| dc.description.abstract | This research discusses the dynamics of the development of the Canang Kayu musical instrument in the Aceh Singkil community. Using a qualitative descriptive approach through observation, interviews, and documentation, this research is analyzed based on Herskovits' theory of change. The results show that the Canang Kayu musical instrument has undergone changes in terms of aesthetics and object and ethics. Aesthetically, the changes are seen in the way it is played, the structure of the performance, and the background of the inclusion of Canang Kayu in various activities. Changes are also seen in the number of notes, the position of the player at formal events and traditional ceremonies. Ethically, Canang Kayu can be seen from the change in the player's position, which was previously played while sitting on the floor, but now played while sitting on a chair with a resonator box. The changes have not led the community to abandon this music, but rather they have accepted it and included it as an effort to reconnect with the Aceh Singkil community as its owner. The changes have also caused Canang Kayu to remain an identity of the Singkil community by maintaining the cultural values that exist in Canang Kayu. The results of this research are to see how Canang Kayu continues to exist in society even though it has undergone changes. | en_US |
