International Journal of Music and Performing Arts

June 2018, Vol. 6, No. 1, pp. 38-48

ISSN: 2374-2690 (Print) 2374-2704 (Online)
Copyright © The Author(s). All Rights Reserved.
Published by American Research Institute for Policy Development
DOI: 10.15640/ijmpa.v6n1a5
URL: https://doi.org/10.15640/ijmpa.v6n1a5

Role and Function of Brass Orchestra (Alloy Trumpet) as a Music Accompanist

in the Protestant Church of Moluccas

Michael R. Kempa

Abstract

Music becomes very important in Christian worship because, music in worship becomes a means for the
congregation to express feelings through musical elements. Initially the musical accompaniment used in GPM
is bamboo flute and keyboard but post colonization by the Dutch, resulting in the bamboo flute begins to
disappear and is replaced with brass trumpet orchestra (trumpet alloy). Seen in roles and functions as musical
accompaniment, trumpet alloys have not performed their duties and responsibilities well then, this paper will
look back and reconsider the functions, roles and position of trumpet alloys that have existed in the
congregations within GPM. So there is a balance between primary music (hymn singing) and secondary music
(the accompaniment of the congregation singing, in this case the trumpet alloy). The research method used is
qualitative method, data obtained by in-depth interview with key informant and participant observation that
make so that data taken based on existing reality. However, based on research and data analysis, it is
concluded that the function, role and position have not been run well based on 3 stages namely, 1. Pre
Service (Pre-Perform) or preparation stage, 2. During Service (perform) and 3. Post- Service (post-perform).

Keywords: Musical accompaniment worship, brass orchestra, trumpet, Music Church.

I. Introduction
Music can not be separated from our lives, as in Christian worship, music has a very important role. Among
them in the Church or what we usually call church music. Music is considered very important in Christian worship is
because music can help people to live worship. People can more appreciate every liturgical process with its symbols
when music is used. The main purpose of church music is to enable the congregation to express the intensity of
feeling through diversity in speed, pitch, soft, melodic and rhythmic patterns. So, people are more likely to express
themselves when singing than when speaking. Music can and often conveys greater intensity in feelings than when
expressed without music.
In particular music in worship includes primary music and secondary music. Primary music is the singing of
the congregation in this matter the human voice while the secondary music is a non-singing congregation of musical
instruments derived from musical instruments (eg, keyboard or trumpet) to support congregational singing and revive
worship. Therefore, although very important, secondary music or musical accompaniment on its function should only
as a supporter for primary music (hymn).
One of the most popular musical instruments in the Protestant Church of Mollucas (GPM) is the brass
orchestra known by the Protestant Church of Mollucas as a trumpet alloy that has a composition of players consisting
of sopranos of 4-5 people, altohorn1-2 people , trombone1-2 persons, 1 person baritone and 1 person tuba whose
description is as follows:
 Michael R. Kempa 39

Figure : Brass Orchestra The Protestant Church of Mollucas

The trumpet in its history was brought into Maluku by the Dutch colonists around 1938 and eventually
progressed in the GPM congregations (Mis: Latuhalat, Waai) in 1960-1961. From that time trumpet became one of
the musical accompaniment in worship in the congregations of GPM.
But as secondary music, in reality encountered in the congregations in general, the trumpet alloy has not been
able to carry out the main purpose of their function as an accompanist to the congregation. The main function of
ecclesiastical music (church music) is to increase the dimension of involvement in worship. Therefore the beauty of
music is good but not the purpose or purpose of worship. The trumpet alloys that are in GPM congregations make
the beauty of music an important goal and value of worship, so the standard used to assess the beauty of music is as
applied in a concert. Therefore, the main function of companion music is ignored. Even religious worship is almost
similar to a musical concert that focuses more on entertainment aspects similar to show and forget about its function
in the liturgy.
In addition, it is seen in the limitations of the tone controlled by the players that allow the task of escorting
the congregation does not work right because the sound of the tone produced surpasses the voice of the
congregation. The higher the tone will directly affect the amount of sound produced. So in fact the atmosphere of
worship will be disturbed due to the loud volume.
This is certainly contrary to the basic principle as musical accompaniment that should support the singing of
the congregation, companion music tends to dominate and more prominent in the worship of the ummah. Therefore,
the trumpet alloy does not really understand its function, its role and position as musical accompaniment. then, the
problem arises first, what is the function, role and position of trumpet alloys as musical accompaniment in the
worship of the people in GPM ?. Second, what is the relationship between the music and the liturgy of the Church to
the function, role and position of the trumpet alloys as accompaniment in the church worship at the GPM?
In this connection, the writing of this article is intended to look back and consider the functions, roles and
position of the trumpet alloys as musical accompaniment (secondary music) in the worship of the people especially in
the congregations in GPM. The limits of the research sites are limited to Ambon city area represented by three
congregations, namely; congregation of GPM Silo, congregation of GPM Soya and congregation. These three
congregations are selected based on the topographical characteristics of the congregation, namely; the Silo GPM
congregation represents the central area of Ambon city, the Soya GPM congregation represents mountainous areas
(congregations in the mountains), whereas the congregation of GPM Tawiri represents the suburbs of Ambon. For
this reason, the three congregations chosen are based on the characteristics of the region and its topography; the
mountains or the city center and the suburbs.
II. Theoretical concepts
The term "music" is derived from Greek, mousike, meaning the art of muses. Hence in ancient Greek
thought music was seen as an important part affecting "mind" and "feeling". And therefore, Music is "art" (the art),
but also "science" (science). Music as art points to aspects of art that include aspects of beauty, harmony, melody,
rhythm. While Music as a science, meant that in music not only emphasized the aspect of filling but must be studied
seriously, and trained. Music by KBBI is the science or art of composing tones or sounds in sequences, combinations,
and temporal relationships to produce a composition (sound) that has unity and continuity.
40 International Journal of Music and Performing Arts, Vol. 6, No. 1, June 2018

