23 Church music inculturation by way of an experiment of arrangement of Dolo-Dolo mass ordinarium accompaniment- composed by Mateus Weruin for woodwind quintet Yohanes Ruswanto, Juanita Theresia Adimurti Department of Music, Universitas Kristen Satya Wacana, Salatiga, Indonesia Received: January 13, 2017. Revised: March 10, 2017. Accepted: May 13, 2017 Abstract Inculturation of Church music in an experiment of creating this arrangement aims to bring a dif- ferent form of musical ordinarium accompaniment form of Dolo-Dolo Mass from Flores, with a different media that uses the woodwind quintet (flute, oboe, clarinet, French horn, and Basson). The experiment took one of the ordinary songs from Madah Bakti “Tuhan Kasihanilah Kami”. The harmonization fine-tunes to the chorus arrangement composed by Mateus Weruin. The literature study was conducted through collecting references on the art of Dolo-Dolo and woodwind quintet so it can be used to create an idea for this arrangement. The result shows that a rhythmic charac- ter that characterizes the traditional Flores music lies in a dotted sixteenth pattern. The richness of sounds and agile characters coming from each instrument creates a percussive atmosphere of Flores folk music. The result of the arrangement experiment can be used to enrich the reference of accompaniment music to the general public and specifically, the Catholic Church. Keywords: inculturation of Church music and woodwind quintet How to Cite: Ruswanto, Y., & Adimurti, J. T. (2017). Church music inculturation by way of an experiment of arrangement of Dolo-Dolo mass ordinarium accompaniment-composed by mateus weruin for woodwind quintet. Harmonia: Journal of Arts Research And Education, 17(1), 23-30. doi:http://dx.doi.org/10.15294/harmonia.v17i1.8467 HARMONIA : Journal of Arts Research and Education 17 (1) (2017), 23-30 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: 10.15294/harmonia.v17i1.8467 of holy service in which each service has a different function from the other. Ordi- narium is a term used to make it easier to refer to the five songs in Eucharist whose lyrics never change, i.e. Lord Have Mercy on Us (Kyrie eleison), Glory (Gloria In Ex- celsis Deo), I Believe (Credo), Holy (San- ctus), and the Lamb of God (Agnus Dei). (Martasudjita, 1998, p. 43) The term inculturation comes from a background of missionary theology that began to develop after Vatican II along with other terms, such as: accommodati- on, adaptation, acculturation, indigeniza- tion etc. The term inculturation appeared to stem from a conception in anthropo- Introduction The Catholic Church uses a classic term for singing or praising included in the Order of Mass (TPE), as proprium and ordinarium. The term proprium refers to a part of mass chanting that changes/alter- nates or commonly known as thematic. For example, on every Sunday of the year, the Church shall use different themes of Eucharistic, and this is automatically asso- ciated with the choice of singing. The the- me refers to a liturgical calendar drafted and established by Leaders of the world- wide Catholic Church and the ordinarium refers to a fixed mass. Ordinarium is a part p-ISSN 2541-1683|e-ISSN 2541-2426 Corresponding author: Jl. Diponegoro, No. 52-60, Salatiga, Jawa Tengah 50714 E-mail: yohanes.ruswanto@gmail.com HARMONIA : Journal of Arts Research and Education 17 (1) (2017): 23-3024 logy: an enculturation which is a perso- nal adjustment of a person to a particular culture, with the intention to become part of a culture, and acculturation i.e. a mee- ting between a culture and an acceptance of cultural elements of a foreign culture (Martasudjita, 2009, p. 62). Inculturation of the ecclesiastical li- turgical music is always closely related to traditional music, especially the songs used during rituals and celebrations in a Church. The inculturation or “indigeni- zation” of liturgical music aims to celeb- rate the Church liturgy in a manner and atmosphere that is in harmony with the cultural flavor of the worshippers. In ot- her words, the worshippers are invited to live the song, the prayer, the symbols/em- bellishments, and rituals through the use of the “language” they understand (Prier, 1995, p. 3) The inculturation of ecclesiastical music takes place over a process of deve- lopment throughout several stages (Prier, 1994, p. 18), i.e. the four stages of incultu- ration, namely: 1) Translation, a process of lyrics translation from any foreign langu- ages (Dutch, German, Latin, English) into