Connecting Music and Culture

Oct 13, 2025 by wbrum.org 24 views

The Melodies are Different, the Meaning is the Same: A Comparative Study of Gual Haro Haro in the Vegetable Ceremony of Matua Simalungun

Introduction

The Matua vegetable ceremony is an essential tradition in the Simalungun community, accompanied by a unique music that reflects the cultural values and heritage of the community. One of the distinctive musical elements of this ceremony is Gual Haro Haro, played with a traditional musical instrument called Sarunei. This study aims to explore the differences in playing Gual Haro Haro by two renowned Parsarunei (Sarunei players) from Simalungun, namely Jhon Barinson Purba and Putra Jaya Damanik.

Background

The Matua vegetable ceremony is a significant event in the Simalungun community, where the community comes together to celebrate the harvest season and honor their ancestors. The ceremony is accompanied by traditional music, including Gual Haro Haro, which is played with a Sarunei instrument. The Sarunei is a traditional instrument in the Simalungun community, and its playing style and techniques have been passed down through generations.

Methodology

This study uses a descriptive qualitative approach to explore the differences in playing Gual Haro Haro by Jhon Barinson Purba and Putra Jaya Damanik. The data collection techniques used in this study include literature studies, interviews, recordings, and laboratory analysis. The biographical theory of Alan P. Merriam, Bruno Nettl's theory to analyze techniques, play styles, and melody structures, as well as Herskovitz theory to understand cultural change, were used to analyze the data.

Differences in Play Style

Jhon Barinson Purba, originating from Sin Purba, has a play style that is influenced by the culture of Karo and Toba. This is reflected in the more complex and dynamic Haro Haro Haro Melody structure. In contrast, Putra Jaya Damanik, from Sin Raya, played melodies with more traditional characteristics, with a relatively minimal external cultural influence.

The Influence of Cultural Dynamics on Play Style

The differences in play style between Jhon Barinson Purba and Putra Jaya Damanik reflect the cultural interactions and social changes that occur in the Simalungun community. Jhon Barinson Purba's play style is influenced by the culture of Karo and Toba, which is reflected in the more complex and dynamic melody structure. Putra Jaya Damanik's play style, on the other hand, is more traditional and reflects the cultural values and heritage of the Simalungun community.

Unique Melody Structure

The analysis of the melody structure of Gual Haro Haro shows significant differences between the two Parsarunei. Jhon Barinson Purba tends to play melodies with broader variations, with the use of more complex intervals and distinctive ornamentation. Putra Jaya Damanik, on the other hand, maintains traditional melodies, with a focus on simple intervals and a more linear melody structure.

The Significance of Melody Structure in Cultural Expression

The differences in melody structure between Jhon Barinson Purba and Putra Jaya Damanik reflect the cultural values and heritage of the Simalungun community. The use of complex intervals and distinctive ornamentation by Jhon Barinson Purba reflects the influence of external cultural dynamics on the Simalungun music tradition. Putra Jaya Damanik's maintenance of traditional melodies, on the other hand, reflects the community's commitment to preserving its cultural heritage.

Connecting Music and Culture

The differences in play style and melody structure between Jhon Barinson Purba and Putra Jaya Damanik reflect the strong influence of cultural dynamics on the Simalungun music tradition. Jhon Barinson Purba's play style is influenced by the culture of Karo and Toba, while Putra Jaya Damanik's play style is more traditional and reflects the cultural values and heritage of the Simalungun community.

The Role of Music in Preserving Cultural Heritage

The Simalungun music tradition, especially Gual Haro Haro, is a manifestation of complex cultural dynamics. The differences in play styles and melody structures between Jhon Barinson Purba and Putra Jaya Damanik reflect the cultural interactions and social changes that occur in the Simalungun community. However, the core of this tradition remains intact, preserving the cultural values and heritage that have been passed down through generations.

Conclusion

This study shows that the Simalungun music tradition, especially Gual Haro Haro, is a manifestation of complex cultural dynamics. The differences in play styles and melody structures between Jhon Barinson Purba and Putra Jaya Damanik reflect the cultural interactions and social changes that occur in the Simalungun community. However, the core of this tradition remains intact, preserving the cultural values and heritage that have been passed down through generations.