That means music is a regular arrangement of tones or sounds that produce beauty or harmonization in the
form of sound and can be enjoyed and perceived to affect the inner atmosphere of a person. Begbie revealed Music
fundamentally about making and receiving sounds. According to Begbie music is fundamentally related to the activity
of producing sounds and receiving sounds. Begbie sees the interplay of music with sound, as well as music with
"making" and "receiving" activities.
Begbie also suggests that at the most basic level (the most basic level) music consists of music making and
music hearing. Music making deals with activities that produce or create "music" or organized pattern of pitched
sound. While the music hearing cover all aspects that hear the music produced.
In principle, music is music, meaning that in principle there is no "church music", "hindu music" or "temple
music" nor is there a "Christian tone" or "hindu tone", as music is music. But the term "Church Music" is used and
distinguished from "Non-Ecclesiastical Music" is because, (1) its form, special musical formats in choir, vocal group,
prokantor, kantoria, soloist, duet, and companion music: orgen, alloy trumpet / flute. (2) Christian or ecclesiastical
nature, (3) Its content, contains theological values and testimony of the faith of the people. (4) Its function in worship
as a means of fellowship (koinonia), ministering (diakonia) and witnessing (marturia) as well as supporting the singing
of the congregation.
Hence, Handoko defines the music of the Church as music, in all its forms and types used in Church
worship, whether in public worship on Sundays, as well as on other days of worship. Church music is used to
accompany hymns and perform instrumental in worship. Thus, the music of the church is also the liturgical music
whose character is used specifically as a liturgical element for people to witness their faith in worship.
Music according to its style consists of a) vocal or sound art including liturgical singing performed by the
congregation as hymn and other songs performed by sura blends, group vocals, solos, trios, duets and quartets. b)
instrumental music performed to accompany the singing of the congregation, including: orgen, piano, bamboo flute
alloy, trumpet alloy, guitar, hawaian and traditional musical instruments (tifa, totobuang toleng-toleng1).
Instrumental music which in this case his duty to accompany the congregation can be classified as:
1. Aerophone music (aer words = air) is an intermediary musical instrument that sounds produced by the vibration of
air (the vibration of air) such as flute, trumpet and Skin shells2.
2. The idiophone music (idios = itself) is an instrument made of material which is produced from the body of the
instrument itself through various means such as wood (sticks), stones, clapping hands, slam legs (stamping feet),
etc.
3. Membranophone music (membrane word = skin) is an instrument instrument that sounds produced through the
vibration of the skin (membrane) such as drums, drums, tambourines, etc.
4. Chordophone music (Chordae word = string / string) is an instrument instrument that sounds produced by
vibration string / string (string) eg, guitar, ukulele, violin, etc.
5. Mechanical mechanical and electrical intruments are instrumental music that sounds are produced through
mechanical and electeric means. Such as automatic piano, organ, etc.
Instrumental music has two main functions in a performance:
a. Ritmis, is a musical instrument that in its game gives a certain rhythm or rhythm. It is also related to taps and
barbeques. Some examples: tambourine, tambourines, drums, drums, drums, and gongs.
b. Melodis, is a musical instrument used to play a series of notes or melodies. For example, flute, trumpet, violin,
melody guitar, etc.
Thus the trumpet instrument spoken of in this writing is the musical instruments Aerophone is a wind
instrument and that serves to play the melody. As a wind instrument, can not be separated from the music player or
the person who plays the instrument. Because basically in the wind instrument, the sound produced is through the
vibration of the air (by blowing). Therefore, music players play an important role in playing the instrument.
Trumpet alloys are people who take part in the ministry of music to accompany the worship of the
congregation. Thus the alloy of teromet must know and master the type of music it plays. If not then the music served
will sound discordant and can not function properly.

