Auswahl der wissenschaftlichen Literatur zum Thema „Rabāb (Musical instrument)“

Kaba Gadih Basanai is a very popular story for the Minangkabau people and gives a very deep meaning in life because there is a historical background to the life of the people in the colonial era which was full of twists and turns of heartbreaking struggles. The purpose of this study is to examine how music behaves in conveying Rabab Pasisie kaba Gadih Basanai. This research is research with a descriptive qualitative approach, the researcher makes observations, describes then gives meaning to the symbols found. The Gadih Basanai song has traditional musical elements played by all the artists all of these artists have a different musical taste for the quality of each talent they have, and different characteristics when the performers of the Rabab (Violin) arts serve it. The method used in this study is a qualitative method with a descriptive analysis approach. Musical behaviour is presented in various forms and musical variants created by each Rabab (violin) maker based on the artist's level of intelligence, to be able to give a musical sense that is presented during performances of Gadih Basanai singing or songs. Then the behaviour of the Rabab makers seems clear that the Rabab which is played through the instrument instrumental melodies often give or brings up new melodies through inspiration by the players themselves, who always synergize between instruments to become an interesting work and not out of frames the melody on the coastal Rabab itself.

The problem in this research is the lack of research that shows traditional musical instruments in Central Kalimantan in the form of visualization (images) and elaboration with culture, maintenance space and also religion, which is basically applicable and useful for the maintenance of property, culture, philosophical values contained therein. This research method is qualitative research with data search through visualization of images or camera shots of the authors directly to the source of traditional musical instruments in Palangka Raya. The results show that diversity, Indonesianness through gotong royong, instrument maintenance, culture and religion are inextricably intertwined as a space for diversity and religiosity and at the same time as a further elaborative space to explore musical instruments with something that enriches art.

Modern Arab culture retains many living elements adopted from ancient, now extinct cultures. Using the example of the traditional musical instrument rabab, the connection of modern culture with the cultures of the distant past (starting from the Sumero-Akkadian period of Mesopotamia), as well as with other aspects of the traditional way of life, is shown. The relationship between the emotional and acoustic specifics of the sound of the rabab and the features of a traditional residential building in the Levant region, which are in demand in modern energy-saving housing construction, is shown.

ABSTRACT The prevalence of underweight children under five in Indonesia is still high, compared to the target of Indonesia's MDGs of 18.5% West Sumatra is still below the target. Health problems can not only be solved by the government, but community involvement is required, therefore the potential needs to be mobilized. Rabab is a traditional Minangkabau traditional string instrument made from coconut shell. With this rabab can be channeled one's musical talents. Usually in this rabab narrated a variety of nagari stories or known by the term Kaba.merupakan a traditional theater that is populist in Minangkabau area, West Sumatra. Research with qualitative approach with research strategy "Case Study Research (CSR)" with descriptive case study. The study was planned to be conducted on 10 (ten) rabab players active in the Balai Selasa, Pesisir Selatan District. Most informants stated that the balanced nutrition message can be compiled into story through Rabab, almost all informants stated that balanced nutrition messages can be prepared according to the language of the community local, most informants stated that the message of balanced nutrition can be compiled according to the dialeg minang community, most informants stated that the message of balanced nutrition can be compiled by summarizing information in simple form, Rabab as a regional art that has the potential Minangkabau have the potential to campaign balanced nutrition in achieve optimal health for children under five and family. It is recommended to review the balanced nutrition messages for the various ages of the community through Rabab art, to examine the influence of Rabab arts interventions on the knowledge, attitude and actions of people of all ages on balanced nutrition, to formulate strategies for the development of Rabab art through the preparation of scenarios for changes in community behavior about balanced nutrition. Keywords: nutrition, rabab

Knowledge has a big impact on the formation of a person's behavior. Behavior that is based on knowledge will be lasting compared to behavior that is not based on knowledge. Delivery of knowledge can be done in various ways. One of them is health promotion through traditional culture which is rabab art. Rabab traditional art is a musical instrument from Minangkabau that is made from coconut shell and played by one or more players. The player will sing a rhyme that is called Kaba and it has an educational message such as education about elderly neglectfulness. The objective of this study was to effectiveness of rabab culture on family education about elderly neglectfulness. The study design was a quasi-experimental design with one group pretest post-test. The study was conducted in Gurun Laweh Sub-District, Padang City, West Sumatra Province. The study population was 55 people and number of samples was 48 people. Study results show that most respondents (20 people) were at an early age (58.8%). Before the experiment, people with less knowledge were 11 people (32.4%) and after the experiment, it reduced to 9 people (26.5%). There is a difference in people’s knowledge between before and after the rabab experiment with a P-value of 0.037. It was concluded that there was a need to increase family knowledge about elderly welfare. It is recommended that healthcare workers should provide health education to the community about elderly neglectfulness and future researchers can use different variables and educational media for better results.

