Kesenian Talempong Lagu Dendang adalah kesenian tradisional khas Nagari Limbanang Kabupaten Limapuluh Kota. Sebagai sebuah objek seni yang estetis Talempong Lagu Dendang memiliki unsur-unsur estetis yang bersumber dari lingkungan sekitar tempat seni ini berasal. Peneltian ini bertujuan untuk menemukan hubungan antara karakteristik alam dan adat Nagari Limbanang dengan pembentukan konsep estetika lokal kesenian Talempong Lagu Dendang. Metode yang digunakan adalah metode kualitatif dengan pendekatan estetika. Pengumpulan data dilakukan melalui observasi dan wawancara, sedangkan analisis data dilakukan dengan cara mengkategorikan, menafsirkan dan menghubungkann data dengan teori yang relevan. Adapun teori yang digunakan adalah teori estetika dari Nyoman Kutha Ratna yang memandang estetika sebagai sesuatu yang mengandung makna keindahan, kebaikan, keutamaan dan kebajikan. Hasil dari penelitian ini berupa konsep estetika lokal yang tersirat dalam berbagai bahasa kiasan seperti: basilang, garitiak cando aia ilia, nada sisik/bungo dan donga-mandongakan.
The aim of this article is to disclose the postcolonial aesthetics of talempong kreasi and talempong goyang in West Sumatra. Aesthetics can be defined as a sense of perception or the various kinds of feelings that are aroused by an art object that is being observed. Postcolonialism is understood to be the continuation of colonialism; hence postcolonial aesthetics discusses the sense of perception, in this case with reference to talempong kreasi and talempong goyang as the material object. Talempong is a type of bronze musical instrument found in West Sumatra; the word kreasi means ‘creation’ or something new, while the word goyang means ‘rocking’ or ‘swaying’ and refers to the body movements of the spectators as they appear to dance in time to the talempong music. The addition of the words kreasi and goyang after the word talempong create the impression that this type of music belongs to the domain of popular music. The emergence of these two concepts in West Sumatra cannot be separated from the influence and power of a number of leading figures in the field of education – specifically artists – from the colonial era, who had a background in Western music education. Talempong kreasi and talempong goyang are dynamic in nature and have the ability to play both major and minor melodies as the talempong instruments are tuned to chromatic pitches. The tuning system of the talempong is akin to that of diatonic musical instruments, and as a musical system it presents the harmonies of Western music through its melodies and chords. The problem to be addressed in this article focuses on postcolonial aesthetics, with talempong kreasi and talempong goyang in West Sumatra as the material object of the study. This phenomenon is examined using the postcolonial theory, relying on qualitative data which is supported by additional qualitative data. The results of the research show that talempong kreasi and talempong goyang in West Sumatra are a product of postcolonialism.
The aim of this article is to disclose the postcolonial aesthetics of talempong kreasi and talempong goyang in West Sumatra. Aesthetics can be defined as a sense of perception or the various kinds of feelings that are aroused by an art object that is being observed. Postcolonialism is understood to be the continuation of colonialism; hence postcolonial aesthetics discusses the sense of perception, in this case with reference to talempong kreasi and talempong goyang as the material object. Talempong is a type of bronze musical instrument found in West Sumatra; the word kreasi means 'creation' or something new, while the word goyang means 'rocking' or 'swaying' and refers to the body movements of the spectators as they appear to dance in time to the talempong music. The addition of the words kreasi and goyang after the word talempong create the impression that this type of music belongs to the domain of popular music. The emergence of these two concepts in West Sumatra cannot be separated from the influence and power of a number of leading figures in the field of education -specifically artists -from the colonial era, who had a background in Western music education. Talempong kreasi and talempong goyang are dynamic in nature and have the ability to play both major and minor melodies as the talempong instruments are tuned to chromatic pitches. The tuning system of the talempong is akin to that of diatonic musical instruments, and as a musical system it presents the harmonies of Western music through its melodies and chords. The problem to be addressed in this article focuses on postcolonial aesthetics, with talempong kreasi and talempong goyang in West Sumatra as the material object of the study. This phenomenon is examined using the postcolonial theory, relying on qualitative data which is supported by additional qualitative data. The results of the research show that talempong kreasi and talempong goyang in West Sumatra are a product of postcolonialism.
Kesenian (musik) Cenang Tigo merupakan kesenian tradisional yang berasal dari Kampung Air Meruap Kenagarian Kinali Kabupaten Pasaman Barat. Ensambel Cenang Tigo terdiri dari tiga buah instrumen cenang yang dimainkan oleh tiga orang pemain wanita dengan menggunakan teknik interlocking. MusikCenang Tigo memiliki bentuk dan fingsi yang khas sesuai dengan konteks adat dan sosial budayanya.Penelitian ini bertujuan untuk mengetahui bentuk penyajian musikCenang Tigo dengan masing-masing fungsinya dalam masyarakat Kampung Air Meruap. Penelitian ini menerapkan metode kualitatif dengan pendekatan multidisiplin. Pengumpulan data dilakukan melalui observasi dan wawancara, sedangkan analisis data dilakukan dengan cara mengklasifikasikan, mengkategorisasikan dan menghubungkan data dengan serangkaian konsep. Konsep yang digunakan dalam penelitian ini adalah konsep bentuk dari Djelantik dan konsep fungsi dari Merriam. Hasil dari penelitian ini berupa deskripsi dan analisis tentang bentuk dan fungsi penyajian musik Cenang Tigo dalam konteks adat dan sosial budaya masyarakatnya.
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