Indonesian language and/or local langu- ages is done while preserving the original song (foreign); 2) Transfer, the element of original culture is unchanged; however, it is mainly taken over. In this stage, an out- ward migration occurs, because the trans- ferred cultural element remains the same as before. It is like a local song is taken over and the verses are replaced; 3) Adjustment, an adjustment is a cultural element that undergoes a modification, adjusted to a place or a new role in worship. For examp- le, a form of ladrang (large gendhing with 2 musical sentences and 2 gongs) is used as a refrain, turned into 8 bars (1 gong). This adjustment is difficult, because the lyrics must be adapted to a regular musical sen- tence; 4) New Creation, cultural elements must be created or a new element must be formed, especially, for worship that is based on local culture. At this stage, a mu- sic inculturation has been accomplished in accordance with the goal of inculturation. The basis of liturgical inculturation (Prier, 1995, p.3) is the recognition of cul- ture indirectly created by God through His creation. Christians believe that a culture is a form of God in Christ “incarnation” who turned Himself to be human and showed God’s kindness to the world. The presence of Christ in the world is repre- sented by a culture i.e. Hebrew, however, His presence in the world has inspired the inculturation of local culture and liturgy. Nonetheless, inculturation must follow the Paschal mystery pattern; on the one hand the Church must dare to abandon the cul- tural color it carries when it comes to a pla- ce. The Church must dare to abandon the old cultural dress, and then put on a new outfit that is in harmony with local cultural customs. That’s where the Church will rise up and come up with a new face that is all- round fine-looking and harmonious in the local socio-cultural context. On the other hand, local culture must be ready to die to be raised again. Elements that are not alig- ned with faith must be removed, while the good elements are retained. Local culture when combined with the Christian faith will display new wealth amid the tradi- tions of the nation. The inculturation of Church music as the above example is not an attempt by the Church to simply adopt a regional song and replace its lyrics with new spiritual lyrics. The inculturation of Church music should be understood as an endeavor to seek the pattern, style, atmosphere, and rhythmic patterns of traditional music and then process them into new songs. But in- culturation itself also needs to be studied carefully as it can potentially divide the Church into Churches with local nuances. Inculturation must therefore always be ba- lanced with the effort to preserve the old Church tradition of the Western Church (Prier, 1995, p. 5). The use of western wind brass en- sembles (metal wind or woodwind) as a musical accompaniment in Eucharis- tic Mass, especially the ordinary singing is not a common practice of the Catholic Church in Indonesia. Based on this con- Yohanes Ruswanto & Juanita Theresia Adimurti, Church music inculturation by way ... 25 sideration, the Authors are interested in experimenting arranging an arrangement of an accompaniment for a choir using a media of woodwind quintet ensemble. The richness of sound and character in each of these woodwind instruments is expected to help bring up the atmosphere of Flores percussive folk music. The experiment ar- rangement of this musical accompaniment refers to harmonization of a choir alrea- dy composed by Mateus Weruin. Mateus Weruin is the composer of Dolo-Dolo ordi- narium. The material of this experiment re- fers to the Indonesian Catholic Church Eucharist celebration, especially in Java Is- land, i.e. the ordinary songs which consist of: Lord Has Mercy on Us, the Glory, the Holy and the Lamb of God. The idea of this experimentation in the formation of woodwind quintet en- semble comes from the motivation to in- volve a section of the wind instrument in liturgical music. The use of instruments other than organs is needed, to open the minds of people about liturgical music. The above has been written that the ordi- nary is part of a holy mass with each part having different functions. One song to be taken as an example in this analysis is “Tu- han Kasihanilah Kami (Lord have mercy on us)” Method The research method used in this ex- periment is literature study, an exploration through references related directly or indi- rectly