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Exploring the Tripartite Performance in the Musical Enculturation: An Ethnographic Study of Banyumasan Sinden Suharto1.
Sugiyanto2.
Clare Suet Ching Chan3
E-ISSN 2338-6770
Arts Education.
Faculty of Languages and Arts.
Universitas Negeri Semarang.
Indonesia Universiti Putra Malaysia.
Malaysia Submitted date : June 4th, 2025 Revised date : July 14th, 2025 Accepted date : December 5th, 2025 Correspondence Address:
Abstract: : This study examines the musical enculturation of Banyumasan sinden across three performance genres: wayang kulit, lengger calung, and ebeg.
Using Arts Education.
Faculty of Languages and Merriam's tripartite model Ae musical concept, behavior, and sound Ae as the analytical Arts.
Universitas Negeri Semarang, framework, this research explores how different learning trajectories and social Sekaran B2 Building 1st Floor.
Semarang contexts shape the formation of musical identity.
Using an ethnographic approach.
Email: suharto@mail.
this study analyzes Aeld data gathered through interviews, observations, and documentation of sinden practices in rural and semi-urban areas of Banyumas.
Findings reveal that wayang sindens develop their skills through vertical cultural transmission within artist families, reinforcing ethical and aesthetic ideals.
In contrast, lengger sindens engage in horizontal, community-based learning characterized by participatory interaction and vocal expressiveness.
Meanwhile, ebeg sindens follow a situational, adaptive learning model shaped by informal performance settings and pragmatic vocal function.
The study concludes that each sinden tradition reCects a distinct pattern of enculturation rooted in its socio-performative context and offers insight into the preservation of local musical knowledge through lived community The Andings provide implications for integrating community-based pedagogy into traditional music education curricula in Indonesia.
Keywords: Banyumasan sinden, musical enculturation, tripartite analysis, situated learning, community-based pedagogy A 2023 The Author.
This work is licensed under a Creative Common Attribution 4.
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Introduction Traditional Banyumasan performing arts, including wayang kulit, lengger, and ebeg, serve as vibrant expressions of local culture.
In these performances, sindens, or female vocalists, are pivotal as both vocal performers and conservators of musical aesthetics.
Socio-economic changes and the evolution of performance media have impacted the role and status of sindens in society.
Currently, sindens are required to convey values of sacredness and classical etiquette while simultaneously addressing the demands for entertainment, popularity, and economic viability.
In contemporary settings, especially within the younger demographic, sindens have taken on the role of appealing entertainers, notably in digital formats like solo-organ performances .
eferred to locally as orlen.
, as evidenced in lengger and ebeg shows (Adam, 2024.
'Julia et al.
, 2022.
Novitasari et al.
, 2019.
Salcedo et al, 2.
This change reCects a transformation in public expectations concerning the role of sindens while posing challenges in conveying traditional aesthetic values.
Moreover, the Banyumasan sindenan style encounters identity challenges stemming from the impact of external styles, particularly those from Surakarta (Sol.
and Yogyakarta, which are frequently regarded as softer, more reAned, and more This situation has resulted in a crisis of conAdence among young sindens, highlighting the pressing necessity to comprehend the processes of enculturation and the mechanisms for conveying local values in sindenan vocal training.
At the same time, the regeneration of new sindens faces considerable challenges, evident in the limited involvement of younger generations in both formal and informal sinden The sinden extracurricular program at Banyumas Vocational School 3 was discontinued due to insufAcient interest (Kompas, 2.
The challenges are notably important given that foundational musical sensitivity usually develops in early childhood through social communication and informal musical interactions within the family setting (Nguyen et al.
, 2023.
ynzeke, 2017.
Tuttle & Lundstrym, 2.
The absence of early exposure to traditional vocal practices in children jeopardizes the continuity of the stylistic and ethical values linked to Banyumasan sindenan.
In light of these challenges, local government initiatives like the Banyumas Sinden Workshop, organized in 2024 by the Banyumas Wayang Museum, signify a noteworthy and constructive advancement (Sukmono, 2.
