Aesthetic Values of Batak Toba Gondang Sadinding Music Performances at Gondang Sianjur Mula-mula Community
DOI:
https://doi.org/10.59997/jacam.v2i1.2347Keywords:
aesthetic value, batak toba music, gondang sabangunan, music performance, performing artsAbstract
Gondang Sabangunan is one of a musical ensemble type that functions as an accompaniment to traditional ceremonies of the Toba Batak people. The Gondang Sabangunan performance by Gondang Sianjur Mula-Mula community has different form characteristics compared to other forms of Gondang. The performance of Gondang Sabangunan by Gondang Sianjur Mula-Mula community still maintains the use of original musical instruments amidst the rampant changes in the form of Gondang Sabangunan performances that use a mixture of modern musical instruments such as electric keyboard. The Gondang Sabangunan performance of the Gondang Sianjur Mula-Mula community is interesting to be studied more deeply to see the form and the aesthetic values of Gondang Sabangunan. This paper aims to find out the form and aesthetic value of Gondang Sabangunan. This article uses qualitative methods with an aesthetic approach The results of the discussion found that the form of three parts in the Gondang Sadinding performance related to traditional rituals, traditional ceremonies and social systems of the Batak people, while the aesthetic values found were pure values and extra aesthetic values based on Dalihan Na Tolu as the philosophy of kinship of the Batak community.
References
All Arrahman, Y., Ardini, N. W. & Sudirga, I. K. (2022). Aesthetic hybridity of the song “Jali-jali” in Gambang Kromong music. Journal of Aesthetics, Creativity and Art Management, 1(2), 105–123. https://doi.org/10.31091/jacam.v1i2.1828.
Gabriel Matanari, O., Ardini, N. W., & Sudirana, I. W. (2022). Technology as a Digital Trace in the Sekar Rare-Based Music Composition. Journal of Aesthetics, Creativity and Art Management, 1(1), 37–41. https://doi.org/10.31091/jacam.v1i1.1595.
Hutajulu. (2005). Gondang Batak Toba. Bandung: Pusat Penelitian dan Pengembangan Pendidikan Seni Tradisional Universitas Pendidikan Indonesia.
Koentjaraningrat. 1982. Kebudayaan Batak dalam manusia dan kebudayaan di Indonesia. Jakarta: Djambatan.
Kartika, D. S. (2004). Pengantar Estetika. Bandung: Rekayasa Sains.
Oka, I. P. S. I., Rai S., I. W., & I Wayan Suharta. (2022). The aesthetics of unity in Kendang Pangarjan performed by I Dewa Nyoman Sura and Cokorda Alit Hendrawan. Journal of Aesthetics, Creativity and Art Management, 1(2), 155–162. https://doi.org/10.31091/jacam.v1i2.1827.
Pangaribuan, B. (1999). Esensi Keberadaan Ansambel Gondang Hasapi dalam Upacara Ritual Parmalim Sipaha Sada Suku Batak Toba. Yogyakarta: Skripsi S1 Program Studi Pendidikan Seni Musik, FBS UNY.
Pasaribu, B.M. (1986). Taganing Batak –Toba: Suatau Kajian Konteks Sabangunan. Skripsi Sarjana USU Fakultas Sastra Jurusan Etnomusikologi, Medan.
Purba, M. (2002). Adat ni Gondang: Rules and Structure of the "Gondang" Performance in Pre-Christian Toba Batak "Adat" Practice. Asian Music: University of Texas Press, 34(1), 67-109.
Sirait, B. (1995). Fungsi dan Bentuk Ansambel Gondang Sabangunan dalam Upacara Adat Mangokal Holi Masyarakat Batak Toba. Yogyakarta: Skripsi S1 Program Studi Pendidikan Seni Musik, FBS UNY (Tidak Dipublikasikan).
Sumardjo, J. (2000). Filsafat Seni. Bandung: ITB.
Sihombing, A. A. (2018). Mengenal budaya Batak Toba melalui falsafah “dalihan na tolu” (Perspektif kohesi dan kerukunan). Jurnal Lektur Keagamaan, 16(2), 347-371.
Wahyudita, K., Sudirga, I. K., & Suharta, I. W. (2022). I Wayan Ary Wijaya’s Creative Process in Creating Digital Gamelan Music . Journal of Aesthetics, Creativity and Art Management, 1(1), 42–58. https://doi.org/10.31091/jacam.v1i1.1596.
