Introduction
Music exists because the
composition of sounds and non-sound contained therein was created, played, and
heard or performed. Without all these three things: authors, musicians, and
audience - the music did not exist. This point of view was available in various
world cultures although not the only one. In general, a variety of serious
music literature and the writings and coverage of popular music is based on the
same concept. Bottom line: music exists because there were people who made
them. It was Human who determined that the phenomenon of sounds produced,
played, and heard the music or non-music.
If a person or group of people
is creating and playing a composition of sounds, the sounds themselves are
meaningless at all, worthless, except when the sounds were given charge of an
agreed meaning as music by the perpetrators, means individuals, who are
involved in the happening of this "musical". All participants in this
musical event (the creator, the musician and the audiences) were interacting,
and interaction patterns based on the order or system and cultural uniqueness
that characterize their lives. The symbols which are represented through sound,
or any complex idea and other musical parameters become an important
requirement in this communication process. Either the success or failure of
musical communication will depend on their agreement to the musical conventions
that they understand. It shows that music have no intrinsic meaning, but the
other way it was very potential to be given charge of any meaning.
In other hand, Art will live
to be something because it was caused by human attitudes and feelings about it.
It shows that the art of life in human, and appeared openly widened through the
process of interaction among people. Therefore, the musical symbols have
no meaning before it accepted by society, and then the process of dissemination
of symbols that would be given charge of meaning that becomes very important. This process utilized by human as an
effort to create and understand a culture or music and became known as the
musical tradition.
Traditional Music is a
cultural product that was born of intellect and creativity of the community
owner. Music traditions contain cultural values as the refraction of the life
and customs of society. It contains the reflection of life, where music was
born and developed as long as it always occupy an important position, both as
part of a custom which is often associated with religion or as part of the
beauty of expression which refers to the aesthetic values. Music tradition is a
manifestation of life that many of them are related to various aspects of community
life as an example of music as part of the customs often involved in various
ceremonies. As part of indigenous tradition, it reflects the pattern of life,
where the propinquity of human and divine creator is often symbolized by a
piece of music.
On
the other hand, music can serve as unifying society. Some people were thought the
music tradition has propinquity with the customary, there will arise a sense of
unity in the community because they feel guided to be in a shade of culture.
Seeing some related aspects, the existence of a musical is needed to support
the mental and spiritual development of society owners. Music can be used as a
vehicle for learning about the culture, where the values contained a reflection
of the normative would order people's lives. Furthermore, the music serves as a
term to teaching morals, norms, culture, and customs of a society associated
with the music. In other words, music is a hallmark of life and culture of the
community owner.
Consider
music as a cultural product not only emphasize the function of the musical
tradition as a beauty product, but more complex, namely as part of community
life. Music was closely associated with some aspects of life’s community. For
example, a piece of music as a depiction of religion, he would reflect a belief
embraced by the community. Likewise, when music was considered part of
customary, it will be more involved in some ceremonies in which contained the
rules. It can be seen at the lyrics from some of songs which there are some
moral and ethical teachings of life. Some aspects of this life will determine
the continuity of the life of a musical tradition. It means, if some aspects of
life have changed or lost and not run again, the art also will be changed or
lost irreplaceable with other things that are considered appropriate and
sufficient life’s community. Despite the fact that the music will continue to
change in its development, but during the life of indigenous communities
continued to exist, then the musical traditions will also stay in line with the
existence of life and cultural traditions of the society. Therefore,
traditional music is supposed to get attention to be preserved, especially in
accordance with the times. Most people think conservation is to maintain the
pristine and brought it to be introduced. In fact conservation is to learn to
teach back to the next generation and develop it in line with the times.
Studying the means to dig, identify, and make the design in depth description
of everything contained in the musical tradition. It is intended that the
original music that still can be understood correctly and can be lowered along
with the cultural values inherent to the next generation.
There
are two points that were worth to learn in the preservation of traditional music.
