Articles
<![CDATA[Faktor yang Mempengaruhi Mood Belajar Piano Siswa Christina Music Course Tarutung ]]>
<![CDATA[Sitorus, Christina Harianti]]>;
<![CDATA[Purba, Mauly]]>
<![CDATA[ Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 4 No. 2 (2024) ]]>
Publisher : <![CDATA[Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman ]]>
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DOI: 10.30872/mebang.v4i2.134
<![CDATA[This study aims to analyze the factors that influence the piano learning mood of Christina Music Course Tarutung students. This research is a type of qualitative research by observing artistic phenomena, especially regarding the factors that influence the Piano Learning Mood of Christina Music Course Tarutung Students. Data collection techniques using interviews and observation. Data analysis techniques use data reduction, data presentation and drawing conclusions. This research was carried out at Christina Music Course Tarutung. To be able to play the piano, a person must understand basic music theory and understand the basic techniques of playing music. However, this is not only related to the theory of playing the piano, but the student's piano learning mood also greatly determines success in learning the piano. Mood has a positive and negative influence on student learning depending on how students respond to factors that influence mood. Students at CMC Tarutung feel that there are many factors that determine their mood, one of which is activities outside of the course which are quite tiring which has an impact on their mood.]]>
<![CDATA[Deskripsi Fungsi dan Interaksi Simbolik Gendang Si Sangkar Laus dalam Upacara Kematian Ncayur Ntua Pada Masyarakat Pakpak Bharat ]]>
<![CDATA[Nababan, Jojo Paniroi]]>;
<![CDATA[Purba, Mauly]]>
<![CDATA[ Innovative: Journal Of Social Science Research Vol. 4 No. 3 (2024): Innovative: Journal Of Social Science Research (Special Issue) ]]>
Publisher : <![CDATA[Universitas Pahlawan Tuanku Tambusai ]]>
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DOI: 10.31004/innovative.v4i3.12212
<![CDATA[Penelitian ini mendeskripsikan fungsi dan interaksi simbolik Gendang Si Sangkar Laus dalam upacara kematian Ncayur Ntua pada masyarakat Pakpak Bharat. Tujuannya adalah untuk mendeskripsikan fungsi, interaksi simbolik, dan analisis musikal Gendang Si Sangkar Laus dalam konteks tersebut. Penelitian ini menggunakan metode kualitatif melalui observasi, wawancara, dan dokumentasi. Teori fungsi Alan P. Merriam, teori interaksi simbolik Wardi Bachtiar, dan teori pola ritme William P. Malm digunakan untuk menganalisis data. Hasilnya menunjukkan bahwa Gendang Si Sangkar Laus berperan sebagai perekam perasaan, penuntun spiritual, dan penjaga tradisi, menghubungkan masa lalu, kini, dan masa depan. Secara spiritual, gendang ini berkomunikasi dengan dunia roh dan menandai fase-fase upacara. Analisis teknik pukulan mencerminkan kekayaan budaya Pakpak, di mana gendang dan gung sada rabaan berfungsi sebagai lambang identitas dan kebersamaan komunitas. Kedua instrumen ini menjadi penjaga keaslian budaya yang harus dilestarikan.]]>
<![CDATA[Kajian Organologi Alat Musik Taganing Batak Toba ]]>
<![CDATA[Simanjuntak, Ruth Naradhea]]>;
<![CDATA[Purba, Mauly]]>;
<![CDATA[Ginting, Yoe Anto]]>
<![CDATA[ Cerdika: Jurnal Ilmiah Indonesia Vol. 5 No. 8 (2025): Cerdika: Jurnal Ilmiah Indonesia ]]>
Publisher : <![CDATA[Publikasi Indonesia ]]>
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DOI: 10.59141/cerdika.v5i8.2787
<![CDATA[Taganing merupakan alat musik yang berasal dari Sumatera Utara Batak Toba. Alat musik ini masuk dalam klasifikasi Membranofon (alat musik yang sumber bunyinya dari membran atau kulit hewan). Penelitian ini bertujuan untuk menganalisis organologi alat musik tradisional Taganing Batak Toba dari aspek struktural dan fungsional. Masalah penelitian difokuskan pada pemahaman komprehensif mengenai struktur fisik, bahan baku, fungsi, dan teknik penyetelan (tuning) alat musik Taganing yang masih belum terdokumentasi secara akademis. Metode penelitian menggunakan pendekatan kualitatif dengan teknik wawancara mendalam dan dokumentasi terhadap pengrajin dan praktisi musik Batak Toba. Hasil penelitian menunjukkan bahwa Taganing merupakan alat musik membranofon yang terdiri dari enam komponen utama dengan lima buah gendang berukuran berbeda (odap-odap, Paidua Opdap, Painonga, Paidua Ting-Ting, dan Ting-Ting) serta satu gendang besar (Gordang). Bahan utama pembuatan menggunakan kayu nangka tua dengan membran kulit lembu atau kerbau. Sistem tuning dimulai dari Ting-ting sebagai nada dasar yang diselaraskan dengan Ogung Ihutan, mencerminkan filosofi "Marguru tu Taganing" dalam budaya Batak Toba. Implikasi penelitian ini memberikan kontribusi pada dokumentasi warisan budaya musik tradisional Indonesia dan dapat dijadikan referensi untuk pelestarian serta pengembangan alat musik tradisional Nusantara.]]>