In this context, the study seeks to investigate the musical enculturation process of Banyumasan sinden by analyzing three primary performance forms: wayang kulit, lengger, and ebeg.
This study aims to examine the inCuence of family background, community involvement, and stage experience on the development of vocal character, cengkok .
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different types of sinden.
To date, no systematic study has yet explored how Banyumasan sindens acquire knowledge across performance genres, speciAcally wayang kulit, lengger, and ebeg, using an integrative ethnomusicological approach.
Previous studies have predominantly focused on descriptive accounts and have not examined musical enculturation in familial, communal, and performative contexts.
This study addresses the existing gap by combining ethnopedagogical perspectives, enculturation theory, the concept of communities of practice, and Merriam's tripartite framework to elucidate the formation of sindens' musical identities through social and performative This approach enhances the ethnomusicological comprehension of Banyumasan traditions and introduces a model for community-based music learning, a topic that has been infrequently examined in local performing arts research.
Literature Review Previous research on sinden has predominantly focused on the Surakarta and Yogyakarta styles, as discussed by Sutton .
and Walton .
6, 2.
, who highlighted musical pluralism and gender issues within Javanese performing arts.
Walton expanded this research by investigating the social lives and economic conditions of street sindens in Java, focusing on the transformation of gender roles within public performance spaces.
Despite its signiAcance.
Banyumasan sinden has not garnered considerable academic focus, especially concerning its pedagogical dimensions and the processes involved in musical enculturation.
On the other hand, although a few studies have addressed Banyumasan sindens, their scope remains thematically limited.
Research on Banyumasan sindens has been primarily descriptive and biographical in nature, as seen in Budiarti's studies .
, which explore the creativity and contributions of Suryati as a prominent female sinden in the region.
Meanwhile.
Meloni .
provides a descriptive account of vocal style pluralism within Banyumasan sindenan, yet does not delve into how these styles are transmitted through generative and social learning processes.
The digital transformation of wayang performances, as examined by Putra et al.
and Sunardi et al.
, impacts both the structure and aesthetics of these performances while creating new opportunities for artists, including sinden, in cultural transmission.
By adapting to digital media, sinden not only preserve their role but also facilitate the expression of traditional values to new generations in a more interactive and crossplatform environment.
Meloni .
conducted another study that examines a sinden from the same year, asserting that local styles like Sinden Banyumas should not be regarded as Page 341 Suharto, et.
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inferior to the classical styles of the palace in Surakarta and Yogyakarta.
She supports this viewpoint using the theoretical framework of ethnomusicology, which promotes an appreciation for the diversity of cultural practices.
While both studies pertain to musical enculturation, they have yet to address the various forms of local cultural transmission present in the Banyumas region.
Most sindens develop musical skills through direct engagement within their communities rather than through formal educational institutions.
The Andings highlight the signiAcance of community-based enculturated approaches in comprehending how traditional musical knowledge is transmitted.
Cultural enculturation involves the transmission of values, norms, and cultural practices across generations through social interaction, occurring both consciously and unconsciously (Campbell, 2011.
Ilari, 2011.
Koentjaraningrat, 2009.
Kapoyos et al.
, 2022.
Russin.
In the performing arts, this process unfolds through hands-on practice, observation, imitation, and active participation within artistic communities.
Merriam .
viewed music not merely as sound but as a cultural expression that must be understood through its musical concepts and behaviors.
Within this framework, the ethnomusicological approach offers a more holistic reading of the musical enculturation process.
Therefore, a focused study on Banyumasan sindens is crucial, as it will reveal how local practices shape a sinden's musical competencies and performance ethics.
This process reCects how local culture is transmitted and internalized within the framework of traditional performing arts.
This study uses a descriptive approach that highlights the vocal qualities, social roles, and challenges encountered by sinden within the framework of a patriarchal This study contributes to the documentation and personal interpretation of the sinden's role.
however, it does not explicitly utilize an ethnomusicological theoretical framework or distinguish between the performance contexts that inCuence vocal styles .
uch as wayang, lengger, or ebe.
