SEBERANG Ilir’S MUSICAL CONCEPT IN SYAROFAL ANAM’S PERFORMANCE AT TWELVES NIGHT IN THE CITY OF PALEMBANG

Abstract

This paper aims to reveal the musical concept of Seberang Ilir in the Syarofal Anam at night twelve in Palembang City. The musical concept of Seberang Ilir appears in technical terms related to Pengawak Hadi, Hadi Penjawab, and Rodat being an essential part of the vocal elements and dancer movements. In addition, from the position of the musicians known as musicians of the Penabuh Umak, Ningkah-Ngulung, and Mecah/Ngana’i. Pengwak Hadi means bearer of Hadi, meaning a person who is trusted to bring Shalawatan (priest) in the Syarofal Anam performance. Answering Hadi is a technical term for the role of a supporter of neurologist Anam, that is, intending to reply to the vocals of the Hadi singer; and Rodat ‘s poems Syarofal AnamUmak is a person or group that plays a fixed rhythm (tempo control) on a Terbangan instrument Terbangan pattern of basic. Ningkah is a pattern of flying rhythms beat whose shape gives a shout from the Umak or intersperses the Umak; Ningkah Mecah rhythm patterns wasp marry. Ngulung is a variation of the Tepukan Terbangan pattern Mecah and rhythm or Ngana’I is a partner pattern of Ngulung. The problems discussed in this paper include the formation of the musical concept of Seberang Ilir in the Syarofal Anam at night twelve in Palembang city. Keywords: Musical Concept, Seberang Ilir, Syarofal Anam, Twelfth Night, Palembang