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All Journal Humaniora Gorga : Jurnal Seni Rupa Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Harmonia: Journal of Research and Education Panggung Gondang: Jurnal Seni dan Budaya Jurnal Ilmu Budaya Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Melayu Arts and Performance Journal Humantech : Jurnal Ilmiah Multidisiplin Indonesia Bercadik: Jurnal Pengkajian dan Penciptaan Seni Musik Etnik Nusantara

Andar Indra Sastra

Institut Seni Indonesia Padangpanjang

Author-ID : 2895209

Religion Arts Humanities Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Public Health Social Sciences Other

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Title

THE GROUP CONCEPT OF BUILDING RASO BATALUN IN THE PERFORMANCE OF TALEMPONG RENJEANG ANAM SALABUHAN Andar Indra Sastra
Humaniora Vol 27, No 1 (2015)
Publisher : Faculty of Cultural Sciences, Universitas Gadjah Mada

The goal of this article is to discuss talempong renjeang anam salabuhan as a cultural artefact, in particular focusing on the group concept of building raso batalun in the performance of talempong renjeang anam salabuhan in Luhak Nan Tigo, Minangkabau. Raso batalun in the performance of talempong is the musical expression created by the talempong player through the rhythmic treatment of the talempong. The expression produced in a talempong performance can be understood to reflect the musical ability of the talempong group in its performance of various types of Guguah talempong. A group is the representation of a social concept in Minangkabau society. Some talempong groups are formed on the basis of common goals and interests without any family connections; other groups are formed through family ties; and others are formed based on genealogical connections. A musical unit is built through musical communication between the talempong players through different rhythmic patterns. This musical communication can be achieved when the players in the group have the same level of perception, ability, and sense of musicality. It is this perception and sense of musicality which are the initial foundations on which a talempong performance is built, in accordance with the musical standard of each group. It is believed that a high musical standard will not be reached if the role of a particular player is taken over by another player from outside the group. The group plays an important role in building a musical unit and a musical standard in order to achieve raso batalun.

The Aesthetics of a Three-Way Pattern: The Musical Concept of Talempong Renjeang and The Social System of The People of Luhak Nan Tigo Minangkabau Andar Indra Sastra
Humaniora Vol 29, No 1 (2017)
Publisher : Faculty of Cultural Sciences, Universitas Gadjah Mada

The goal of this article is to discuss the aesthetics of the three-way pattern in the musical concept of talempong renjeang (tenteng) and the social system of the people of Luhak Nan Tigo Minangkabau. The musical concept of talempong renjeang is formed by 3 (three) pairs of talempong: talempong Jantan, talempong Paningkah, and talempong Pangawinan. As the ‘leader’, the talempong Jantan maintains the consistency and integrity of the theme and danyuik (tempo) of the playing, the talempong Paningkah follows the lead of the talempong Jantan using different playing motifs, and the talempong Pangawinan has the role and authority to make the guguah (melody) of the talempong complete – creating a three-way aesthetical pattern. The social system of the people of LuhakNan Tigo was created by three legendary figures, namely Dt. Katumangguangan, Dt. Parpatiah Nan Sabatang, and Dt. Nan Sakelap Dunia (RajoBabandiang). From these three figures, the concept of tali tigo sapilin, tungku nan tigo sajarangan was born (a philosophy of harmony). The method used for the research is based on qualitative data which was collected through observation, interviews, and documentation. The data analysis focuses the talempong renjeang as a musical and the social system of the Minangkabau community which began with two legendary Minangkabau figures. The results of the study show that talempong as a musical system corresponds to, or synchronizes with, the social concept of the people of Luhak Nan Tigo Minangkabau.

Postcolonial Aesthetics: Talempong Kreasi and Talempong Goyang in West Sumatra Andar Indra Sastra; Nadya Fulzi; Syahri Anton
Humaniora Vol 29, No 3 (2017)
Publisher : Faculty of Cultural Sciences, Universitas Gadjah Mada

The aim of this article is to disclose the postcolonial aesthetics of talempong kreasi and talempong goyang in West Sumatra. Aesthetics can be defined as a sense of perception or the various kinds of feelings that are aroused by an art object that is being observed. Postcolonialism is understood to be the continuation of colonialism; hence postcolonial aesthetics discusses the sense of perception, in this case with reference to talempong kreasi and talempong goyang as the material object. Talempong is a type of bronze musical instrument found in West Sumatra; the word kreasi means ‘creation’ or something new, while the word goyang means ‘rocking’ or ‘swaying’ and refers to the body movements of the spectators as they appear to dance in time to the talempong music. The addition of the words kreasi and goyang after the word talempong create the impression that this type of music belongs to the domain of popular music. The emergence of these two concepts in West Sumatra cannot be separated from the influence and power of a number of leading figures in the field of education – specifically artists – from the colonial era, who had a background in Western music education. Talempong kreasi and talempong goyang are dynamic in nature and have the ability to play both major and minor melodies as the talempong instruments are tuned to chromatic pitches. The tuning system of the talempong is akin to that of diatonic musical instruments, and as a musical system it presents the harmonies of Western music through its melodies and chords. The problem to be addressed in this article focuses on postcolonial aesthetics, with talempong kreasi and talempong goyang in West Sumatra as the material object of the study. This phenomenon is examined using the postcolonial theory, relying on qualitative data which is supported by additional qualitative data. The results of the research show that talempong kreasi and talempong goyang in West Sumatra are a product of postcolonialism.

Co-Authors Anton, Syahri Asep Saepul Haris, Asep Saepul ASRIL ASRIL Asril Asril Dharsono Dharsono Ediwar Ediwar Edward Zebua Elizar Elizar Erlinda Erlinda Erlinda Febra Muyusari Fitri Rahmah Fitria Fitria Fitria Fitria Hendri Koto Hendri, Yon Intan Rizki Intan Intan, Intan Rizki Kharisma Kharisma Kurniawan, Al Wahyu M. Arif Anas Martis Martis Martis, Martis Marzam Marzam Meri Susanti Meri Susanti Mirnawati Mirnawati Muhammad Hadi Habib Muyusari, Febra Nadya Fulzi NIa Daniati Nursyirwan Nursyirwan Nurwani - Nurwani Nurwani, Nurwani Otto Sidharta Rafiloza Rafiloza Rahman Dani, Dani Aulia Rahman, Surya Rasmida Rasmida Robby Suhendra Robby Suhendra Robi Anwar Sahrul Sahrul Sahrul, Sahrul Sidharta, Otto Surya Rahman Syafniati, Syafniati Syahri Anton Syahri Anton Taufik Imran Wati, Herlina Ira Wilma Sriwulan Wilma Sriwulan Yon Hendri yunaidi yunaidi Yunaidi Yunaidi Yusril Yusril

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