Currently, there is no comparative study that has explicitly outlined the sinden's enculturation process based on performance type .
ayang kulit, lengger, and ebe.
in Banyumas, nor analyzed the inCuence of family background, social environment, and Aeld practice experience in shaping vocal and performative character.
Another theoretical foundation of this study is the concept of situated learning (Lave & Wenger, 1.
, which frames learning as a social activity occurring within a community of practice.
In this context, sindens may learn through verbal or formal information transfer and through direct involvement in musical activities within artistic communities.
This concept emphasizes that learning does not occur separately from its social context but through active engagement in a community of practice.
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the context of Banyumasan sindens, learning takes place through active participation in performances, rehearsals, and social interactions, where novice sindens absorb vocal knowledge, cengkok style, and performance ethics through observation and Research Method This study uses a qualitative ethnographic approach to gain an in-depth understanding of the sinden musical learning process within its authentic sociocultural context.
Through the researcher's direct involvement in the Banyumasan art community, the ethnographic method enables a holistic and contextual exploration of the values, behaviors, and musical practices of sindens across the three folk performance traditions ((Spradley, 1979.
Atkinson, 2.
The research was conducted in Banyumas Regency, focusing on sindens actively engaging in wayang kulit, lengger, and ebeg performances.
Data collection techniques included performance observation, in-depth interviews with sindens and other artists, and audio-visual documentation.
Data was obtained through observation, in-depth interviews, and audio-visual documentation, then presented in the form of descriptions, quotes from sources, and examples of relevant vocal notation.
The data were analyzed thematically based on social, musical, and cultural Participant observation took place during live performances, group rehearsals, and related sociocultural events.
In-depth interviews were conducted with sindens, vocal coaches, dalangs .
hadow-puppeteer.
, gamelan players, and local cultural Agures.
Documentation included performance videos, archives of family members intentionally chosen for their active participation, and audio recordings of tembang .
raditional song.
and sindenan.
Informants were selected purposively based on their active involvement in artistic practices and their representation of the three performance types.
To meet the research criteria and effectively address its objectives, three categories of sindens were chosen as primary informants and sources of documentation: wayang kulit sindens, lengger sindens, and ebeg sindens.
The number of sindens selected from each performance group was determined based on the informational needs of the study:
two wayang sindens (Sukrowati and Daisa.
, two lengger sindens (Daimah and Narsi.
, and two ebeg sindens (Darsiyem and Sukira.
To enrich and corroborate the research Andings, additional insights were obtained from relevant experts, including Soegito Gito Sewojo .
Banyumas cultural schola.
and Darno Kartawi and Muriah Budiarti .
oth experts on the sinden traditio.
Data credibility was strengthened through source and time triangulation.
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selecting informants based on their cultural engagement and local expertise (Patton.
The data analysis followed an integrated framework combining Merriam's tripartite model, enculturation theory, and situated learning.
Merriam's model guided the identiAcation of musical concepts, behaviors, and sound, while enculturation and situated learning provided lenses for understanding how these elements are shaped through social interaction and participation.
This approach allowed the analysis to transcend mere description and instead interpret the cultural meanings inherent in the practices of Banyumasan sindens.
Through this approach, the researcher not only documented musical data but also contextualized the cultural meanings and social dynamics surrounding the learning processes of Banyumasan sindens.
Figure 1 visually illustrates the application of this Figure 1.
Analytical Framework of the Musical Enculturation Process of Banyumasan Sindens Based on Merriam's Tripartite Approach .
Figure 1 illustrates the interaction among the three primary dimensions in the development of the musical identity of Banyumasan sinden.
The three dimensions comprise an enculturation process that occurs vertically, horizontally, and situationally, reliant on the performance setting, speciAcally wayang kulit, lengger, and Results This section discusses the Aeld Andings pertaining to the musical enculturation process of Banyumasan sinden, focusing on three distinct forms of folk performances:
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wayang kulit, lengger calung, and ebeg.
