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All Journal Panggung International Journal of Social Science, Educational, Economics, Agriculture Research, and Technology (IJSET) Panggung
Dewi Tika Lestari
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Agriculture, Biological Sciences & Forestry Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education

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MEANING OF INSTRUMENTS APEIN THE LIFE OF THE KENYAH DAYAK TRIBE Damri A Hanaou; Dewi Tika Lestari; Junita Batubara
International Journal of Social Science, Educational, Economics, Agriculture Research and Technology (IJSET) Vol. 4 No. 9 (2025): AUGUST
Publisher : RADJA PUBLIKA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.54443/ijset.v4i9.857

Abstract

Sapeis a traditional musical instrument of the Dayak Kenyah people which not only functions as a means of entertainment, but also becomes an important symbol in various traditional rituals of the Dayak Kenyah people. This study aims to analyze the meaning of musicSapein the context of Dayak Kenyah cultural rituals. With a qualitative approach and ethnomusicological approach, this study combines field observations, in-depth interviews, and literature reviews. The findings show thatSapenot only accompanies traditional rituals, but also has a socio-spiritual function in strengthening community relations, cultural identity, and the continuity of tradition. Dayak Kenyah is one of the sub-tribes of the Dayak group that inhabits the interior of Kalimantan, especially in East Kalimantan and North Kalimantan, with a distribution that is also found in the border region of East Malaysia (Sarawak). In the life of the Dayak Kenyah community, musicSapehas a very special place. Not only is it a part of artistic expression,Sapealso integrated into religious rites, traditional ceremonies such as harvest festivals, welcoming guests, and various spiritual processions that are full of meaning. This musical instrument is considered a medium of spiritual communication and a means of inheriting ancestral values. Through the plucking of its notes,Sapebe an intermediary in conveying prayers, hopes and respect for the spirits of ancestors. This study specifically focuses on the Dayak Kenyah community, to highlight howSapenot only maintained as a cultural heritage, but also brought to life in the daily lives of the community as an identity that unites and strengthens solidarity amidst the increasingly rapid flow of modernization. Thus, this study emphasizes the importance of traditional music such asSape, not only as a cultural artifact but as part of cultural identity.
ANALYSIS OF HARMONY IN MOVEMENT AND SOUND: SPIRITUAL MEANING LET ALL PRAISE GOD Levinson Y A Simaela; Junita Batubara; Dewi Tika Lestari
International Journal of Social Science, Educational, Economics, Agriculture Research and Technology (IJSET) Vol. 4 No. 9 (2025): AUGUST
Publisher : RADJA PUBLIKA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.54443/ijset.v4i9.858

Abstract

This study discusses a comprehensive analysis of the choral work "Let Everything That Breathes Praise the Lord" created by Levinson Simaela, focusing on its musical structure, harmony, and performative potential.This song was inspired by Psalm 150 and became a mandatory song at the Church Choir Festival (PESPARAWI) of SMGT (Toraja Church Sunday School) throughout the East Makassar Classis in 2022.This work is a silent witness to the victory of the SMGT Satria Kasih Makassar Children's Choir at the event. Researcheras the creator of this work, I intend to identify the compositional elements in the score, explore the performance implications of the existing notation, and examine the inclusion of Torajan nuances through the use of local language lyrics and Torajan drum accompaniment.The use of Torajan lyrics and specific directions for traditional instruments such as the Torajan drum demonstrate an effort to integrate local cultural richness into church music.Using qualitative descriptive methods of formal music analysis supported by ethnographic review, this study examines how the components of melody, rhythm, and harmony interact to shape the overall work. In addition, this article discusses how the tempo direction, dynamics, and "(Sambil Menari)" instructions in the score can influence interpretation and presentation on stage. The incorporation of Torajan lyrics and the option of Torajan drum accompaniment are important points in understanding how this work inculturates regional cultural values ​​into expressions of church praise. The findings of this study are expected to provide a deeper understanding of adaptive choral composition practices, as well as the contribution of music to enriching spiritual culture in Indonesia.
Co-Authors Damri A Hanaou Junita Batubara, Junita Levinson Y A Simaela