to the object of this material. In this study, the Authors perform three stages of data collection, data processing and data analysis. Data collection includes collec- ting reference books on Eucharistic celeb- rations, Dolo-Dolo art and woodwind quin- tet. Data processing in question creates an arrangement of ordinary accompaniment with reference to the collected data. The result of the arrangement is analyzed after data processing phase is completed. Results and Discussion East Nusa Tenggara is one of the pro- vinces in Indonesia that has a wide varie- ty of tribes, languages, arts, religions, and customs. The local traditional art in East Nusa Tenggara is usually presented in a series, performed together with traditional musical accompaniment. Art-Dolo Dolo is an art that presents the art of music, dan- ce and literature. In addition to the above, Dolo-Dolo is also an oral tradition amongst the natives in East Flores, which include giving advice, instruction, as well as allu- sions to the lives of locals. The said art ta- kes the form of ‘pantun’ which is sung with music that is profane or secular. The dance is presented in a circular motion. Songs and traditional dances are an expression of life, capable of inspiring re- pertoire of hymn; one example is the crea- tion-Dolo Dolo singing to the chorus in the form ordinarium. It started in 1974, when the Diocese of Larantuka, East Flores had a new Bishop, Monsigneur (Mgr) Darius Nggawa. Determined by the pride of the appointment of a local native son as the local bishop, Mateus Weruin, a music te- acher who was quite famous across East Flores, composed a Mass using idiomati- cal local culture to create a Dolo-Dolo Mass (Prier, 1995, p.7) The soul of the percussive local folk music is very strong in the com- position of this choir. This creation by Ma- teus Weruin seemed to be in line with the decision of Vatican II in 1965 to produce Indonesian liturgical music based on the (local) ambiance. Every member of the woodwind instrument has a different sound and cha- racter. Many of the Classical and Romantic composers used woodwind instruments as the solo instruments in their works. When arranged properly, woodwind instru- ments can create a festive atmosphere but also solemn one. The character of wood- wind instrument that is agile and dyna- mic, is very much in line with the lively Dolo-Dolo rhythmic character Auditory information as regards to the rhythmic patterns of Dolo-Dolo music was acquired through the sound recor- HARMONIA : Journal of Arts Research and Education 17 (1) (2017): 23-3026 dings which are then transcribed into no- tation. Figure 1. Rhythmic patterns of Dolo-Dolo In the book of Madah Bakti accom- paniment, published by Yogyakarta Litur- gical Music Center, the writing of the abo- ve rhythmic pattern converts as follows: Figure 2. Writing of rhythmic pattern converts The change of time signature from 6/8 to 2/4 is intended to make it easier for people to sing it. In the experimentation of mass-musical accompaniment arrange- ment Dolo-Dolo, a cheerful percussive pat- tern emerges through the sixteenth dotted rhythmic pattern. Based on this conside- ration, the woodwind instrument with a lively character was selected as the media for writing a music arranger accompani- ment mass-Dolo-Dolo. In the New Grove Dictionary Music and Musicians, Malcolm Boyd defines the arrangement as follows: The reworking of a musical composi- tion, usually for a different medium from that of the original (Stanley Sadie 1980, p. 627) (Writing back a musical composition for a different medium than the original). In The New College Encyclopedia of Music, JA Westrup and FII Hurrrison thought an arrangement as: …the adaptation of a piece of music so as to make it suitable for performance by the forces of which it was originally composed. (Westrup and Hurrison, 1960, p. 34) (Adaptation of a song so as to make it suitable to be presented in a different formation than the original com- position). Both have the same meaning or inter- pretation, i.e. rewriting an existing piece of music to be suitable for presentation in a different musical instrumentation forma- tion. Based on the above explanation, the experimentation of creating an arrange- ment of musical accompaniment for Dolo- Dolo mass is more inclined to the opinion of Hurrrison JA Westrup and FII. Analysis of Lord Have Mercy on the US (Dolo- Dolo Mass) The Song ‘Lord Have Mercy on Us’ was selected from several songs in this or- dinarium, and serves as