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All Journal Jurnal Sendratasik Humanus: Jurnal ilmiah Ilmu-ilmu Humaniora Panggung Gondang: Jurnal Seni dan Budaya Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik Journal of Social, Humanity, and Education Ranah Research : Journal of Multidisciplinary Research and Development Misterius: Publikasi Ilmu Seni dan Desain Komunikasi Visual Abstrak: Jurnal Kajian Ilmu Seni, Media dan Desain Imajinasi: Jurnal Ilmu Pengetahuan, Seni, dan Teknologi Panggung

Marzam Marzam

Universitas Negeri Padang

Author-ID : 317027

Religion Arts Humanities Chemical Engineering, Chemistry & Bioengineering Civil Engineering, Building, Construction & Architecture Economics, Econometrics & Finance Education Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Materials Science & Nanotechnology Public Health Social Sciences Transportation Other

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Bentuk Penyajian Gordang Sambilan Pada Upacara Pesta Pernikahan Di Kelurahan Kota Siantar Kecamatan Panyabungan Kota Kabupaten Mandailing Natal Rafsanjani Rafsanjani; Marzam Marzam
SENDRATASIK UNP Vol 10, No 1 (2021)
Publisher : FBS Universitas Negeri Padang

This research aims to describe the presentation form of Gordang Sambilan at wedding ceremony in the village of Kota Siantar, Panyabungan Kota district, Mandailing Natal Regency. This research belongs to a qualitative research using descriptive method. The main instrument in this study was the researcher itself and was assisted by supporting instruments such as stationery and cameras. The data were collected through literature study, observation, interview, and documentation. The data were analyzed by describing and concluding the data. The results show that Gordang Sambilan is a traditional art from Mandailing land, North Sumatra, in the form of a mixed tradition ansamble band played by twelve to fourteen male players. Gordang Sambilan is performed on the arena stage where people watching the show surround the group of Gordang Sambilan who are performing. The main musical instrument of this art is Gordang Sambilan which is nine large drums played by being hit by using sticks. In addition, there are other supporting instruments namely ogung, salempong, tali sasayap, saleot, and flute. Gordang Sambilan was once believed to have supernatural or magical power and was used as a medium to ask for help to the spirits of ancestors and jinn on various problems faced by society. In the past, gordang art performances could only be played at Horja Bolon wedding(traditional ceremonies of massive wedding parties). However, nowdays it is freely performed or played serving as entertainment for the People of Mandailing. It can be openly witnessed and performed aiming solely to preserve Mandailing's original culture or art and to keep Gordang Sambilan alive. It is still played and not extinct in the middle of increasingly modern era.

PENERAPAN KURIKULUM 2013 DALAM MATA PELAJARAN SENI BUDAYA DI SMP NEGERI 2 PAYAKUMBUH Tetenia Saputri Yuliost; Jagar Lumbantoruan; Marzam Marzam
SENDRATASIK UNP Vol 6, No 1 (2017)
Publisher : FBS Universitas Negeri Padang

AbstractThis article aimed to describe the implementation of 2013 Curriculum in the Art and Culture subject at SMPN 2 Payakumbuh by investigating the teacher’s lesson plan and looking at how the learning process took place. This qualitative research were a teacher of the Art and Culture subject in class VII of SMP Negeri 2 Payakumbuh. The instrument of the research was the researcher herself, stationaries, a camera and mobile phones. The data collected were in the form of primary and secondary data. They were obtained through observation, interview, librabry study, and documentation study. Data analysis was done by classifying, displaying and describing the data and then drawing conclusions. The result of the research indicate that the Art and Culture teacher of SMP Negeri 2 Payakumbuh has worked hard to meet the target 0f 2013 curriculum and she has applied the curriculum in accordance with its guidelines. The implementation of the curriculum covers the plan and the learning process that relate to instructional materials, learning methods, learning strategies, media, and learning sources.Keywords: Implementation, 2013 Curriculum, Art and Culture

