Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik

Peran Mandolin sebagai Instrumen Melodis dalam Musik Dangdut: Studi Kasus pada Sarana Hiburan di Kota Pontianak

Hayatun Nisa — 2025-05-31

The mandolin, a type of chordophone instrument originating from Italy and was introduced to Indonesia in the 19th century. Recognized for its melodic character, the mandolin warrants in-depth exploration, particularly regarding its function as a secular musical instrument. Its presence significantly influences public appreciation in Pontianak, especially when featured in dangdut performances as a form of entertainment. This study aims to examine the role of the mandolin as a melodic instrument in dangdut music used for entertainment purposes in Pontianak City. A qualitative research approach was adopted, utilizing a case study method. The case was explored descriptively through data obtained from observations, in-depth interviews, and documentation. Data validity was ensured through methodological triangulation and extended observation. Data analysis involved reduction, presentation using mind maps, and drawing conclusions. The findings reveal that the mandolin plays a vital role as both a musical identity and a reinforcing element in dangdut music. In its role as an entertainment medium, the mandolin contributes to the enthusiasm and appreciation of the Pontianak community for dangdut music. This research is significant as it highlights the mandolin’s legitimizing role and distinctive contribution to dangdut, offering an alternative model for incorporating melodic instrument variations into similar musical performances.

Estetika dalam Kosmis sebagai Pembelajaran dan Konservasi Gamelan di Era Modern

Wasis Wijayanto — 2025-05-31

This research aims to deeply understand the function of Saron in the composition of Javanese gamelan and uncover the symbolism inherent in the instrument in the people of Central Java. The Saron, as the core instrument of the gamelan, not only serves as the main melody producer, but also has a rich symbolic meaning. This study uses a qualitative approach with ethnographic methods and literature studies. Data collection was carried out through participatory observation in various gamelan performances at traditional and ritual events in Central Java, as well as in-depth interviews with pengrawit (gamelan players) and local cultural figures. In addition, literature studies from art and cultural journals relevant to gamelan and traditional musical instruments of Central Java were also carried out. The collected data was analyzed using descriptive methods of interpretive analytics. The results of the study show that Saron not only functions as a sound producer with its distinctive characteristics, but also as a symbolic representation that connects society, culture, and spirituality in the Javanese context. Saron game techniques and improvisation express a wide range of emotions. Through its role in gamelan, rituals, and social life, Sarons are a reflection of cultural identity, a guardian of harmony, and a messenger of life.

Suara Genta dalam Ritual Persembahyangan Melasti oleh Umat Hindu di Blitar, Jawa Timur

Indah Wahyuningsih — 2025-05-31

This study aims to determine the use and function of the bell in the Melasti prayer of Hindus in Blitar Regency. The bell in the Melasti prayer has an important role. The role of the bell in the series of Melasti prayers includes making tirta, eteh-eteh, nglarung sesaji, and sembahyang tri sandya. This study uses a qualitative method with an ethnographic approach. Alan P. Merriam in the Anthropology of Music, said that the use and function are references to examine the issue of how to use the bell, and its function in the Melasti prayer. Through the opening of the anthropological glasses, Merriam produced the use of the bell in the Melasti Prayer as an accompaniment to the Pandita's mantram and the five main functions of the bell in the Melasti Prayer, namely the Emotional Expression Function, Communication Function, Social and Religious Institution Validation Function, Physical Reaction Function, Hindu Community Integration Function. So that the bell in the Melasti prayer is not only religious music, but is able to create more space so that the bell can convey solemnity, human unity to communicate with Sang Hyang Widhi and culture.

Strategi Kompositoris Grup Band Djiwoastra di tengah Persaingan Industri Musik Metal Indonesia

Aji Agustian — 2025-05-31

This article examines the compositional strategies of the musical group Djiwoastra in constructing a musical identity rooted in historical and cultural narratives of the Nusantara through the medium of metal music. Using an autoethnographic approach, the paper reflects the creator’s lived experience in the creative process. The musical exploration undertaken by the group not only blends sonic elements, but also presents a dialectic between traditional and modern aesthetics within musical structure. Through collaborative methods that take into account the technical and expressive limitations of each member, Djiwoastra’s works develop linear and narratively driven musical patterns contextualized within the spirit of Javanese cultural might. Traditional instruments such as the Gandrang Makassar, Puik-Puik, and Balinese Ceng-Ceng are not treated as mere ornamentation but are integrated as structural elements in crafting a hybrid and articulate musical identity. This article posits that Djiwoastra’s creative practice is not merely an aesthetic endeavor, but a cultural strategy oriented toward resisting the homogenization of global musical tastes by revitalizing local values within a contemporary musical framework.

Angklung Buhun: Peran dalam Ritus Pertanian Masyarakat Kasepuhan Adat Gelaralam

Dani Yanuar — 2025-05-31

Angklung buhun is an art form whose involvement is very dominant in various traditional ritual contexts, especially in agricultural ritual activities. Angklung buhun is played as a ritual tool starting from the process of opening agricultural land, planting rice seeds, maintenance, to harvesting. This research explains the role of angklung buhun in the agricultural rites of the Kasepuhan Adat Gelaralam community. The research method used is a qualitative method with an ethonographic approach to understand a view of life from the perspective of the culture owner with the stages of selecting informants, conducting interviews, analyzing data and data processing. The results of this research reveal that the existence of angklung buhun is one of the essential art forms and has a deep meaning for the Kasepuhan Gelaralam community. This is proven when angklung buhun cannot be played carelessly, this shows that angklung buhun becomes a spiritual and ritual medium. In the context of agricultural rites, angklung buhun functions as a medium for delivering prayers in the ngaseuk, mabay, mipit, ngadiukeun, nganyaran, and serentaun rituals. Angklung buhun is not just seen as a sound medium that creates the impression of a meaningless crowd. Furthermore, angklung buhun is an object that stores positive energy that is believed to have an impact in strengthening harmonious relationships between society, nature, and the almighty creator. These beliefs are closely related to the way the people view nature, ancestors and spirituality.