Do not be surprised when listening to a song or musical composition is expressive, a huge fan of trance music can be emotional and even orgasm. Music, through marriage poem, poetry, and, sound, will convey the expressions in everyday life, both pain (elegy) as well as joke-joke (joke) who entertain such kopelan Sahilin rhyme and Siti Rahmah in the genre of nine above Batanghari .
Music is sound that is received by the individual and vary based on history, location, culture, and tastes of a person (taste). The definition of music is also diverse, there is an opinion, music is a sound which is considered good by the hearers. Any sound produced intentionally by a person or a collection and presented as a musical composition. Music by Aristotle has the ability to reconcile a troubled heart, has a recreational therapist, and foster patriotism.
Some argue, can not cross the musical meaning across cultures. The reason is, we must speak by using the language of music from the local culture. Clearly the author does not agree with this opinion, music is a medium of communication through touch melody vibrated through taste someone, he will be flowing, fill the emotional labyrinth of listeners, even without understanding the lyrics, someone will immediately connect with a musical flow or rhythm of a song that pleased him.
For example, we will be appreciative (either if people did not think much of the music), although it does not understand the lyrics to a song, eg track Kebile-bile (song Sumatera), Bubuy Moon (song Sunda), or his I Feel Good (UK charts) James Brown is already familiar in the ears of society. Music touches to the depth of human soul, he would be late and has intercourse with a person's emotions. Especially when the shoreline, the song Batanghari nine reverb, home sweet home.
From Rejung to Guitar Solo
INDONESIA is a country consisting of thousands of islands that is said to stretch from Papua to Aceh. Among the many islands along with the multiethnic born, grow, and develop the arts that is the identity, identity, expressions of community media supporters. Art in Indonesia, this is the result of culture of local genius who was long enough, some even hundreds of years old. Among the arts is the art of music can be seen from the uniqueness of his playing techniques, sound (sound), presentation and form / organologi musical instruments.
In addition to folk songs, in almost all parts of Indonesia has a tradition of art music, such as Tarling, combine the cider, Jaipongan, gamelan, xylophone Kromong, java style (known as a form of music mixed with juice). There are already extinct but there are still surviving despite struggling with the breath of the storm buffeted the various streams of modern music ranging from pop to rock n 'roll indeed quickly familiar, especially, among the young. One of the songs and musical richness that grows in South Sumatra (Sumatera) is Batanghari nine.
Nine Batanghari concepts or terms, refers to the region, the region is another term from Southern Sumatra (South Sumatra, Jambi, Lampung, Bengkulu, Bangka island minus), which has nine rivers (Batanghari) empties into the river Musi. Batanghari in several local languages in South Sumatra, for example the language Rambang (Prabumulih) means river., Synonymous with the times (Java) or river (UK). In further developments, Batanghari nine also meaningful culture, namely cultural Batanghari nine, among which are music and songs Batanghari nine (hereinafter Batanghari nine). Broadly speaking Batanghari music and song is one of nine genres of art music or folk songs that evolved in South Sumatra, as in other regions of Indonesia.
Nothing special note about since when mainstrem Batanghari nine start there, nor was there a specific name related to this Sumsel wong art music. Community Sumsel only knew him by different designation; Batanghari nine songs, music Batanghari nine, nine Batanghari rhythm, rejung (Besemah), and there are mengidentikannya with a single guitar. Later, because this type of art is available in almost all areas of South Sumatra, a region known as the Nine Batanghari, bonding is also the name of "Batanghari Nine" in this type of art. According Sahilin, professional solo guitar picker of South Sumatra, this term began to be introduced by Djakfar Marik from the hamlet Jambabale, Pagaralam.
Music and songs rooted in the estimated nine Batanghari rejung (poem / literary speech in Besemah, one of the region Batanghari Nine). At first, rejung not use traditional musical instruments as an accompaniment instrument sounds, he just spoken with a distinctive rhythm.
Baju kurung buttons tige / Ditunde float to Selangis / fail threat kalu kite / How long reef tears / kalu ade berenay damping / Upright ambangan Mareduwe / kalu ade sungay sonny nyumping / suke selangis transmit rejung duwe is an example of a very popular rhyme at the time.
Further development rejung started harmonized with simple percussion instrument sound, made of bamboo (getuk, getak-getung), animal skins (redap) and made of iron (corn, kenung). "Instruments" rejung is increasing again with the sound of wind instruments made of bamboo (seredam), iron (ginggung) and some even made of leaves (carak). Modern musical instruments, guitar, accordion, trumpet, violin, began to be known to be musical accompaniment instrument in Batanghari nine Western nations are expected since the entry into South Sumatra.
