| dc.description.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 | en_US |
