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Asep Saepul Haris, Asep Saepul
Institut Seni Indonesia Padang Panjang
Religion Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Social Sciences Other

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PERWUJUDAN KOMPOSISI MUSIK YANG TERINSPIRASI DARI PROSESI ADAT PERNIKAHAN DI KENEGERIAN KOPAH, KUANTAN SINGINGI, RIAU Apandi, Jefri; Haris, Asep Saepul
EZRA SCIENCE BULLETIN Vol. 3 No. 1 (2025): January-June 2025
Publisher : Kirana Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58526/ezrasciencebulletin.v3i1.249

Abstract

Kebudayaan merupakan kumpulan ide dan sistem gagasan yang abstrak, mencakup pengetahuan, kepercayaan, kesenian, moral, hukum, adat, serta berbagai kebiasaan manusia sebagai makhluk sosial. Kabupaten Kuantan Singingi, sebagai daerah Melayu Daratan, memiliki beragam tradisi budaya, termasuk prosesi adat pernikahan Mantarayam dan Pacu Jalur. Prosesi Mantarayam, yang khusus dilaksanakan dalam upacara adat pernikahan, berbeda dari Pacu Jalur yang merupakan hiburan rakyat. Di Kenegerian Kopah, prosesi pernikahan terdiri dari berbagai tahapan seperti maikek tando, ampokat, akad nikah, mandoa, maantarayam, dan mambori golar, melibatkan tokoh adat serta unsur musikal khas seperti kesenian Rarak Oguang Duo, Kayat, dan Randai Kuantan. Penelitian ini mengeksplorasi nilai-nilai budaya dalam prosesi pernikahan yang diolah menjadi komposisi musik baru berjudul Mantarayam. Karya ini menggunakan pendekatan re-interpretasi, memadukan fenomena adat ke dalam bentuk komposisi musik Nusantara, yang bertujuan memperkaya khazanah musik tradisional dengan interpretasi baru dari budaya lokal.
PANTUN BADONDONG: ESTETIKA UNSUR MUSIKAL TRADISI LISAN MASYARAKAT LIMA KOTO KAMPAR Mahendra, Restu; Haris, Asep Saepul
EZRA SCIENCE BULLETIN Vol. 3 No. 2 (2025): July-December 2025
Publisher : Kirana Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58526/ezrasciencebulletin.v3i2.516

Abstract

Pantun Badondong merupakan salah satu tradisi lisan yang hidup dan berkembang di wilayah adat Lima Koto, Kabupaten Kampar, Provinsi Riau. Kesenian ini disajikan dalam bentuk pantun yang dilagukan secara berbalas dengan pola musikal tertentu, sehingga menghadirkan nilai estetika yang khas dan merefleksikan identitas budaya masyarakat pendukungnya. Penelitian ini bertujuan untuk mengkaji estetika dalam unsur musikal Pantun Badondong yang meliputi melodi, ritme, tempo, dinamika, serta hubungan antara teks pantun dan musikalitasnya. Metode penelitian yang digunakan adalah kualitatif dengan pendekatan etnomusikologi dan estetika, melalui teknik observasi, wawancara mendalam, dan dokumentasi. Hasil penelitian menunjukkan bahwa estetika musikal Pantun Badondong terletak pada kesederhanaan struktur melodi yang repetitif, fleksibilitas ritme yang mengikuti alur pantun, serta ekspresi vokal yang sarat makna simbolik dan emosional. Unsur musikal tersebut tidak hanya berfungsi sebagai sarana hiburan, tetapi juga sebagai media komunikasi nilai-nilai adat, etika sosial, dan kebersamaan dalam masyarakat Lima Koto.
“BASINTOJIK” BERSUMBER DARI KESENIAN “CALEMPONG RARAK GODANG” DI KABUPATEN KUANTAN SINGINGI PROVINSI RIAU Azrizer Azrizer; Asep Saepul Haris; Arnailis Arnailis
Jurnal Musik Etnik Nusantara Vol 4, No 2 (2024): Jurnal Musik Etnik Nusantara
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/jmen.v4i2.4622

Abstract

The composition "Basintojik" is a musical composition inspired by the art of calempong rarak godang which was born and developed in the Kuantan Singingi Regency, Riau Province. This art is usually performed at various traditional events and important ceremonies, such as weddings, religious celebrations, silek, and processional music at track events. Calempong rarak godang has several repertoires including Kedidi, Tigo-tigo, Ciek-ciek, Tak tendut, Gelang-gelang, Kacimpuang, Gamiak-gamiak and Pik tontong. The results of the artist's analysis of the art of Calempong Rarak Godang found that the beginning of each song always has the same rhythm pattern and also every Calempong Rarak Godang repertoire always ends using the same ending melody (bonti) using meter three or a 3/4 melody pattern. The principle of the bonti melody, which is always the same, became the basic idea in the work which was done using the World Musik approach, giving birth to a new composition entitled "Basintojik".
Komposisi Musik Semarak Sipai Bersumber Dari Beruji Dol Dalam Upacara Tabot Di Kota Bengkulu Sandy Purwanda; desmawardi desmawardi; Asep Saepul Haris
Jurnal Musik Etnik Nusantara Vol 4, No 1 (2024): Jurnal Musik Etnik Nusantara
Publisher : Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/jmen.v4i1.4223

