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Journal articles on the topic "Talempong"
1
Sastra, Andar Indra, Nadya Fulzi, and Syahri Anton. "Postcolonial Aesthetics: Talempong Kreasi and Talempong Goyang in West Sumatra." Jurnal Humaniora 29, no. 3 (October 28, 2017): 245. http://dx.doi.org/10.22146/jh.v29i3.27636.
Full textAbstract:
ABSTRACTThe 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. Keywords: aesthetics, postcolonial, talempong kreasi, talempong goyang and West Sumatra.
2
Sastra, Andar Indra. "The Aesthetics of a Three-Way Pattern: The Musical Concept of Talempong Renjeang and The Social System of The People of Luhak Nan Tigo Minangkabau." Jurnal Humaniora 29, no. 1 (February 27, 2017): 61. http://dx.doi.org/10.22146/jh.22566.
Full textAbstract:
The goal of this article is to discuss the aesthetics of the three-way pattern in the musical concept of talempong renjeang (tenteng) and the social system of the people of Luhak Nan Tigo Minangkabau. The musical concept of talempong renjeang is formed by 3 (three) pairs of talempong: talempong Jantan, talempong Paningkah, and talempong Pangawinan. As the ‘leader’, the talempong Jantan maintains the consistency and integrity of the theme and danyuik (tempo) of the playing, the talempong Paningkah follows the lead of the talempong Jantan using different playing motifs, and the talempong Pangawinan has the role and authority to make the guguah (melody) of the talempong complete – creating a three-way aesthetical pattern. The social system of the people of LuhakNan Tigo was created by three legendary figures, namely Dt. Katumangguangan, Dt. Parpatiah Nan Sabatang, and Dt. Nan Sakelap Dunia (RajoBabandiang). From these three figures, the concept of tali tigo sapilin, tungku nan tigo sajarangan was born (a philosophy of harmony). The method used for the research is based on qualitative data which was collected through observation, interviews, and documentation. The data analysis focuses the talempong renjeang as a musical and the social system of the Minangkabau community which began with two legendary Minangkabau figures. The results of the study show that talempong as a musical system corresponds to, or synchronizes with, the social concept of the people of Luhak Nan Tigo Minangkabau.
3
Sastra, Andar Indra. "The Aesthetics of a Three-Way Pattern: The Musical Concept of Talempong Renjeang and The Social System of The People of Luhak Nan Tigo Minangkabau." Jurnal Humaniora 29, no. 1 (February 27, 2017): 61. http://dx.doi.org/10.22146/jh.v29i1.22566.
Full textAbstract:
The goal of this article is to discuss the aesthetics of the three-way pattern in the musical concept of talempong renjeang (tenteng) and the social system of the people of Luhak Nan Tigo Minangkabau. The musical concept of talempong renjeang is formed by 3 (three) pairs of talempong: talempong Jantan, talempong Paningkah, and talempong Pangawinan. As the ‘leader’, the talempong Jantan maintains the consistency and integrity of the theme and danyuik (tempo) of the playing, the talempong Paningkah follows the lead of the talempong Jantan using different playing motifs, and the talempong Pangawinan has the role and authority to make the guguah (melody) of the talempong complete – creating a three-way aesthetical pattern. The social system of the people of LuhakNan Tigo was created by three legendary figures, namely Dt. Katumangguangan, Dt. Parpatiah Nan Sabatang, and Dt. Nan Sakelap Dunia (RajoBabandiang). From these three figures, the concept of tali tigo sapilin, tungku nan tigo sajarangan was born (a philosophy of harmony). The method used for the research is based on qualitative data which was collected through observation, interviews, and documentation. The data analysis focuses the talempong renjeang as a musical and the social system of the Minangkabau community which began with two legendary Minangkabau figures. The results of the study show that talempong as a musical system corresponds to, or synchronizes with, the social concept of the people of Luhak Nan Tigo Minangkabau.
4
Sastra, Andar Indra, Nadya Fulzi, and Syahri Anton. "Postcolonial Aesthetics: Talempong Kreasi and Talempong Goyang in West Sumatra." Jurnal Humaniora 29, no. 3 (October 28, 2017): 245. http://dx.doi.org/10.22146/jh.27636.
