INTRODUCTIONMinangkabau 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 daerahtersebutschools are engaged in arts education, such as Indonesia Karawitan SchoolPadang, Padang State University Sendratasik Department and the College of ArtsIndonesia 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 developmenttailored to the needs of traditional performing arts.The existence of the development means that the dynamics of a musical based on the claimthe development of traditional music has opened up opportunities for some types oftraditional music has a melodic or rhythmic patterns that have dynamicCourant Courant-place fill in a new musical composition.The development aims to put traditional music representingpast that can be present in the arena of public appreciation today. Indeedface challenges that are very sensitive when performed suaut developmentresult in deterioration of the traditional music of the values that already existbefore. 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 musicby community supporters, so that the community's supporters continue to feelhas the development of the music. However, the issue needs to be limiteddevelopment of traditional music to the 'new forms' (creative) underlying the cultivationfreedom of expression through music to the experimental. And expected resultsexperiments it can and can represent a group of people in his day.
CREATIVITY IN MUSIC COMPOSITION OF CREATION (NEW MUSIC)Development of traditional music can be divided into several forms each of which has its own characteristics and has the observer / specific audience. Creativity is done by the artist or composerthe non-academic and academic circles itself.Development of the easiest we have encountered is in the form of developmenttraditional music to the music 'pop area' (popular) usually leads to a formcommercial, as happened in the pop songs are an average of almost everyethnic archipelago do. Trends and protruding fromresult of the development that is oriented to form the composition of the pop music of Indonesiawhich involves elements of western music.Forms of development such as this has happened quite a long time and quite a lotAlso fans. Appreciation of western music is quite rooted, especially inWest Sumatra in Indonesia and generally, because due to start from the benchschool kindergarten through high school (kindergarten BudBloom / SMU Bukit Tinggi II) in general appreciation of western music has been followed bystudents in arts subjects, as well as extra curricular activities. Then the factorothers again that electronic media such as TV, Radio, and others continueplay pop music that basically refers to the formcomposition of western music.So naturally if the pop songs that also uses elements of western music is easily understood and enjoyed. Categorized as folk songs in this archipelago are among others:- Ayam Den Lapeh (Minangkabau)- Butet (Batak)- Yellow Lancang (Malay)- Jali-Jali (Betawi)- Bubuy Month (Sunda)- Come RECs RECs (East Java)- HeLa Rotane (Maluku)- Jaje son Ee (Bali)- Yamko Rambe Yamko (Papua)Through the creativity of artists, songs like the above areas have been put on the musical accompaniment, which generally are derived from western musical instruments so that folk songs are characterized by the local pop songs. When viewed more as an accompaniment of musical instruments in the song is also in line with the needs and tastes of the community in areas such as the recent trend to use keyboard (organ) that has the ability to give birth to many sounds like a full band group.In Minangkabau the development of local pop music today is very much into the evolving world of pop music in general in Indonesia, even with the fast has been utilizing the characteristics of world music trend. For example we can see in the Minangkabau region of pop music is quite popular today as Brassieres Barendo songs from traditional vocal arts sang to the accompaniment Saluang Minangkabau (end-blown flute) with the technique of blowing circulation. Did not even lose again between the pop songs that depart from traditional music and songs that have been developed to incorporate more elements of 'rap' into a musical composition. It will inevitably have to be recognized that these songs with a load of music like the one above is quite popular in the Minangkabau of West Sumatra sold and the surrounding areas.Development of traditional music into new creations tend towards music performed by artists creative background, formal and non formal education.General development of the musical tradition of leaving one or more ethnicethnic personally worked on the concept of the artist after understanding the concept-it involved a variety of musical concepts into musical compositions.Developing this kind of musical tradition to give freedom to the creator of creativity and not feel encumbered by traditional ethics. Freedom was indeed utilized by artists to introduce their environment, and express themselves as artists who represent the era. In the creative horizons of music with such freedom on the extent required of each artist in the musical world to know that a new form, so that they truly represent the times and culture in the age of freedom of artistic creativity to communicate and issue this opinion.Some of the names of artists who are considered successful enough to communicate the work of musical composition is adhered to the traditional music of today in the Minangkabau are: Muhammad Halim, Hanife, Elizar and Hajizar