The results are presented in three subsections, each reCecting a distinct performance context.
Every subsection presents essential data, highlights emerging trends, and addresses the nuances or complexities within the Aeld.
1 Wayang Sinden The Sinden in Banyumasan wayang .
hadow-puppet sho.
possesses a smooth and expressive voice, demonstrating precise vocal control and a solid comprehension of gending .
raditional Javanese song.
Numerous wayang sindens originate from families of local artists or dalang .
hadow puppeteer.
, where their learning journey started in childhood through immersive engagement at home, frequently utilizing their own gamelan instruments.
The primary technique employed is kupingan, which involves mimicking the cengkok of an experienced sinden or dalang during rehearsals or performances through auditory observation.
This process is both oral and contextual, though it takes place within a more structured setting.
An illustrative example is Mrs.
Sukrowati, a wayang sinden hailing from Papringan Village in Banyumas, who has been immersed in this art form since her childhood, growing up in a family of dalang.
Her training was inCuenced by her parents and reinforced by the family's regular practice of watching wayang performances and playing gamelan at home.
She consistently modulates her vocal volume to harmonize with the other gamelan instruments.
AuSaya belajar sinden sejak kecil dengan mendengarkan sinden wayang saat di panggung dan menirukan saat latihan di rumah dengan keluarga bersama di rumah,Ay AuI began learning to sing as a sinden from an early age by listening to wayang sindens during performances and imitating them during rehearsals at home together with my family.
Ay (Interview with Ibu Sukrowati.
Papringan, 2.
Mastering the sinden vocal technique of the Banyumasan style involves a crucial aspect of stage artistry: the ability to perform senggakan and parikan.
In wayang performances, senggakan Ae short, spontaneous vocal interjections or exclamations Ae typically emerge between dialogues or tembang during speciAc scenes.
For instance, in limbukan, the humorous interludes performed by the characters Limbuk and Cangik, these interjections mirror everyday life amidst the main narrative.
Similarly, goro-goro, which features a humorous and spontaneous chaotic scene led by a clown-servant Agure, also promotes this dynamic interaction.
In the context of traditional performance, parikan denotes brief rhyming verses that are articulated in constant harmony with the gamelan.
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Banyumasan vocabulary and cengkok.
Budiarti asserts that "Banyumasan sindens must master senggakan and parikan, ensuring that their delivery is not monotonous and that the performance remains " Examples of senggakan and parikan notations are provided to illustrate the variations typically found in the Banyumasan style (Figure 2 and Figure .
Figure 2.
Notation and lyric of Figure 3.
Notation and lyrics of The learning approach of wayang sindens highlights the importance of discipline in stage ethics and the mastery of classical vocal techniques, including wiled, luk, gregel, and seleh.
Observations of various Banyumasan puppet performances reveal notable differences in the vocal styles utilized by the sindens.
Some performances adhere closely to the Banyumasan gagrak .
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subtleties from the more reAned Solo or Yogyakarta styles.
In practice, sindens accustomed to the nuanced courtly style are generally designated to perform in ofAcial or sacred scenes, whereas those embodying the Banyumasan style more frequently engage in the entertainment or folk segments of the performance.
Figure 4.
Sinden with her notes to make a variety of vocal (Source: Suharto documents.
Furthermore, the ability to master a wide array of songs featuring diverse cengkok necessitates robust memorization skills.
Some sindens address these memorization challenges by utilizing written notes positioned near their seating areas during performances (Figure .
This approach is regarded as beneAcial for preserving the Cuidity of sinden singing, while reducing the recurrence of verses and cengkok, which can make the vocal performance monotonous.
Lengger-Calung Sinden Lengger-calung sindens typically originate from artistic families and start their singing journeys at a young age, engaging in both sanggar .
rts studi.
activities and public celebration events.
