Ehud Yohada Lumbantobing, Cepi Irawan

BAND ETNIS DALAM IBADAH MINGGU DI GEREJA HKBP YOGYAKARTA

Introduction

Band etnis dalam ibadah minggu di gereja hkbp yogyakarta. Menganalisis Band Etnis HKBP Yogyakarta: fusion alat musik Batak (sulim, taganing) & non-Batak dalam ibadah Minggu. Temukan bentuk penyajian & fungsi etnomusikologisnya.

Abstract

Masuknya para Missionaris Kristen ke Tanah Batak, jemaat diwajibkan untuk dapat bernyayi yang diiringi alat musik gereja atau organ dan melarang seluruh aktivitas masyarakat yang bersifat animism, termasuk penggunaan Gondang. Setelah para Misionaris pulang ke negaranya masing-masing, ibadah kebaktian yang hanya menggunakan organ gereja, telah digabungkan dengan alat musik tradisional Batak seperti sulim, taganing, hasapi, garantung dan sebagainya, karena jemaat menganggap akan merasakan kedekatannya dengan Tuhan jika alat musik gereja dipadukan dengan alat musik tradisonal dalam Ibadah Kebaktian. Hal ini dapat ditemukan pada Gereja HKBP Yogyakarta, menggunakan permainan Band Etnis yang merupakan penggabungan instrument etnis batak seperti sulim dan taganing dan instrument non batak yaitu lokal brass band seperti seperti keyboard, drum, bass, dan lain-lain. Penggabungan band etnis (instrument etnis batak dan lokal brass band) ini memainkan lagu-lagu kebaktian yang bertangga-nada diatonis. Penelitian ini bertujuan untuk mengetahui bentuk penyajian ansambel Band Etnis, menganalisis dan mengetahui fungsi Band Etnis dalam tata kebaktian minggu gereja HKBP Yogyakarta. Penelitian ini mengkaji pementasan Band Etnis yang dilakukan dalam ibadah kebaktian HKBP Yogyakarta  31 Oktober 2021 dan juga secara live streaming di Platform Youtube HKBP JOGJA MULTIMEDIA dengan tahapan secara terstuktur, sehingga pengklarifikasian dari data yang didapatkan mempermudah peneliti dalam menganalisis. Penelitian ini menggunakan metode kualitatif dengan pendekatan etnomusikologis. Tehnik pengumpulan data melalui observasi secara langsung, berpartisipasi secara langsung, wawancara, dan dokumentasi.

Review

The study, "BAND ETNIS DALAM IBADAH MINGGU DI GEREJA HKBP YOGYAKARTA," presents a compelling examination of musical syncretism within a specific religious context. It aptly traces the historical trajectory of music in Batak Christian worship, from the initial missionary prohibition of indigenous instruments like *Gondang* to their subsequent re-integration, driven by the congregants' desire for a deeper connection with God. The abstract effectively introduces the "Band Etnis" phenomenon in HKBP Yogyakarta, which combines traditional Batak instruments (e.g., *sulim*, *taganing*) with modern "local brass band" instruments (e.g., keyboard, drum, bass). The research clearly aims to delineate the ensemble's presentation, analyze its structure, and ascertain its function within the Sunday service, specifically referencing an event on October 31, 2021, and its online broadcast. This investigation into the evolving soundscape of worship in a diaspora setting offers valuable insights into cultural adaptation and religious expression. Methodologically, the study employs a qualitative approach rooted in ethnomusicology, which is highly appropriate for exploring the nuanced cultural and musical dynamics at play. The listed data collection techniques—direct observation, active participation, interviews, and documentation—suggest a robust and immersive research design, allowing for a comprehensive understanding of the "Band Etnis" in situ. The focus on a specific case study (HKBP Yogyakarta) allows for deep contextualization, and the mention of both live and live-streamed performances indicates an awareness of contemporary worship practices and their reach. The core assertion that congregants feel a "closeness to God" through this musical fusion is a significant and fascinating element, underscoring the spiritual efficacy of culturally resonant music. The structured approach to data clarification also promises analytical rigor. While the abstract provides a strong foundation, it raises several avenues for deeper exploration that could further enrich the research. For instance, a more detailed analysis of *how* the traditional Batak instruments, typically associated with specific scales and forms, are adapted to play diatonic worship songs could be particularly insightful, addressing the potential tension or synergy between these musical systems. Furthermore, while "closeness to God" is cited as a primary motivation, delving into other potential functions—such as fostering Batak cultural identity in a non-Batak majority region, attracting younger generations, or serving as a form of cultural evangelism—would add considerable depth. A discussion on the specific roles and interplay of each instrument within the "Band Etnis," beyond a simple categorization, could also enhance the understanding of its unique sonic texture and overall impact on congregational experience and participation.

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