DEVELOPMENT OF TRADITIONAL MUSIC MINANGKABAU IN FORMAL EDUCATION INSTITUTIONSAs a formal art education institutions in West Sumatera, Indonesia College of Arts Leopold has made improvements Minangkabau traditional music both by students and by faculty.The basic point of departure in the development of traditional music is one's creative abilities to create something that is considered a new musical value andaccepted by the society into a new musical composition. Creation of the departure fromTraditional music is the basic framework of the system claim it is the tradition of the music itself. While creativity is a statement of new forms of musical traditions that bring the system to enter and live in appreciation of today's society.What do the artists need inspiration because he absolutely is a component rather than an art. Through the material or themes, and motifs derivedof inspiration, the artist creator will be able to bring the experiences ofcommunicative believed through his creation (Hajizar, 1994:6).Based on the inspiration that comes from a musical experience, an artist or composer who did the selection of the material development of consciously believed was acceptable to the listener. In general, people today tend to hear music that dynamic. Musical inspiration in conjunction with the creation of new music are usually owned by the artists and music that can not be programmed in formal educational institutions because it's artistry bakt be congenital or acquired since the gift of birth. Such fact can be seen in formal educational institutions that related subjects are taught music composition as defined in the curriculum but also the result of talented students who may be able to finish well without a lot of hurdles and obstacles.The method of teaching musical composition that begins by learning some kind of traditional music is beneficial to students because of the traditional music as a matter of cultivating the skills students have mastered in accordance with the extent of the talent that sustains the spirit of learning. While the musical experience in general (both western music and contemporary music) they gained through experiences outside the formal institutions. Then the experience is what gives "color" and the quality of something or the creation of new musical creations.The work requires a connoisseur of musical creativity that can communicate with the work, then consideration of a very well thought out by an artist or composer is a spectator or a connoisseur of art is that the selection of the possibility of developing the necessary adjustments to the appreciation of the audience / recipient (Murgiyanto, 1992: 19).There are two classes of development of traditional music performed by artists at the art institute Minangkabau are the type of musical composition and type of dance music. Both types of cultivation of music was very different processes and techniques penggarapannya.Musical composition intended for the connoisseur who only focused on the sound, although we are aware of the visual in the show also gave rise to the music player. For dance music or dance music accompaniment (dance accompaniment), the main priority is filmed dancing. The presence of music is also very crucial in revealing expression of the dance but its only as a dance accompanist, and the cultivation of music in this case tied to traditional forms of musical composition that has some ideal conception, development of a musical tradition that can be incorporated on the consideration of one's ability in scrutinizing the relationship musical elements that were previously located on the musical traditions of each one and then put together in a new form. Some things that can be exemplified as the relationship can be either the creation or continuation of a form of traditional music portion to form /Courant other musical traditions. However, the development or changes of the material as a staple of traditional music tends to happen with the aim of making the material more dynamic tradition.In this case the development or changes the subject matter is usually in the cultivation of tempo, rhythm, melody, and dynamics due to the traditional music tends to be "monotonous" (static). Not infrequently it happens in the development of the use of musical instruments with the same aim of giving the power dynamics and aesthetics.The union of two or more forms of traditional music can also be done in the formincorporation of music in the same time or simultaneously. Understanding and foresight to the composers working on their respective musical traditions in the preparation system on the basis of the incorporation of music is very important, because the unity of units of each tradition has had its own nuances. Thus, the incorporation of identificationeach tradition remained present and was caught by the listener feeling without having to"Eliminate" one of them that can be recognized two or more musicaltradition is in the form of merger. The results of incorporation that, in addition to tasteeach tradition caught, also gave rise to a new sense of musical whole.Comparison between the development of traditional music in new