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All Journal Abdimas Talenta : Jurnal Pengabdian Kepada Masyarakat NUSANTARA : Jurnal Ilmu Pengetahuan Sosial JURNAL PENDIDIKAN TAMBUSAI Journal of Education, Humaniora and Social Sciences (JEHSS) PERSPEKTIF Jurnal Pendidikan dan Penciptaan Seni Sibatik Journal : Jurnal Ilmiah Bidang Sosial, Ekonomi, Budaya, Teknologi, Dan Pendidikan Jurnal Mebang Formosa Journal of Science and Technology (FJST)
Gulo, Hubari
Fakultas Ilmu Budaya, Universitas Sumatera Utara
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Kajian Organologi Genderang Sisibah Buatan Bapak Atur Pandapotan Solin Rodo Andreas Panjaitan; Heristina Dewi; Yoe Anto Ginting; Rithaony Hutajulu; Hubari Gulo
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 6 No. 1 (2026)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/mebang.v6i1.239

Abstract

This study describes the technique of making the traditional musical instrument Sisibah Drum preserved by Mr. Atur Pandapotan Solin at the Ninanola Studio, Sukaramai Village, Pakpak Bharat Regency. Sisibah Drum is a traditional musical instrument originating from the Pakpak tribe. This musical instrument is classified as a struck membranophone (a musical instrument whose sound source comes from skin or membrane that is played by being hit). Sisibah Drum has spiritual value and social function in carrying out traditional ceremonies such as Kerja Mbaik and Kerja Njahat. This study aims to examine and describe in depth the process of making Sisibah Drum, including its physical structure, materials and tools used, and the role of this music in the cultural life of the Pakpak people. The method used is a descriptive qualitative approach with data collection techniques through participatory observation, in-depth interviews, and visual documentation. The theoretical framework includes the organological theory of Sushumu Kashima to examine the physical and structural aspects of the instrument, the Sachs-Hornbostel classification used in classifying instrument types, and the theory of musical function according to A.P. Merriam. The results of this study indicate that the Sisibah Drum is still made using traditional methods and techniques that are still used today. Local materials used in the Sisibah Drum making process consist of several types, such as Mbrabas wood, coffee wood, and animal skin. The stages used start from material selection, forming the instrument body, installing the membrane, and tuning the sound. In addition to being a musical instrument, the Sisibah Drum also functions as a means of spiritual communication and a symbol of the Pakpak tribe's cultural identity. The Ninanola Studio plays an active role in  preserving the Sisibah Drum musical instrument to this day.
Deskripsi Teknik Pembuatan dan Permainan Aramba dan Faritia oleh Bapak Faozisökhi Laia di Sanggar Museum Pusaka Nias di Kota Gunungsitoli Berlin Charinpatrio Laia; Rithaony Hutajulu; Hubari Gulo
PERSPEKTIF Vol. 15 No. 1 (2026): PERSPEKTIF January
Publisher : Universitas Medan Area

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31289/perspektif.v15i1.16581

Abstract

Penelitian ini bertujuan mendeskripsikan teknik pembuatan dan permainan instrumen musik tradisional Nias, Aramba dan Faritia, sebagaimana dipraktikkan oleh Faozisökhi Laia di Sanggar Museum Pusaka Nias, Gunungsitoli. Kedua instrumen ini berperan penting dalam budaya Nias sebagai pengiring upacara adat, pesta pernikahan, serta sarana komunikasi musikal dalam konteks sosial. Penelitian bersifat kualitatif-deskriptif dengan metode observasi partisipatif, wawancara mendalam, observasi lapangan, dan dokumentasi. Analisis data dilakukan melalui reduksi, penyajian, dan penarikan kesimpulan dengan kerangka etnomusikologi, menggunakan teori Khasima Shusumu tentang aspek fisik instrumen, Bruno Nettl terkait analisis dan transkripsi permainan, Curt Sach & Hornbostel mengenai klasifikasi instrumen, serta Alan P. Merriam tentang perilaku musikal. Hasil penelitian menunjukkan Aramba dan Faritia berakar dari instrumen Tutuhao serta mengandung nilai budaya dan simbolik. Proses pembuatannya mencakup keterampilan tradisional dengan tahapan pemanasan, pembentukan ragi-ragi, mamatö, pembentukan hagu, hingga penyempurnaan. Teknik permainan Aramba dilakukan dengan menggantungnya, memukul bagian hagu sambil bergerak layaknya menari, sedangkan Faritia dimainkan dua orang secara berhadapan dengan nada rendah dan tinggi yang berpola ritmis.
Kajian dan Peran Musik dalam Perayaan Paskah di GBI Keluarga Besar Medan Plaza Alethea Manuela Parrangan; Rithaony Hutajulu; Hubari Gulo
Journal of Education, Humaniora and Social Sciences (JEHSS) Vol 8, No 3 (2026): Journal of Education, Humaniora and Social Sciences (JEHSS), Februari
Publisher : Mahesa Research Center

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34007/jehss.v8i3.2948

Abstract

This study examines the role of music in the National Easter Celebration at GBI Keluarga Besar Medan Plaza through a qualititative descriptive approach. The objectives of this study are: (1) to explain the worship order in the National Easter Celebration service; (2) to determine the function of music as a liturgical tool; (3) to determine the musical structure. In examining the role of music in the National Easter Celebration at the GBI Keluarga Besar Medan Plaza, the researcher used a descriptive qualitative approach. When collecting data, the researcher used observation, interview, and documentation methods. The results of the study show that music in the National Easter Celebration service at the GBI Keluarga Besar Medan Plaza has complex functions, including expressive, communicative, normative, symbolic, and integrative. Musical elements are arranged to create a flow of worship that is emotionally and spiritually touching. In conclusion, music in the National Easter Celebration at the GBI Keluarga Besar Medan Plaza is not merely a complement, but becomes a means of uniting congregations from various backgrounds, a medium of spiritual communication, and a vessel for expressing faith that deepens the meaning of worship collectively
Co-Authors Afifah, Muthia Rachma Agnesti Sinaga Agus Salim Harahap Agustinus Tamsar Alethea Manuela Parrangan Berlin Charinpatrio Laia Br. Perangin-angin, Alemina Cahyani Indah Ramadhani Fadlin Fadlin Fadlin Fadlin Ginting, Yoe Anto Harahap, Putri Amelia Heristina Dewi, Heristina Hutajulu, Rithaony Hutasoit, Ismail Hutasoit, Ismail Jafar, Fadlin Khairiyah, Dina Kristiyani Feranola Laia L. Sholikhah, Rahmatika Manany, Shefira Riani Mauly Purba, Mauly N.B. Sinulingga, Egi Nayla Nayla Azzahra Resdina Juita Aritonang Rodo Andreas Panjaitan Roventus Simamora, Swingly Sinaga, Ester Sitorus, Emelia Anggraini Sitorus, Emelia Anggraini Situmorang, Daniel Adjinegara Tarigan, Kumalo Tarigan, Yohana Amerisa Br Tinambunan, Ayurut Desica Tinambunan, Ayurut Desica Torang Naiborhu Yeni Cecilia Fa’omasi Hulu Yoe Anto Ginting