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All Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) International Journal of Cultural and Art Studies (IJCAS) Musica: Journal of Music Formosa Journal of Multidisciplinary Research (FJMR)
Ricky Nelson, Ricky
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Arts Humanities Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Education Languange, Linguistic, Communication & Media Social Sciences

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Struktur Musik Gual Huda-Huda dalam Ansambel Gonrang Sipitu-Pitu di Bandar Tongah Kecamatan Silau Kahean Kabupaten Simalungun (Gual Huda-Huda Music Structure in the Gonrang Sipitu-Pitu Ensemble in Bandar Tongah, Silau Kahean District, Simalungun Regency) Ricky Nelson; Wilma Sriwulan; Yasril Adha
MUSICA : Journal of Music Vol 2, No 2 (2022): MUSICA : JOURNAL OF MUSIC
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/musica.v2i2.2786

Abstract

GuGual Huda-Huda merupakan salah satu repertoar musik tradisi yang dimainkan dalam Ansambel Gonrang Sipitu-pitu. Gual Huda-Huda ini dimainkan oleh satu sampai dengan enam orang yang hanya dimainkan oleh laki-laki dewasa. Instrumen yang digunakan adalah Gonrang Sipitu-pitu, Ogung, Mongmongan, dan Sarunei. Ansambel Gonrang Sipitu-pitu ini merupakan musik yang mengiringi jalannya Upacara Adat Kematian Sayur Matua. Penelitian ini bertujuan untuk menganalisis struktur dan bentuk Musik Gual Huda-Huda. Metode yang digunakan dalam penelitian ini adalah metode penelitian kualitatif dengan pendekatan deskriptif analisis dengan tujuan untuk mengungkap dan mendeskripsikan tentang struktur pertunjukan dan bentuk Musik Gual Huda-Huda di Desa Bandar Tongah Kecamatan Silau Kahean Kabupaten Simalungun. Teori yang digunakan dalam penelitian Gual Huda-Huda ialah teori struktur musik Leon Stein dan Karl Edmund Prier. Hasil penelitian ini menemukan bahwa Musik Gual Huda-Huda dalam pertunjukannya terdiri dari tujuh unsur yaitu: 1) Instrumen, 2) Pemain, 3) Kostum, 4) Panggung, 5) Penonton, 6) Lagu, serta 7) Struktur dan bentuk musiknya.ABSTRACTGual Huda-Huda is one of the traditional musical repertoires played in the Gonrang Sipitu-pitu ensemble. Gual Huda-Huda is played by one to six people who are only played by adult men. The instruments used are Gonrang Sipitu-pitu, Ogung, Mongmongan, and Sarunei. The Gonrang Sipitu-pitu ensemble is the music that accompanies the Matua Vegetable Death Traditional Ceremony. This study aims to analyze the structure and form of Gual Huda-Huda Music. The method used in this study is a qualitative research method with a descriptive analysis approach with the aim of revealing and describing the structure of the performance and the form of Gual Huda-Huda Music in Bandar Tongah Village, Silau Kahean District, Simalungun Regency. The theory used in Gual Huda-Huda's research is the theory of the musical structure of Leon Stein and Karl Edmund Prier. The results of this study found that the Gual Huda-Huda Music in the performance consisted of seven elements, namely: 1) Instruments, 2) Players, 3) Costumes, 4) Stage, 5) Audience, 6) Song, and 7) The structure and form of the music.
Music Transformation of Gondrang Sipitu-pitu in Simalungun Community Nelson, Ricky; Purba, Mauly; Ginting, Pulumun Peterus
Resital: Jurnal Seni Pertunjukan Vol 26, No 1 (2025): April 2025
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/resital.v26i1.15410

Abstract

This study investigates the transformation and adaptation processes of gondrang sipitu-pitu music within Simalungun society in response to social, cultural, and technological dynamics. Originally serving as a medium for ritual and spiritual communication in the context of Simalungun customs, gondrang sipitu-pitu has undergone significant changes in its musical structure, social function, and performance style due to the influence of religion, modernization, and external cultural forces. The research employs a descriptive qualitative method with a phenomenological approach, drawing upon Margaret Kartomi theory of transformation and adaptation, Jeff Todd Titon theory of musical style, and William F. Ogburn theory of socio-cultural change. The findings reveal that although modern instruments have begun to challenge the dominance of traditional ones, key musical elements such as rhythm, sarunei melodies, and ensemble structure remain preserved. The emerging musical style reflects the creative adaptation of traditional artists to contemporary performance contexts. However, this transformation is also accompanied by critical issues, including the erosion of sacred meaning, the influence of modern aesthetic pressures, and the commodification of local culture. The shift from sacred ritual to popular entertainment raises concerns regarding the authenticity and sustainability of cultural values. Thus, this transformation must be understood not merely as an adaptive process, but as a contested arena of meaning, identity, and cultural power within Simalungun society.
Changes in the structure and style of gondrang in Simalungun musical tradition Nelson, Ricky
International Journal of Culture and Art Studies Vol. 9 No. 2 (2025): International Journal of Culture and Art Studies (IJCAS)
Publisher : Talenta Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.32734/ijcas.v9i2.20877

Abstract

Gondrang is one of the most important musical ensembles in the Simalungun tradition, originally serving as sacred accompaniment in ritual contexts, particularly funerary ceremonies. Previous studies have largely focused on the social and cultural transformations of Gondrang, while the specific changes in its musical structure and style have not been analyzed in depth. This study aims to describe and analyze the internal musical changes of Gondrang, including its instrumentation, rhythmic organization, ensemble formation, melodic orientation, ornamentation, and performance expression. Employing a qualitative ethnomusicological approach, the research is based on observation of performances, interviews with musicians and cultural elders, and audio-visual documentation. The results show that Gondrang has experienced structural changes such as the addition of modern instruments and flexible ensemble settings, and stylistic changes including faster tempos, melodic expansion, ornamented improvisation, and more expressive performance gestures. Despite these changes, core rhythmic patterns and symbolic identity have been preserved. This study contributes to ethnomusicology by highlighting the internal dynamics of musical change, showing how Gondrang adapts to modern contexts while maintaining its cultural essence.
Tungkot Tunggal Panaluan is a Symbol of Sangap and Sahala Ricky Nelson; Marfenas Marolop Sihombing
Formosa Journal of Multidisciplinary Research Vol. 2 No. 12 (2023): December 2023
Publisher : PT FORMOSA CENDEKIA GLOBAL

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55927/fjmr.v2i12.7420

Abstract

This research aims to explore the meaning of the use of Tungkot Tunggal Panaluan. The research method used in this research is a qualitative descriptive method which aims to describe systematically, actual and factually using words, sentences and images as supporting data.Data collection techniques in this research are library studies, documentaries and interviews with the source of the heir of Tungkot Tunggal Panaluan.Tungkot Tungkol Panaluan is a stick carved with the faces of seven humans and several animals carved according to actual events from certain wood and have supernatural powers. The research was carried out in Humbang Hasundutan, precisely Huta Gurgur, one of the areas that is one of the origins of the Batak or King clan rest (village). The results of the research are a source of information for understanding the meaning of Tungkot Tunggal Panaluan as a symbol of sahala or sangap.
Co-Authors Marfenas Marolop Sihombing Mauly Purba, Mauly Pulumun Peterus Ginting Wilma Sriwulan Yasril Adha