music composition with development issues in accompaniment of traditional music dance (dance music) are strongly tied to the needs of dance, it was an opportunity for creative freedom in creating new musical compositions quite a lot. Therefore, the creativity of artists engaged in new music composition likely to capture the 'trend' new world of musical composition to be used as a material consideration in the process of creation.For students who are studying music composition, on those occasionsgiven a certain appreciation for the development of new musical compositions that are consideredhas worldwide.Dance music that adhered to the principles of dance is not always strictly within the rules of the desired choreographer, the issue is not necessarily understand a choreographer with a composer of music to understand his music in a dance. Often a choreographer only provide the basic pattern of the accompaniment of dance music, while to compose a musical accompaniment for a dance composition that perfectly intact or given to the composer. Thus, the attachment to dance there are actually choices claim forms submitted to the composer of music remained bound to cultivate although in an absolute relation to dance like a provision in the will accompany the rhythm of dance choreographer.In formal educational institutions, among others, the ISMS (High School Karawitan Indonesia) in Minangkabau, a dance work created by students / student or faculty areas of dance, in general, the cultivation of musical accompaniment gave her dance to the student or the student or faculty at fields (majors) gamelan (traditional music). Only a few people from the choreographed dance that is able to provide a basic musical concepts iringannya filmed dance music. Usually occurring between the choreographer with the composer when the proceeds to create a dance is a joint activity in the procession.Communication between the two occurred after both dealing with objects orthe process of cultivating dance and dialogue on the subject of cultivating it. The ideal maximum results generally occur when a choreographer is critical of theso that the musical accompaniment of music by composers who worked on it really like thatenvisioned by the choreographer.Later developments continued in the years to the late 1980s, art institutions are finding new claim form which is a merger between the music of Western and traditional music. A musical composition combining two different traditions were carried out by collaboration between student / student and faculty areas (departments) with student musicians / students and faculty majoring in music (western music). Basically it's likely cooperation in practice in the delivery of music and not the concept, because the presence of traditional music within the framework of western music composition (symphony orchestra). As it is known that the concept of western musical compositions have been arranged in such a way that has been standard theory, while the traditional music has a very different system of western music theory. Thus, efforts to find the points of intersection are the result does not violate the totalkomposisik building principles of western music and traditional music itself. Some of the composers who have done the above as:- Muhammad iklas- Nedi Erman- Marta Roza- Rizaldi- Mahdi Bahar Junaidi- And others
CONCLUSIONBased on the above urian can be concluded that the development of traditional music performed by the creative artists of traditional music that aims to be able to put its existence in the firmament of the appreciation of contemporary society. Musical creativity results in this paper is called "Creative Music Composition" performed by artists of academic and non academic.Academic artists tend to favor the development of traditional music into new forms of musical composition (creation) is based on formal education acquired and followed by a talent. While other artists or non-academic developed on the basis of experience.On educational institutions to develop the arts have a lot of traditional music into three groups, respectively:A. Development into a new kind of musical composition (creation) is the traditional music (gamelan kompsisi).2. Dance music composition or dance accompaniment.3. Into the development of western music composition.Development of traditional music needs to be done, especially in the face of the future existence of the very influential to shift itself from the traditional music appreciation society. Thus enabling it to function again and it will disappear from this earth.
BIBLIOGRAPHYEdi, Sedyawati. 1990. Local Genius in Art. New York: Rays of Hope.Elizar. Of 1997. Drum music in the Minangkabau. Leopold: Journal Drum Nusantara II, Malaysia.Hajizar. Of 1994. Development of Traditional Music in the Era of Globalization Minangkabau. Padang: Working Paper, Department of Education and Culture Padang.. Of 1994. Musi composition / song Keep in touch minang Modern Shades of Minangkabau Traditional Music. Padang: Working Paper, Radio Republik Indonesia (RRI) Padang (TT).Hanefi. Of 1997. Traditional Minangkabau Muzik developments. Leopold: Journal Drum Nusantara II, Malaysia.Sal Murgiyanto. Of 1992. Performing Arts in Indonesia at The Advanced Technology Information. London: Working Paper, Institut Seni Indonesia (ISI), Yogyakarta.
