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All Journal Grenek: Jurnal Seni Musik Abdimas Talenta : Jurnal Pengabdian Kepada Masyarakat NUSANTARA : Jurnal Ilmu Pengetahuan Sosial Sorai: Jurnal Pengkajian dan Penciptaan Musik Greget Journal of Education, Humaniora and Social Sciences (JEHSS) PERSPEKTIF Budapest International Research and Critics Institute-Journal (BIRCI-Journal): Humanities and Social Sciences Jurnal Pendidikan dan Penciptaan Seni Sibatik Journal : Jurnal Ilmiah Bidang Sosial, Ekonomi, Budaya, Teknologi, Dan Pendidikan Jurnal Mebang Proceeding International Conference on Malay Identity
Hutajulu, Rithaony
Universitas Sumatera Utara
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Public Health Social Sciences Other

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KOSMOLOGI BUNYI : SIMBOLISME TRILOGI BANUA DALAM ENSAMBEL GONDANG SIPOTANG PADA MASYARAKAT PARBARINGIN Roventus Simamora, Swingly; Rithaony, Rithaony; Gulo, Hubari
NUSANTARA : Jurnal Ilmu Pengetahuan Sosial Vol 13, No 2 (2026): NUSANTARA : JURNAL ILMU PENGETAHUAN SOSIAL
Publisher : Universitas Muhammadiyah Tapanuli Selatan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31604/jips.v13i2.2026.655-660

Abstract

Musik dalam tradisi kepercayaan Batak Toba tidak sekadar berfungsi sebagai estetika hiburan, melainkan sebagai teknologi spiritual yang memetakan tatanan alam semesta. Penelitian ini bertujuan untuk menganalisis simbolisme kosmologis dalam ensambel Gondang Sapotang yang digunakan pada ritual Ulaon Gondang Saborginoleh komunitas Parbaringin Isumbaon di Desa Lobu Rappa, Kabupaten Asahan. Menggunakan metode kualitatif dengan pendekatan etnomusikologi, penelitian ini membedah struktur organologi dan pola musikal berdasarkan konsep "Trilogi Banua" (Tiga Dunia). Hasil penelitian menunjukkan bahwa Gondang Sapotang berfungsi sebagai "kosmogram bunyi" yang merepresentasikan struktur mikrokosmos dan makrokosmos. Secara spesifik, bunyi Ogung yang siklis merepresentasikan Banua Toru (Dunia Bawah) sebagai fondasi bumi, ritme Tagading merepresentasikan dinamika Banua Tonga (Dunia Tengah/Manusia), dan melodi Sarunemerepresentasikan suara Banua Ginjang (Dunia Atas/Ilahi). Selain itu, ditemukan adanya eskalasi tempo (accelerando) dalam repertoar yang menyimbolkan pendakian spiritual untuk mencapai transendensi. Penelitian ini menyimpulkan bahwa bagi penganut Parbaringin, memainkan musik adalah upaya merawat keseimbangan kosmis dan harmonisasi hubungan antara manusia, alam, dan pencipta.
Penggunaan Alat Musik Tambua pada Acara Baralek di Hamparan Perak, Deli Serdang Piere Steven Randall Sitepu; Rithaony Hutajulu; Vanesia Amelia Sebayang
Jurnal Pendidikan dan Penciptaan Seni Vol 6, No 1 (2026): Jurnal Pendidikan dan Penciptaan Seni - Mei
Publisher : Mahesa Research Center

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34007/jipsi.v6i1.1075

Abstract

This research discusses the use of the Tambua musical instrument in the Baralek ceremony (Minangkabau traditional wedding) held in Hamparan Perak, Deli Serdang. The study focuses on the presentation form, function, and symbolic meaning of the Tambua music within the context of the ritual. The approach used is qualitative descriptive ethnomusicology, with data collection through observation, in-depth interviews, and documentation. The key informants are members of Sanggar Tuah Sakato Medan, who are actively preserving Minangkabau musical practices in the migrant area (perantauan). The results show that the Tambua is presented as an ensemble (along with Tansa, Gandang, Talempong, and Bansi), with a dynamic musical structure that is integrated with every stage of the Baralek procession. The Tambua plays a role as the accompaniment for the traditional procession, a builder of the sacred atmosphere, and a medium for symbolic communication. The embedded symbolic meanings reflect core Minangkabau cultural values, such as mutual cooperation (gotong royong) and kinship ties. It can be concluded that the use of the Tambua in Baralek not only functions as an artistic expression but is also a marker of cultural identity as well as a vital medium for the preservation of Minangkabau tradition in the migrant land.
Makna Denotatif dan Konotatif Pantun Lagu Tanjung Katung Nayla Nayla Azzahra; Rithaony Hutajulu; Hubari Gulo
Jurnal Pendidikan dan Penciptaan Seni Vol 6, No 1 (2026): Jurnal Pendidikan dan Penciptaan Seni - Mei
Publisher : Mahesa Research Center