Bentuk Penyajian Kesenian Kasidah Rebana Dalam Acara Pesta Perkawinan Di Jorong Saroha Tamiang Pasaman Barat Marlisna Marlisna; Marzam Marzam
SENDRATASIK UNP Vol 9, No 3 (2020)
Publisher : FBS Universitas Negeri Padang

This research aims to describe the form of a Kasidah Rebana presentation in a wedding party in Jorong SarohaTamiang, Lembah Melintang District, West Pasaman Regency. This research is a qualitative research which focuseson getting issues related to the topic. The data were collected through literature study, observation, interviews, and documentation. The development of sophisticated era and the cultures and arts developed in community give positive and negative effects. However, the art of Kasidah Rebana in the Jorong Saroha Tamiang still exists and is the choice of the community to be presented in a wedding party. The presentation form of Kasidah Rebana in the wedding party now has undergone many changes towards a more modern direction in accordance with the times. This can be seen from the sound system and formations, which neatly arranged by the group on stage, provided by the committee. Based on the composition, the rhythm pattern played is in accordance to the rhythmic musical instrument as well as the keyboard melody combined with chord harmonization and sound distribution. The vocalist sings the song according to the structure of the song's form and the expression according to the song's verse. These are combined to produce a beautiful tambourine blend. Based on the results of the study, to be more creative is an advice the author gives to the group. Song references, music compositions and costumes can be differently arranged, for instance. Thus, it is more interesting and more demanded by the community. The form of a Kasidah Rebana presentation is a mixed ensemble played by 12 players consisting of two vocalists, two tambourine players, two rhythm players, two bass players, three ketipung players, and one keyboard player.

ANALISIS RITEM LAGU-LAGU ALU KATENTONG NAGARI PADANG LAWEH KABUPATEN TANAH DATAR Wahyu Prima Nelga; Wimbrayardi Wimbrayardi; Marzam Marzam
SENDRATASIK UNP Vol 7, No 2 (2018)
Publisher : FBS Universitas Negeri Padang

Abstract This study aimed to analyze the alu katentong rhythm in Nagari Padang Laweh, Tanah Datar Regency. This analysis was conducted in order to clarify the rhythm of Alu Katentong art songs. Alu katentong has various rhythms. From the various rhythms, analysis was done to see some rhythms that had the same pattern with each other. The results of the study showed that there were some similarities between the rhythm of one alu and other alu that contained in the same or different songs. This study proved that, there were 7 different types of rhythms in different songs and with different names. Beside the rhythm, the various beep tone from 3 different types of wood also became the identity of alu katentong. Keywords: Analysis and Rhythm.

BENTUK PENYAJIAN DAN FUNGSI KESENIAN TUMBUAK BANYAK DI DESA UJUNG PADANG KECAMATAN PANTI KABUPATEN PASAMAN Neneng Apriani; Marzam Marzam; Esy Maestro
SENDRATASIK UNP Vol 1, No 1 (2012): Seri C
Publisher : FBS Universitas Negeri Padang

The purpose of this research is to know the presentation types and function of Tumbuak Banyak in Ujung Padang village. In this writing, the writer saw the life performance done in Mr. Alan house yard because his daughter Lusi Oktaviani want to get married. There are some elements in Tumbuak Banyak music presentation that is: players, music instrument, costume, place and time performance and audience. While the functions of Tumbuak Banyak music is entertainment, communication device, and sosial integration.

Pelaksanaan Pembelajaran Seni Budaya (Musik) Tradisional Gandang Tambua Di MTSN 4 Padang Pariaman Miki Padreawan; Marzam Marzam
SENDRATASIK UNP Vol 9, No 1 (2020)
Publisher : FBS Universitas Negeri Padang