ARIFNI NETRIROSA, S.ST.Faculty of LettersDepartment of EthnomusicologyUniversity of North Sumatra
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 daerahtersebutschools are engaged in arts education, such as Indonesia Karawitan SchoolPadang, Padang State University Sendratasik Department and the College of ArtsIndonesia 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 developmenttailored to the needs of traditional performing arts.The existence of the development means that the dynamics of a musical based on the claimthe development of traditional music has opened up opportunities for some types oftraditional music has a melodic or rhythmic patterns that have dynamicCourant Courant-place fill in a new musical composition.The development aims to put traditional music representingpast that can be present in the arena of public appreciation today. Indeedface challenges that are very sensitive when performed suaut developmentresult in deterioration of the traditional music of the values that already existbefore. 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 musicby community supporters, so that the community's supporters continue to feelhas the development of the music. However, the issue needs to be limiteddevelopment of traditional music to the 'new forms' (creative) underlying the cultivationfreedom of expression through music to the experimental. And expected resultsexperiments it can and can represent a group of people in his day.
CREATIVITY IN MUSIC COMPOSITION OF CREATION (NEW MUSIC)Development of traditional music can be divided into several forms each of which has its own characteristics and has the observer / specific audience. Creativity is done by the artist or composerthe non-academic and academic circles itself.Development of the easiest we have encountered is in the form of developmenttraditional music to the music 'pop area' (popular) usually leads to a formcommercial, as happened in the pop songs are an average of almost everyethnic archipelago do. Trends and protruding fromresult of the development that is oriented to form the composition of the pop music of Indonesiawhich involves elements of western music.Forms of development such as this has happened quite a long time and quite a lotAlso fans. Appreciation of western music is quite rooted, especially inWest Sumatra in Indonesia and generally, because due to start from the benchschool kindergarten through high school (kindergarten BudBloom / SMU Bukit Tinggi II) in general appreciation of western music has been followed bystudents in arts subjects, as well as extra curricular activities. Then the factorothers again that electronic media such as TV, Radio, and others continueplay pop music that basically refers to the formcomposition of western music.So naturally if the pop songs that also uses elements of western music is easily understood and enjoyed. Categorized as folk songs in this archipelago are among others:- Ayam Den Lapeh (Minangkabau)- Butet (Batak)- Yellow Lancang (Malay)- Jali-Jali (Betawi)- Bubuy Month (Sunda)- Come RECs RECs (East Java)- HeLa Rotane (Maluku)- Jaje son Ee (Bali)- Yamko Rambe Yamko (Papua)Through the creativity of artists, songs like the above areas have been put on the musical accompaniment, which generally are derived from western musical instruments so that folk songs are characterized by the local pop songs. When viewed more as an accompaniment of musical instruments in the song is also in line with the needs and tastes of the community in areas such as the recent trend to use keyboard (organ) that has the ability to give birth to many sounds like a full band group.In Minangkabau the development of local pop music today is very much into the evolving world of pop music in general in Indonesia, even with the fast has been utilizing the characteristics of world music trend. For example we can see in the Minangkabau region of pop music is quite popular today as Brassieres Barendo songs from traditional vocal arts sang to the accompaniment Saluang Minangkabau (end-blown flute) with the technique of blowing circulation. Did not even lose again between the pop songs that depart from traditional music and songs that have been developed to incorporate more elements of 'rap' into a musical composition. It will inevitably have to be recognized that these songs with a load of music like the one above is quite popular in the Minangkabau of West Sumatra sold and the surrounding areas.Development of traditional music into new creations tend towards music performed by artists creative background, formal and non formal education.General development of the musical tradition of leaving one or more ethnicethnic personally worked on the concept of the artist after understanding the concept-it involved a variety of musical concepts into musical compositions.Developing this kind of musical tradition to give freedom to the creator of creativity and not feel encumbered by traditional ethics. Freedom was indeed utilized by artists to introduce their environment, and express themselves as artists who represent the era. In the creative horizons of music with such freedom on the extent required of each artist in the musical world to know that a new form, so that they truly represent the times and culture in the age of freedom of artistic creativity to communicate and issue this opinion.Some of the names of artists who are considered successful enough to communicate the work of musical composition is adhered to the traditional music of today in the Minangkabau are: Muhammad Halim, Hanife, Elizar and Hajizar
