| dc.description.abstract | This study aims to analyze the structure of dance, the musical structure, and the interrelationship between music and dance in the Raleng Tendi performance by Sanggar Seni Karo Persada in Medan Tuntungan. The research employs a qualitative approach with an ethnographic method, including field observation, in-depth interviews, documentation, and musical transcription analysis. The theoretical framework includes Alma Hawkins’ theory of dance elements, William P. Malm’s theory of musical structure, Bruno Nettl’s theory of music transcription, and Judith Lynne Hanna’s theory of the interdependence between music and dance. The results show that the structure of the Raleng Tendi dance consists of three main stages: persentabin (introductory ritual), memanggil jinujung (summoning ancestral spirit guides), and memanggil tendi (recalling the lost soul). The dance movements are symbolic and structured in alignment with the tempo and emotional expression of each ritual phase. The musical structure is built from four traditional Karo songs—Mari-Mari, Odak-Odak, Kabang Kiung, and Peselukken—each with distinctive melodic, rhythmic, and intervallic characteristics. Musical analysis reveals that rhythmic patterns and melodic formulas are crucial in creating dramatic tension and supporting the overall structure of the performance. The relationship between music and dance in this performance is interdependent. Music guides the tempo, dynamics, and mood of the dance movements, while the choreography visually reinforces and interprets the musical content. The Raleng Tendi performance serves not only as an aesthetic presentation but also as a cultural and spiritual representation of the Karo community, which has been transformed from a sacred ritual into a modern stage performance. This study emphasizes the importance of preserving traditional performing arts as intangible cultural heritage with educational and identity-building value. | en_US |
