Performance practice, musical structure, and social function of Gonrang Sidua-dua in Simalungun society

Abstract

This study examines the presentation form, musical structure, and social function of Gonrang Sidua-dua in Simalungun society. A qualitative ethnomusicological study with a phenomenological approach was conducted in Simalungun Regency, including Raya, Pematang Siantar, Nagori Dolok, and Tumbukan Galih. Data were collected through field observation, interviews with three key cultural practitioners and musicians, and documentation of musical practices. The analysis focuses on the Sayur Matua repertoire and examines the interaction among Sarunei Bolon, Gonrang Indung, Gonrang Tikkah, Ogung, and Mongmongan. The findings indicate that the musical structure is organized through inter-instrumental coordination rather than isolated instrumental roles. In the Sayur Matua repertoire, Sarunei Bolon carries the main melodic line, Gonrang Indung provides a rhythmic foundation, while Gonrang Tikkah responds to the melodic movement of Sarunei Bolon through varying rhythmic patterns, including question-and-answer interactions. The study also finds that the social function of Gonrang Sidua-dua has weakened as its performance has become less frequent, regular ensemble practice has declined, and intergenerational transmission within the community has become limited. Interviews further indicate that younger generations have limited involvement in learning and performing Gonrang, while its practice is increasingly maintained in educational contexts. These findings show that changes in performance practice, musical interaction, and social participation are interconnected. The implications for cultural sustainability therefore concern the continuity of musical practice, intergenerational transmission, and the integration of Gonrang Sidua-dua into contemporary social contexts, rather than the preservation of musical form alone.