<![CDATA[SEMIOTIC STUDY OF THE MEANING OF THE ORAL LITERARY TEXT OF THE COFFEE MANTRA IN THE LAND OF GAYO ]]>
<![CDATA[Hikmawan Siregar, Yusdithira Rifqhy]]>;
<![CDATA[Purba, Mauly]]>;
<![CDATA[Nasution, Ikhwanuddin]]>
<![CDATA[ Journal of Social Research Vol. 3 No. 1 (2023): Journal of Social Research ]]>
Publisher : <![CDATA[International Journal Labs ]]>
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DOI: 10.55324/josr.v3i1.1761
<![CDATA[Coffee dominates into the sphere of association and social life. The presence of coffee shops in recent years is also one of the factors of the phenomenon of drinking coffee, such as the form of campaigns that affect the mindset of social communities. The research method used to research Coffee Mantras in Gayo land is the Qualitative descriptive method. This research involves various types of disciplines, both from humanitarian, social, or natural sciences. There are several theories about the origin of the Gayo Tribe. Local people believe that the name Gayo comes from the word pegayon which means a source of clear water where sacred fish and crabs are located. One version says the origin of the Gayo Tribe is related to the Linge Kingdom which was founded around 416 Hijri or 1025 AD. As a result of the excavation of these ancient sites, prehistoric human skeletons were found. After scientific research, the human skeleton found, ranging in age from 3,580 to 4,400 years. Mantra Kopi in the point of view of the Gayo people, is a form of oral literature that will never be abandoned. They believe that with coffee that is spelled or chanted will bring good things]]>
<![CDATA[Proses Pembelajaran Paduan Suara di Lembaga Sanggar Melodious Magnificent Ensemble ]]>
<![CDATA[Siallagan, Ruth Melody Misbow]]>;
<![CDATA[Purba, Mauly]]>
<![CDATA[ Journal of Education Research Vol. 5 No. 3 (2024) ]]>
Publisher : <![CDATA[Perkumpulan Pengelola Jurnal PAUD Indonesia ]]>
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DOI: 10.37985/jer.v5i3.1159
<![CDATA[Pendidikan musik bagi anak sangatlah perlu, karena manfaat pendidikan musik bagi anak merupakan bagian yang sangat menunjang dalam rangka mengisi proses kehidupan di masa depan. Tujuan penelitian ini adalah untuk menganalisis proses pembelajaran paduan suara di Lembaga Sanggar Melodius Magnificnet . Penelitian ini adalah penelitian kualitatif dengan teknik pengumpulan data wawancara, dokumentasi dan observasi. Berdasarkan hasil pembahasan dan penelitian tentang pembelajaran paduan suara untuk anak-anak di Sanggar Melodious Magnificent dapat disimpulkan sebagai berikut. Pembelajaran paduan suara untuk anak-anak di Sanggar Melodious Magnificent menggunakan metode pembelajaran demonstrasi dan metode pembelajaran latihan. Proses pembelajaran vokal untuk anak-anak berlangsung selama tiga jam setiap satu kali pertemuan di hari Minggu. Sanggar Melodious Magnificent ini sudah berjalan hampir satu tahun, dan sudah banyak sekali anak-anak yang dilahirkan karyanya. Salah satu program pembelajaran paduan suara di Sanggar Melodious Magnificent Esamble adalah Paduan suara.]]>
<![CDATA[Pendidikan Budaya pada Pertunjukan Silat sebagai Atraksi pada Pesta Pernikahan Masyarakat Minangkabau di Kota Medan ]]>
<![CDATA[Andika, Riki]]>;
<![CDATA[Purba, Mauly]]>
<![CDATA[ Journal of Education Research Vol. 5 No. 3 (2024) ]]>
Publisher : <![CDATA[Perkumpulan Pengelola Jurnal PAUD Indonesia ]]>
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DOI: 10.37985/jer.v5i3.1160