Kehidupan musik pada masyarakat Minangkabau tidak terlepas adanya peranan serta fungsi yang melekat pada kesenian Randai. Melalui pendekatan etnomusikologi, tulisan ini menelaah peranan musik internal dan eksternal dalam kesenian Randai. Kesenian ini menggunakan medium seni ganda atau kolektif karena didukung oleh beberapa cabang seni antara lain tari, musik, teater, sastra, dan rupa. Hasil penelitian menunjukkan bahwa musik iringan dalam Randai terbagi menjadi dua, yaitu musik internal dan musik eksternal. Musik internal adalah musik atau bunyi-bunyian yang berasal dari anggota tubuh manusia (penari), misalnya tepukan tangan, petik jari, tepuk dada, siulan, hentakan kaki ke tanah dan sebagainya, sedangkan musik eksternal adalah bunyi-bunyian atau suara yang berasal dari alat musik atau instrumen seperti talempong, gandang, saluang, dan rabab. The Role of Internal and External Music in the Arts of Randai. The musical life in Minangkabau society is inseparable from its roles and functions which attach to the arts of Randai. Through the ethnomusicology approach, this paper examines the role of internal and external music in the art of Randai. Considering its sustainability and amendment, the musicality is the identity of Minangkabau society so that the sustainability of the music can be run in accordance with the dynamics of society today. Among the types of arts in Minangkabau, Randai is an art form that uses multiple or collective art medium for it is supported by several branches of the arts, including dance, music, theater arts, literary arts, and fine arts. The results of this study is more focused on the art of music. Musical accompaniment in Randai is divided into two, namely internal and external music. The internal music is the music or the sounds that come from the human body (a dancer), for example, clapping, finger picking, patting the chest, whistling, stomping on the ground, and so on, while the external music is the sounds emanating from the tools of music or instruments, such as talempong, gandang, saluang, and rabab.

