| dc.description.abstract | The aim of this research is to describe the function of the Gendang Si Sangkar Laus in the context of the Ncayur Ntua death ceremony in the Pakpak Bharat community, to describe the symbolic interaction of the Gendang Si Sangkar Laus within this context, and to analyze the musical aspects of the Gendang Si Sangkar Laus in the same context. The research method used is a qualitative approach, incorporating data collection through fieldwork, observation, interviews, documentation, and laboratory work. In discussing the description of the function and symbolic interaction of the Gendang Si Sangkar Laus in the context of the Ncayur Ntua death ceremony, the author utilizes Alan P. Merriam's theory of function to describe the function of the Gendang Si Sangkar Laus, Wardi Bachtiar's theory of symbolic interaction to describe the symbolic interaction, and William P. Malm's rhythmic pattern theory to analyze the musical aspects of the Gendang Si Sangkar Laus through the transcription of musical notation. The research findings reveal that the Gendang Si Sangkar Laus is one of the crucial elements in the Ncayur Ntua death ceremony conducted by the Pakpak Bharat community. In this context, the drum not only serves as a musical instrument but also carries deep significance in the effort to honor and guide the spirit of the deceased to the next realm. The primary function of the Gendang Si Sangkar Laus is to mark the end of the ceremony, signaling the departure of the corpse to the burial site. The sound produced by this drum creates a sacred atmosphere that combines spiritual and emotional aspects of the ceremony. Its music is also believed to connect the physical world with the spirit world, calling upon ancestors and spirits to be present and honor the deceased. In the context of the Ncayur Ntua death ceremony, the symbolic interaction of the Gendang Si Sangkar Laus reflects the complexity of the Pakpak Bharat community's culture, spirituality, and social life. The musical composition involving the Gendang Si Sangkar Laus consists of two main instruments: the genderang silima and the gung sada rabaan. The genderang silima, played by four players with different roles and rhythmic patterns, creates a unique rhythmic diversity and harmony. Techniques used include single stroke and flam for si raja gemuruhguh, flam and triple paradiddle for si raja dumerendeng, flam for si raja menak-menak and si raja kumerincing, and a combination of single stroke, flam, and drag for si raja mengampuh. The gung sada rabaan, a gong ensemble with four gongs, adds an additional dimension with its specific rhythm, creating a profoundly sacred atmosphere. | en_US |
