Aransemen Nyanyian Kemenangan Iman No. 302 “Iring Maha Tuhan” Dalam Bentuk Paduan Suara Bergaya Kontemporer

Lolok, Samri Taruk (2026) Aransemen Nyanyian Kemenangan Iman No. 302 “Iring Maha Tuhan” Dalam Bentuk Paduan Suara Bergaya Kontemporer. Scholar thesis, Institut Agama Kristen Negeri Toraja.

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Abstract

Lagu Nyanyian Kemenangan Iman (NKI) No. 302 "Iring Maha Tuhan" umumnya disajikan dalam format empat suara (SATB) bertipikal homoritmik yang terkesan kaku bagi generasi muda. Penelitian berbasis praktik (practice-based research) ini bertujuan merekonstruksi lagu tersebut ke dalam bentuk paduan suara bergaya kontemporer tanpa mengabaikan makna teologisnya. Menggunakan pendekatan kualitatif model Miles dan Huberman serta pengujian peer debriefing, proses kreatif aransemen ini melintasi lima tahapan: perencanaan konsep, penyusunan awal, pengembangan ide musikal, penyempurnaan, hingga revisi akhir. Hasil analisis menunjukkan pengembangan struktur dari bentuk biner asli A–B (16 bar) menjadi A–A’–B–B’ yang dilengkapi introduksi, interlude, coda, serta modulasi dari C Mayor ke D Mayor. Penerapan teknik kontemporer diwujudkan melalui reharmonisasi (substitusi dan progresi ii–V), variasi tekstur (monofoni, homofoni, polifoni, homoritmik), variasi ritme (antisipasi dan delay), serta pengolahan melodi sekunder (filler, pad, kontra-melodi, dan obbligato). Aransemen ini berhasil menghadirkan nuansa nyanyian jemaat yang lebih segar, dinamis, dan ekspresif bagi paduan suara gereja modern. Kata Kunci: Aransemen, NKI No. 302, Paduan Suara, Gaya Kontemporer, Reharmonisasi. The hymn Nyanyian Kemenangan Iman (NKI) No. 302 "Iring Maha Tuhan" is traditionally performed in a standard homorhythmic four-part (SATB) structure, often perceived as rigid by younger generations. This practice-based study aims to re-arrange the hymn into a contemporary choral format while maintaining its core theological message. Analyzed using the Miles and Huberman qualitative framework and validated through peer debriefing, the creative process followed five stages: conceptualization, initial arranging, musical idea development, refinement, and final revision. The findings show that the musical structure expanded from the original binary form A–B (16 bars) into A–A’–B–B’, enriched with an introduction, interlude, coda, and a key modulation from C Major to D Major. Contemporary techniques were applied through reharmonization (simple substitution and ii–V progressions), textural variation (monophony, homophony, polyphony, homorhythm), rhythmic shifts (anticipation and delay), and secondary melodic embellishments (fillers, pads, counter-melodies, and obbligatos). The resulting arrangement successfully provides a fresher, more dynamic, and contextually relevant expression for modern church choirs. Keywords: Arrangement, NKI No. 302, Choir, Contemporary Style, Reharmonization.

Item Type: Thesis (Scholar)
Subjects: M Music and Books on Music > ML Literature of music
Depositing User: am andarias m.
Date Deposited: 28 Jul 2026 15:45
Last Modified: 01 Aug 2026 15:28
URI: http://digilib-iakntoraja.ac.id/id/eprint/5571

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