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by a loud and expressive quality, demonstrating Cexibility through the use of high registers and dynamic volume to effectively engage the audience's attention.
According to an interview conducted with Mrs.
Narsihati in April 2024, it is essential for a lengger sinden to foster a vibrant atmosphere during performances.
She articulated that possessing a powerful voice and the capability to dance while singing are crucial for captivating the Many sindens also perform as lengger dancers .
, requiring them to sing and dance at the same time.
Daimah, aged 41, is another lengger dancer who is currently enjoying signiAcant popularity.
She is a versatile performer who has honed a variety of skills, such as senggakan, ndagel .
omic improvisatio.
, parikan, and wangsalan .
iddle-like poetic verse.
Her well-known repertoire features Banyumasan songs, including Ricik-ricik.
Senggot.
Eling-eling, and Bendrong Kulon.
The process of enculturation predominantly occurs in public settings, including performance venues, community events, and direct engagement with the audience, rather than within the conAnes of the family environment.
Learning takes place through oral communication, where individuals engage in observation, imitation, and active Senggakan and parikan serve as the primary characteristics that deAne various segments of the show, including the badutan .
lown characte.
, lenggeran, and saweran .
udience song In certain contemporary performance formats, there exist specialized sindens who sing exclusively while the dancers concentrate on their movements.
The senggakan is performed in unison by the sindens, nayaga .
amelan player.
, and dancers, resulting in a vibrant and dynamic atmosphere characteristic of Banyumasan performances.
The distinction in roles between double sindens, who engage in both singing and dancing, and special sindens, who focus solely on singing, signiAcantly inCuences vocal style and the emphasis of the The differences in the number and text of the gending frequently lead to sinden relying on notes throughout the performance.
In several observed performances, the entertainment segment frequently serves as the most liberated space for expression for the Their vocal and movement styles adapt to the audience's reactions, with both rhythm and energy intensifying as the atmosphere Page 348 Suharto, et.
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of the show evolves.
3 Ebeg Sinden Ebeg sindens occupy a more Cexible role within the performance framework when compared to the two sinden styles previously It is essential for them to possess robust vocal stamina and physical endurance, enabling them to sing continuously with little rest in lively and noisy settings.
Their learning process is often characterized by self-directed efforts, motivated by economic needs, and frequently takes place in the absence of an artistic family heritage.
AuNyinden ning ebeg niku, sing penting kuat napase lan bisa ngatur tempo penarine.
Ay (AuIn ebeg performances, what matters most for a sinden is strong breath control and the ability to adjust to the dancers' tempo.
(Interview with Mbak Wati.
Banyumas, 2.
The role of the family in the enculturation process of ebeg sindens is distinct from that of wayang or lengger Generally, ebeg sindens do not originate from artistic however, there is still a form of family support present.
This support may manifest in various ways, such as granting permission, facilitating access to local performance groups, or allowing female family members to engage in public performances.
In this context, the family serves primarily as a social facilitator rather than a direct transmitter of musical values.
The primary features of ebeg sinden include .
a lack of adherence to formal vocal conventions, .
a versatile repertoire that encompasses Banyumasan songs, popular music, and even dangdut, and .
an emphasis on vocal clarity and strength over physical appearance.
For ebeg sindens, the notion of music extends beyond mere aesthetic expression or sacred symbolism.
Music serves as a means of entertainment and acts as a catalyst for invigorating the environment.
It is recognized as an element of an open, adaptable, and informal "folk In this context, the sinden's voice functions as a means of social navigation for both the audience and dancers during mendem .
rance stat.
, rather than simply serving as a medium for vocal artistry.
Costuming demonstrates a remarkable adaptability to the occasion and can be tailored to align with the preferences of the event organizers.
ebeg performance, for instance, may be interwoven with lengger dances or complemented by dangdut music .
ee Figure .
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Figure 5.
Variations in Ebeg Sinden Performances (Source: Suharto documents.