This research aims to describe the implementation of cultural arts learning (music) of traditional gandang tambua in Mts Negeri 4 Padang Pariaman in which the game of gandang tambua in madrasah is an implementation of the local content curriculum used by madrasah in the curriculum 2013. The research method was qualitative research with using a descriptive analysis research approach. The object of research was the learning activity of Tambua traditional music which was carried out at class VIII-1 both of theory and practice learning. The research instruments used were observation, interviews, and documentation studies. Techniques of data collection were done by taking documentation notes, field notes and interviews guideline. The results of the study explain that the implementation of cultural art learning (music) of the gandang tambua in MTs Negeri 4 Padang Pariaman still uses the usual or conventional methods. The use of lecture, question and answer, discussion and training methods by imitating the game gandang tambua that the teacher always demonstrates is applied in theory and practice learning activities. Besides that, in the training activityof gandang tambua, the teacher introduces the activitiy of imitating, remembering and memorizing the model of the punch that the teacher demonstrates. These learning ways raise variety of problems in practice, especially when explaining and practicing the gandang tambua in front of the students, the teacher does not look for methods that are suitable and also the teacher does not use adequate learning media.

ANALISIS LAGU RAYUAN PULAU KELAPA ARANSEMEN SINGGIH SANJAYA UNTUK PADUAN SUARA Herlina Herlina; Jagar Lumbantoruan; Marzam Marzam
SENDRATASIK UNP Vol 7, No 1 (2018)
Publisher : FBS Universitas Negeri Padang

Abstract The purpose of this study was to analyze and describe the arrangement of the Rayuan Pulau Kelapa song by Singgih Sanjaya based on the principles of melodic and harmonic principles. This type of research was qualitative with a content analysis approach. The theory used was to explain how the sound arrangement of the Rayuan Pulau Kelapa song by Singgih Sanjaya based on harmonic principles and melodic principles. The supporting data of this research were derived from literature studies, interviews and laboratory work. The result of the research is that the song has two forms, AA1B in arranging using harmonics-tone (major and minor chords principles), and non-harmonic-tones. In a pattern, working on a typical song that appears in the Singgih Sanjaya arrangement is the movement of tones between the four voices that do not move in parallel. Motuses between soprano and alto tend to be parallel (motus rectus), motus between soprano and deviant tenor (motus obliqus) and motus between soprano and bass also tend to deviate (motus obliqus). In addition, Singgih Sanjaya adopts conventional counterpoint theory of Western Music, where the sound on the cantus firmus is not always in Soprano (moving). So it can be concluded that in arranging the song, Singgih Sanjaya uses polyphony techniques and refer to the harmonic principles and melodic principles. Keywords: Form analysis, chord progression and cadence, motus, counterpoint, melodic and harmonic principles.

FUNGSI TEMONG-TEMONG DALAM ACARA BABAKO DI KELURAHAN BINUANG KAMPUNG DALAM KECAMATAN PAUH PADANG Yut Nurrahmi; Marzam Marzam; Esy Maestro
SENDRATASIK UNP Vol 2, No 1 (2013): Seri A
Publisher : FBS Universitas Negeri Padang

Abstract The research aimed at understanding the function of Temong-temong during babako. The method of the research was qualitative. The research showed that there were several functions of Temong-temong during babako. 1) symbolic function, with the music from Temong-temong during babako, it could rimove bad assumptions from the society toward those who wre menaging a wedding. 2) communication function, with the music from Temong-temong people knew that there was a wedding. 3) entertainment function, with the music from Temong-temong the people could be entertained. 4) Revaling expression emotional function, for those who saw and heatd the music would join the celebration cheerfully. Kata Kunci: Fungsi, Temong-temong, Babako, Kecamatan Pauh

Bentuk Penyajian Musik Gontong–Gontong Pada Acara Pernikahan Di Nagari Pasir Talang Kecamatan Sungai Pagu Kabupaten Solok Selatan Arrithem Mosizi; Marzam Marzam
SENDRATASIK UNP Vol 10, No 1 (2021)
Publisher : FBS Universitas Negeri Padang

This study aims to describe the presentation form of Gontong-gontong at wedding parties. This research belongs to a qualitative research using descriptive method. The main instrument in this research was the researcher itself and was assisted by supporting instruments such as writing tools and cameras. The data were collected through observation, literature study, interview, and documentation. The data analysis was conducted by collecting the data, describing the data, and concluding the data. The results show that Gontong-Gontong is an art which is recognized by the community and is considered as an important element due to the fact that it was inherited by previous ancestors. Gontong-Gontong also provides entertainment for the community although Gontong-Gontong is only a media for Arak-Arakan at weddings. The presentation ofGontong-Gontong is carried out in the form of a band wagon at weddings. Gontong-Gontong is a medium for conveying messages to the public about the existence of a marker or event. The presentation of Gontong-Gontong can be found at wedding parties of Manjalang Mintuo procession.

