Percussion Pattern of Terebang Gede in Panggung Jati Studio, Panggung Jati Village, Serang

Abstract

The characteristics of a region become an identity that is certainly inseparable from the noble values it adheres to, including religious values as the foundation for the formation of art of terebang gede in the Panggung Jati studio, Panggung Jati village, Serang, Banten. This study aims to describe the percussion patterns in the art of Terebang Gede both in text and context by using a qualitative paradigm with descriptive analytical methods. As a highlighted theory, ethnomusicology is used to analyze the existence of music in a culture, both from physical aspects and socio-cultural aspects. The data collection technique is done by interview, documentation study, and literature study. The data analysis stages are carried out in the order of data collection, data reduction, data organizing into a pattern, category, and description into basic descriptions that lead to the concluding process. The results showed that the percussion pattern of terebang gede is very simple. The percussion patterns on all existing musical instruments, such as the musical instrument of koneng, kempul, penganak (bibit), interlude, and bass (terebang gede), still follow the framework of the percussion “standard” which is hereditary from previous generations. Until now, this accompaniment without the development of rhythmic variations has been used to accompany syair or sholawat Al-Barzanjiwith with tones of Sundanese-style songs of the salendro type. Changes in accompaniment were not made because this performance was only performed on special occasions for Muslims to broadcast and support worship which was not intended as entertainment music.

The Role of HAMKRI in Preserving Keroncong Music in Semarang

“…This is a manifestation of the development of keroncong music combined with modern music so that the younger generation is increasingly interested in learning keroncong music and getting to know keroncong music through other musical genres combined with keroncong music. This is in line with the statement of several researchers that the development of traditional music is one way to maintain the sustainability of traditional music itself [30][31][32][33][34][35].…”

A Comparative Study of Playing Patterns on Gambang and Ranat Ek Instruments

“…This rhythm pattern has its characteristics and has a specific name (Banoe, 2003;H. M. Miller, 1958;Rachman & Utomo, 2019;Suhaya et al, 2020). So, it can be concluded that the pattern of music playing is a form, structure of music playing by using certain tones and or rhythms that are carried out repeatedly and regularly throughout the song that forms a rhythm unit with a certain name.…”

Ragam Pola Tabuhan Instrumen Gambang Pada Musik Gambang Semarang

“…Gambar 1. Cara memainkan instrumen Gambang (Sumber: Rachman, 2020) Teknik permainan adalah cara atau usaha untuk melakukan permainan pada alat musik dengan nada atau irama tertentu (Banoe, 2003;Suhaya et al, 2020), sedangkan pola adalah model, sistem, bentuk atau struktur. Pola irama adalah pola ritme yang diulangulang secara teratur sepanjang lagu sehingga membentuk satuan irama dengan nama tertentu.…”

“…Seleh 3 (Mi) (Sumber: Rachman, 2020) Jika kita lihat pada partitur 3 di atas, Pola tabuhan Gambang gembyang nglagu seleh 3 (mi) pada birama pertama memainkan notasi 3 (mi) pada dua ketukan pertama, kemudian dilanjutkan notasi 5 (sol) dan 6 (la) pada ketukan ketiga, kembali ke notasi 5 (sol) dan 6 (la) lagi diketukan keempat, dimana masing-masing menggunakan nilai notasi 1/8an. Kemudian pada birama kedua memainkan notasi 1 (do) tinggi pada ketukan pertama yang dilanjutkan notasi 6 (la) dan 1 (do) tinggi pada ketukan kedua, sedangkan pada ketukan ketiga memainkan notasi 2 (re) tinggi dan 1 (do) tinggi dan dilanjutkan dengan notasi 6 (la) dan 5 (sol) pada ketukan keempat, masing-masing juga memainkan notasi 1/8an (seperdelapanan).…”

“…Pola tabuhan Gambang gembyang nglagu seleh 2 (re) bisa dilihat pada partitur di bawah ini: Partitur 2. Pola tabuhan Gambang Gembyang Nglagu (oktaf)Seleh 2 (Re) (Sumber:Rachman, 2020)…”