Full textAbstract:
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.
5
Sastra, Andar Indra. "Lareh Koto Piliang: Sistem Kekuasaan dan Musik Perunggu Dalam Kajian Konsep Estetika Musikal di Luhak Nan Tigo Mingkabau." Resital: Jurnal Seni Pertunjukan 17, no. 2 (August 15, 2016): 75–86. http://dx.doi.org/10.24821/resital.v17i2.2220.
Full textAbstract:
This article aims to discover the concept of Lareh Kotopiliang: Power Systems and Bronze Music in a Study of the Concept of Musical Aesthetics in Luhak Nan Tigo Minangkabau. Lareh Kotopiliang is oriented towards a royal or autocratic system of power, in which the primary figure holds the title of Dt. Katumangguangan. A legendary figure, Dt. Katumangguangan is believed to be the one who first implemented this autocratic system of power or leadership. There are two types of bronze music, namely oguang and talempong. From the aspect of performance, there are two different concepts: (1) oguang (a gong ensemble); and (2) talempong bararak (processional music). As an ensemble, oguang is played on top of a frame (rea), with gandang palalu and paningkah, six talempong, and two gongs. Talempong bararak is performed in procession – in declaration of the title of a headman, and musically is made up of three pairs of talempong – talempong jantan, talempong paningkah, and talempong pangawinan. Each of the talempong pairs plays a different rhythmic pattern, and the combination of the three patterns forms the characteristic melody of talempong bararak. The problems addressed in this article are: first, the traditional historiography of Lareh Koto Piliang as part of the trilogy of power in Luhak Nan Tigo Minangkabau; second, Lareh Koto Piliang and the concept of bronze music; and third, the musical concept of talempong bararak.
6
Sastra, Andar Indra, Od M. Anwar, and Mohd Nazir Ibrahim. "THE CONCEPT OF PANGAWINAN IN THE MUSIC PERFORMANCE OF TALEMPONG RENJEANG ANAM SALABUHANIN LUHAK NAN TIGO MINANGKABAU." Journal of Nusantara Studies (JONUS) 2, no. 2 (December 31, 2017): 333. http://dx.doi.org/10.24200/jonus.vol2iss2pp333-347.
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This article discusses the concept of Pangawinan in the performance of talempong Renjeang Anam Salabuhan in Luhak Nan Tigo Minangkabau. As a concept, there are two different understandings of pangawinan, namely: (1) pangawinan with a small ‘p’, which is the philosophical basis for the formation of a pair of talempong as a musical system – implemented through the methods lipek duo and dipatukakan (doubling and interchanging); (2) Pangawinan with a capital ‘P’, which is used to refer to a pair of talempong, Pangawinan – Paningkah duo. As a musical system, talempong renjeang consists of three pairs of talempong instruments, known as the talempong Jantan, talempong Paningkah or Paningkah Satu, and talempong Pangawinan or Paningkah Duo. This research employed a theoretical concept based on the philosophy tali tigo sapilin, tungku nan tigo sajarangan – a three-way pattern; a trilogy of reasoning in the Minangkabau community. The formation of the three-way pattern begins with a two-way or bipolar pattern, and the third position emerges as a counterbalance to create harmony. The main data were collected through observations, interviews, and documentations. The findings show that the concept of pangawinan in the performance of talempong renjeang anam salabuhan functions to provide a certainty in the creation of the talempong melody (guguah) in order to achieve raso batalun (aesthetical pleasure).Keywords: Indonesia, Luhak Nan Tigo, Minangkabau, pangawinan, talempong renjeang anam salabuhanCite as: Sastra, A.I., Anwar, Od.M. Ibrahim, M.N. (2017). The concept of Pangawinan in the music performance of Talempong Renjeang Anam Salabuhanin Luhak Nan Tigo Minangkabau. Journal of Nusantara Studies, 2(2), 333-347.
