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All Journal Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Keteg : Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi

Melkior Kian

Universitas Katolik Widya Mandira

Author-ID : 4421176

Arts Humanities

Published : 4 Documents Claim Missing Document

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Articles

HOW TO PLAY AND TUNE SASANDO IN EDON STYLE MARIA KLARA AMARILIS CITRA SINTA DEWI TUKAN; FLORA CEUNFIN; MELKIOR KIAN
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 22, No 1 (2020): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Sasando is one of the cultural artifacts of the Rote Tribe that was born from ideas, good values, and local wisdom of the Rote people. This research is a qualitative case study type research aimed at gaining an understanding of sasando plays in Edon Studio and its tuning techniques. Edon Studio chose because the Edon technique has the characteristic of only using 7 fingers to play sasando and being able to tune sasando with two scales simultaneously. The results showed that at Edon Studio, sasando was played using 7 fingers consisting of 4 fingers of the left hand and 3 fingers of the right hand. On the left hand, the thumb and index finger enter in playing the melody, while the middle finger and ring finger meet in playing the bass. Besides playing the melody, the index finger is more positioned as the center of the movement of the other fingers. On the right hand, the thumb, index finger and middle finger are used to play rhythm. The middle finger meets as the commander, while the thumb and index finger meet to form the chord. For chords consisting of four notes, for example C7 chords, one note can be played from the melody (left hand). Regarding tuning, at Edon Studio, sasando tuning is done by considering modulation, namely sasando tuned using two scales. To set two or more basic sasando tunes, three important steps are used, namely: a) analyzing the composition of the melody on the song that will be played

ANALYSIS OF GO LABA MUSICAL ELEMENT OF NGADA TRADITIONAL MUSIC AS THE ACCOMPANIMENT OF JA’I DANCE IN MORA MASA STUDIO TUAK DAUN MERAH (TDM 02) SUB-SUB DISTRICT OEBOBO DISTRICT - KUPANG Flora Ceunfin; Melkior Kian; Maria Klara Amarilis Citra Sinta Dewi Tukan
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 21, No 1 (2019): Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

Go Laba is the traditional musical instrument of Ngada found in the studio of Mora Masa, Kupang city Nusa Tenggara Timur. Its playing pattern emphasizes more on the repetitions of rhythm. In this article, it's discussed (1) the presentation form of Go Laba as the accompaniment pattern of Ja'l dance in Mora Masa studio, Tuak Daun Merah village, Oebobo sub-district; (2) the musical element of Go Laba as the accompaniment pattern of Ja'l dance in Mora Masa studio, Tuak Daun Merah village, Oebobo sub-district. The traditional music of Go Laba consists of five gongs namely Go Wela, Go Ute, Go Dhere, Go Doa, Laba Wai and Laba Dhera. The presentation of Go Laba is the intertwined playing of rhythm that emphasizes more on the repetition of sound in order to create an aesthetic impression with 2/4 birama. Go Laba in its playing uses allegro tempo found in the rhythm of Go Wela. Based on research results, it can be concluded that Go Laba found in Mora Masa studio functions as the accompaniment of Ja'l dance used for the necessity in entertainment event and participating in the dance festival.

COMMUNICATION FUNCTIONS OF THE TIMOR GONG IN NAPAN VILLAGE COMMUNITY Agustinus Reno Renaldus Afoan El; Agustinus ABA Beda Ama; Melkior Melki Kian
Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Vol 24, No 1 (2022): Edisi Januari-Juni 2022
Publisher : LPPMPP Institut Seni Indonesia Padangpanjang

The Timorese gong is a traditional musical instrument of the Napan people that functions as a means of communication in rituals and entertainment. This instrument consists of several parts, namely Tonu Mese, Ote and Kbola. This musical instrument is used by the community as their communication with the local community, ancestors and nature. The method used in this study is descriptive qualitative with an ethnographic approach, namely to discuss the culture and life of the local community. The Timorese Gong until now has functioned as a means of ritual communication where the Gong has a symbolic meaning, namely as a symbol of the strength, nature, identity and character of the community. Apart from being in the context of rituals, this musical instrument also serves to provide information to the local community, namely when there are traditional elders or traditional figures who have died. The Timor gong used as a communication for the Napan people is to provide certain information or messages related to what is about to happen, namely as a warning sign to the local community.Keywords: Gong Timor; Communication; Symbolic Meanin FUNGSI KOMUNIKASI GONG TIMOR PADA MASYARAKAT DESA NAPAN AbstrakGong Timor merupakan alat musik tradisi masyarakat Napan yang berfungsi sebagai sarana komunikasi dalam ritual maupun hiburan. Alat musik ini terdiri dari beberapa bagian yaitu Tonu Mese, Ote dan Kbola. Alat musik ini digunakan oleh masyarakat sebagai komunikasi mereka dengan masyarakat setempat, leluhur dan alam. Metode yang digunakan dalam penelitian ini ialah deskriptif kualitatif dengan pendekatan etnografi yaitu untuk membahas tentang kebudayaan dan kehidupan masyarakat setempat. Gong Timor hingga saat ini telah difungsikan sebagai sarana komunikasi ritual dimana Gong tersebut memiliki makna simbolik yaitu sebagai simbol keperkasaan, sifat, identitas dan karakter masyarakat. Selain dalam konteks ritual alat musik ini juga berfungsi untuk memberikan informasi kepada masyarakat setempat yaitu pada saat ada tua adat atau tokoh adat yang telah meninggal. Gong Timor yang digunakan sebagai komunikasi masyarakat Napan adalah untuk memberikan informasi atau pesan-pesan tertentu terkait dengan apa yang akan terjadi yaitu sebagai tanda peringatan pada masyarakat setempat.Kata Kunci: Gong Timor; Komunikasi; Makna Simbolik

MAKNA PSIKOLOGIS MUSIK GONG WANING DALAM RITUAL ADAT KEMATIAN MASYARKAT HEWOKLOANG KABUPATEN SIKKA Katharina Kojaing; Melkior Kian; Agustinus R.A. Elu
Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi Vol 23, No 1 (2023)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/keteg.v23i1.5083

Gong Waning is a traditional musical instrument (gong and drum) originating from Sikka Regency, East Nusa Tenggara. This instrument functions as a dance accompaniment in various rituals, both customary (sacred) and entertainment (profane). The aim of this study was to gain knowledge about the meaning of Gong Waning's psychological music in the funeral rituals of the Hewokloang people. The theory used in this research is the theory of music psychology. In addition to the psychological theory of music, researchers also combine it with a supporting theory, namely the concept of music mythology. In his study using descriptive qualitative research using ethnographic methods where the author lives and directly experiences the ritual events of the death feast. Data collection techniques were carried out by (1) literature study, (2) observation, (3) interviews, and (4) documentation. Meanwhile, in analyzing the data, it is used in several stages, namely (1) data reduction, (2) data presentation, (3) data analysis, and (4) drawing conclusions. Furthermore, data calibration was carried out using triangulation techniques. The results showed that the presence of Gong Waning's psychological music in the death rituals of the Hewokloang community in Sikka district had a meaning of joy. Expressions of joy were expressed by the people, both the mourners and the drummers, through the strains of Gong and Waning (drum) music which presented various types of rhythmic patterns and were played by fast rhythms.

Co-Authors Agustinus ABA Beda Ama Agustinus R.A. Elu Agustinus Reno Renaldus Afoan El Flora Ceunfin Katharina Kojaing Maria Klara Amarilis Citra Sinta Dewi Tukan

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