DEVELOPMENT OF TRADITIONAL MUSIC MINANGKABAU IN FORMAL EDUCATION INSTITUTIONSAs a formal art education institutions in West Sumatera, Indonesia College of Arts Leopold has made improvements Minangkabau traditional music both by students and by faculty.The basic point of departure in the development of traditional music is one's creative abilities to create something that is considered a new musical value andaccepted by the society into a new musical composition. Creation of the departure fromTraditional music is the basic framework of the system claim it is the tradition of the music itself. While creativity is a statement of new forms of musical traditions that bring the system to enter and live in appreciation of today's society.What do the artists need inspiration because he absolutely is a component rather than an art. Through the material or themes, and motifs derivedof inspiration, the artist creator will be able to bring the experiences ofcommunicative believed through his creation (Hajizar, 1994:6).Based on the inspiration that comes from a musical experience, an artist or composer who did the selection of the material development of consciously believed was acceptable to the listener. In general, people today tend to hear music that dynamic. Musical inspiration in conjunction with the creation of new music are usually owned by the artists and music that can not be programmed in formal educational institutions because it's artistry bakt be congenital or acquired since the gift of birth. Such fact can be seen in formal educational institutions that related subjects are taught music composition as defined in the curriculum but also the result of talented students who may be able to finish well without a lot of hurdles and obstacles.The method of teaching musical composition that begins by learning some kind of traditional music is beneficial to students because of the traditional music as a matter of cultivating the skills students have mastered in accordance with the extent of the talent that sustains the spirit of learning. While the musical experience in general (both western music and contemporary music) they gained through experiences outside the formal institutions. Then the experience is what gives "color" and the quality of something or the creation of new musical creations.The work requires a connoisseur of musical creativity that can communicate with the work, then consideration of a very well thought out by an artist or composer is a spectator or a connoisseur of art is that the selection of the possibility of developing the necessary adjustments to the appreciation of the audience / recipient (Murgiyanto, 1992: 19).There are two classes of development of traditional music performed by artists at the art institute Minangkabau are the type of musical composition and type of dance music. Both types of cultivation of music was very different processes and techniques penggarapannya.Musical composition intended for the connoisseur who only focused on the sound, although we are aware of the visual in the show also gave rise to the music player. For dance music or dance music accompaniment (dance accompaniment), the main priority is filmed dancing. The presence of music is also very crucial in revealing expression of the dance but its only as a dance accompanist, and the cultivation of music in this case tied to traditional forms of musical composition that has some ideal conception, development of a musical tradition that can be incorporated on the consideration of one's ability in scrutinizing the relationship musical elements that were previously located on the musical traditions of each one and then put together in a new form. Some things that can be exemplified as the relationship can be either the creation or continuation of a form of traditional music portion to form /Courant other musical traditions. However, the development or changes of the material as a staple of traditional music tends to happen with the aim of making the material more dynamic tradition.In this case the development or changes the subject matter is usually in the cultivation of tempo, rhythm, melody, and dynamics due to the traditional music tends to be "monotonous" (static). Not infrequently it happens in the development of the use of musical instruments with the same aim of giving the power dynamics and aesthetics.The union of two or more forms of traditional music can also be done in the formincorporation of music in the same time or simultaneously. Understanding and foresight to the composers working on their respective musical traditions in the preparation system on the basis of the incorporation of music is very important, because the unity of units of each tradition has had its own nuances. Thus, the incorporation of identificationeach tradition remained present and was caught by the listener feeling without having to"Eliminate" one of them that can be recognized two or more musicaltradition is in the form of merger. The results of incorporation that, in addition to tasteeach tradition caught, also gave rise to a new sense of musical whole.Comparison between the development of traditional music in new music composition with development issues