1
The instrumental of mollucas
2
ibid
Michael R. Kempa 41

Therefore, the trumpet alloy is not a group of alloys that "originally" play music only, but must know the
music well. Knowing music well will enable to present a harmonious and beautiful piece of music. Similarly must have
the ability to master the public with his music and produce a separate work of art, especially to accompany the singing
of people in a worship service. In addition, the musician must also be an expert in playing the music.
Picanusa adds some things to do in playing music, a) play with all your heart, b) play with the right basic tone,
c) play with the right tempo, d) play it clearly, e) play the tones ( high-low, long-short) appropriately, f) play according
to the song (song), g) play with the correct expression.
Thus the role, function and position of the trumpet alloy is very important in the worship of the people.
Therefore, the arrangement of primary and secondary music in church worship is a matter to be done seriously and
should not be done randomly. But it should get the attention of all parties concerned so that the role, function and
position of music to serve the worship can take place properly.
In addition, in connection with the function and role of trumpet alloys in the worship of the ummah.
Etymological worship derives from the Hebrew abodah or ebed and the Latin Latreia and prosekunai, the words
originally used in general, but later used by Palus for example in relation to how the congregation embodies true
worship or true worship (Romans 12 : 1-2). A number of the above words emphasize actions that express devotion,
worship, servitude to God.
In addition to the word "worship" is also known as the equivalent term "devotional" which has the same
basic meaning is a bhakti (Sanskrit) action that means subservient and respectful. Nor is it an act which declares its
loyalty to the ruler, that is, God is in charge of all that is and what He has made.
Another thing that needs to be seen in connection with the trumpet alloy as musical accompaniment is the
position in the liturgy. In liturgy, the music of the church is an integral part of the liturgy as "the order of worship"
and the liturgy as "action". Therefore, church music in this case can be referred to as liturgical music or musical
worship. Basically these three terms have similarities in their implementation, differing only in terminology.
Understanding the terms of church music, liturgical music as well as musical worship in its execution should give
priority to the singing of congregations together (community singing) which express the elements of belief of the
Ummah as; liturgical functions, the function of charisma (kerugma), and the function of koinonia which unites the
people through the singing of fellowship.
III. Research Data
III.1. The church's understanding of church music: The Blend of Trumpets as Church Music
From interviews with informants, the understanding of the function and role of church music tends to be the same,
which is to see church music as the music used in the church to complement and guide the songs that are chanted in
the worship congregation. This was revealed in the informant's answer in responding to the question of their
understanding of church music.
As one of the assemblies of the Tawri GPM assembly, who understands church music as a collection of
musical instruments worn in worship is not just a trumpet but also an ethnic musical instrument. The music used to
serve worship is not just worship week but worship that requires the waiter trumpet. Supporting facilities in the
process of worship in various lines and help the process of worship. The same thing was also expressed by another
informant from the Silo GPM congregation that church music is a vibration that produces sound. A work produces
something beautiful as a means of praise to the creator used to serve church services in response to the creator. Not
only that, a similar understanding was expressed by an informant from the Soya GPM congregation, who understood
church music as the music used in all the ecclesiastical elements.
From this answer it is illustrated that the congregation of GPM Tawiri sees church music as a support tool in
the church liturgy and church service tools that aims to support all the process of worship related to the congregation.
Not much different from the understanding of informants in GPM congregation Silo and congregation of GPM Soya
who understand church music as music used in activities that have ecclesiastical elements or in particular music that is
a means of supporting the liturgy through the music being played.
Understanding informants at the congregation of GPM Tawiri, GPM Silo congregation and GPM Soya
congregation did not show any fundamental difference. It is clear that in general the informants from the three sample
congregations understood church music as music used in worship or music used in the church. Nonetheless, the
informant put forward various ideas on the basis of church music.
42 International Journal of Music and Performing Arts, Vol. 6, No. 1, June 2018

