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All Journal Resital: Jurnal Seni Pertunjukan (Journal of Performing Arts) Pendas : Jurnah Ilmiah Pendidikan Dasar International Journal of Cultural and Art Studies (IJCAS) Musica: Journal of Music Real Coster Formosa Journal of Multidisciplinary Research (FJMR) Sinar Kasih: Jurnal Pendidikan Agama dan Filsafat
Ricky Nelson
Sekolah Tinggi Teologi Kristus Alfa Omega, Semarang, Indonesia
Religion Arts Humanities Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Education Languange, Linguistic, Communication & Media Social Sciences Other

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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.
Implementasi Musik dalam Misi Lintas Budaya pada Program Pengabdian Masyarakat STT Kristus Alfa Omega di Daegu, Busan, dan Jinju Korea Selatan Yunatan Krisno Utomo; Gregorius Suwito; Rini Adiyati; Ricky Nelson
Real Coster : Jurnal Pengabdian kepada Masyarakat Vol. 9 No. 1: March 2026
Publisher : Institut Kristen Teologi Real Batam

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53547/6r6q9286

Abstract

Globalization has intensified cross-cultural interactions, demanding contextual and adaptive mission approaches that transcend conventional methods. This community service (PkM) study examines the role of music as a cross-cultural mission medium in STT Kristus Alfa Omega's community service activities across Daegu, Busan, and Jinju, South Korea. Employing a descriptive qualitative approach, data were collected through participatory observation, in-depth interviews, and documentation analysis. Findings reveal that music significantly enhanced participant engagement, fostered more inclusive cross-cultural interactions, and generated positive emotional and social responses toward the Gospel message. The adaptation of local musical elements combined with bilingual performance strategies strengthened community acceptance and deepened relational trust across cultural boundaries. Furthermore, music functioned not merely as a communicative medium, but as a strategic missiological instrument for building intercultural relationships, increasing community participation, and facilitating the internalization of spiritual values. These findings affirm that a contextual, music-based community service model holds substantial potential for replication across diverse multicultural contexts, contributing meaningfully to the development of contextual missiology in East Asia. Keywords: cross-cultural mission; contextual missiology; music as mission medium; community engagement; intercultural spirituality Abstrak Globalisasi telah mengintensifkan interaksi lintas budaya, menuntut pendekatan misi yang kontekstual dan adaptif melampaui metode konvensional. Studi Pengabdian kepada Masyarakat (PkM) ini mengkaji peran musik sebagai media misi lintas budaya dalam kegiatan pengabdian masyarakat STT Kristus Alfa Omega di Daegu, Busan, dan Jinju, Korea Selatan. Dengan pendekatan kualitatif deskriptif, data dikumpulkan melalui observasi partisipatif, wawancara mendalam, dan analisis dokumentasi. Temuan menunjukkan bahwa musik secara signifikan meningkatkan keterlibatan partisipan, memfasilitasi interaksi lintas budaya yang lebih inklusif, serta menghasilkan respons emosional dan sosial yang positif terhadap pesan Injil. Adaptasi elemen musik lokal yang dipadukan dengan strategi pertunjukan bilingual memperkuat penerimaan komunitas dan mempererat kepercayaan relasional lintas budaya. Lebih jauh, musik berfungsi bukan sekadar sebagai medium komunikatif, melainkan sebagai instrumen missiologis strategis dalam membangun relasi interkultural, meningkatkan partisipasi komunitas, dan memfasilitasi internalisasi nilai-nilai spiritual. Temuan ini menegaskan bahwa model PkM berbasis musik yang kontekstual memiliki potensi signifikan untuk direplikasi dalam berbagai konteks multikultural, berkontribusi pada pengembangan misiologi kontekstual di Asia Timur. Kata kunci: misi lintas budaya; misiologi kontekstual; musik sebagai media misi; keterlibatan komunitas; spiritualitas interkultural
DEVELOPMENT OF THE MELODICA ENSEMBLE LEARNING MODEL FOR STUDENTS OF SANG TIMUR CATHOLIC ELEMENTARY SCHOOL IN SEMARANG Christanto Hadijaya; Ricky Nelson; Trianus Homklom
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 11 No. 02 (2026): Volume 11 No. 2, Juni 2026 Release
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v11i02.47300

