The ethical dimensions of Mong Kinemong in music performance in catholic worship: a phenomenological analysis of first Friday night eucharist musicians at Ganjuran Church
DOI:
https://doi.org/10.33153/dewaruci.v18i2.4723Keywords:
Catholic Worship, Musical Performances, Ganjuran Church, Religious Emotion, Mong KinemongAbstract
In the context of Catholic worship at Ganjuran Church, music and musicians play vital roles in enhancing the spiritual experience of worshippers. This research employs a qualitative and phenomenological approach to explore the ethical aspects related to musical performances during the First Friday Night Eucharist. Through careful observation, interviews, and documentation, the study analyzes the musicians' practices using Marc Benamou's theory of Rasa and Keontjoroningrat's insights on religious emotion. The findings reveal that musicians at Ganjuran Church embody the ethical principle of 'Mong Kinemong,' demonstrating a profound ethos of mutual care deeply embedded in their musical practice. This ethical commitment is bolstered by the musicians' intense experience of religious emotion, evoking feelings of majesty and serenity among choir members. Additionally, instrumentalists, referred to as 'pengrawit,' express heightened veneration, describing their peak moments as 'semu' (joyful), 'nges' (serene and good), and 'dados' (fulfilling expectations). Importantly, this 'Mong Kinemong' ethos harmoniously integrates with musical elements, enhancing the overall worship experience. This study contributes to a deeper understanding of ethics in musical performance within the Catholic liturgy context, shedding light on the significance of mutual care, emotional resonance, and harmonious musical expression in enriching the spiritual dimension of worship.Downloads
References
A. Santosa, “Transformation of The Ganjuran Church Complex: A Typological Study,” Dimens. Inter., vol. 10, no. 1, pp. 42–52, Jul. 2012, doi: 10.9744/interior.10.1.42-52.
H. S. Lee-Niinioja, “Multi-Religious and Cultural Regionalism Integrated to Contemporary Sacred Church Buildings in Indonesia,” Actas Arquit. Relig. Contemp., vol. 9, pp. 24–39, Dec. 2022, doi: 10.17979/aarc.2022.9.0.9344.
E. P. Widiasih and R. Rachman, “Reshaping Liturgy in Postcolonial Indonesia,” Liturgy, vol. 37, no. 1, pp. 55–63, Jan. 2022, doi: 10.1080/0458063X.2022.2026696.
B. A. Rukiyanto, “Interculturation as Threefold Dialogue: Leaming Experience from the Church in Asia,” Ultim. Real. Mean., vol. 30, no. 2, pp. 165–173, Jun. 2007, doi: 10.3138/uram.30.2.165.
S. Lebens, “The life of faith as a work of art: a Rabbinic theology of faith,” Int. J. Philos. Relig., vol. 81, no. 1–2, pp. 61–81, Apr. 2017, doi: 10.1007/s11153-016-9600-3.
M. V. F. Pesulima, “Offerings Dance as a Medium of Socializing Religious Values in the Catholic Church, Ganjuran, Yogyakarta,” Turkish J. Comput. Math. Educ., vol. 12, no. 6, pp. 2757–2760, 2021. doi: 10.17762/turcomat.v12i6.5782
H. Poynor, P. Kramer, and H. Kneale, “Walk of Life Training in Non-stylised and Environmental Movement,” Theatr. Danc. Perform. Train., vol. 12, no. 2, pp. 233–249, Apr. 2021, doi: 10.1080/19443927.2021.1905707.
R. Manalu, “Inculturation of Catholic Religion in Javanese Culture: A Study of Pilgrimage Tourism Experience in the Ganjuran Church, Bantul, Special Region of Yogyakarta,” Tour. J. Pariwisata, vol. 4, no. 1, p. 1, Jun. 2023, doi: 10.22146/gamajts.v4i1.82945.
E. Haddon, “Bi-musicality and dialogical musicality: Influences of Javanese gamelan participation on Western instrumental learning,” Br. J. Music Educ., vol. 33, no. 2, pp. 219–235, Jul. 2016, doi: 10.1017/S0265051716000127.
E. Angelo, “The duty of Gamelan: A gamelan pedagogue’s philosophy of work.” Norges musikkhøgskole, 2013.
J. P. Beavers, “Beyond Mere Novelty: Timbre as Primary Structural Marker in Ravel’s Piano Concerto in G Major,” Music Theory Online, vol. 25, no. 4, Dec. 2019, doi: 10.30535/mto.25.4.1.
R. Hartenberger, The Cambridge Companion to Percussion. Cambridge University Press, 2016. doi: 10.1017/CBO9781316145074
J. Rockwell, “Banjo Transformations and Bluegrass Rhythm,” J. Music Theory, vol. 53, no. 1, pp. 137–162, Apr. 2009, doi: 10.1215/00222909-2009-023.