Since the use of modern musical instruments, traditional musical instruments began to be abandoned, only ginggung (ginggong) are still visible. Post-1945, according to the dynamics of development, the music genre Batanghari nine split into several sub-genres, such as the categorization of music is sometimes a subjective thing, among rejung (another meaning is the literature says), tige serangkay (triplet), rice pestle (eight example of a song; rice pestle Eight, Eray-eray, thousands upon thousands, Kumpay Beranyut, Fate of Malang), solo guitar (acoustic). Originally tige serangkay and rice pestle is the title poem in eight rejung. Amuntaukah ayik karawang / Ay, ngape nyabun aduhay dear son, sane side of sane / Amuntaukah whether the fate of poor / Ay, ngape tughun aduhay son, unfortunately was deniye in deniye / Amun this mbak rupees mandian / Ay, ngape dik aduhay bath, darling kayik road kayik / Amun mbak ni rupees sections / Ay, in the dead ngape aduhay, love is Kecik Kecik body is poetry triumvirate. During its development, tone, rhythm, melody, and harmony in both the song became the title song with another. What about the solo guitar?
Solo guitar and Phenomena Sahilin
Cultural Ahmad Bastari Suan said, the term in the context of a single guitar Batanghari nine relatively new, it is estimated emerged around the 1950s. Before this term appears, known as "Excerpts Dawi." Dawi is a solo guitar picker from Besemah area. The mention of a single guitar because it is usually accompanied by a stringed instrument (acoustic guitar), no other instrument, called a single guitar was then also sealed. Definition of a single guitar in nine different Batanghari single guitar specialists Jubing Kristianto or Iwan Tanzil in Jakarta. For them, a single sound of the guitar as an instrument in music. While the solo guitar in a mainstream sense Batanghari nine, other than as a musical instrument, is also the color of music or a sub-genre. Yok, we tunggalan or berejung guitar. That is, let us play the songs, a poem from a variety of languages or sub-ethnic languages in South Sumatra, with a single guitar techniques Batanghari typical nine. Current phenomena, synonymous with the solo guitar music Batanghari nine itself.
Solo guitar golden era is estimated around the year 1960 and the 1970s contemporary with the golden era of rock music in the West sono. "Flower generation" solo guitar is also emerging. At that time, people used to enjoy playing the guitar tungal tired at night after working all day. Before the '70s, in the Land Besemah, one way bachelors (youth) to pedakate of a hero (of course women), through a plucked guitar while singing the verses rhyme. This activity, usually done at night. Distinctive guitar sound has become the media for calling the idol (girl) that he came to beghare (a relationship or some flunky with a girl to approach the heart). Pantunnya, among others, reads: Dudol ancaw tasted kuday / beghase anjam ngulang pule / come here andun ninday / Amu can I beghusik kele night. The combination of chanted verse poem with a single guitar sound that's typical named rejung.
Music and songs Batanghari nine through a single guitar are generally melancholy. This relates closely to the structure of society with a sense of brotherhood, kinship, and love going back home. And according to the ripple effect of the flow Batanghari nine, this music has a meandering rhythm with lyrics such as rhyme bersahut long and continuous, like a long river. Currently Batanghari nine songs not only to relieve fatigue life humming or to seduce the girl's idol, but also as a profession and performing arts. Batanghari nine musical performances, sometimes display one or two singers who sing the rhyme bersahut, with a single guitar accompaniment.
Currently, the artist who used and still faithful to his art can be counted on the fingers, among wayah, Isran, Rasnawati, Buchori, Discik, Syafrin, Emilia, Asnadewi, Effendi Rusli, Armin, Arman Idris, Jefri, Paul, Sahilin. Sahilin and remains the most popular mascot in this lane. Sakingnya number of "show", invited President Yudhoyono has ever attended by Sahilin can not, because of clashing schedules. Although not the artist of Jakarta, was a professional and committed Sahilin fixed.
Theoretically, a single guitar plucking techniques Batanghari nine mostly pentatonic (five tone bertangga, compare with the music of Western products that are generally diatonic, seven tones bertangga). Utilizing the dominant melody excerpt bass (strings 4, 5, and 6). Any change songs, often, musicians nyetem (set) his guitar to produce a different rhythm. Of the eight basic tone on the guitar, often relying only five tones. The tones were combined in a pentatonic, like the gamelan, or percussion beats are rhythmic and somewhat monotonous, both melody maupu harmony.
Hanafi is the Department Karawitan, Indonesian Art College (STSI) Padangpanjang, West Sumatra, who observed nine songs are sung Batanghari Sahilin, explaining Sahilin guitar playing was unique. At Muara Kuang Fate song, for example, he played on metrum (unit of rhythm that is determined by the amount and pressure of syllables in each line of poetry) that is different. Metrum initial count of 4 has, in certain parts he played guitar on the count of 6 and 10. In fact, nothing appears on the count of odd, like a count of 5. According to Hanafi, who had a survey with Philip Yampolsky from the Ford Foundation, in his songs, Sahilin not want to be bound by the conventional bar patterns. Sahilin play by following the melodic phrases that basically has a different metrum although at the beginning is indicated by a count of 4 or metrum four per four (4 / 4).
