Written by ARIFNI NETRIROSA, S.ST.
Minangkabau ethnic group as one of our cultural groups in the archipelago, has a wide variety of types of traditional music that lives in his society. When viewed over the living conditions of much of traditional music is so varied, there are evolved to live according to his time in the middle of the supporters and supporters outside the community, and some are in decline, even to say close to extinction.
View of the above therefore it is necessary to the preservation and development effort that is expected of traditional music is not lost and still be able to eat the living in the era of globalization. However, although there are concerns about the condition, in fact politically, Minangkabau still better in art and cultural inheritance of business problems, because there are a few daerahtersebut
schools are engaged in arts education, such as Indonesia Karawitan School
Padang, Padang State University Sendratasik Department and the College of Arts
Indonesia Padang Panjang.
This institution has a program in an effort to inheritance, preservation and development of Minangkabau art. But in this paper the authors also attempted to introduce the reader Minangkabau traditional music in traditional Minangkabau music development efforts as one kekayaanbudaya archipelago.
Development of traditional music which tends to lead to the appreciation of the adjustment needs of today's dynamic and fast-paced behavior, then consideration also leads the development of traditional music to the placement of musical dynamics as the basis for the cultivation of the dramatic design of the music itself. Development such as the above have been carried out by the artists Minangkabau,
in which the composers, composers were working on the concept of musical development
tailored to the needs of traditional performing arts.
The existence of the development means that the dynamics of a musical based on the claim
the development of traditional music has opened up opportunities for some types of
traditional music has a melodic or rhythmic patterns that have dynamic
Courant Courant-place fill in a new musical composition.
The development aims to put traditional music representing
past that can be present in the arena of public appreciation today. Indeed
face challenges that are very sensitive when performed suaut development
result in deterioration of the traditional music of the values that already exist
before. According to Edi Sedyawati (1990) in his book "Local Genius in Art",
suggests that the development of Indonesian traditional music tends to have connotations of a quantitative rather than qualitative, ie raising the volume of the presentation, the presentation to keep expanding the search for possibilities to cultivate and renew the face of an effort to achieve a qualitative (1981:50).
So that should ideally be kept in a traditional musical development efforts are primarily the basic principles of a very proud of the music
by community supporters, so that the community's supporters continue to feel
has the development of the music. However, the issue needs to be limited
development of traditional music to the 'new forms' (creative) underlying the cultivation
freedom of expression through music to the experimental. And expected results
experiments it can and can represent a group of people in his day.
Minangkabau ethnic group as one of our cultural groups in the archipelago, has a wide variety of types of traditional music that lives in his society. When viewed over the living conditions of much of traditional music is so varied, there are evolved to live according to his time in the middle of the supporters and supporters outside the community, and some are in decline, even to say close to extinction.
View of the above therefore it is necessary to the preservation and development effort that is expected of traditional music is not lost and still be able to eat the living in the era of globalization. However, although there are concerns about the condition, in fact politically, Minangkabau still better in art and cultural inheritance of business problems, because there are a few daerahtersebut
schools are engaged in arts education, such as Indonesia Karawitan School
Padang, Padang State University Sendratasik Department and the College of Arts
Indonesia Padang Panjang.
This institution has a program in an effort to inheritance, preservation and development of Minangkabau art. But in this paper the authors also attempted to introduce the reader Minangkabau traditional music in traditional Minangkabau music development efforts as one kekayaanbudaya archipelago.
Development of traditional music which tends to lead to the appreciation of the adjustment needs of today's dynamic and fast-paced behavior, then consideration also leads the development of traditional music to the placement of musical dynamics as the basis for the cultivation of the dramatic design of the music itself. Development such as the above have been carried out by the artists Minangkabau,
in which the composers, composers were working on the concept of musical development
tailored to the needs of traditional performing arts.
The existence of the development means that the dynamics of a musical based on the claim
the development of traditional music has opened up opportunities for some types of
traditional music has a melodic or rhythmic patterns that have dynamic
Courant Courant-place fill in a new musical composition.
The development aims to put traditional music representing
past that can be present in the arena of public appreciation today. Indeed
face challenges that are very sensitive when performed suaut development
result in deterioration of the traditional music of the values that already exist
before. According to Edi Sedyawati (1990) in his book "Local Genius in Art",
suggests that the development of Indonesian traditional music tends to have connotations of a quantitative rather than qualitative, ie raising the volume of the presentation, the presentation to keep expanding the search for possibilities to cultivate and renew the face of an effort to achieve a qualitative (1981:50).
So that should ideally be kept in a traditional musical development efforts are primarily the basic principles of a very proud of the music
by community supporters, so that the community's supporters continue to feel
has the development of the music. However, the issue needs to be limited
development of traditional music to the 'new forms' (creative) underlying the cultivation
freedom of expression through music to the experimental. And expected results
experiments it can and can represent a group of people in his day.
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