a tradition of the Solok people in the form of sadness or lamentation which can be found in the Kampai Tabu Karambia Village, Solok City. The function of the bailau was as a medium of information (notification) when a member of the community died overseas whose body could not be brought back to their hometown. Currently, bailau Ilau is only a performing art that is exhibited at certain traditional events so that it becomes bailau creations. Dendang ratok ilau is a source in the creation of new musical compositions, which has a musical phenomenon, namely there is a vocal technique called opmaat and also a tone mode which, if sequenced, can be found tones C, D, Dis, G, and A with intervals of 1, ½, 1 ½ , 1. Ratok Si Bunsu's work was worked on by the method of creating observation, discussion, exploration, realization, guidance, and completion using a traditional approach with the instruments saluang, rabab, canang, gong, ganto, karinding, and gandang tambua. The result of this work is that the creator divides the work into two parts. The first part of the artist's work on the dendang ratok ilau melody uses the principle of combining the two traditional vocals found in bailau art, but there are several tones used to enrich the form of the work. In the second part, the composer develops the melodies found in dendang ratok ilau into several forms of new melodies with vocals and melodic instruments and is reinforced with non-melodic instruments. It can be concluded that working on a composition based on traditional art is not an easy thing, but you have to study and understand the background of the traditional art itself.Keywords: ilau interpretation, ratok si bunsu. AbstrakIlau adalah tradisi masyarakat Solok berupa kesedihan atau ratapan yang bisa ditemui di Kelurahan Kampai Tabu Karambia Kota Solok. Fungsi bailau dahulunya sebagai media informasi (pemberitahuan) ketika salah seorang anggota masyarakat meninggal di perantauan yang jenazahnya tidak bisa dibawa pulang ke kampung halaman. Sekarang ini, bailau hanya sebagai seni pertunjukan yang dipertontonkan pada acara adat tertentu sehingga menjadi bailau kreasi. Dendang ratok ilau menjadi sumber dalam penggarapan komposisi musik baru, yang memiliki fenomena musikal yaitu terdapat teknik vokal yang disebut dengan opmaat dan juga modus nada yang jika diurutkan ditemui nada C, D, Dis, G, dan A dengan interval 1, ½, 1 ½, 1. Karya Ratok Si Bunsu digarap dengan metode penciptaan observasi, diskusi, eksplorasi, realisasi, bimbingan, dan penyelesaian menggunakan pendekatan tradisi dengan instrumen saluang, rabab, canang, gong, ganto, karinding, dan gandang tambua. Hasil dari karya ini adalah pengkarya membagi karya dalam dua bagian. Bagian pertama pengkarya menggarap melodi dendang ratok ilau menggunakan prinsip menggabungkan kedua vokal tradisi yang terdapat pada kesenian bailau, akan tetapi ada beberapa nada yang digunakan untuk memperkaya bentuk garapan. Pada bagian kedua, pengkarya mengembangkan melodi yang terdapat pada dendang ratok ilau menjadi beberapa bentuk melodi baru dengan vokal dan instrumen melodis serta diperkuat dengan instrumen non melodis. Dapat disimpulkan bahwa menggarap sebuah komposisi yang berangkat dari kesenian tradisi itu bukanlah hal yang mudah, melainkan harus mempelajari dan memahami latar belakang dari kesenian tradisi itu sendiri.Kata Kunci: interpretasi ilau, ratok si bunsu. Authors:Fitri Rahmadhani : Institut Seni Indonesia PadangpanjangAsril : Institut Seni Indonesia PadangpanjangM. Halim : Institut Seni Indonesia Padangpanjang References:Arizal, A. (2023). “Istilah Ratok Si Bunsu”. Hasil Wawancara Pribadi: 23 Januari 2023, Koto Baru Solok. Basrul, Y. (2023). “Bailau di KTK Solok”. Hasil Wawancara Pribadi: 22 Januari 2023, KTK Solok. Herdianto, F., Yusnelli, Y., & Antara, F. (2021). Komposisi Musik Badondong Baibo dalam Musik Instrmental. GORGA: Jurnal Seni Rupa, 10(1), 115-124. https://jurnal.unimed.ac.id/2012/index.php/gorga/article/view/24912/15760Malik, C. (2018). Makna Ratok Ilau pada Pertunjukan Bailau di Kampai Tabu Karambia Kota Solok Sumatera Barat. https://lib.pasca.isi.ac.id/index.php?p=show_detail&id=4334Neng, N. (2023). “Bailau di KTK Solok”. Hasil Wawancara Pribadi: 22 Januari 2023, KTK Solok.Supanggah, R. (2007). Garap Bothekan Karawitan II. Surakarta: ISI Press Surakarta.Syofia, N. (2010). Tari Ilau sebagai Identitas dalam Kehidupan Masyarakat di Kelurahan Kampai Tabu Karambia Kota Solok Sumatera Barat. Tesis Program Pasca Sarjana ISI Padangpanjang.Tegar, K. (2023). Deskripsi dan Transkripsi Bailau pada Laman Youtube Andi Jagger dan Bidang Promosi dan Kebudayaan Dispar Kota Solok (Doctoral dissertation, Universitas Andalas).https://pustaka.fk.unand.ac.id/2016-04-11-15-04-06/skripsi-thesis-disertasi.

