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All Journal Budapest International Research and Critics in Linguistics and Education Journal (Birle Journal) Budapest International Research and Critics Institute-Journal (BIRCI-Journal): Humanities and Social Sciences
Ewin Johan Sembiring
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Religion Arts Humanities Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Social Sciences Other

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The ensemble of Keteng-Keteng Telu Ngawan Adina S Sembiring; Uyuni Widiastuti; Purbatua Manurung; Hendy Obed Sembiring; Ewin Johan Sembiring
Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences Vol 4, No 3 (2021): Budapest International Research and Critics Institute August
Publisher : Budapest International Research and Critics University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birci.v4i3.2408

Abstract

The creation of three-segment keteng-keteng (telu ngawan) with high, midle, and low characters, is carried out through the Soprano, Alto, tenor, and Bass frequency approaches, so that the keteng-keteng telu ngawan instrument becomes a “new” musical ensemble called the keteng-keteng Ensemble. Keteng-keteng Telu Ngawan. The frequency of keteng-keteng telungawan with soprano character is on a scale of 261,626-1046.50 Hz, the frequency of keteng-keteng telungawan with alto character is on a scale of 174,614-698,456 Hz, the frequency of keteng-keteng telungawan with tenor character is on a scale of 130,813-523,251, and the frequency of keteng-keteng telungawan bass character is on a scale of 82.4069-329.628. The determination of the tuning of the four keteng-keteng telungawan is done by recording the sound of the four keteng-keteng telungawan then transferring the sound to a string instrument category and entering it into several music tuner applications such as Da Tuner, Guitar Tuna or other similar applications. The results of the music tuner will be entered into the website so that it will automatically know where the frequency of the sound for each keteng-keteng telu ngawan is.
Revitalization of the Gendang Binge as Identity Karo Langkat Arts Adina Sembiring; Uyuni Widiastuti; Hendy Obed Sembiring; Ewin Johan Sembiring; Eben Haezarni Telaumbanua
Budapest International Research and Critics in Linguistics and Education (BirLE) Journal Vol 5, No 3 (2022): Budapest International Research and Critics in Linguistics and Education, August
Publisher : BIRCU

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/birle.v5i3.6490

Abstract

The revitalization of the Gendang Binge was carried out due to the loss of the main function of the Gendang Binge in traditional Karo Langkat arts due to the dominant influence of the keyboard in various traditional ceremonies in the Karo Langkat community. The drums of Binge are made of old jackfruit wood which is dried first so that the sound of the drums does not change after the skin is attached. The Binge drum is divided into 2 types, namely the Indung drum and the children's drum. Gendang Binge indung is 19 cm long, with a top cover of 12.5 cm and a bottom cover of 6.5 cm, while the drum for children is 19 cm long, with a top cover of 10 cm and a bottom cover of 8 cm. The material used for the membrane or skin for the Binge drum is napuh skin (a type of endemic animal rabbit) in the Karo highlands, while to tie the skin to the wood used cowhide and for sticks using kaffir lime wood. Some of the techniques in playing Gendang Binge include: Tang and Tih are used to produce the sound of the Gendang Binge ovary, while for Tang and Cek to produce the sound character of the children of Gendang Binge. To produce Tang in the ovary of the Gendang Binge, the large stick must be struck on the edge of the drum, while for Tih the large stick is struck right in the middle of the membrane of the Gendang Binge. To produce a Tang sound from the child's Gendang Binge, the stick is hit on the edge of the lips and must hit the membrane, while to produce a Check sound, the drum stick is hit and pressed at the same time in the middle of the membrane.
Co-Authors Adina S Sembiring Adina Sembiring Eben Haezarni Telaumbanua MANURUNG, PURBATUA Sembiring, Hendy Obed Uyuni Widiastuti