Harmonia Vol VII No 3 2006.pdf HARMONIA JURNAL PENGETAHUAN DAN PEMIKIRAN SENI Vol. VII No. 3 / September – Desember 2006 !"#$%&'("&)%*%&+,($&+-$-"%("&.-/("( '%&0("1!*(&2(3(&4-"#(, !"#$%&'#()#*(+,)-)$%.-&/%&$ '0(1.2)#)(&#((%,.(3.)$,(1.4&'#('0 +.#%-)5(6)7)8 Syahrul Syah Sinaga Staf Pengajar Jurusan Sendratasik FBS Universitas Negeri Semarang Abstrak Kesenian Rebana merupakan salah satu kesenian yang bernafaskan Islam keberadaannya sangat melekat pada pola kehidupan masyarakat di Pantai Utara Jawa Tengah mulai dari pedasaan sampai perkotaan. Melekatnya aktifitas rebana tidak terlepas dari fungsi kesenian rebana bagi masyarakat pendukungnya serta dukungan dari tokoh masyarakat dan para alim ulama. Sebagai salah satu media dakwah, aktifitas kesenian rebana hadir dari berbagai kegiatan kelompok pengajian, kegiatan peringatan hari besar islam, tasyakuran, walimatul Urusy, Walimatul Khitan, Walimatul Hamli, maupun perayaan yang lain. Bentuk penampilan kesenian rabana dapat dikategorikan dalam bentuk tradisional maupun modern. Perbedaan rebana tradisi terletak pada peralatan musik yang digunakan yaitu berupa alat musik terbang dan lagu-lagu yang dibawakan umumnya diambil dari kitab al- barjanzi, kitab dziba, kitab simbud durror, dan kitab kuning lainnya, sementara rebana modern terdapat penambahan peralatan musik yang bertangga nada diatonis seperti key board dalam mengiringi lagu-lagu mulai dari musik pop, musik dangsut, musik campur sari dan lainya, dengan menggunakan teks lagu dengan bahasa Arab, bahasa Jawa, dan Bahasa Indonesia yang semuanya menggunakan seperangkat alat musik rebana sebagai rirngan lagu. Bentuk penampilan rebana tradisional maupun modern, masing-masing mempunyai wilayahnya sendiri-sendiri yang menjadi ciri- khas dari daerahnya seperti salafudin Pekalongan, Semarangan, dan Demak. !"!#$%&'() !"#$!%&"'()&*+,' !"#$!%&"'-.#%!/,' !"#$!%&"'0!$"#* +%&,-( 56&0-"'(,!7!(" !"!#$%#& '(%)$"$*#%+& ,!(-.%/%# 0!#'-/& "!#$& 1%#2& 0!("-,0!(& )%#& 0!(%/%( "!('%& '!+%3&)$(%"%/%#&"!0%2%$&,$+$/&"!#)$($ *+!3& ,%"1%(%/%'& )$& +$#2/-#2%##1%4 !3$)-.%#&)%#&.!#2*+%3%#&"!#$&'(%)$"$*#%+ )$)%"%(/%#& %'%"& 5$'%& (%"%& ,%"1%(%/%' .!#)-/-#26#1%7& ,!+$.-'$& .%#)%#2%# 3$)-.7& #$+%$& /!3$)-.%#& '(%)$"$7& (%"%& !'$"7 !"'!'$"7&"!('%&-#2/%.%#&0-)%1%&+$#2/-#2%# 1%#2&/!,-)$%#&)$8%($"/%#&.%)%&2!#!(%"$ .!#!(-"#1%4& !"!#$%#&'(%)$"$*#%+&0$%"%#1% '!(/%$'&)!#2%#&%)%'& $"'$%)%'&1%#2&0!(0!)% %#'%(%& /!+*,.*/& "%'-& )!#2%#& /!+*,.*/ +%$##1%& "!.!('$& 3%+#1%& )!#2%#& /!"!#$%# (!0%#%&1%#2&%)%&)$&9%#'-(%& :%8%&;!#2%3 <=+%,!'>&?@@@>?ABC4 !"!#$%#&'(%)$"$*#%+&)$&D#)*#!"$% '!(0%2$& ,!#E%)$& 0!(.-+-36.-+-3 /!"!#$%#& )%!(%3& 1%#2& '!()$($& )%($& "!#$ (%/1%'& )%#& "!#$& /+%"$/4& =!