Analisis Tekstual dan Musikal Bhajan dalam Upacara Pemujaan Ganesha di Shri Sitthi Vinayagar Koil Medan

Abstract

This thesis is entitled "Textual and Musical Analysis of Bhajans in the Ceremony of Worshiping Ganesha at Shri Sitthi Vinayagar Koil Medan". This analysis is focused (1) What is the melody structure when singing Bhajans in the Ganesha ceremony at Shri Sitthi Vinayagar Koil Medan (2) What is the meaning of the Bhajan text during the Ganesha ceremony at Shri Sitthi Vinayagar Koil Medan. The research method used in this study is qualitative research using direct interviews with relevant parties and is considered capable of providing the expected understanding. The main sources are priests and musicians in the Ganesha Ceremony at Shri Sitthi Vinayagar Koil Medan. as the main source in this research. This was done by the author by conducting interviews, field surveys, recording and data analysis. To analyze Bhajan's function, Merriam's usage and function theory is used, plus Allan P. Merriam's theory. In terms of analyzing the structure of Bhajans it is guided by the weighted scale theory of William P. Malm, and in the text theory the author uses the Malam theory in Takari's translation, William P. Malam. In analyzing Ganesha's boyfriend, the theory of koentjaraningrat is used. The results obtained indicate that conceptually for the Hindu Tamil community in the Ganesha ceremony, the priest and the community must perform fasting and holy gnats, the ritual of the ceremony goes well and there are no obstacles during the ceremony. at the Ganesha ceremony it is obligatory to sing, (1) Sarvesha Vinayaka, (2) Vinayaka Vinayaka, the purpose is (i) to accompany the worship ceremony of Lord Ganesha and (ii) to enliven the ceremony, on the other hand the functions of Bhajans in the Ganesha ceremony are: (a ) worshiping the god Ganesha at ceremonies, (b) as a means of social integration, (c) as an expression of happy and sad emotions at the same time, (d) as a means of praying to God, and (e) as a means of entertainment. The structure obtained from Bhajans is as follows: (1) the scale used is diatonic, b-cis-dis-e-fis- g-ais-a, (2) the number of dominant notes of Dis 35.96% in Bhajan Sarvesa Vinayaka , A 56.16% tone in the Vinayaka Vinayaka, (3) the basic tone used in Bhajans is B, (4) the tone region is the lowest note B and the highest note A, (5) the Bhajan kadensa pattern consists of two or more the notes of the series that have two or more cadences are Sarvesa Vinayaka and Vinayaka Vinayaka, (6) The contours of the two Bhajans are pendulous and conjuct (7) The meter used by the two Bhajans is 4/4 (8) Average basic beat tempo per minute contained in the Bhajans vary with the initial tempo of 90, the tempo of the repetition changes to 100, the 3rd repetition the tempo changes to 110 and the last repetition of the tempo 135. According to the author's conclusion Bhajans sung must use a calm, pure heart and no negative thoughts . chanting of the words of Bhajans are words of praise to the gods (Ganesha), so that His name is made famous and pleases the god who is worshiped