an example in the work analysis. In analyzing or studying the song, the Authors refer to the follo- wing books: Science Shape Music, Madah Bakti Choir, Madah Bakti Accompaniment (Organ). The terms used in the analysis in- clude the following: 1) Period, uses up- percase like A, B, C and so on, and if the sentence/period is repeated with accom- panying changes, then the capital letters are accompanied with accent marks ( ‘ ) such as AA’; 2) Phrase/clause, distinguis- hes between question phrases and answer phrases, the code used is lowercase, such as a, b, and if the clause/phrase is repeated with accompanying changes, then lower- case is accompanied with accent marks ( ‘ ) as aa’; 3) Song pattern is a song element consisting of a number of tones that are united by one idea/thought, the code used is lowercase such as m, n, and so on, and if the pattern is repeated with the change, then the lowercase is accompanied by an accent mark ( ‘ ) such as m, m ‘. Melody Form the Scheme: Period A: 0 /2 - 16/1 Question phrase 0/2 – 9/1 Answer phrase 9/2 – 16/1 Period A: 16 / 2 - 32 / 1 Question phrase 16/2 – 25/1 Answer phrase 25/2 – 32/1 Period A: 0 / 2 - 16 / 1 Question phrase 0/2 – 9/1 Answer phrase 9/2 – 16/1 Yohanes Ruswanto & Juanita Theresia Adimurti, Church music inculturation by way ... 27 third bar, it now uses a special arrange- ment. In the first notation French horn plays the main melody (cantus firmus). Oboe in a large third distance as above has a functi- on to thicken and ascertain the main melo- dy. Flute, clarinet and bassoon function to form a parallel harmony. One sixteen tone of French horn and oboe aims to illustrate the rhythmic pattern of traditional Flores dances sung by simple percussion instru- ments. The chord progression on the intro section is as follows: V7 – I – IV – I. The tempo sign at the beginning of the intro uses the MM 80 moderato, while the dyna- mic sign is as follows: Zero bar of the second tap is a han- ging tap played rather softly (mezzopiano), then gradually becomes louder (poco a poco crescendo) until it reaches its peak on the third bar. On the fourth Bar, it softens (dec- rescendo) up to the seventh bar back to the sign of the dynamic of the mezzopiano befo- re getting into the main song. Figure 4. Notation (Intro Arrangement Struc- ture) Based on the form structure scheme, it can be concluded that the song “Tuhan Kasihanilah Kami” consists of one part with the formula A A’ A. The Period A consists of sixteen bars divided into nine bars of question phrases and seven bars of answer phrase. The nine bars of question phrase consists of a four-bar of pattern m and a five-bar of pattern n, while the seven bars of answer phrase consists of a two-bar of pattern m and a five-bar of pattern n The Period A’ consists of sixteen bars divided into nine bars of question phrase and seven bars of answer phrase. The nine bars of question phrases consist of a four- bar of pattern m2 and a five-bar of pattern n, while seven bars of answer phrase con- sists of a two-bar of pattern “m” and five- bar pattern “n”. Therefore, the melody form scheme can be elaborated into: Period A: question phrase (m, n); answer phrase (m ‘, n’) Period A ‘: question phrase (m2, n); Answer phrase (m ‘, n’) Intro Intro is a section at the beginning of a composition or a song that serves as an intro to the main song. The intro to the song “Tuhan Kasihanilah Kami” was created using a melody from the answer of period A namely the sixteenth bars of the second tap up to the twenty-third bars of the first tap, the total number of bars is seven bars i.e. bar zero of the second tap to seventh bar of the first tap. Although the main song is the same as the sixteenth to the twenty- Tuhan Kasihanilah Kami Figure 3. The song “Tuhan Kasihanilah Kami” Taken from Madah Bakti 184 book, Madah Bakti Mix Choir Volume I and Madah Bakti accompaniment (Organ) Volume I HARMONIA : Journal of Arts Research and Education 17 (1) (2017): 23-3028 Period A On the seventh bar of the second tap, the flute along with the soprano and tenor sound play the main melody, while the other instruments play the accompani- ment. The first note on the eighth bar was played simultaneously with a loud accent and then softened. On the ninth to the ele- venth bar, oboe, clarinet, French horn and bassoon together with the soprano affirm the question phrase. The lyric at the begin- ning of the song is a prayer, namely “Tu- han Kasihanilah Kami.” The first part of the question phrase to the ninth