The musical behavior of ebeg sindens emerges primarily through experiential learning in informal performance settings, rather than through formal or familial instruction.
Their behavior is marked by responsive vocalizations that adapt to the movements of dancers and the beats of drummers, ensuring a consistent rhythm and intensity during the performance.
Typically, they acquire knowledge by supporting experienced performers or interacting with digital This process fosters an awareness of the laras Banyumasan tuning and familiar folk tembang through consistent repetition and careful observation.
Similar to the lengger sinden, this form of sinden utilizes situated learning, a concept that suggests learning takes place through active engagement within a community of practice, rather than through formal education.
Within the framework of ebeg, sindens engage in a learning process while positioned at the side of the stage, absorbing knowledge through listening and ultimately taking part in the In the Banyumas ebeg .
uda lumpin.
folk performance, the sinden plays a distinct role that differs from the palace style, where the focus is on aesthetic expression and vocal reAnement.
Instead, the sinden is integral to maintaining the rhythm of the performance, working in harmony with the drums and the dancers' movements.
This role involves regulating the vocal Cow that energizes the dancers, particularly during trance scenes, and delivering simple, repetitive, and functional vocal rhythmic patterns, such as those found in the senggakan section or supporting songs.
In certain ebeg performances, the sinden's artistry aligns with a trance scene.
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community perceive mendem as an integral aspect of tradition, considering it a normal element within the realm of performing arts.
Conversely, some individuals link it to mystical elements that are viewed as opposing certain religious values.
Field notes reveal that the sindens participating in these performances persist in fulAlling their vocal roles, both throughout the dance and during the trance scenes.
Table 3.
Synthesis of Findings on the Musical Enculturation of Sinden Based on the Tripartite Approach Tripartite Aspect Musical Behavior Musical Concept Sound Wayang Kulit Sinden The process of learning through listening and teaching within the context of an artist's familial exercises rooted in oral traditions.
Lengger-Calung Sinden Participatory learning within arts groups and involves active interaction, as seen in the between the drummer and Lyrical frequently occurs in these settings.
The signiAcance of The repertoire cultural devotion, and ethical visual appeal, and considerations in performance is This knowledge is Cexible selection passed down that encompasses both traditional generations within and popular the artist's family and the dalang The vocals are The vocals exhibit smooth and and diversity, with beautifully with the rebab and elements such as There is senggakan and a clear mastery of parikan serving as the standard key components Banyumasan of entertainment style, enriched by and interaction.
inCuences from Solo and Yogya.
Ebeg Sinden Being engaged within the ebeg involves adapting tempo and vocal patterns to align with the dancers' are developed through both observation and The role of trance accompaniment is integrating with the dynamics of dance and the overall Cow of performance, rich in symbols and local values.
The vocals exhibit a rhythmic and energetic quality, contributing to a trance-like The use of short, repetitive verses harmoniously with the swift tempo of the gamelan Page 351 Suharto, et.
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The analysis of the data in Table 3 indicates that the three domains of learning integrate in a harmonious way to inCuence musical behavior, aesthetic concepts, and distinctive sounds among the three types of sindens.
Discussion The results of the study indicate that the musical enculturation process of Banyumasan sinden takes place within three primary social domains: family, art community, and stage experience.
These domains are interconnected and play a signiAcant role in shaping musical behavior, concepts, and sound output.
The three domains illustrate the ongoing relationship between traditional values and social practices, in accordance with Merriam's .
tripartite model, which includes concepts, behavior, and sound.
This aligns with the situated learning approach put forward by Lave and Wenger .
, highlighting the notion of learning as an active participation within a community of practice (Lave & Wenger, 1.
1 The Learning Process in the Family The musical enculturation of Banyumasan sinden starts in the family, which acts as the main environment for imparting values, ethics, and vocal abilities.
Learning occurs through the processes of observation, imitation, and active engagement, rather than solely through formal instruction.
Merriam's .
tripartite framework illustrates how vocal practice within the family context combines musical behavior, an understanding of values, and the resulting sound expressions.