#$& (%/1%' 0!(/!,0%#2& "!5%(%& 0!(%2%,7& )$& )!"%6 )!"%& )%#& "!#$& /+%"$/& 0!(/!,0%#2 '!(-'%,%& .%)%& .-"%'6.-"%' .!,!($#'%3%#&/!(%E%%#&<'!,.*&)-+-C&)$ D#)*#!"$%4& !"!#$%#& '(%)$"$*#%+.-# ,-#2/$#& %)%& .%)%& ,%"1%(%/%'& "-/- 0%#2"%& '!(%"$#2& 1%#2& 0!(-.%& /!"!#$%# +*/%+7& %'%-& .%)%& ,%"1%(%/%'& )%!(%3 .!(0%'%"%#4 F!#-(-'& G*3$)$& ?H?& C !"!#$%#&,!(-.%/%#&"%+%3&"%'-&$"$&)%($ /!0-)%1%%#4& !"!#$%#& %)%+%3& .(*)-/ ,%#-"$%4& =!#$& +%3$(& )%($& .(*"!" 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Bentuk Penampilan Rebana Kelompok pemain rebana di Pantura pada umumnya terdiri dari orang dewasa dan muda-mudi yang terpisah antara laki-laki dan perempuan dengan mengambil kiblat pada versi atau gaya HARMONIA JURNAL PENGETAHUAN DAN PEMIKIRAN SENI Vol. VII No. 3 / September – Desember 2006 Salaffuddin Pekalongan, versi Semarangan dan Versi Demak. h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c%+& $#$& )%.%'& )$%('$/%#& "!0%2%$ -#2/%.%#& /!5$#'%%#& -,%'& D"+%,& /!.%)% #%0$&F-3%,,%)&=K]7&1%#2&'!+%3&0!(E%"% ,!#1!+%,%'/%#& ,%#-"$%& )%($& /!"!"%'%# )-#$%& )%#& %/3$(%'4& =3*+%8%'& 1%#2& 0!($"$ "1%$(6"1%$(&.-E$%#&0$%"%#1%&)$$($#2$&)!#2%# %+%'& ,-"$/& 1%#2& 0!("$P%'& ($',$"& 1%$'- G!0%#%4 2. Rebana dan Kasidah Barzanji Menurut tradisinya, kasidah atau Barzanji fungsinya untuk menghidupkan bagi perayaan-perayaan yang diadakan oleh warga Yastrik (Madinatul Munawaroh) untuk menyambut dan menghormati bagi nabi yang disayanginya, Muhammad Rasullallah SAW dan para pengikutnya. Dengan kebahagiaan dan syukur para warga untuk mengunjungi maupun menjemput nabi Muhammad dengan menyanyi Kaside/Qasidah yang mengandung makna sambutan, puji-pujian, dan penghormatan serta kekaguman yang mendalam kepada Nabi dan pengikut- pengikutnya yang senantiasa menyertai perjalanan-Nya. 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E#*'#./&)F& =!($& 96;4 :%/%('%V&X!.)$/0-) X!.%2&9(*1!/&9!#2%)%%#& $'%0&=-5$&K+6 e-(\%#4& ?@T@4& & K+6e-(%# )%# ;!(E!,%3#1%7& :%/%('%& >& Z%1%"%# 9!#1!+!#22%(% 9!#'!(E!,%3`9!#'%P"$(& K+6 e-(\%#7 L%^%+0%7& =$)$4& ?@TT4& bQ)#*)#4)#( E/5)G %.#%)#4( T./.#&)#F7& :%/%('%V&I-+%# I$#'%#2 666666666& 4& ?@UU4& bE/5)G( *)#( T./.#&)#F4 9-"'%/%&K+6c-"#% Koentjaraningrat. 1987. Metode-metode Penelitian Kemasyarakatan. Jakarta; PT. Gramedia [%"-'$*#& 7&c%(-#4&?@UR4d E/5)G( 9&%&#L)" 9)-&( 3.-2)4)&( B/=.?F4 :%/%('%> N#$J!("$'%"&D#)*#!"$%& F$^%#4&?@@Q Santos, Ramon.P. 1995. “The Musics Of Asean”. Philippines: Island Graphics G*3$)$7& ;4G4& BHHH4 bT./.#&)#( 9)5)G Q.#*.?)%)#( T.2"*)J))#F4 I%#)-#24&=;D=D&9(!"" =*.%#)$7&K'$/&)//4&?@@B4&b1.2)#)(3"-*), *)#( 3&)#4F4& :%/%('%>X$#%" !0-)%1%%#&X D&:%/%('% ]$(1%7&F-"4& 4&?@UQ4 b3.-G)&#( 1.2)#)F4 :%/%('%>&ak&Z%"%2-#%