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Marhaban As A Form Of Qasidah Music Continuity In The City Of Binjai, Northern Sumatra Province

  • Bambang Afrianto Masters in Creation and Arts Studies, USU Faculty of Cultural Sciences
Issue       Vol 3 No 4 (2020): Talenta Conference Series: Local Wisdom, Social, and Arts (LWSA)
Section       Articles
Keywords: Marhaban Qasidah continuity function structure
Published 2020-12-04


This paper describes Marhaban as a form of continuity of Qasidah music, and also describes the existence of this music in the city of Binjai, as an Islamic art. This paper focuses on the discussion of Marhaban, which after being studied in more depth is a form of music that is the same as Qasidah music, both in terms of use, text, presentation, and instrumentation. Researcher use functional theory to describe the social musical context. Then use Halliday’s semiotic to analyze the text of Marhaban. To analyze the musical and instrumentation, I use ethnomusicological structure theory. This paper is a qualitative descriptive study using data collection techniques and methods of literature study and observation, which is used to explain how Marhaban is also a form of music that emerged as a continuity of early Qasidah music in Indonesia. The results are: Marhaban always used in Islamic ceremony, as marriage, circumsition, birthday, and so on. The text of Marhaban in Arabaic, with it’s theme about the histpry of Prophet Muhammad and way of life muslim. The intruments are: rebana (frame drum), and human vocal. The structure of melody used Near East system maqamat plus Malay melody improvisation (called cengkok).