| dc.description.abstract | This study aims to describe the process of making balobat gendek by Mr. Pauzi Ginting, how to play balobat gendek, and the repertoire that is played. Pauzi Ginting is a self-taught musician and maker of traditional musical instruments. This study uses a descriptive qualitative research method. This study uses several main theories and supporting theories, namely the theory put forward by Shusumu Khasima to describe balobat gendek organologically through a structural and functional approach. In addition, Nettl's opinion regarding two approaches in the description of music. Furthermore, Mantle Hood's theory is an understanding to make it easier for writers to understand melodies through practice, for biographical theory found in the book Anthology of Biographical Authors of Biography, to analyze reports using Alan P. Merriam's theory. The results of this study indicate that the classification of balobat gendek belongs to aerophone, in the process of making balobat gendek it is necessary to pay attention to the type of bamboo used to produce a good balobat sound, besides that the making of balobat gendek has materials that are easy to find such as bamboo and the tools used are always used in everyday life. then in the technique of playing balobat gendek must master several playing techniques, rengget, dilah-dilaha and pulunamana, aside from these techniques balobat gendek players have to play emotionally which can make balobat sound melancholic. used is Dis-Eis-Fis-Ais-B-Bis-cis, there are 2 tones in the range namely Dis as a low tone and Cis as the highest tone and phrases that have reverting phrases and contours obtained, namely ascending and pendoulus. In the song Terang Bulan there are 2 tones in the range, namely Eis as the low tone and cis as the highest tone and the phrases that contain iterative phrases and the contours obtained are ascending, static and pendoulus contours. | en_US |