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Sastra, Andar Indra. "Estetika pola tiga: Konsep musikal talempong renjeang dan dinamika keagamaan di Minangkabau." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 14, no. 1 (July 17, 2019): 34–44. http://dx.doi.org/10.33153/dewaruci.v14i1.2535.
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Tulisan ini bertujuan untuk membahas estetika pola tiga yang menjadi ciri khas dalam penyajian talempong renjeang (renjeng atau tenteng). Estetika pola tiga dalam konsep musikal talempong renjeang dibentuk oleh 3 (tiga) pasangan talempong, dan masing disebut sebagai talempong Jantan, talempong Paningkah, dan talempong Pangawinan. Dinamika kehidupan beragama di Minangkabau ditandai konflik antara kaum sufi dan paham modern. Konflik tersebut bermula dari tarekat Syattariyah dan tarekat Naqsyabandiah yang mempersoalkan konsep wildathul wujud dan wildathul suhud. Masuknya pengaruh wahabi, konflik konflik menyulut perang suadara, dan dalam catatan sejarah kemudian lebih dikenal dengan perang padri – secara fisik berkahir pada perjanjian Bukik Marapalam. Perjanjian Bukik Marapalam – momerandum of understanding – melahirkan sebuah konsensus untuk menciptakan perdamaian di antara mereka yang berbeda paham. Konflik tersebut kemudian melahirkan konsep tali tigo sapilin, tungku nan tigo sajarangan (tali tiga sepilin, tunggku yang tiga sejarangan) – keharmonisan. Metode yang digunakan berbasis data kualitatif dan diperoleh melalui observasi, wawancara, dokumentasi, dan analisis data. Analisis data fokus pada talempong renjeang sebagai satu sistem musikal dan dinamika kehidupan bergama dalam masyarakat Minangkabau yang bermula dari perbedaan paham keagamaan antara tarekat Syattariyah dan tarekat Naqsyabandiyah. Hasil yang diperoleh dari penelitian ini adalah bahwa talempong sebagai sistem musikal sejalan dengan dinamika keagamaaan masyarakat Minangkabau. ABSTRACTThis article is intended to discuss the aesthetics of three-patterned talempong which its characteristic is in the presentation of ranjeang talempong (renjeng or tenteng). Aesthetics of three-patterned talempong in ranjeang talempong musical concept are formed by 3 (three) pairs of talempong. Each of them called as Jantan talempong, Paningkah talempong, and Pangawinan talempong. The dynamics of religious life in Minangkabau is marked by conflict between Sufis and modern Islamic concept. The conflict begins when Syattariyah “tarekat” and Nasqsyabbandiah ”tarekat” question the concept of wildatul wujud and wildathul suhud. The influence of conflict induced by the Wahhabi has sparked off a civil war, that in the historical record has been known as Paderi war – and that was physically ended in an Agreement of Marapalam Hill. This agreement spawned a consensus to bring peace among those who have different understandings. This conflict has spawned one concept of tali tigo sapilin, tungku tigo sajarangan (unity in diversity, three pillars of leadership) - harmony. Method used builds upon the qualitative data obtained through observation, interviews, documentation, and data analysis. Data analysis are focused on renjeang talempong as a musical system and the dynamics of religious life in Minangkabau society that began with diffrent religious understanding between Syattariyah :tarekat” and Nasqsyabandiah “tarekat”. The result of this study is talempong as a musical system that is in accordance with the dynamics of relegious of Minangkabau society.
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Sastra, Andar Indra. "THE GROUP CONCEPT OF BUILDING RASO BATALUN IN THE PERFORMANCE OF TALEMPONG RENJEANG ANAM SALABUHAN." Jurnal Humaniora 27, no. 1 (June 3, 2015): 42. http://dx.doi.org/10.22146/jh.v27i1.6408.
