The instrumentation of Tingkilan's Music on Begurau Song among Kutai Kartanegara Tribe of East Kalimantan Indonesia

Irawati, Eli and Septiana Kurniati, Tri (2023) The instrumentation of Tingkilan's Music on Begurau Song among Kutai Kartanegara Tribe of East Kalimantan Indonesia. In: 3rd International Rast Music Congress (IRMC), 25-26th December 2023, Antalya, Turkiye.

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Abstract

A type of traditional music called Tingkilan comes from the Kutai area, more specifically Kutai Kartanegara in East Kalimantan. This type of music is always played at a wide range of events, in both professional and recreational settings. As an important part of society, art shows how creative people are and how they are always getting better. Some parts of the song's music, like the beat, melody, and rhythm, are typical of Tingkilan music. While Tingkilan music blends a wide variety of musical idioms, such as keroncong genres, Malay music, and selawatan music, according to the needs of the moment, showcasing an openness to both internal and external influences. An important moral message conveyed by the song Begurau is the necessity of children listening to and obeying their parents. As the piece progresses, the Tingkilan ensemble provides accompaniment on a variety of traditional instruments which the younger generation is the target audience for the moral lesson conveyed by the song Begurau. The research methods using case studies and data collection are carried out with literature studies, observations, interviews, and documentation. A song sentence is a musical entity comprised of verses or melodies in a variety of forms. The amusing tune mentioned earlier is an example of a Tingkilan song with 32 bars and two sections, designated A and B. Part A comprises the bars from 1 to 16, whereas part B comprises the bars from 17 to 32. The song Begurau contains two question sentences and two answer sentences. Part A comprises the following division: from bar 1 to bar 8, the sentence is a question; from bar 9 to bar 16, it is an answer; and from bar 17 to 24, it is a question; and from bar 25 to 32, it is an answer. The customary practice in Tingkilan music entails commencing the song with the harp instrument taking on a prominent role, followed by the cello and other accompanying instruments in the subsequent measure. The opening is crafted using a distinct pattern following a brief pause at the onset of the tenth bar, the vocal component commences on the second beat in conjunction with the inclusion of the harp instrument. In the eleventh measure, all of the instruments proceed to follow the established musical pattern and thereafter engage in a collective performance. The song Begurau is one of the Tingkilan tells the story of the meeting of young people full of fun, joking with each other and making fun of each other. The analysis of the song lyrics provided reveals that the song Begurau exhibits a structural pattern wherein each portion consists of four lines. The initial two lines function as interrogative. sentences, while the subsequent two lines serve as declarative responses. This pattern repeats throughout the song. In addition, it is important to highlight that song lyrics play a crucial role in Tingkilan music. The moral lesson that is conveyed by the song Begurau is directed toward the younger generation, and it emphasizes the significance of retaining respect and obedience toward their parents. So this Tingkilan music with Begurau song is a good way to share moral teaching to the young generation.

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