Nova Oktaviana Tinambunan, Amir Razak, Eli Irawati

Gondang Mangaliat Dalam Acara Adat Pesta Gotilon Di HKBP Kirab Remaja Cileungsi Kabupaten Bogor Jawa Barat

Introduction

Gondang mangaliat dalam acara adat pesta gotilon di hkbp kirab remaja cileungsi kabupaten bogor jawa barat. Telusuri peran Gondang Mangaliat dalam Pesta Gotilon, upacara panen Batak Toba di HKBP Kirab Remaja Cileungsi. Pahami pengaruh musik ini sebagai nostalgia dan ungkapan syukur.

Abstract

Pesta Gotilon merupakan upacara panen masyarakat Batak Toba yang dilakukan setiap satu tahun sekali. Pesta Gotilon adalah sebagai ungkapkan rasa syukur atas berkat Tuhan yang telah diberikan kepada manusia. Pesta tersebut dilaksanakan di gereja HKBP Kirab Remaja Cileungsi. Dalam acara adat Pesta Gotilon terdapat tahapan prosesi adat, pada salah satu prosesi adat tersebut membawakan repertoar Gondang Mangaliat, dimana pada saat Gondang Mangaliat disajikan masyarakat gereja terlihat sangat bahagia dan bersukacita menikmati musik yang disajikan. Prosesi Gondang Mangaliat yang membawa semua warga jemaat ikut berdiri, menari dan bersukacita, ini menjadi fokus yang akan diteliti, menunjukan bahwa Gondang Mangaliat memiliki pengaruh yang besar bagi seseorang ketika mendengar repertoar Gondang Mangaliat sebagai suatu peristiwa nostalgia bagi masyarakat suku Batak. Bentuk musik yang terdapat dalam repertoar Gondang Mangaliat memiliki bentuk musik tiga bagian dan coda

Review

This study proposes an intriguing examination into the cultural and emotional significance of *Gondang Mangaliat* within the *Pesta Gotilon* harvest festival at HKBP Kirab Remaja Cileungsi. The abstract effectively introduces *Pesta Gotilon* as a vital expression of gratitude within the Batak Toba community and highlights the specific role of *Gondang Mangaliat* in eliciting visible joy, participation, and a profound sense of nostalgia among church members. The stated intent to analyze its three-part musical form and coda also suggests a welcome analytical dimension. This research holds potential to contribute significantly to our understanding of how traditional music fosters cultural identity and emotional connection within specific religious and community settings, particularly in a contemporary, potentially diasporic context. However, the abstract currently lacks critical details regarding the research methodology. While it posits a strong correlation between *Gondang Mangaliat* and feelings of happiness, joy, and nostalgia, it does not specify how these emotional responses will be observed, measured, or substantiated. Will the study employ ethnographic observations, interviews, surveys, or a combination of these approaches? A clear articulation of the method is crucial for evaluating the validity and reliability of the claims made, particularly regarding the "great influence" and the "nostalgic event" aspects. Furthermore, while mentioning the musical form is a good start, a deeper musical analysis—perhaps delving into specific melodic, rhythmic, or instrumental characteristics—would significantly enrich the study beyond a mere structural description. In conclusion, the topic is compelling and culturally relevant, offering a focused look at a specific manifestation of Batak Toba musical tradition. To elevate this from an interesting observation to a robust scholarly contribution, the authors must significantly expand on their methodological design, detailing precisely how they plan to gather and analyze data to support their assertions regarding emotional impact and cultural significance. Providing a more in-depth musical analysis and perhaps some contextual background on *Gondang Mangaliat*'s traditional role would also strengthen the paper considerably. With these substantial revisions, particularly concerning methodological transparency and analytical depth, this research has the potential for publication and could offer valuable insights into ethnomusicology and cultural studies.

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