Barabab adalah suatu bentuk pertunjukan seni tradisi yang menyampaikan cerita kaba oleh seorang atau dua orang penampil dengan diiringi oleh permainan alat musik rabab (semacam alat musik gesek yang mirip biola). Pertunjukan Barabab berlangsung semalam suntuk. Biasanya pertunjukkan Barabab dihadirkan sebagai salah satu bentuk bungo alek (hiasan keramaian) dalam sebuah acara, baik perkawinan, perayaan atau peresmian peristiwa-peristiwa penting dalam masyarakat adat di Minangkabau. Permasalahannya kini adalah realitas pewarisan seni pertunjukkan Barabab, Pewarisan aktif keterampilan mempertunjukkan seni tradisi Barabab tidak berlangsung baik dan berkesinambungan dari si pewaris aktif kepada generasi berikutnya.Penampil Barabab adalah pria-pria tua yang sudah berumur di atas 55 tahun dan atau lebih. Lalu bagaimana bila pewarisan tidak berlangsung lurus secara berkesinambungan dari generasi tua kepada generasi muda berikutnya. Tentu saja seni tradisi Barabab akan tinggal kenangan dan nama saja, berganti dengan corak musik Barat yang cenderung lebih diminati oleh generasi muda kini, misalnya organ tunggal dan sejenisnya. Kerisauan akan kepunahan seni tradisi Barabab ini sudah patut direncanakan tindakan penyelamatannya. Salah satu upayanya adalah dengan mencanangkan secara aktif untuk belajar budaya, khususnya belajar seni tradisi pertunjukan Barabab yang telah menjadi ikon seni pertunjukan penting di Pesisir Selatan.Upaya ini penting dilakukan secara terorganisir antara pemerhati budaya (perguruan tinggi) dengan Pemerintah Daerah Pesisir Selatan. Kebijakan-kebijakan pemerintah untuk membangun ruang atau tempat untuk belajar budaya, terutama seni Barabab, tindakan urgen untuk dirintis dan dikembangkan ke depan, dan sejak kini.ABSTRACT Barabab is a form of traditional art performances that convey kaba story by one or two performers that are accompanied by rabab musical instrument (a kind of stringed instrument similar to a violin). The Barabab show lasted all night long. Usually Barabab shows are presented as a form of bungo alek (ornament of the crowd) in an event, whether marriage ceremony, celebration or inauguration of important events in indigenous peoples in Minangkabau. In the reality there is problem that Barabab active inheritance of Barabab's performing arts skills does not go well and sustain from the active performers to other generation. Barabab performers are old men over the age of 55. If the inheritance is not sustainable from older generation to other generation, the Barabab tradition will be extinct. One of the efforts to actively promote the learning of culture, especially learning the art of tradition of Barabab show which has become an icon of important performing arts in South Coastal of Minangkabau. The effort is important to be done in an organized manner between cultural observers (universities) and the South Coastal Government. There is a crusial needs of government decision and policies to build space or place to learn culture, especially Barabab art.

The composition "Baghayun Balam" is a composition that departs from the tradition of the traditional song "anak balam" which is found in Nagari Koto Taratak, Sutera District, Pesisir Selatan Regency. In the beginning, this song was used in the ritual treatment of sick people, due to the influence of jinn and demons brought by other people such as witchcraft. Today the song "anak balam" has entered the realm of the rabab pasisia performing arts accompanied by the rabab pasisia and gandang oyak instruments. the song "anak balam" is usually sung in pairs (male and female) with verses that tell about the existence of subtle people in a continuous way that has a real sequence game technique, namely focusing on repetition or repetition by moving the basic tone from low to high and then back to reshape. The song "anak balam" became an inspiration for the artist to serve as material in creating a new piece of musical composition entitled "Baghayun Balam" which was worked on using a Tradition approach by Waridi who stated that the Traditional Approach is a process of creation that uses traditional idioms. which originates from Javanese karawitan without losing its original tradition. This work consists of three parts, namely the beginning, the middle, and the end which are intended to contribute to the development of traditional art so that its sustainability is maintained so that it can adapt and develop according to the mindset of the supporting community

Ancêtre du rebec médiéval, emblème de la musique arabo-andalouse ou encore instrument favori des bédouins arabes pour l’accompagnement de leurs récits et de leurs poèmes, le rebab, sous ses différentes variantes joue encore plusieurs fonctions et rôles qui diffèrent d’un peuple à l’autre et d’une région à une autre. Cette thèse a pour but l’étude approfondie des rebabs de l’Afrique du nord et du Moyen-Orient. Chaque variante de cet instrument est étudiée sur plus d’un plan : historique, organologique, musical et même acoustique. La classification et la muséologie de cet instrument, avec ses différentes variantes, sont aussi abordées dans ce travail. L’intérêt de cette thèse, réside dans l’étude approfondie des différents types de cet instrument, ainsi qu’aux liens existants entre eux, car nous pensons qu’aujourd’hui, tout comme pour le sujet du ‘ūd ou tout autre instrument, il faudrait avoir une approche scientifique globale sur le sujet du rebab
Ancestor of the medieval rebec, the emblem of the Arab-Andalusian music or the favorite instrument of the Arabics Bedouins for the accompaniment of their narratives and their poems, the rebab, under its various variants, still plays several roles and functions which differ from each people and each region. This thesis aims at the in-depth study of the rebabs of North Africa and the Middle East. Every variant of this instrument is studied on more than a plan: history, organology, musical and even acoustic. The classification and the museology of this instrument, with its various variants, are also approached on this work. The interest of this thesis, lives in the in-depth study of the various types of this instrument, as well as in the existing links between them, because we think that today, as for the 'ud or any other instrument, it would be necessary to have a global scientific approach about the rebab