Full textAbstract:
The goal of this article is to discuss talempong renjeang anam salabuhan as a cultural artefact, in particular focusing on the group concept of building raso batalun in the performance of talempong renjeang anam salabuhan in Luhak Nan Tigo, Minangkabau. Raso batalun in the performance of talempong is the musical expression created by the talempong player through the rhythmic treatment of the talempong. The expression produced in a talempong performance can be understood to reflect the musical ability of the talempong group in its performance of various types of Guguah talempong. A group is the representation of a social concept in Minangkabau society. Some talempong groups are formed on the basis of common goals and interests without any family connections; other groups are formed through family ties; and others are formed based on genealogical connections. A musical unit is built through musical communication between the talempong players through different rhythmic patterns. This musical communication can be achieved when the players in the group have the same level of perception, ability, and sense of musicality. It is this perception and sense of musicality which are the initial foundations on which a talempong performance is built, in accordance with the musical standard of each group. It is believed that a high musical standard will not be reached if the role of a particular player is taken over by another player from outside the group. The group plays an important role in building a musical unit and a musical standard in order to achieve raso batalun.
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Alvionita, Shelvy, and Esy Maestro. "PERKEMBANGAN MUSIK TALEMPONG DUDUAKDISANGGAR SENI PUTI TUNGGA KABUPATEN DHARMASRAYA." Jurnal Sendratasik 9, no. 1 (May 1, 2020): 45. http://dx.doi.org/10.24036/jsu.v8i3.108145.
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Abstract The tradition of talempong music has been hereditary into a part of the Minangkabau social life. In its journey, traditional art has been in contact with the sharing of symptoms that develop in the life of a dynamic society, based on it, there also emerged the genre of talempong creation in the Minangkabau region. Puti Tunggastudioplays talempong with the type of talempong duduak (diatonic). The form of the talempong duduak performance is usually combined with several modern instruments such as electric guitar, sexophone, drums and also other traditional Minangkabau musical instruments. The purpose of this study is to analyze the development of talempong duduak music at Puti Tungga Studio in Dharmasraya Regency. Type of this research was qualitative with using a descriptive analysis approach. The object of this research was Talempong in the Pulau Punjung sub-district, Dharmasraya Regency. Techniques of data collection were done by using library studies, observations, interviews and documentation. Efforts that are done by Puti Tungga Studio for the development of the Talempong Duduak are such as gathering members, training in a week and being active in the appearance of the Talempong Duduak in Dharmasraya. There are several obstacles found by Puti Tungga Studio in developing the Talempong Duduak , such as the players who often change because of their busy activities, the higher flow of modern music and the high interest of the society towards modern music. The development and preservation of the Talempong Duduak musical instrument currently needs to be done by socializing to the wider society, especially the younger generation through the Department of Education by incorporating traditional art knowledge both in theory and practice into the curriculum through elementary school to senior high school level. Keywords: music development, talempong duduak, puti tungga art gallery
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Sriwulan, Wilma, Timbul Haryono, Victor Ganap, and G. R. Lono L. Simatupang. "Struktur, Fungsi, dan Makna Talempong Bundo dalam Upacara Maanta Padi Saratuih." Resital: Jurnal Seni Pertunjukan 15, no. 1 (November 10, 2014): 52–70. http://dx.doi.org/10.24821/resital.v15i1.800.
