Minangkabau music
[1] Qasidah which originated as the arrival and spread of Islam in the archipelago from Arabic, Gujarati and Persian, its character was readings of syair poetry and then sung.
[8] Apart from kaba, dendang with musical instruments accompanies such oral genres as pantun and salawat dulang, and some dances too.
[3] Another root was qasidah which originated as the arrival and spread of Islam in the archipelago and, especially, in West Sumatra in the 16th century.
During 1950s–60s Minang pop played by Orkes Kumbang Tjari together with singer Elly Kasim, Nurseha, Oslan Husein, Teruna Ria, Tiar Ramon, and Zaenal Combo group.
[11] It is influenced by Latin music with bongo punches and marakas games, usually a rhythm similar to rumba, cha-cha-cha, or mambo.
Two legendary figures of Minang pop from the 1970s who did not mix the traditional Dendang singing style with non-Minang music (Malay, Arabic, Indian, Western) were songwriters and singers Adjis Sutan Sati and Sawir Sutan Mudo.
[11] Minang-language songs of the 20th – 21st century are very open in their form to the influence of other forms of music, starting from (1) Pop and disco (songwriters Agusli Taher and B. Andoeska, singers Zalmon, Betharia Sonatha, Eddy Silitonga, Ajo Buset, An Roys, Beniqno, Fauzana, Hetty Koes Endang, Irni Yusnita, Iyeth Bustami, Kintani Putri Medya, Nedi Gampo, Ria Amelia, Ratu Sikumbang, Rayola, Upiak Isil, Vanny Vabiola, Wirdaningsih), (2) Reggae (Melati and others), (3) Dangdut, both in the regional subgenre of dendang saluang dangdut (Asben, Misramolai, Upik Malay) and common dangdut (Beniqno, Daniel Saniara, Devi Rose, Fani Sun, Liza Tania, Riri Anjeli), (4) Pop rock, rock-n-roll and rock (Fabian, Elsa Pitaloka, Ipank, Rayola, Sultan Tanjung, Thomas Arya), even (5) electronic dance music similar to Indonesian Funkot (Misramolai, Fani Sun, Liza Tania, Novi Barat, Ria Amelia, Riri Anjeli).
So that in accordance with the principles of acoustic physics, the blow that comes out of the mouth will vibrate the inner walls of the saluang in such a way as to produce sound.
Examples of this style are Singgalang, Pariaman, Solok Salayo, Koto Tuo, Suayan and Pauah.
The handler is tasked with singing mantras and playing a top (gasiang tangkurak), one part of which is made from pieces of a human skull.
On another occasion, the beautiful Minang virgins contain messages, satire, and also subtle criticism that restore the listener's memory of their hometown or of the life that has been, is, and will be lived.
Bansi or Suling Minang with 7 holes (like a recorder), is short, and can play traditional and modern songs because it has a standard (diatonic) tone.
At the end of the stem segment is made a tongue, if it is blown it will produce a gap, causing a sound.
[19] This musical instrument is made from buffalo horn (hoorn), and the ends are cut flat for blowing.
In the past, it was used for cues to the community, for example notifications at dawn and sunset or there were announcements from village leaders.
Rabab Minang is unique, besides being rubbed there is also a sound membrane under the bridge, so it has another effect (hoarseness).
[21][22] The term gong in the Minang language is aguang, the form is the same as in other areas, such as in Malay, Sundanese, Javanese, etc.
However, the method of hitting between each region is very different, namely in Minang depending on the type of song beat.
Gandang Tasa is a traditional art of drumming which is popular in Padang Pariaman Regency.