D. Goldsworthy, “Teaching gamelan in Australia: Some perspectives on cross-cultural music education,” Int. J. Music Educ., vol. os-30, no. 1, pp. 3–14, Nov. 1997, doi: 10.1177/025576149703000102.
C. Derbaix and M. Derbaix, “Intergenerational transmissions and sharing of musical taste practices,” J. Mark. Manag., vol. 35, no. 17–18, pp. 1600–1623, Nov. 2019, doi: 10.1080/0267257X.2019.1669691.
A. Algargoosh, B. Soleimani, S. O’Modhrain, and M. Navvab, “The impact of the acoustic environment on human emotion and experience: A case study of worship spaces,” Build. Acoust., vol. 29, no. 1, pp. 85–106, Mar. 2022, doi: 10.1177/1351010X211068850.
M. Benamou, Rasa: Affect and Intuition in Javanese Musical Aesthetics. Oxford University PressNew York, 2010. doi: 10.1093/acprof:oso/9780195189438.001.0001
B. Lacoste, “God Has a Woman’s Voice. Liturgical Music and Agency of Eastern European Migrant Women in Rome,” in Women’s Leadership in Music, transcript Verlag, 2023, pp. 111–124. doi: 10.1515/9783839465462-008
M. Asadzandi, “An Islamic Religious Spiritual Health Training Model for Patients,” J. Relig. Health, vol. 59, no. 1, pp. 173–187, Feb. 2020, doi: 10.1007/s10943-018-0709-9.
V. Saroglou, “Believing, Bonding, Behaving, and Belonging,” J. Cross. Cult. Psychol., vol. 42, no. 8, pp. 1320–1340, Nov. 2011, doi: 10.1177/0022022111412267.
O. Aleksandrova, “Spiritual and semantic approach to studying a musical composition,” Probl. Interact. Between Arts, Pedagog. Theory Pract. Educ., vol. 49, no. 49, pp. 4–18, Sep. 2018, doi: 10.34064/khnum1-49.01.
E. K. A. Robert Amo Broni, “Iconographic Art in religious worship in Ghana: The Catholic culture in focus,” J. Philos. Cult. Relig., vol. 53, pp. 15–43, May 2021, doi: 10.7176/JPCR/53-03.
L. H. Hollengreen, “The Virgin of Chartres: Making History through Liturgy and the Arts (review),” Spiritus A J. Christ. Spiritual., vol. 12, no. 2, pp. 296–299, 2012, doi: 10.1353/scs.2012.0040.
K. Lumbwe, “Ubuomba: Negotiating indigenisation of liturgical music in the Catholic Church in Zambia,” J. Transdiscipl. Res. South. Africa, vol. 10, no. 2, Nov. 2014, doi: 10.4102/td.v10i2.105.
M. Steel, “The Flower of Paradise: Marian Devotion and Secular Song in Medieval and Renaissance Music by David J. Rothenberg (review),” Cathol. Hist. Rev., vol. 99, no. 1, pp. 99–100, 2013, doi: 10.1353/cat.2013.0056.
K. W. Indonesia and P. Kanisius, Kompendium Katekismus Gereja Katolik. Yogyakarta: Kanisius, 2009.
J. Shepherd, “The dynamics of worship,” Theology, vol. 125, no. 6, pp. 403–411, Nov. 2022, doi: 10.1177/0040571X221133787.
M. J. McCallion and D. R. Maines, “Spiritual Gatekeepers: Time and the Rite of Christian Initiation of Adults,” Symb. Interact., vol. 25, no. 3, pp. 289–302, Aug. 2002, doi: 10.1525/si.2002.25.3.289.
W. M. Wermter and W. R. Gallagher, “The Structure of the Eucharistic Celebration and its Pastoral Meaning: A Contribution to Understanding actuosa participatio,” Antiphon A J. Liturg. Renew., vol. 26, no. 2, pp. 190–202, 2022, doi: 10.1353/atp.2022.0012.
S. Zatwardnicki, “The ‘Just Once’ and ‘Once for Ever’ of the Word of God,” Collect. Theol., vol. 92, no. 1, pp. 89–112, Mar. 2022, doi: 10.21697/ct.2022.92.1.04.
W. Bentley, “Celebrating the sacrament of Holy Communion during COVID-19: A Methodist perspective,” HTS Teol. Stud. Stud., vol. 77, no. 3, Jul. 2021, doi: 10.4102/hts.v77i3.6741.
Downloads
Published
Issue
Section
License
Authors who publish in Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni agree to the following terms:
- Authors retain copyright and grant the Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni right of first publication with the work simultaneously licensed under a Creative Commons Attribution License (CC BY-SA 4.0) that allows others to share (copy and redistribute the material in any medium or format) and adapt (remix, transform, and build upon the material) the work for any purpose, even commercially with an acknowledgment of the work's authorship and initial publication in Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial publication in Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
This work is licensed under a Creative Commons Attribution 4.0 International License