Full textAbstract:
Talempong bundo adalah istilah untuk permainan musik talempong oleh sekelompok musisiperempuan di Nagari Singkarak Minangkabau. Permainan musik ini hanya dipertunjukkan dalamupacara maanta padi saratuih, yaitu upacara persembahan hasil panen yang dilakukan oleh perempuanperempuandari pihak induak bako dalam rangkaian tradisi perkawinan anak pisangnya. Dalam upacaraini induak bako menjemput anak pisang, membawanya ke rumah bako, kemudian mengantarkankembali dengan arak-arakan maanta padi saratuih. Talempong bundo merupakan satu-satunya musikprosesi yang dihadirkan dalam upacara itu, dan hingga saat ini kehadirannya masih dijunjung tinggioleh masyarakat setempat. Fokus dari tulisan ini menjelaskan latar belakang kehadiran talempong bundodi dalam upacara maanta padi saratuih, melacak dan menjelaskan struktur talempong bundo dan relasiantar struktur secara fungsional, dan kemudian menjelaskan makna talempong bundo dalam upacaratersebut. Melalui teori fungsionalisme struktural A.R. Radcliffe-Brown dibantu dengan teori simbolVictor Turner diperoleh pemahaman bahwa prosesi arak-arakan maanta padi saratuih yang didukungoleh bunyi-bunyian talempong bundo mengumandangkan kepada masyarakat bahwa eksistensi pihakinduak bako masih fenomenal di daerah tersebut. Talempong bundo merupakan simbol eksistensipihak induak bako dalam konteks legitimasi terhadap anak pisangnya. Keberadaan talempong bundodalam upacara maanta padi saratuih merupakan representasi sistem matrilineal dalam masyarakatMinangkabau di Nagari SingkarakThe Structure, Function, and Meaning of Talempong Bundo in the Ceremony of MaantaPadi Saratuih. Talempong bundo is a term that is used for music performace of talempong by some femalemusicians in Nagari Singkarak, Minangkabau. The music is typically performed only in the ceremony ofmaanta padi saratuih, namely an offering ceremony for a rice harvest that is made by some women of induakbako in a context of their anak pisang, a tradition of its marriage ceremony. In this induak bako ceremony,anak pisang is picked up, taken to rumah bako, and then returned back with maanta padi saratuih procession.It is interesting that talempong bundo is the only ritual music that is played in the ceremony, and until nowits existence is respected so much by the local community. The focus of this research is to explain a backgroundof talempong bundo in the ceremony of maanta padi saratuih, to search and explore a structure of talempongbundo and inter-structure functionally, and then to describe the meaning of talempong bundo in the ceremonyof maanta padi saratuih. With A.R. Radcliffe Brown’s structural functionalism theory, supported by VictorTurner’s symbol theory, it can be accepted that maanta padi saratuih procession enlivened by talempongbundo music performance announces to people of Nagari Singkarak specifically and Minangkabau peoplegenerally that induak bako’s existence is still phenomenon in this area. Talempong bundo is a symbol ofexistence of induak bako’s side for her legitimacy toward her anak pisang. Finally, an abstract reads that talempong bundo’s existence in the ceremony of maanta padi saratuih is a proof of matrilineal kinship systemamong Minangkabau community in Nagari Singkarak.
Books on the topic "Talempong"
1
Izati. Telempong [i.e. Talempong] pacik. Padang: Museum Negeri Propinsi Sumatera Barat "Adityawarman", 2001.
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2
K, Asri M. Talempong Unggan: Kronik pembelajaran. Yogyakarta: Penerbit Media Kreativa, 2013.
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3
Adam, Boestanoel Arifin. Talempong: Musik tradisi Minangkabau. [Padang Panjang: s.n.], 1986.
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4
Wardizal. Musik talempong di Minangkabau: Suatu studi tentang tekhnik permainannya : laporan penelitian. Denpasar: Sekolah Tinggi Seni Indonesia, 1995.
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5
Marzam. Musik talempong Minangkabau yang difungsikan pada industri pariwisata di Kota Padang : laporan penelitian. [Padang]: Universitas Negeri Padang, 2000.
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6
Kadir, Tulus Handra. Teknik interlocking dalam gaya permainan talempong Minangkabau di Desa Kubang Pipik, Kecamatan Baso, Kabupaten Agam, Propinsi Sumatera Barat: Laporan penelitian. [Padang]: Universitas Negeri Padang, 2002.
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7
Fraser, Jennifer A. Gongs and Pop Songs: Sounding Minangkabau in Indonesia. Ohio University Press, 2015.
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8
Gongs and Pop Songs: Sounding Minangkabau in Indonesia. Ohio University Press, 2015.
Find full textBook chapters on the topic "Talempong"
1
Zerky, B. F. F., and K. S. Astuti. "Multimedia Talempong Pacik learning: Virtual instrument based on Android." In 21st Century Innovation in Music Education, 98–104. Routledge, 2019. http://dx.doi.org/10.1201/9780429024931-13.
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2
Irfan, M., and A. S. Suminto. "Talempong Anam Salido as an Islamic representation of Minangkabau people." In 21st Century Innovation in Music Education, 526–31. Routledge, 2019. http://dx.doi.org/10.1201/9780429024931-69.
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