Keeping Pesake Puyang
GENERATION Batanghari nine artists, especially the solo guitar, were increasingly few, he said, because no regeneration of smooth music and songs Batanghari nine. Today conservationists and guardians of this music is generally the elderly, while young people positioned as a music Batanghari nine outdated and hard to be downloaded for emotional and techniques. Interest in studying Batanghari nine of the youth is also low. This can be seen from at least the music and musicians who pursue this track. Communities in South Sumatra have not much idea about the strengths and advantages nine Batanghari music. They do not have a complete picture about the music and song. Although, generally, they never heard the strains of a single guitar. Therefore, we need an understanding of music through fonografi Batanghari nine, for example. At present, nine Batanghari development of music, so little understood, crushed by modern music. If Batanghari nine was an increasing demand, we feared was too late to understand one pesake (legacy) Puyang.
It seems that, in addition to grip Batanghari nine remain alive, the development of music and this song needs to lead to adjustment and the need for appreciation of contemporary society more dynamic and fast-paced behavior, then no one there Batanghari nine musical development considerations also lead to the placement of musical dynamics as the basis dramatic design of cultivating the music itself. Working on developing the concept of folk music which is adjusted with a touch of the performing arts purposes, means the necessary process of creative musical artists to develop and open up opportunities to Batanghari nine who had a pattern of this melancholy melody or rhythm in order to fill the parts in the color composition of a new, more dynamic music and do not leaving the spirit and strength Batanghari nine colors. One, a music group in South Sumatra was studying, researching, and brought the concept of folk songs / ethnicity, (color music Batanghari nine) while relying on the power of a single guitar sound is typical Rejung Pesirah Orchestra formed in early 2008.
Perhaps, we tried to grade dululah appreciative of this art without leaving our passion will flow particular music, pop, okay, we remain with jazz improvisation, we create a world with rowdy rock, dangdut moreover, should not be "wet senggol" eggs, campursari Monggo waelah, with house music, invites nganar Coy, with nine Batanghari, more indeed. What is clear, the message and load petiti petatah-nine poems in Batanghari may be useful for us.
In some areas of Indonesia, the art of folk music has been able to enhance national identity and even become one of the attraction for foreign tourists visiting Indonesia. It can be seen in Bali for example, the art of Balinese gamelan music is not only interested by the Balinese gamelan artists only, namely the younger generation kids elementary school, junior high school and pretty much beat him to practice playing the gamelan musical instruments.
In South Sumatra, to say the intensity of solo guitar music art does not seintensif in Bali and Java, but still, it does show that stretching the community efforts to keep it going. The assumption so far, impressed that just a single guitar pickers among the elderly, turned out when the solo guitar picker amateur Mapping in Single Guitar Festival held in 2003 and 2004 by a circle of young musicians in town Pagaralam, participants up to 65 people? And their average from among the young.
Although the facts remain the sole guitar pickers are present and flowing as in Pagaralam, there has not been able to be used as a barometer of significant developments. Or interested in this art alive and interested in the hamlets of South Sumatra? Pretension that Batanghari nine solo guitar picker just from the old and start losing keeper, is unquestionable. But still need to be concrete efforts from all parties, not only of cultural or musical artists of South Sumatra, even from the general public to contribute to musical culture Batanghari nine can be protected, such as making Batanghari nine local content in music lessons , or the more real to the culture of a single guitar nanggap not only in the event of marriage only. What has been done by a local television station in Palembang, featuring solo guitar artists also deserve thumbs up. So it's ironic, when the opening of Visit Musi 2008 and then the wah, Batanghari nine artists are not coloring his Musi river. In other words, who painted a rainbow on the river Musi is wong Jakarta. Bah! Source: www.dapunta.com
Some time ago Pak Ngah write about Pekanbaru As MICE City, I admit Tourism in Riau did not have a strategic concept for achieving the target of visits each year. Ibn Masud, Chairman of Association of The Indonesia Tours & Travel Agencies (Asita) has said the development of Riau in Riau Tourism will thrive in the year 2010, but with a maximum effort such as the application of the concept of Meeting, Incentive, Convention and Exhibition (MICE) assessed as The main supporters to boost tourism industry in Riau Province.
I think MICE is an appropriate concept for the condition of Riau and Pekanbaru City as the capital of this province. Because the city is often held Sorcerer event of national and international scale. business actors often make a big convention or large meeting in Pekanbaru.
Implementation of MICE to Pekanbaru and Riau is also supported by tourism facilities such as five-star hotels that can be a media MICE tourism. Hence, necessary measures are diseinergikan more cooperation with various parties involved. Like the principals of business and local government and business actors in tourism terkit Riau.