Syurga di Telapak Kaki Ibu (Melayu Nusantara)
DOI:
https://doi.org/10.62383/misterius.v2i3.931Keywords:
Langgam Rhythm, Malay Music, Mother's Footprints, Ornamentation, Song ArrangementAbstract
The musical work “Syurga di Telapak Kaki Ibu” is a rearrangement of the Malay song composed by S. Effendi in 1990 and popularized by Aishah. This work highlights moral and religious values about honoring mothers. The purpose of this study is to describe the creative process of rearranging “Syurga di Telapak Kaki Ibu” using the rentak langgam format characteristic of Malay music. A descriptive–qualitative approach with a work-study method was employed. Data were collected through observation, literature review, and the composer’s five-month practice. The results show a new arrangement featuring a mournful melody, flowing harmonies, and the application of ornamentation techniques such as cengkok and grenek on melodic instruments (gambus oud, sape, bamboo flute, violin, accordion). The arrangement is structured in intro, verse, interlude, verse, interlude, and coda to create more varied emotional nuances while preserving the original essence of the song. This work is expected to strengthen the existence of classic Malay songs in the era of modern music and serve as a reference for students and traditional music practitioners in creating innovative works based on cultural heritage.
References
Hassim, D. S. H. A., & Karim, K. M. (2023). The singing ornamentation of Lagu Melayu Asli. Jurnal Seni Musik, 12(2), 186–197. https://doi.org/10.15294/jsm.v12i2.72982
Huron, D., & Davis, M. (2013). The sad minor: Intervallic cues in emotional expression. Music Perception, 30(3), 189–207.
Jannah, R. (2015). Musik tradisional Melayu Riau: Klasifikasi dan konteks. Jurnal Seni Pertunjukan Nusantara, 7(1), 1–12.
Manoharan, S., Azlan, N., & Rahim, M. (2009). Tempo and melancholy in Malay traditional music. Asian Music Journal, 41(2), 55–72.
Ningrum, S. (2012). Aransemen musik: Teori dan praktik. Jakarta: Kencana.
Prier, K. E. (1996). Ilmu bentuk musik. Yogyakarta: PML.
Rahmah, R. (2021). Pengaruh budaya asing terhadap perkembangan musik Melayu: Studi kasus musik Melayu Deli di Kota Medan 1970–2000. Warisan: Jurnal Ilmu Sejarah dan Kebudayaan, 2(1). https://doi.org/10.34007/warisan.v2i1.681
Rizaldi. (n.d.). Musik Melayu: Cengkok dan grenek dalam biola Melayu. Padangpanjang: ISI Padangpanjang.
Silahudin, S. (2009). Teknik nyanyian lagu Melayu Asli. Kuala Lumpur: Institut Seni Budaya.
Syumaisi, N., Setiaji, D., & Apriani, A. (2021). Analisis struktur musik dan makna lirik lagu Tombo Ati – Opick. Magelaran: Jurnal Pendidikan Seni, 4(1), 60–74. https://doi.org/10.35568/magelaran.v4i1.1105
Tenas Effendy. (2005). Tunjuk ajar Melayu: Pantun, petuah, dan dakwah. Pekanbaru: LAM Riau.
Tengku Lukman. (2014). Perkembangan musik Melayu tradisional di Nusantara. Banda Aceh: Unsyiah Press.
Uswatul Hakim. (2023). Aransemen musik Melayu di era modern. Jurnal Sendratasik, 8(2), 45–57.
Zikrul Liandi, W. (2024). Eksistensi lagu Melayu klasik di tengah gempuran musik modern. Prosiding Seminar Nasional Seni & Budaya, 3(1), 101–110.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2025 Misterius : Publikasi Ilmu Seni dan Desain Komunikasi Visual.

This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.