First is the form of the music itself. That is like where the music is composed
and how to play that music (interpretations). Second, is to see the
relationship of music with people's life owner. Here we can see the relations
between music and some aspects of community life, such as religion, tradition,
even as the works that have a value of aesthetic beauty. By studying both, then
the music will be maintained continuity and can be taught according to what
their society aspired. Music tradition was born of course by looking at aspects
of normative morality and religion, although most of the music associated with
the old beliefs. Musical tradition should be viewed as a high cultural value
and can be one of supporting the increase of development and we must maintain
and preserve the music for the development of human life. This is the wisest
for us to follow up. More importantly to note is the problem of development.
Development of other fields (besides music tradition) has been done and the
results are also felt enough to people's lives. Let's see again the development
of traditional music, very little, and results can not be felt until now. Indeed the development of traditional music is an opportunity to support
the development of regional tourism, likewise with other artistic development.
Further development should also look at aspects of the supporters of the music
itself, not to end up harming or blurred development aspects of life that
supports the existence of art, which art slowly it will come slowly blurred and
lost to civilization itself.
In this process there are two
levels of communication occur, namely (1) relates to the idea (the idea) and
(2) interaction where ideas were implemented. When the idea and its
implementation are presented concretely in the activities, thereby the two
regions play music also take place in real activity, namely (1) activities
related to the musical aspects and (2) social activities. There is no one of
musical activity idea that can take place successfully without any agreement,
which refers to patterns of social interaction within a culture. Bargaining
position of musical works and the process of social interaction becomes a dialectical
arena is the emergence of meaning is an avenue or opportunity that very last to
be exploited. It became the arena process that can be used for various
purposes: for example, to introduce and promote inter-cultural musical culture;
diverted it to other meanings according to the desired purposes, or, the most
radical, let the process roll itself in the midst of perception conceptual
(musical or social) are not necessarily synchronized
with the source and origins.
In context of cultural
pluralism in Indonesia,
this gap is an opportunity to be utilized primarily to develop cross-cultural
appreciation (cross-cultural) aspects of both musical and social aspects.
Allowing this potential rolling itself in the midst of hundreds of tribes, each
of which has a concept of musical cultures and different languages is not only
a waste of potential that is very helpful to the interests of
"establishment" culture, say in the context of the "Culture of Indonesia
" who aspired to, but at the same time letting potential gap that was used
for other purposes. In the music industry, gaps and
opportunities that give the opportunity to manipulate the creation of meaning,
whether based on situations and social conditions that develop or even in
accordance with the wishes of a producer who exploited industrialist battle
arena, even at the risk cost is not small. Various approaches made for music
that offered products can enter into the arena of social interaction,
especially for a product to be meaningful in the middle of the targeted
audiences. This work was done in a way and in a very creative and
sophisticated. Media that explores the public spaces to privacy private life
become a very powerful tool to promote this goal. Finally it will leads to the formation of interest to look at
production.
One of the way that can be
observed strategically (this is more experienced by the musicians) is
engineering the process of creation and the process of social interaction in
the music industry are not allowed to take place naturally, such as the process
of culture in earlier times, but directed and performed through the power of
the media and high technology. The result is a radical situation, namely
between the subject (creator) and objects (creation) in a musical culture to be
separate. Meaning: the creators, musicians, and connoisseurs who is the subject
that determines the musical culture and color the object is no longer a central
role in the diving culture process. This role intervened is forced to
obey the “orders” or “commercial targets” specified by the production system,
which has the power of media to shape the social interaction in which musical
products were marketed.
Conclusion
It is fact in
history that the traditional music contributes greatly to nationalism and
independence in various nation-states in the world. But the independence
physically, physical decolonization, not accompanied by the freedom of
mentality. Conversely inherited colonial mentality that proved more harm than
benefit brings. In the context of the pluralism of Indonesian culture, heritage
policy 20th century such as the example above should be stopped because, in
addition to very harmful, as well irrelevant to the demands of the times. In
the 21st century requires all nations, sources of inspiration that can enrich
the imagination and creativity to give birth to works that are unique to offer and
sharing in the world. Indonesia
has the answer to that is cultural diversity and local values for is hidden
behind the policies which gave no space for it. We called it “Bhineka Tunggal
Ika”, known as our motto. Therefore, if the potential and the strength of
traditional values were no longer turning it into energy, the image of a nation
which is based on cultural diversity will becomes impossible. We must keep the
spirit of Traditional Music in our heart.
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