Gambus Melayu Riau Di Kota Pekanbaru (Dari Atas Perahu Ke Pentas Pertunjukan)

• Main Author: Perpustakaan UGM, i-lib
• Format: Article NonPeerReviewed
• Published: [Yogyakarta] : Universitas Gadjah Mada 2002
• Subjects: Jurnal i-lib UGM
• Online Access: https://repository.ugm.ac.id/23606/; http://i-lib.ugm.ac.id/jurnal/download.php?dataId=6558
• Institution: Universitas Gadjah Mada

ABSTRACT The purpose of this research is about the course of Malayan Gambus Riau form boat to stages in Pekanbaru, the Capital of Province Riau. This research uses method of analytical descriptive and the multi-discipline approach as its main approach. The multi-discipline approach, which consists of dimension of history� sociology, anthropology and literature is used because Gambus Malayan Riau performance has various different aspects that are related to each other. Gambus Riau Malayan is one of much traditional music influenced by Islam, which became traditional music among Malayan community in Riau especialy in Pakanbaru. In addition, it was also developed in other Malayan communities in Jambi, Deli, Malaysia, Brunei and Singapore. From its historical point of view, Gambus Malayan was supposed to be an acculturation of Arabian and Persian culture that was first brought by Arabian ad Persian traders when they traded and introduced Islam to the Archipelago/Indonesia. At first Malayan Gambus in Pekanbaru and Siak Sri Indrapura was functioned individually, at home, as an entertainment that was aimed to religious sense, and all at once as companion of sailors on boat at the time they waited for fishing eaten by fish. In its development, Gambus was more dominantly functioned to accompany Zapin dance that also developed among Riau Malayan communty. Changing in function happened to Malayan Gambus also brought another changing in play concept. In the context as an individual expression, the Gambus picker often applied improvisation, without playing one type of melody, with lyrics of Islam. Whereas in the context of company Zapin dance, Gambus often accompanied Malayan songs, and the play was tightened by the rules of the dance. By functioning Malayan Gambus as an accompanist of Zapin performance on the stage, this performing art quantitatively was more developed and interested among Malayan community in Pelcanbaru than before. Otherwise, in another side this caused Islamic songs to be disappeared from Gambus Riau Malayan vocabulary. Keywords: Malayan Gambus Riau - traditional music -- Islamic influence - zapin dance.