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34007/jipsi.v6i1.1144

Abstract

This study examines the meaning of pantun texts in the song Tanjung Katung performed by Orkes Melayu Lebah Begantong. It aims to identify and analyze denotative and connotative meanings and to understand their function in performance contexts. The study employs a qualitative method with a descriptive-analytical approach using observation, interviews, and documentation. Data analysis is based on Ferdinand de Saussure’s semiotic theory. The findings reveal that denotatively, pantun depict daily life, nature, and social situations, while connotatively, they express symbolic meanings such as gratitude, respect, humor, and social interaction. The improvisational delivery makes meanings dynamic and context-dependent. Thus, pantun functions not only as aesthetic elements but also as a medium of social communication, reflecting Malay cultural values.
Kajian Organologi Genderang Sisibah Buatan Bapak Atur Pandapotan Solin Rodo Andreas Panjaitan; Heristina Dewi; Yoe Anto Ginting; Rithaony Hutajulu; Hubari Gulo
Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik Vol. 6 No. 1 (2026)
Publisher : Program Studi Etnomusikologi, Fakultas Ilmu Budaya, Universitas Mulawarman

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.30872/mebang.v6i1.239

Abstract

This study describes the technique of making the traditional musical instrument Sisibah Drum preserved by Mr. Atur Pandapotan Solin at the Ninanola Studio, Sukaramai Village, Pakpak Bharat Regency. Sisibah Drum is a traditional musical instrument originating from the Pakpak tribe. This musical instrument is classified as a struck membranophone (a musical instrument whose sound source comes from skin or membrane that is played by being hit). Sisibah Drum has spiritual value and social function in carrying out traditional ceremonies such as Kerja Mbaik and Kerja Njahat. This study aims to examine and describe in depth the process of making Sisibah Drum, including its physical structure, materials and tools used, and the role of this music in the cultural life of the Pakpak people. The method used is a descriptive qualitative approach with data collection techniques through participatory observation, in-depth interviews, and visual documentation. The theoretical framework includes the organological theory of Sushumu Kashima to examine the physical and structural aspects of the instrument, the Sachs-Hornbostel classification used in classifying instrument types, and the theory of musical function according to A.P. Merriam. The results of this study indicate that the Sisibah Drum is still made using traditional methods and techniques that are still used today. Local materials used in the Sisibah Drum making process consist of several types, such as Mbrabas wood, coffee wood, and animal skin. The stages used start from material selection, forming the instrument body, installing the membrane, and tuning the sound. In addition to being a musical instrument, the Sisibah Drum also functions as a means of spiritual communication and a symbol of the Pakpak tribe's cultural identity. The Ninanola Studio plays an active role in  preserving the Sisibah Drum musical instrument to this day.
The Musical Form of the Gondang Borogong Ensemble among the Malay Community in Tangun Village, Rokan Hulu Regency, Riau Regina Lastiarma Br Sinaga; Rithaony Hutajulu; Vanesia Amelia Sebayang
Sorai: Jurnal Pengkajian dan Penciptaan Musik Vol. 18 No. 2 (2025): December
Publisher : Institut Seni Indonesia (ISI) Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

This research focuses on the musical form of the Gondang Borogong ensemble within the Malay community of Tangun Village, Bangun Purba District, Rokan Hulu Regency, Riau Province. The purpose of this study is to describe the musical form of Gondang Borogong. The method used in this study is a qualitative-ethnographic method to examine the musical form of the Gondang Borogong ensemble within the Malay community of Tangun Village. The ethnographic approach allows for a holistic understanding of the musical structure, social function, and cultural significance of this music. The Gondang Borogong ensemble consists of several main instruments: gongs, calempongs, and drums. In its presentation, this art is generally performed at joyful events such as thanksgiving, weddings, and welcoming important guests, which are usually accompanied by martial arts (silek) performances. The repertoire commonly performed by this ensemble includes Sasatu, Duo-duo, Tigo-tigo, Kukubiek, Tulak Serantau, Orang Kayo Belimau, and Taktuntun.
Co-Authors Arifninetrirosa Edi Sumarno Gulo, Hubari Gulo, Hubarry Heristina Dewi, Heristina L. Sholikhah, Rahmatika Laia, Berlin Charinpatrio N.B. Sinulingga, Egi Nayla Nayla Azzahra Parrangan, Alethea Manuela Piere Steven Randall Sitepu Rahmatika Luthfiana Sholikhah Regina Lastiarma Br Sinaga Rodo Andreas Panjaitan Roventus Simamora, Swingly Sebayang, Vanesia Amelia Sholikhah, Rahmatika Luthfiana Sinaga, Agnesti Sitopu, Sapna Situmorang, Daniel Adjinegara Sujatmoko, Koko Yoe Anto Ginting