Abstract :
This study aims to determine the elements and functions of Sike Music in Sungai Penuh District, Kerinci Regency, Jambi Province. The theory used to discuss the elements of music is the theory of Schneck and Berger in the book The Music Effect which states that musical elements consist of rhythm, melody, harmony, dynamics, form, tempo and timbre. Meanwhile, the theory of the function of music uses the theory of Alan P. Merriam in the book The Anthropology Of Music which says that the function of music in society is the function of emotional expression, the function of aesthetic appreciation, entertainment function, communication function, symbolic function, physical reaction function, function related to norm social, the function of legalizing social institutions and ceremonies, the function of cultural sustainability and the function of integrating society. This type of research is field research with a qualitative interaction description method. Data collection techniques used are observation techniques, interview techniques, and documentation techniques. The research subjects in this study were 3 people, namely Yasman, Dzunaidi, and Candra as Sike music artists in Sungai Penuh District, Kerinci Regency, Jambi Province. After conducting the research and analyzing the findings data in the field, it can be concluded that the musical elements contained in Sike's music include a) rhythm which is dominated by the motifs of notes 1/8, 1/16 and 1/4, b) one form. a melody that is played repeatedly, c) harmony is not found in the tambourine but is found in the harmony between musical instruments and vocal sounds, d) the timbre of the tambourine instrument (Membranophone) and vocals (idiophone), and e) the tempo uses the Adagio tempo, namely tempo slow with a speed of 75 bpm (beats per minute) as a supporting element. Whereas the Sike music function in the community in Sungai Penuh Subdistrict, Kerinci Regency, Jambi Province has 6 functions of music in the community, namely as an aesthetic appreciation, as entertainment for the people who witness it, as communication between Sike players and the audience, as a validation of traditional and religious events not only as accompaniment but also as a traditional art that is prioritized by the community for welcoming regional heads and mutual cooperation, as a cultural continuity, namely Sike is passed down from generation to generation to the community then taught to young generations to maintain Sike's art so that it is not lost and as an integration of society, which creates harmony. and solidarity with the Sike players.