<![CDATA[Tujuan penelitian ini adalah untuk mengetahui dan menganalisis pendidikan budaya pada pertunjukan silat sebagai atraksi pada pesta pernikahan masyarakat Minangkabau di Kota Medan. Penelitian ini merupakan jenis penelitian kualitatif dengan melakukan pengamatan terhadap gejala-gejala kesenian, khususnya mengenai seni tradisi dan kreativitas dalam kebudayaan masyarakat Minangkabau dengan menggunakan pendekatan Hermeneutik dan studi literatur. Hermeneutik mempersyaratkan suatu aktivitas konstan dari interpretasi antara bagian keseluruhan yang merupakan suatu proses tanpa awal dan juga tanpa akhir. Hasilnya bahwa salah satu tradisi pernikahan adat terkaya di Indonesia, masyarakat Minang dalam upacara pernikahan adat di Padang menandai serangkaian prosesi dengan kesan dan makna yang dalam. Sebelum akad nikah, prosesi prapernikahan dilalui dengan cermat dan penuh hikmat. Tradisi dimulai dengan Maresek, dengan keluarga perempuan datang ke kediaman keluarga laki-laki untuk menjajaki calon mempelai pria. Tahap Manimang atau Batimbang Tando menyusul sebagai penanda persetujuan dan penukaran tanda-tanda berharga yang menjadi pengikat pinangan. Pertunjukan ini masih melekat dengan budaya Minangkabau yang selalu tersaji dalam setiap acara pesta pernikahan. Makna dari pertunjukan ini adalah menyetujui kedatangan dari mempelai pria kepada pihak mempelai wanita.]]>
<![CDATA[STUDI FOLKLORE EKSISTENSI SENI PERTUNJUKAN JARAN KEPANG “PATI KENANGA LIMA PANDAWA” MEDAN MARELAN ]]>
<![CDATA[Andika, Riki]]>;
<![CDATA[Purba, Mauly]]>
<![CDATA[ SIWAYANG Journal: Publikasi Ilmiah Bidang Pariwisata, Kebudayaan, dan Antropologi Vol. 2 No. 3 (2023) ]]>
Publisher : <![CDATA[Penerbit Lafadz Jaya ]]>
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DOI: 10.54443/siwayang.v2i3.1637
<![CDATA[This research aims to determine the factors that encourage the existence of the Pati Kenanga Pandawa Lima jaran kepang performance in Medan Marelan District. The benefit of this research is that it adds to the author's insight in compiling scientific work and it is hoped that this research will continue to maintain the existence of the preservation of Jaran Kepang which is increasingly disappearing as time goes by. The approach used by the author is a qualitative approach. This research uses data collection techniques by observation, in-depth interviews with several informants, namely cultural figures, arts and culture teachers, Jaran Kepang leaders, as well as informants who are involved in Jaran Kepang art performances such as Handlers, Musical Instrument Players, and Dancers. The results of this research show that the Jaran Kepang Pati Kenanga Pandawa Lima Marelan performance is still in demand and appreciated by the local community. Cultural figures consider that the Jaran Kepang Art Performance can be used as entertainment for the local community because it attracts public attention through supernatural attractions.]]>
<![CDATA[PERKEMBANGAN PERUBAHAN BUDAYA TARI TOR TOR CAWAN PADA MASYARAKAT BATAK TOBA ]]>
<![CDATA[Melody Misbow Siallagan, Ruth]]>;
<![CDATA[Maulidia Putri, Sabrina]]>;
<![CDATA[Purba, Mauly]]>
<![CDATA[ SIWAYANG Journal: Publikasi Ilmiah Bidang Pariwisata, Kebudayaan, dan Antropologi Vol. 2 No. 3 (2023) ]]>
Publisher : <![CDATA[Penerbit Lafadz Jaya ]]>
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DOI: 10.54443/siwayang.v2i3.1638
<![CDATA[Tor-Tor Cawan is one of the ritual ceremonies believed in by the Toba Batak people. The function of this dance is considered as a medium for requests (pinta-pinta) to the Gods and ancestral Spirits, as well as news (narboaboa) and the spiritual world regarding healing of disease, prosperity, rejection of evil (epidemics, evil deeds and natural disasters), even the hope of obtaining offspring. The son who is highly desired by the Batak ethnic group as the successor to the clan. This research was conducted to determine the development and changes in the Tor Tor Cawan dance culture in the Toba Batak Community. This research method is qualitative research. The subjects chosen for this research were the dancers of Sanggar TB Silalahi and the owner of Sanggar TB Silalahi. The data collection techniques used were observation and interviews. The conclusion is that originally the tor tor Cup was a sacred dance used in rites of worship and supplication to God, the Gods and Ancestors. In the current phase, changes have occurred in its function as dance performance and entertainment, as well as changes in the pattern of its production and musical accompaniment. The development of using a cup from 1 to 7 was due to the element of performing arts which became the focus where the acrobatics performed by the dancers made the cups used become 7. The tor tor cup dance is no longer used by the Toba people, but as a prophase dance it is widely performed and disseminated.]]>