Abstract

This study develops and evaluates a structured Melodica ensemble learning model for elementary school students in response to the limited availability of systematic and developmentally appropriate ensemble-based instruction in primary music education. Using a design-based research approach, the study included needs analysis, model design, expert validation, limited trials, and implementation evaluation with Grade 3–6 students at SDK Sang Timur Semarang. The model integrates five progressive stages (listening, imitating, reading symbols, performing with accompaniment, and reflection), supported by graded repertoire, ensemble arrangements, digital media, and color management as visual scaffolding. Functional harmonic accompaniment (I–IV–V) in C and G major was applied to reinforce tonal understanding. Results show an 85% improvement in notation reading, approximately 50% increased fingering accuracy in early stages, and significant gains in rhythmic precision, pitch accuracy, ensemble coordination, and learning motivation. The gradual removal of color support confirms its role as effective transitional scaffolding without dependency. This study offers a validated and implementable pedagogical framework for strengthening basic music literacy through ensemble-based learning in elementary education.
PEMBELAJARAN HARMONI LANJUTAN BERBASIS SECONDARY DOMINANT CHORD DAN MODAL INTERCHANGE PADA MATA KULIAH TEORI MUSIK LANJUTAN Ricky Nelson; Trianus Homklom
Pendas : Jurnal Ilmiah Pendidikan Dasar Vol. 11 No. 02 (2026): Volume 11 No. 2, Juni 2026 Release
Publisher : Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Pasundan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.23969/jp.v11i02.51591

Abstract

Secondary dominant chords and modal interchange are important parts of advanced harmony that play a role in developing students' musical analysis, arrangement, composition, and creativity skills. This study aims to describe the implementation of secondary dominant chord and modal interchange in the learning of Advanced Music Theory and identify the factors that influence its application. The research uses a qualitative approach with a case study method. Data was obtained through observation, interviews, and documentation of the learning process and students' musical assignments. Data analysis was carried out using the Miles, Huberman, and Saldaña models through data reduction, data presentation, and conclusion drawn. The results showed that students were able to implement secondary dominant chords through the use of temporary dominant chords to strengthen harmonic functions, while modal interchange was applied through the use of borrowed chords to enrich harmonic colors and musical expressions. The implementation of the two concepts is influenced by theoretical understanding, musical experience, exercise intensity, and learning strategies that integrate theory and practice. This study concludes that advanced harmony learning that is applicative can improve students' harmonic competence and musical creativity.
Resonansi Tumbuh Kembang: Tinjauan Sistematis Peran Pedagogi Musik Gerejawi terhadap Kecerdasan Holistik dan Inklusivitas Sosial Anak Ricky Nelson
Sinar Kasih: Jurnal Pendidikan Agama dan Filsafat Vol. 4 No. 3 (2026): Agustus : Jurnal Pendidikan Agama dan Filsafat
Publisher : Sekolah Tinggi Teologi Injili Arastamar (SETIA) Ngabang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.55606/sinarkasih.v4i3.721

Abstract

Church music is not merely an artistic component of Christian worship but also has the potential to function as a pedagogical medium that supports children's holistic development. This study aims to systematically examine the role of church music pedagogy in children's holistic intelligence and social inclusivity, with church music and developmental psychology as the primary perspectives and Christian Religious Education (CRE) as a supporting perspective. A systematic narrative review approach was employed to analyze six scholarly articles available in the research corpus. The analysis focused on research objectives, learning contexts, musical activities, developmental outcomes, spiritual dimensions, and aspects of social inclusion. The synthesis indicates that church music pedagogy contributes to at least five interconnected developmental domains: cognitive, emotional, psychomotor, social, and spiritual development. Church music training has been associated with improved memory, concentration, problem-solving, language proficiency, motor skills, emotional regulation, empathy, independence, and self-confidence. Among children with special needs, musical activities are also associated with improved concentration, motor coordination, social awareness, self-confidence, and opportunities to participate in more inclusive learning environments. From a church-pedagogy perspective, music learning extends beyond technical mastery toward participation, ministry, character formation, and lived faith. CRE further strengthens these dimensions by using music and song as media for connecting religious knowledge, emotional experience, creativity, and action. Thus, church music pedagogy may be understood as an educational space that enables children to develop holistically while expanding their participation within the church community. Nevertheless, the available evidence remains dominated by qualitative research and literature studies, requiring further longitudinal empirical and pedagogical evaluation.
Co-Authors Christanto Hadijaya Marfenas Marolop Sihombing Mauly Purba, Mauly Pulumun Peterus Ginting Rini Adiyati Suwito, Gregorius Trianus Homklom Wilma Sriwulan Yasril Adha Yunatan Krisno Utomo