bar, using the mezzoforte dynamics sign, while the ninth to tenth bar using the decrescendo dynamics sign. Although oboe, clarinet and French horn on the ninth to the tenth bar, play a different rhythm and serves as a compa- nion, the three instruments also serve to emphasize the question phrase. Bassoon continues to play its function as bass, in addition to occasionally appear affirming the question phrase. Figure 5. Second notation, bar 7/2 to 11/1 On the eleventh bar of the second tap, the clarinet serves as a transposition instrument that has a distinctive sound and takes over the main melody from the flute and continues the question phrase sentence until the sixteenth bar of the first tap. This section uses the dynamics sign of mezzoforte and on the long tone, the dynamics sign turns into decrescendo. Flu- te, oboe, French horn and bassoon on the twelve bars still function as the accompa- nist, although sometimes perform as a pa- rallel harmony as seen on the fourteenth bar. The dynamic sign for flute, oboe and French horn is the piano, which then with the addition of crescendo became mezzoforte the sixteenth bar of the first tap of the phra- se is the end of the question phrase. Figure 6. Third notation, bar 11/2 to 16/1 On the sixteenth bar of the second tap to the twenty third bar of the first tap, the French horn plays the main theme as the answer statement. This melody is the same repetition of the music theme in the intro. The dynamic sign is used, namely: mezzoforte and poco a poco crescendo. On the eighteenth bar of the second tap, there is a variation of tone that moves to its climax on the nineteenth and twentieth bars. The bassoon on the seventeenth to the nine- teenth bar remains to play the accompani- ment by using long tones in the dynamic sign of mezzopiano. After playing long tones, flute, oboe and clarinet on the twentieth bar, it helps to thicken the peak of the response senten- ce. On the twenty-first bar of the second tap to the twenty-third of the first tap, the flute, oboe, clarinet and bassoon repeat the same pattern to establish the response sta- tement as well as ending this sentence. Figure 7. Fourth notation. Bar 16/2 to 23/1 Period A’ Oboe, together with the soprano and tenor voice start the interrogative sentence in the sign of dynamics of mezzoforte and decrescendo. On the twenty-fourth bar of the second tap to the twenty-seventh bar of the first tap, French horn and bassoon play the long-accented tone in the crescendo Yohanes Ruswanto & Juanita Theresia Adimurti, Church music inculturation by way ... 29 dynamic sign. On the twenty-fifth bar up to the twenty-seventh, the clarinet answers the question by playing a different pattern in the form of one-sixteenth tone passage note showing its agility. The Flute strengt- hens the soprano’s voice from the twenty- seventh bar of the second tap to the thirty- second bar of the first tap that at the same time ended the interrogative sentence. Figure 8. Fifth notation, bar 23/2 to 32/1 On the thirty-second bar of the se- cond tap, the clarinet plays the response sentence. Other musical instruments sup- port the creation an atmosphere of sub- mission with a clarinet through a simple melody. Figure 9. Sixth notation, bar 32/2 to 39/1 Conclusion The inculturation of Church music can be a process of reciprocity between the local cultures and the style of Church ob- servance. The media to apply inculturation can be performed in many ways or forms. A literature study of reference book col- lection on inculturation of Church music, Dolo-Dolo art, and wood wind-instruments create a musical idea realized in the expe- rimentation of ordinaries musical arran- gements, especially in “Tuhan Kasihanilah Kami”. The rhythmic character that charac- terizes the traditional Flores music lies in a dotted one-sixteenth pattern, the author expressed it in various sounds and the cha- racters of a woodwind-instrument. One example of the use of Flores percussive musical idiom is in the song intro of ‘Tuhan Kasihanilah Kami’. The use of a one-sixteenth rhythm dotted on 0/2 to 2/1 bars continued by 2/2 to 3/1 by deve- loping the pattern of rhythm played by a French horn. A similar pattern of rhythm is played by the flute and oboe which serves as a fill in the empty space of the rhythm, and at the same time enriching the sound. A one-sixteenth rhythm pattern and its va- riations will always appear in the song. References Adimurti, J. (2011). 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