THE CONCEPT OF PANGAWINAN IN THE MUSIC PERFORMANCE OF TALEMPONG RENJEANG ANAM SALABUHANIN LUHAK NAN TIGO MINANGKABAU

This article discusses the concept of Pangawinan in the performance of talempong Renjeang Anam Salabuhan in Luhak Nan Tigo Minangkabau. As a concept, there are two different understandings of pangawinan, namely: (1) pangawinan with a small ‘p’, which is the philosophical basis for the formation of a pair of talempong as a musical system – implemented through the methods lipek duo and dipatukakan (doubling and interchanging); (2) Pangawinan with a capital ‘P’, which is used to refer to a pair of talempong, Pangawinan – Paningkah duo. As a musical system, talempong renjeang consists of three pairs of talempong instruments, known as the talempong Jantan, talempong Paningkah or Paningkah Satu, and talempong Pangawinan or Paningkah Duo. This research employed atheoretical concept based on the philosophy tali tigo sapilin, tungku nan tigo sajarangan – a three-way pattern; a trilogy of reasoning in the Minangkabau community. The formation of the three-way pattern begins with a two-way or bipolar pattern, and the third position emerges as a counterbalance to create harmony. The main data were collected through observations, interviews, and documentations. The findings show that the concept of pangawinan in the performance of talempong renjeang anam salabuhan functions to provide a certainty in the creation of the talempong melody (guguah) in order to achieve raso batalun (aesthetical pleasure)