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All Journal Journal of Music Science, Technology, and Industry (JOMSTI) Melodious : Journal of Music
Mitak, Louise Marie Grignion de Monfort
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BARONG WAE: KOMPOSISI PROGRESIF ROCK DENGAN PENDEKATAN POLA DAN TEKNIK TRADISI MANGGARAI Mitak, Louise Marie Grignion de Monfort; Suweca, I Wayan
MELODIOUS : JOURNAL OF MUSIC Vol 2 No 2 (2023): Melodious : Journal of Music
Publisher : UPT Pusat Penerbitan LP2MPP ISI Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59997/melodious.v2i2.2178

Abstract

Barong Wae adalah sebuah karya Komposisi Musik dengan gaya musik progresif rock dengan pendekatan teknik dan pola tradisi Manggarai. Metode penciptaan yang digunakan: Pembuatan dan Pengembangan melodi, Pengembangan struktur melodi, pembentukkan Harmoni, Orkestrasi dan Perencaan Konsep pertunjukkan.Hasil dan Pembahasan : Komposisi ini terdiri dari 3 bagian yakni Eksposisi, development dan Rekapitulasi. Dengan intepretasi yang berbeda-beda, dengan pendekatan musik klasik, tetapi tetap dalam satu kesatuan. Barong wae menggabungkan teknik-teknik dan pola tradisi Manggarai dengan idiom-idiom Musik Barat. Implikasi : Komposisi ini menggunakan Pola Gendang Manggarai yakni Takitu, dan Teknik nyanyian Tradisi Manggarai yakni Nenggo. Takitu dan Nenggo dikemas dengan gaya yang berbeda untuk menjadi inovasi bagi musik tradisi Manggarai.
Estetika Bunyi Nggong - Gendang Manggarai dalam Konteks Post-Agraris: Studi pada Komposisi Musik Barong Wae Mitak, Louise Marie Grignion de Monfort
Journal of Music Science, Technology, and Industry Vol. 9 No. 1 (2026)
Publisher : Institut Seni Indonesia Denpasar

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Abstract

Purpose: This study aims to analyze the aesthetics of nggong–gendang sound in Manggarai within a post-agrarian context through the musical composition Barong Wae. The study is grounded in the transformation of musical practices originally embedded in agrarian ritual contexts into forms of artistic representation in musical composition. Employing a qualitative approach with a case study method, this research positions Barong Wae as the primary unit of analysis. Method: Data collection techniques include observation of musical structures, documentation of scores and recordings, and creative reflection within a practice-based research framework, where the compositional process is treated as analytical data. Result and Discussion: The findings reveal that the aesthetics of nggong–gendang sound undergo reconstruction through transformations in medium and musical structure, shifting from communal practices to Western ensemble instrumentation. This transformation is not merely technical but reflects a shift in function from participatory ritual engagement to artistic representation. Furthermore, the aesthetic experience changes from participatory and immersive to appreciative and reflective modes. Within a post-agrarian context, this reconstruction indicates that agrarian sound systems do not disappear but are recontextualized into new forms. Implication: This study contributes to contextual approaches in music aesthetics and offers creative strategies for developing musical practices rooted in local cultural traditions.
Co-Authors I Wayan Suweca