This integration fosters a vocal character that is characterized by softness, measured tones, and emotional This principle aligns with the situated learning theory put forth by Lave and Wenger .
, which identiAes the family as a fundamental community of practice.
this setting, novice sindens acquire knowledge by engaging in everyday activities, a point also highlighted by McPherson .
Consequently, the learning process fosters not only technical skills but also cultivates an ethical understanding of the social and spiritual roles of sinden within the Banyumasan cultural context.
The Andings highlight the signiAcance of family in the enculturation process of Banyumasan sindens, especially regarding the behavioral aspect that is central to Merriam's tripartite framework.
The family acts as a crucial environment for musical education, fostering skills through regular listening, practice, and engagement within an artistic framework.
The Andings presented here are consistent with the work of Meloni .
, who emphasized the informal learning processes of Banyumasan Additionally, they resonate with the perspectives of Hidayat.
Fauji, & Zayyan .
, who recognized the family as an integral component of a community network dedicated to cultural preservation.
In addition.
Budiarti & Siswati .
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Andings by presenting the cases of sindens named Suryati and Sukrowati, who illustrate how the artist's family serves as the foundational inCuence in developing musical sensitivity and identity.
2 The Role of the Arts Community The process of musical enculturation among Banyumasan sinden is illustrated through three community-based contexts: wayang kulit, lengger calung, and ebeg.
Each of these contexts showcases unique patterns of behavior, concepts, and sounds.
In the leather puppet .
ayang kuli.
, the process of learning is facilitated through kupingan, or learning by ear, alongside family-based mentoring.
This approach nurtures discipline and instills values of ethical performance.
In lengger calung, the engagement and collaboration among musicians and dancers cultivate a space for improvisation, humor, and adaptability.
This is consistent with the Andings of Raharjo and Arsih .
, who discuss conditioning and internalization in informal enculturation, as well as Budiarti and Siswati .
, who emphasize the creativity that arises from collective guidance and practice.
The practices exemplify situated learning as described by Lave & Wenger .
and embody the egalitarian and spontaneous essence of the Banyumas community, where music serves as both a social practice and a form of moral education.
In the context of Merriam's tripartite framework, which encompasses concept, behavior, and sound, the results presented in Table 3 demonstrate that the community functions as a venue where Banyumasan social values, as concepts, are manifested through collaborative musical behaviors, resulting in sounds that are characteristic of the local identity.
This pattern is consistent with the Andings of Mapana .
, who argues that the process of learning music is deeply rooted in personal experiences and active participation within the community, rather than solely through formal educational settings.
Powell .
indicates that community music interventions foster well-being and social cohesion, as evidenced by the enthusiasm and unity found in sinden performances.
In their study.
Samper et al.
highlight the role of musicking in fostering the sustainability of cultural identity.
Musicking encompasses more than the mere act of Auplaying musicAy in a technical sense.
it includes all activities related to music, such as listening, singing, dancing, and collaboratively creating meaning (Small, 1.
Therefore, the community serves not only as a platform for learning but also as an integral basis for preserving the musical, moral, and sound values of Banyumasan traditions.
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3 Stage Experience The stage in Banyumasan performances functions not merely as a site for entertainment, but also as a dynamic environment for the process of musical By engaging directly with the audience, the musicians, and the dramatic contexts, the sindens take in social and aesthetic values, thereby converting their musical abilities into a form of cultural understanding.
As noted by Hayward and Kartawi .
Banyumas Calung performances exhibit a light.
Cexible, and humorous nature, featuring abrupt tempo shifts and spontaneous elements such as senggakan, parikan, and wangsalan, all of which contribute to a shared sense of joy among the Within this context, the vocal behavior of the sindens embodies the moral values of rame .
, lugas (Armness and straightforwardnes.
, and tepa selira .
mpathy and mutual respec.
Mulyana et al.
interpret rame as the aesthetics of collective energy, whereas Suharto et al.
highlight the vibrant atmosphere of a stage, which signiAes the success of a performance.
