but also as a form of social action that occurs in Tana Toraja community, especially in Lembang Gandangbatu. Ma'badong music is a music that is presented in the Ma'badong performance at the Rambu Solo' ritual or death ritual in Lembang Gandangbatu, Gandangbatu Sillanan District, Tana Toraja Regency as an expression and lamentation for someone who has died. This study uses qualitative research method with a sociological approach. The data analysis used to analyze the presentation of Ma'badong music in the context of social action consists of three stages, namely: data reduction, data presentation, and drawing conclusions. The data collection techniques used were observation, interview, and documentation techniques. The results suggest that the presentation of Ma'badong music in Lembang Gandangbatu consists of four types of social action proposed by Max Weber, namely: objective rational action, value rational action, affective action, and traditional action. Pa'badong acts as an actor or music presenter of Ma'badong that tried to present their best performance through melodies, rhythms, and lyrics in Badong which are full of meaning and noble values ​​upheld by the Toraja tribe. Meanwhile, individuals or groups of people who watch Ma'badong performance act as appreciators or audience. The presentation of Ma'badong music is not only seen as part of religious rituals and performing arts, but also as a form of social action that occurs in Tana Toraja community, especially in Lembang Gandangbatu.
Kajian Organologi Musik Pompang Toraja: Bentuk, Fungsi, dan Makna Malino, Sernilia; Sambira, Zefanya; Allo, Hasrat Dewy Rante; Asyer, Vangky; Dase’, Admadi Balloara; Siallagan, Stephani Intan Maritho
Tonika: Jurnal Penelitian dan Pengkajian Seni Vol 6 No 2 (2023): Volume 6 Nomor 2 Tahun 2023
Publisher : Sekolah Tinggi Theologia Abdiel

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37368/tonika.v6i2.526

Abstract

Fenomena saat ini di dalam masyarakat Toraja, minat generasi muda terhadap musik pompang mulai berkurang, bukan hanya minat tetapi pewarisan dan pelestarian musik Pompang juga masih sangat minim. Fenomena tersebut membuat kurangnya kajian literatur mengenai musik pompang di Toraja baik itu bentuk, fungsi, dan maknanya maka, artikel ini bertujuan untuk membahas tentang kajian organology musik pompang Toraja yang di dalamnya membahas bentuk, fungsi, dan makna pompang. Penelitian ini merupakan penelitian kualitatif deskriptif yang berfokus menjabarkan realitas sosial sesuai keadaan di lapangan. Pendekatan yang digunakan adalah pendekatan organology. Data diperoleh langsung dari seorang maestro musik pompang yaitu Bapak Samuel Linggi yang dikumpulkan melalui wawancara, observasi, dan dokumentasi. Teknik analisis data menggunakan triangulasi. Teknik analisis data di lakukan dengan cara mereduksi data, penyajian data, dan menarik kesimpulan. Hasil penelitian menunjukkan bahwa pompang merupakan salah satu alat musik tradisional yang ada di Toraja dan bukan musik etnik yang berbahan bambu khas Toraja. Pompang termasuk dalam kategori alat musik aerophone dan dimainkan secara ansambel. Alat musik ini terdiri dari tiga bagian utama yaitu 1) bambu ukuran besar yang berfungsi sebagai lubang resonansi; 2) bambu ukuran sedang berfungsi sebagai pengantar udara; 3) dan bambu ukuran kecil untuk meniup. Wilayah suara pompang terdiri dari fa rendah (F2) dan nada tertinggi adalah mi tinggi (E5). Secara fungsional pompang memiliki nilai estetika dan ekonomi. Dikatakan nilai estetika karena rangkaian nada yang dihasilkan pompang memberikan keindahan yang unik dan natural, sedangkkan nilai ekonomi berkaitan dengan eksistensi pompang yang dapat memberikan sumber pendapatan bagi pengrajin dan pemain musik pompang.
Analisis Bentuk dan Struktur Musik Lagu “110 Tahun Injil Masuk Toraja” dalam Festival Vokal Grup Gereja Toraja Sambira, Zefanya; Palimbong, Andriano Mario; Verjanti, Kris
Tonika: Jurnal Penelitian dan Pengkajian Seni Vol. 8 No. 2 (2025): Volume 8 Nomor 2 Tahun 2025
Publisher : Sekolah Tinggi Teologi Abdiel

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.37368/tonika.v8i2.836

Abstract

Penelitian ini bertujuan menganalisis secara tekstual bentuk musik beserta strukturnya dari karya lagu “110 Tahun Injil Masuk Toraja”. Lagu ini dipilih sebagai objek penelitian karena selain memuat mengenai budaya Toraja dan ajaran Kristen, unsur musikal yang terdapat di dalamnya termasuk unik dan punya ciri khas tertentu. Penelitian ini bersifat deskriptif kualitatif dengan menggunakan perspektif musikologi sebagai acuan utama dalam penelitian ini. Subjek dan data utama penelitian ini adalah lagu “110 Tahun Injil Masuk Toraja”. Teori yang digunakan dalam penelitian ini mengacu pada pemikiran Hugh M. Miller dan Karl Edmund Prier. Hasil penelitian ini menemukan bahwa terdapat enam unsur musik yang membentuk lagu tersebut antara lain unsur pertama, yaitu elemen waktu yang terdiri dari tempo, meter, dan ritme. Tempo yang digunakan adalah moderato dengan meter yaitu 4/4, sedangkan ritmenya terdiri dari enam pola yang masing-masing memiliki pola berbeda-beda. Unsur kedua yaitu melodi yang lebih banyak menggunakan not seperdelapan pada setiap birama lagu. Unsur ketiga yaitu harmoni menggunakan empat akor, yakni akor I, 1V, V, dan vi, baik posisi dasar ataupun balikan. Unsur keempat yaitu tonalitas menggunakan D Mayor, yang memiliki nada terendah sol (A3) dan nada tertinggi do (D5). Unsur kelima yaitu tekstur yang terdiri dari tiga jenis antara lain monofoni, homoritmik, dan polifoni. Unsur keenam yaitu dinamika dan ekspresi menggunakan decresendo dan staccato. Selain itu, struktur musik terdiri tiga bagian yaitu A, B, C dengan pengulangan pada bagiannya menjadi A-A’-B-B’-C-B-B’.