PERSEPSI MASYARAKAT TERHADAP PERTUNJUKAN KRINOK PADA ACARA PESTA PERKAWINAN DI KABUPATEN BUNGO Gusti Rahayu; Marzam Marzam; Syeilendra Syeilendra
SENDRATASIK UNP Vol 1, No 1 (2012): Seri A
Publisher : FBS Universitas Negeri Padang

This Research was aimed at finding and describing community’s perception towards the Krinok performances in wedding receptions at village Rantau Embacang in Bungo Regency. The perception was viewed from the perspectives of four community elements, i.e. audience, players, function organizers, and community figures. Data Collection was performed through observation, interviews, documentation, and library research. The result of The Research indicated that Krinok performances at wedding receptions in village Rantau Embacang were an entertaining art, containing communicative quatrain poems. Krinok was in possession of typical rhythm and melody; the sound and the lyrics of Krinok chant conveyed certain meanings for the locals. Krinok reflected community’s social values, an art that united the community and revealed teachings or guidance in life through its lyrics. Keywords: Community Perception, Krinok Performances

Co-Authors Akhyar Ulfa Alexander Pratama Saputra Ambiyar, Ambiyar Andar Indra Sastra Andar Indra Sastra Ardipal Ardipal Arrithem Mosizi Asadul Haq Aziz, Ishak Azwar Ananda Belirda Wulan Dhari Boyke Bobbi Andreas Deby Indrawati Depi Elpina Desi Kumalasari Devika Duri Devina Sari Dewi Martha Diva Nia Zulnita Eka Putri Wardana Erfan Erfan Erfan Erfan Esy Maestro Fajry Sub'haan Syah Sinaga Feby Yola Pradana Fitra Hayati Fitri Anggia Gusti Laraski Gusti Rahayu hadi, Harisnal Hasanuddin WS Hengky Septiawan Herlina Herlina Hidayat Alkara Hidayat, Hengki Armez Indrayuda Indrayuda Ingria Nada Contesi Irdhan Epria Darma Putra Jagar Lumbantoruan Jeni Martha Wuri Jovi Kurniawan Kens Fahta Aulia Khairullah, Khairullah Khintar Rajmal Chair Lastri Elita M. Arif Anas M. Riko Nurrohim Marlis Putri Nandina Marlisna Marlisna Mei Hanum Sahef Miki Padreawan Mirnawati Mirnawati Mutia Padila Mutia Yamesty Neneng Apriani Nesya Amalyah Neviyarni Neviyarni Nike Oktaveroni Nila Suryati Anggini Nova Rita Satria Nurhizrah Gistituati Pano Pio Putra Rafsanjani Rafsanjani Relly Dyona Rendi Alfajri Reza Silfi Rizki Ayu Ridho Putra Rusdinal Rusdinal Sari, Welly Agita Shocia Septipa Suhanda Suhanda Susirawati Susirawati Suyata Suyata Syafa’atussara Silahudin Syahrel Syahrel Syeilendra Syeilendra Sylvia Sylvia Tetenia Saputri Yuliost Tri Ananda Tri Fajri Tri Rahayu Zulfiana Try Wahyu Purnomo Tulus Handra Kadir Uswatul Hakim Vani Melda Zarlin Vika Arifiani Wahyu Prima Nelga Welly Agita Sari Wimbrayardi Wimbrayardi Wulan Larasaty Yensharti Yoni Irawandi Yos Sudarman Yunia Dwi Safitri Yut Nurrahmi Zahra Nur Illahi

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