This success is not only a primary objective but also intertwined with an essential ethical dimension.
This particular form of enculturation is clearly observable in wayang kulit, lengger calung, and ebeg.
Within the limbukan or goro-goro segments, the sindens participate actively in dialogue and improvisation alongside the comedians and musicians, utilizing humorous parikan to sustain a vibrant atmosphere.
Walton .
examines the negotiation between ritual and entertainment as a signiAcant transformation in the roles of Javanese women.
While this shift may be seen by some as a diminishment of the sacred, it also reCects a process of cultural adaptation and resilience.
Field observations reveal that the sindens frequently utilize parikan notes or song lyrics as improvisational guides (Suharto, 2.
, highlighting the stage as a venue for learning, adaptation, and the afArmation of Banyumasan musical identity.
This portrayal illustrates the combination of musical behavior, aesthetic ideas, and sound qualities found in the traditions of Banyumasan sinden.
Conclusion This study shows that the enculturation of Banyumasan sinden arises from an interconnected process that unfolds across various performance contexts.
Instead of solely originating from formal instruction, learning progresses through active participation, embodied practice, and continuous social engagement.
Musical behavior, conceptual comprehension, and vocal timbre are persistently inCuenced by daily interactions, resulting in an incremental, experiential mode of learning that is profoundly embedded in communal life.
Musical meaning, therefore, is not mechanically conveyed but develops through continuous engagement in community Page 354 Suharto, et.
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practices rooted in local values, ethics, and shared aesthetic principles.
By presenting a comprehensive model of enculturation, the research elucidates the processes through which musical knowledge is acquired via familial inCuence, community participation, and performance experience.
It expands discussions surrounding traditional vocal arts by underscoring the importance of cultural identity, social and relational contexts, and embodied practice as fundamental elements of artistic proAciency.
Theoretical implications encompass demonstrating how sound is persistently inCuenced by behavior and conceptual frameworks, unveiling a dynamic cycle in which values, aesthetics, and collective creativity mutually reinforce one another to uphold Banyumasan vocal traditions.
The scope is limited to a single region and three speciAc performance domains, and therefore, the Andings may not encompass the complete diversity of Banyumasan vocal traditions.
Results are derived from speciAc Aeld observations and a selected cohort of participants, providing a necessarily limited perspective on the wider spectrum of artistic activity.
Broadening the scope of contexts and participants, along with implementing comparative methodologies, would enhance the understanding of how traditional vocal arts are evolving in response to modern socio-cultural inCuences.
Recommendations The enculturation patterns discovered within Banyumasan society offer a robust foundation for the enhancement of community-based arts education.
Integrating learning methodologies that emphasize Arsthand experience, collaborative engagement, and localized values, such as asahAeasihAeasuh .
eAning, nurturing, and guidin.
, is crucial in both formal and non-formal arts education contexts.
Municipal authorities, educational establishments, and cultural organizations are encouraged to develop intergenerational seminars, context-speciAc vocal training curriculum, and digital archiving projects designed to promote the regeneration of young sinden.
Further research initiatives should expand upon this approach to include diverse cultural settings, which can improve the understanding of the tripartite-situated learning model within the context of Indonesian traditional music education.
Comparative regional analyses, encompassing the sinden traditions of Surakarta.
Banyuwangi, and Cirebon, have the potential to reveal variations in enculturation processes and underscore the importance of performance in shaping local musical These efforts guarantee the preservation and evolution of the Banyumasan sinden tradition while maintaining its contextual relevance as a contemporary form of cultural expression.
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Acknowledgments The researchers express their gratitude to the Institute for Research and Community Service (LPPM) at Universitas Negeri Semarang for providing the funding of this The research activities of the Banyumasan sinden receive support from the International Society for Music Education (ISME), which has allocated funding for advocacy initiatives as part of the activities endorsed by the 2022-2024 Parsons Music Award (ISME, 2.
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