<![CDATA[Organological Study of Canang Kayu in Aceh Singkil ]]>
<![CDATA[Purba, Junaidi]]>;
<![CDATA[Purba, Mauly]]>;
<![CDATA[Lubis, Tasnim]]>
<![CDATA[ International Journal of Culture and Art Studies Vol. 8 No. 2 (2024): International Journal of Culture and Art Studies (IJCAS) ]]>
Publisher : <![CDATA[Talenta Publisher ]]>
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DOI: 10.32734/ijcas.v8i2.16747
<![CDATA[This study aimed to describe the organological aspects of making and playing the Canang kayu (wooden canang) instrument. Canang kayu is one of the local musical instruments from Aceh Singkil Regency. It is included as a percussion instrument and classified as an idiophone (a solid musical instrument whose sound comes from the instrument itself). This musical instrument is a form of xylophone (a percussion instrument consisting of a series of wooden blocks placed horizontally and struck with a unique beater). A qualitative method was applied in this study. Data were collected through observation participation, literature studies, and interviews with the Canang kayu makers, Canang kayu players, and staff in Majelis Adat Aceh Singkil (Aceh Singkil Traditional Council). The data source was pictures of Canang kayu and interview recordings with informants. The result of the study showed that the primary raw materials for canning kayu are bamboo and tree wood/Terentang putih tree (local people also call it cupping wood). Terentang putih tree (Campnosperma auriculatum) is a type of tree that grows in swamps. This tree can be found near Aceh Singkil forest. It is pretty difficult to find at present. The material for making Canang kayu should consider the size, tool used, raw material, and the making process. For playing technique, Canang kayu can be played by placing it on feet or a container. The Canang kayu instrument has a strong relationship with maintaining its material and local knowledge of making concepts that seize the cultural values of the Aceh Singkil people. It can be concluded that the making and playing technique is an effort to preserve one of Aceh Singkil's cultural heritages toward the identity and important insights in enriching knowledge about Canang kayu as an Aceh Singkil traditional art.]]>
<![CDATA[PRE-COMMODIFICATION OF SIGALEGALE: BETWEEN FOLKLORE AND THE PAPURPUR SAPATA RITUAL IN SIMANINDO DISTRICT ]]>
<![CDATA[Pardosi, Yehezkiel]]>;
<![CDATA[Purba, Mauly]]>;
<![CDATA[Thyrhaya Zein]]>;
<![CDATA[Septiana Wahyuningsih]]>
<![CDATA[ International Journal of Cultural and Social Science Vol. 7 No. 1 (2026): International Journal of Cultural and Social Science ]]>
Publisher : <![CDATA[Pena Cendekia Insani ]]>
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DOI: 10.53806/ijcss.v7i1.1258
<![CDATA[This study aims to examine the existence of Sigalegale in its pre-commodification phase and to analyze the dynamics of cultural transmission associated with it in Simanindo District, Samosir Regency. Employing a qualitative approach with an ethnographic model, data were collected through in-depth interviews, observation, and documentation involving Sigalegale performance managers and tourism destination managers. The findings reveal that prior to its transformation into a tourism performance, Sigalegale possessed two main entities within Batak Toba culture: as folklore and as the central figure in the papurpur sapata ritual. This ritual is associated with deaths occurring under the condition of mate punu and is rooted in the belief system of hasipelebeguan. However, field findings indicate that contemporary performance managers understand Sigalegale solely as folklore and are unaware of its former ritual function. This situation reflects a disruption and selectivity in cultural transmission, in which narrative elements are preserved while ritual knowledge becomes marginalized. Contributing factors to this condition include the non-inclusive and rare nature of the papurpur sapata ritual, as well as the introduction of religion to the Batak region, which led to the prolonged suspension of ancestral ritual practices. This study concludes that the transformation of Sigalegale from a pre-commodified cultural practice into a tourism performance represents not only a functional shift, but also a process of disrupted and selective cultural transmission shaped by social, religious, and historical factors.]]>
