Musik Populer Nias: Kajian Sejarah, Tekstual, dan Gaya Musikal
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Institusion

Universitas Sumatera Utara

Author

Harefa, Brian Laso Saro

Subject

Musik Populer 

Datestamp

2018-12-20 07:35:29 

Abstract :
Thismaster thesis, entitledNias Popular Music: Study of History, Textual, and Musical Style. The objective ofthis research to analyze and then given the goals, from three aspects of Nias popular music: (a) history, (b) textual meaning, and (c) musical style, both rhythm and melody. To analyse those aspects, I use the field work method, and as paticipant observer, and then work in the form interwiewing, recording the data in audiovisual format, and analyze the data. This research ise qualitative method and choose the key informants. To study of the history of Nias popular music, I use the diachronic (the development in the space dimension) and synchronic ( the development in the time). To analyzedthe textual of Nias popular music use Riffaterre?s semiotic theory, which based on the study of heuristic (the linguistic denotative meanings), hermeneutic (the social and cultural meanings); matrix and model, and the intertextual link. After that to analyze the melodies of Nias popular music, I use weighted scale theory. The results of this research were as follows. From (A) history, that the Nias popular music is the result of cultural long process, in the music there are elements of Nias tradition musics, and then acculturated with Western music, which come throughout the church institution, Western popular music, and Indonesian popular music, This music developing in the commercial context, and have main function as entertainment. Nias popular music had been developed in the five period, namely: (1) past tradition (of the people of Nias until the end of the 19th century), (2) transition (late 19th century until 1950); (3) church music and modernization (1950 to 1965); (4) the era of Nias popular music in the band form(1969 to 1990), and the era of the keyboard (organ) single (1990 until now). Then viewed the aspect (B) textual, then popular music Nias, have themes such as love for the island of Nias, appreciate and respect their parents and kinship, memories of love, interest someone to idol of the heart due to physical factors and behaviors, and others. This text in heuristic reading is continuing elements of Niasasn poetry (songs) tradition and dicreated by creator, and the overall Nias popular music use the Niasan language, so the music can be categorized as logogenic. From the hermeneutic reading, Nias popular music text reflects the values of indigenous people of Nias, like wisdom: to love the homeland, strengthen Nias identity, repay their parents and kinship, cultural preservation, and others. From the point of the study (C) musical style, then Nias popular music is the result of acculturation with several styles (genres) ofworld music and the Indonesia, such as: rock n roll, ballads, pop, new age, slow rock, Malay langgam, dangdut, and so on. The structure of the melody are: (i) scales were used largely in Western diatonic, (ii) tonica used also as prevalent in Western pop music, (iii) the area tone average of about one octave, (iv) tones commonly used is the notes in the major scale, (v) interval used was of prime to major seventh, (vi) the patterns most likely to recur appropriate cadence melodic phrases, but nothing has changed constantly; (vii) the formula melodies tend strophic; (viii) there are three types of commonly used contours: pendulum in upward, ascending, and descending.