Abstract

Music is a means of expressing the soul to communicate and interact between living creatures. Through music we can express various ideas with various colors of sound produced by any object that can accommodate the idea itself. Sounds and voices are arranged well so that a musical work is created as a harbor for ideas that are full of messages and meaning. This work begins with research on the Bruji Dol performance and from the results of the analysis, a conclusion is drawn to take one part, namely the song Girik" which is contained in the Bruji Dol performance in the Tabot ceremony in the city of Bengkulu. Beruji dol is a depiction of the spirit of war carried out by two groups, namely Tabot Bangsal and Tabot Imam. Beruji dol has an interesting musical case, namely that there is a game concept that is "freely bound" in the tasa game of the Tamatam repertoire called "Girik". To create the musical composition "Semarak Sipai" it was worked on using the Analytical Descriptive method using a Re-interpretation of Tradition approach. Through the creation of the musical composition "Semarak Sipai", the creator tried to present several forms of novelty in various aspects of the work in accordance with the concept offered. The Tradition Re-interpretation approach is used to share musical experiences as a contribution to the development of the musical composition itself.
Eksistensi dan Kontribusi Generasi Muda terhadap Keberlanjutan Kesenian Randai Minangkabau di Nagari Tiku Selatan Kabupaten Agam Mohan Dika Afrilio; Asep Saepul Haris
Jejak digital: Jurnal Ilmiah Multidisiplin Vol. 2 No. 4 (2026): JUNI-JULI
Publisher : INDO PUBLISHING

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.63822/67xehj45

Abstract

This study aims to analyze the existence and contribution of young people to the sustainability of Minangkabau Randai performing arts in Nagari Tiku Selatan, Agam Regency. Randai is one of the traditional performing arts of Minangkabau that embodies cultural, educational, social, and customary values passed down from generation to generation. The rapid development of technology and the influence of globalization have posed challenges to the preservation of traditional arts, making the involvement of young people an essential factor in sustaining Randai. This study employed a qualitative approach with a descriptive method. Data were collected through observation, interviews, and documentation involving Randai performers, traditional leaders, community leaders, and young people in Nagari Tiku Selatan. Data analysis was conducted through the stages of data reduction, data presentation, and conclusion drawing. The findings reveal that young people have a significant role in maintaining the sustainability of Randai through their participation as performers, musicians, trainers, and organizers of artistic activities. Furthermore, they contribute to the promotion and development of Randai through cultural events and the utilization of digital media. Nevertheless, the preservation of Randai still faces several challenges, including the influence of popular culture, the declining interest of some young people, and limited opportunities for appreciating traditional arts. This study concludes that the sustainability of Randai in Nagari Tiku Selatan is strongly influenced by the active participation of young people as agents of cultural preservation. Therefore, continuous support from the community, educational institutions, and government is necessary to strengthen the role of young people in preserving and developing Randai as a cultural heritage of the Minangkabau people.
Transformasi Respon Vokal Gadih Basanai dalam Komposisi Musik Basauikan Berbasis Tradisi Ronggeang Pasaman Yunaidi Yunaidi; Arnailis Arnailis; Asep Saepul Haris
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 28, No 1 (2026): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPM Institut Seni Indonesia Padangpanjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/ekspresi.v28i1.31116

Abstract

This article discusses the transformation of vocal response in the song Gadih Basanai from the Ronggeang performing art of Pasaman into a new musical composition entitled Basauikan. Ronggeang is a traditional performing art of Pasaman, West Sumatra, which combines music, dance, singing, pantun, and interaction between performers and audiences. One of the distinctive musical features of Gadih Basanai is the vocal response at the end of the lyrical phrase, collectively performed by musicians and audiences. This musical phenomenon became the main creative basis for the composition of Basauikan. This artistic creation applied a tradition-based practice method through observation, interviews, discussion, musical exploration, studio work, and performance realization. The result shows that vocal response can be transformed not only as a vocal element but also as a compositional principle through call and response, unisono, tempo changes, melodic fragmentation, repetition, modulation, accentuation, and timbral development involving violin, gandang, Minangkabau zither, metal talempong, accordion, bass guitar, and vocals. Basauikan demonstrates that tradition can serve as a source of new musical creation while maintaining its local musical identity. This article emphasizes the importance of tradition-based musical creation as a strategy for preserving, developing, and renewing regional performing arts. 
Co-Authors Ahmad Wanda Andar Indra Sastra Andika Bayu Putra Anggra Dinata Apandi, Jefri Ariyan Bur Arnailis Arnailis Asifa Askhan Asril Asril ASRIL ASRIL Aznal Mad’Hattari Azrizer Azrizer Azzura Yenli Nazrita Bambang Sunarto Cepri Zulda Putra desmawardi desmawardi Dwi Syahputra Ediwar Ediwar Firman Firman Firman Firman Hadi Suhendra Hendri Koto Laila Okta Triani M. Arif Anas Mahendra, Restu Martarosa Martarosa Mohan Dika Afrilio Muhammad Zulfahmi Nursyirwan Nursyirwan Pande Made Sukerta Rafiloza Rafiloza Rahayu Supanggah Rahayu Supanggah, Rahayu Reliansya, Yolanda Rozak, Abdul Sandy Purwanda Syahri Anton Vereki Martiano Wikal Husni Wilma Sriwulan Yunaidi Yunaidi