in accompaniment of traditional music dance (dance music) are strongly tied to the needs of dance, it was an opportunity for creative freedom in creating new musical compositions quite a lot. Therefore, the creativity of artists engaged in new music composition likely to capture the 'trend' new world of musical composition to be used as a material consideration in the process of creation.For students who are studying music composition, on those occasionsgiven a certain appreciation for the development of new musical compositions that are consideredhas worldwide.Dance music that adhered to the principles of dance is not always strictly within the rules of the desired choreographer, the issue is not necessarily understand a choreographer with a composer of music to understand his music in a dance. Often a choreographer only provide the basic pattern of the accompaniment of dance music, while to compose a musical accompaniment for a dance composition that perfectly intact or given to the composer. Thus, the attachment to dance there are actually choices claim forms submitted to the composer of music remained bound to cultivate although in an absolute relation to dance like a provision in the will accompany the rhythm of dance choreographer.In formal educational institutions, among others, the ISMS (High School Karawitan Indonesia) in Minangkabau, a dance work created by students / student or faculty areas of dance, in general, the cultivation of musical accompaniment gave her dance to the student or the student or faculty at fields (majors) gamelan (traditional music). Only a few people from the choreographed dance that is able to provide a basic musical concepts iringannya filmed dance music. Usually occurring between the choreographer with the composer when the proceeds to create a dance is a joint activity in the procession.Communication between the two occurred after both dealing with objects orthe process of cultivating dance and dialogue on the subject of cultivating it. The ideal maximum results generally occur when a choreographer is critical of theso that the musical accompaniment of music by composers who worked on it really like thatenvisioned by the choreographer.Later developments continued in the years to the late 1980s, art institutions are finding new claim form which is a merger between the music of Western and traditional music. A musical composition combining two different traditions were carried out by collaboration between student / student and faculty areas (departments) with student musicians / students and faculty majoring in music (western music). Basically it's likely cooperation in practice in the delivery of music and not the concept, because the presence of traditional music within the framework of western music composition (symphony orchestra). As it is known that the concept of western musical compositions have been arranged in such a way that has been standard theory, while the traditional music has a very different system of western music theory. Thus, efforts to find the points of intersection are the result does not violate the totalkomposisik building principles of western music and traditional music itself. Some of the composers who have done the above as:- Muhammad iklas- Nedi Erman- Marta Roza- Rizaldi- Mahdi Bahar Junaidi- And others
CONCLUSIONBased on the above urian can be concluded that the development of traditional music performed by the creative artists of traditional music that aims to be able to put its existence in the firmament of the appreciation of contemporary society. Musical creativity results in this paper is called "Creative Music Composition" performed by artists of academic and non academic.Academic artists tend to favor the development of traditional music into new forms of musical composition (creation) is based on formal education acquired and followed by a talent. While other artists or non-academic developed on the basis of experience.On educational institutions to develop the arts have a lot of traditional music into three groups, respectively:A. Development into a new kind of musical composition (creation) is the traditional music (gamelan kompsisi).2. Dance music composition or dance accompaniment.3. Into the development of western music composition.Development of traditional music needs to be done, especially in the face of the future existence of the very influential to shift itself from the traditional music appreciation society. Thus enabling it to function again and it will disappear from this earth.
BIBLIOGRAPHYEdi, Sedyawati. 1990. Local Genius in Art. New York: Rays of Hope.Elizar. Of 1997. Drum music in the Minangkabau. Leopold: Journal Drum Nusantara II, Malaysia.Hajizar. Of 1994. Development of Traditional Music in the Era of Globalization Minangkabau. Padang: Working Paper, Department of Education and Culture Padang.. Of 1994. Musi composition / song Keep in touch minang Modern Shades of Minangkabau Traditional Music. Padang: Working Paper, Radio Republik Indonesia (RRI) Padang (TT).Hanefi. Of 1997. Traditional Minangkabau Muzik developments. Leopold: Journal Drum Nusantara II, Malaysia.Sal Murgiyanto. Of 1992. Performing Arts in Indonesia at The Advanced Technology Information. London: Working Paper, Institut Seni Indonesia (ISI), Yogyakarta.
ARIFNI NETRIROSA, S.ST.Faculty of LettersDepartment of EthnomusicologyUniversity of North Sumatra
