Musik Iringan Hudoq Kita’ sebagai Seni Pertunjukan Wisata di Desa Pampang Kota Samarinda

Hudoq Kita' can be presented in two different forms of presentation. In addition to ritual music, the art form is also presented in the form of musical entertainment art of tourism. Hudoq Kita’ entertainment music is generally displayed on every Sunday in Lamin Pemung Tawai Pampang village. This research uses qualitative methods, including observation, data collection, and data analysis. The technique in question is the observation of the research objects and the determination of informants. The data collection techniques include literature studies, interviews, and documentation. The last is the technique of data analysis by utilizing data that has been found in the field. The research results will explain with the facts of the finding in the field by the author. By the thesis title above, this research will describe the traditional Pelas Tahun, Hudoq Kita' and its accompaniment music with ritual context. The author will explain how Hudoq Kita' accompaniment music is turning into the entertainment of tourist art contextually and textually. Abstrak: Hudoq Kita’ dapat disajikan dalam dua bentuk penyajian yang berbeda. Adapun bentuk kesenian tersebut selain sebagai musik ritual juga disajikan dalam bentuk musik hiburan seni wisata. Musik hiburan Hudoq Kita’ umumnya ditampilkan pada setiap hari minggu di lamin Pemung Tawai Desa Pampang. Penelitian ini menggunakan metode kualitatif meliputi observasi, pengumpulan data dan analisis data. Adapun Teknik yang dimaksud adalah observasi meliputi objek penelitian dan penentuan informan. Teknik pengumpulan data meliputi studi pustaka, wawancara, dan dokumentasi. Terakhir yakni teknik analisis data dengan memanfaatkan data-data yang telah ditemukan lapangan. Hasil penelitian akan menjelaskan dengan fakta temuan di lapangan oleh penulis. Sesuai dengan judul skripsi yang diatas, pada tulisan ini akan memaparkan tentang upacara adat Pelas tahun, Hudoq Kita’ dan musik iringan Hudoq Kita’ dengan konteks ritual. Adapun penulis akan menjelaskan bagaimana musik iringan Hudoq Kita’ yang beralih ke sajian hiburan seni wisata secara kontekstual dan tekstual.

Fungsi Musik dalam Ritual Tiban di Desa Purwokerto Kecamatan Ngadiluwih Kabupaten Kediri

The article entitled "The Function of Music in Tiban Rituals in Purwokerto Village, Ngadiluwih District, Kediri Regency" focused on the issue of Tiban ritual forms, Tiban ritual music performance and the function of Tiban ritual music. The results showed that the Tiban ritual was held during the long dry season with the aim for asking for rain through whipping by the perpetrators or what is called petiban. The people believe that the Tiban ritual can bring rain by means of media of blood dripping on the ground. Tiban music has several motifs in the wasp structure that characterizes it. Tiban music has an important function in Tiban rituals. The functions of music include the function of emotional expression, aesthetics, communication, physical reaction, legalization of social institutions and religious ceremonies, cultural sustainability, and community integration.

Meditations for organ: parallels to musical creativeness

The purpose of the article is to determine genre parameters of meditation for the organ on the example of the pieces of composers of the early 21st century. It is proposed to concretize the prerequisites of meditation for organ as an independent genre and to compare the strategies of reading the genre by representatives of different national schools of composition (Italy, Ukraine, Brazil). Among the research methods there were used: historiographic (restoring the historical retrospective of genre formation), the method of genre analysis (confirming the genre status of meditation), the method of style determination in combination with the comparative method (comparing the strategies of reading the genre by composers of different nationalities). The novelty of the proposed topic lies in the identification of the genre status of meditation for the organ and the introduction into the musicological discourse of works that have not previously come to the attention of Ukrainian researchers. Conclusions. Meditations “Shiva” by K. Ferrari, “And there was night, and there was morning, and there were quiet heavenly flutes...” by M. Shukh and Prelude-Meditation by F. Costa make it possible to define meditation as an independent genre of organ art with a constant set of stable indicators. Meditation for the organ is a concert piece that belongs to the genres of cult-ritual music and is characterized by an introverted structure of the communicative act. All works with a similar genre name are united by a single semantic field of religious contemplation. The compositional foundations of meditation as a genre consist in the multiple repetition of structures (of different scales) with a clear “looseness” of the form, which guarantees the tightness of the same sound environment and the monochromatic text. Stylistic characteristics became variable components of the meditation: the meditative profile of “Shiva” by C. Ferrari is emphasized by the using of techniques of minimalism, in the piece by M. Shukh the emphasis is transferred to the timbre of the organ with appeal to the intonation of oriental music, and in the Prelude-meditation by F. Costa attempts to build a new sound universe, as extended scale of the overtone series.

A Study on the Music Characteristics of the Ceremony of "July Official God"

July official God is the second batch of intangible cultural heritage list published by Gansu Provincial People's government. The project is located in Yuzhong County, Lanzhou city. The ritual process and ritual music of "July Official God" are the main contents of this folk cultural space activity, which are closely connected and indispensable. Therefore, the study of ritual music is also one of the work of intangible cultural heritage protection. The combination of ritual music research and intangible cultural heritage protection will be one of the important orientations of future ritual music research.