The Significance of this Study

This study highlights the importance of music in preserving cultural heritage and reflects the complex cultural dynamics that occur in the Simalungun community. The study also shows that the Simalungun music tradition is a manifestation of the community's cultural values and heritage, and its preservation is essential for the community's identity and continuity.

References

Merriam, A. P. (1964). The anthropology of music. Northwestern University Press.
Nettl, B. (1973). An introduction to the study of musical cultures. Prentice Hall.
Herskovitz, M. J. (1958). Cultural dynamics. Random House.

Appendices

Audio recordings of Gual Haro Haro played by Jhon Barinson Purba and Putra Jaya Damanik
Transcripts of interviews with Jhon Barinson Purba and Putra Jaya Damanik
Laboratory analysis of the Sarunei instrument used in the study
Q&A: A Comparative Study of Gual Haro Haro in the Vegetable Ceremony of Matua Simalungun

Introduction

In our previous article, we explored the differences in playing Gual Haro Haro by two renowned Parsarunei (Sarunei players) from Simalungun, namely Jhon Barinson Purba and Putra Jaya Damanik. This Q&A article aims to provide a deeper understanding of the study and its findings, as well as address some of the questions that readers may have.

Q: What is Gual Haro Haro, and why is it an important part of the Matua vegetable ceremony?

A: Gual Haro Haro is a traditional music played with a Sarunei instrument, which is an essential part of the Matua vegetable ceremony in the Simalungun community. The music is played to honor the ancestors and to seek blessings for the future.

Q: What are the differences in play style between Jhon Barinson Purba and Putra Jaya Damanik?

A: Jhon Barinson Purba's play style is influenced by the culture of Karo and Toba, which is reflected in the more complex and dynamic melody structure. Putra Jaya Damanik's play style, on the other hand, is more traditional and reflects the cultural values and heritage of the Simalungun community.

Q: What is the significance of the melody structure in Gual Haro Haro?

A: The melody structure of Gual Haro Haro is significant because it reflects the cultural values and heritage of the Simalungun community. The use of complex intervals and distinctive ornamentation by Jhon Barinson Purba reflects the influence of external cultural dynamics on the Simalungun music tradition.

Q: How does the study contribute to our understanding of the Simalungun music tradition?

A: The study highlights the importance of music in preserving cultural heritage and reflects the complex cultural dynamics that occur in the Simalungun community. The study also shows that the Simalungun music tradition is a manifestation of the community's cultural values and heritage, and its preservation is essential for the community's identity and continuity.

Q: What are the implications of the study for the preservation of the Simalungun music tradition?

A: The study suggests that the preservation of the Simalungun music tradition is essential for the community's identity and continuity. The study also highlights the importance of documenting and preserving the traditional music of the Simalungun community, as well as promoting its cultural significance.

Q: What are the next steps for the study?

A: The next steps for the study include further analysis of the data collected, as well as the development of a comprehensive plan for the preservation and promotion of the Simalungun music tradition.

Q: How can readers get involved in the preservation of the Simalungun music tradition?

A: Readers can get involved in the preservation of the Simalungun music tradition by supporting local music initiatives, attending cultural events, and promoting the cultural significance of the Simalungun music tradition.

Conclusion

This Q&A article provides a deeper understanding of the study and its findings, as well as addresses some of the questions that readers may have. The study highlights the importance of music in preserving cultural heritage and reflects the complex cultural dynamics that occur in the Simalungun community. We hope that this article will inspire readers to learn more about the Simalungun music tradition and to get involved in its preservation.

Related Articles:

"The Melodies are Different, the Meaning is the Same: A Comparative Study of Gual Haro Haro in the Vegetable Ceremony of Matua Simalungun"
"The Significance of Music in Preserving Cultural Heritage: A Study of the Simalungun Music Tradition"

References:

Merriam, A. P. (1964). The anthropology of music. Northwestern University Press.
Nettl, B. (1973). An introduction to the study of musical cultures. Prentice Hall.
Herskovitz, M. J. (1958). Cultural dynamics. Random House.

Appendices:

Audio recordings of Gual Haro Haro played by Jhon Barinson Purba and Putra Jaya Damanik
Transcripts of interviews with Jhon Barinson Purba and Putra Jaya Damanik
Laboratory analysis of the Sarunei instrument used in the study