As the significance of church music is based because God ranks above praise, it is necessary to offer beautiful
works as a compliment to God the creator. Other curiosity is also related to the nuances that must be built in worship,
and music is a very vital element in worship because it helps people to appreciate and interpret the process of
worship.
Based on interviews with informants, some informants understood church music as "a tool and a support
tool in the process of worship services" or "tools and means to support praise to God" and church music is
understood as "a support tool that accompanies the congregation in process of worship ". One of the keywords that
emphasizes the three informants in terms of church music is "tools". The informants understood the music of the
church only on the instrumental aspect of the kind of music that resulted from the use of musical instruments, such as
musical instruments (tifa, totobuang), wind instruments (bamboo flutes and trumpets), stringed instruments (guitar,
ukulele ) and stringed instruments (violin, cello, etc.). Meanwhile, the music of the church is meant here is music in all
its forms and types used in the worship of the people, so that not only accentuate the instrumental aspect as expressed
by the informants but also the vocal aspect.
All informants, however, agree that the music of the church is understood in connection with the worship of
the church and the liturgy. This is what the author encountered in the results of interviews with all informants. The
informants affirmed the close and indivisible relationship between "church music" and "church worship" or liturgy.
One informant reveals that "church music can not be separated from the liturgical element in the worship of the
congregation, both of which have a unified whole." For indeed the music of the church is included in the liturgy or
worship section which includes among others; spatial, worship, movement, timing, symbols, homilies (sermons),
biblical readings, church music, psalms and so on. Therefore, the understanding and meaning of church music (its
function and role) must be seen in its relation to the worship of the congregation. Christina Mandang, wrote that this
is what makes church music unique and different from other music.
In terms of church music and engagement, there are informants who see church music as a musical rhythm
that moves into the praise and word of God. There are also informants who say that church music is a contributing
factor in the conditioning of the atmosphere as well as the mental aspect of receiving the grace and word of God and
some who propose church music as something that produces the artwork and harmony that is used to accompany and
/ or support church worship . In line with previous informants one of the informants said that church music is a work
that produces something beautiful as a means of praise to the creator used to serve the worship of the people in
response to the creator. These informants saw the music of the church as a means of supporting or supporting means
of praise to God in the process of worship services so that there is joy in the worship performed.
Because of the fundamental relationship between church music and the worship of the people, understanding
the music of the church includes the interpretation of the theology of music, this is what most informants reveal. The
meaning of the theological dimension will give direction in understanding the music of the church as a whole and
true. The theological dimension of church music is also what distinguishes and gives the uniqueness of church music
from other music. There are informants who see church music in response to the creator (God), and there is also
pressure on the aspect of joy felt in the worship performed. Thus the music of the church takes on a vertical aspect
(response to the creator) and the horizontal aspect (joy to others). Evans writes:
“Furthermore, congregational music is simultaneously individual and corporate. The vertical and horizontal
operation of congregational song (that is, its vertical address to God and horizontal address to fellow participants) is
further complicated by its ability to exist as individual representation, through identification with the personalised
songwriter, or as communal response”
The worldview of church music seen in a unity with the worship of the ummah has resulted in all the
activities of church music to be seen within the framework of ministry (diakonia). Therefore, church music not only
displays aspects of showing, entertaining and performing, but also participation in the service of worship as a whole.
From the aspect of performing, the beauty aspect (aesthetic) becomes one of the important concerns as revealed by
one informant, while from the participation aspect, emphasizes the aspect of togetherness as the participant in the
worship, so that no one is more dominant or superior to others as stated by the next informant. But together
participate in the worship of the congregation.
In contrast to a number of other informants, this informant actually saw the music of the church in relation
to each particular church. He claimed that church music should be seen in connection with the church's or church's
heritage or tradition.
Michael R. Kempa 43

For example, the Protestant Church of the Moluccas (GPM), understanding church music in GPM can not
be separated from understanding the tradition of GPM that embraces the Calvinism or the flow of Calvinism that
emphasizes the "meditative" and "regular" dimensions in church worship. He also argues that the flow of the church
has a significant influence on church music.
According to the authors what is expressed by the above iforman on one side of the GPM is indeed a church
that has a Calvinistic style and a lot of influence on the understanding of church music in GPM. But on the other
hand the music in itself is something dynamic, and therefore gives influence as well, let alone the development of
ethnic music in church worship at GPM as expressed its development by one of the informants, as well as the
development of modern music (like, band) the church in GPM follows the development of the present age.
In connection with this section there are some things that stand out from the interviews with the informants,
among others: First, trumpet alloys seen as church music, which is generally instrumental music that is the type of
music produced from the use of musical instruments in this case is wind instruments (aerophone). Secondly, as church
music, the trumpet alloy can not be separated from its relationship to the worship of the people or the liturgy. A
thorough and comprehensive understanding of the trumpet alloys as church music is only obtained when viewed in
relation to church worship or liturgy. Third, the implication of the linkage between the trumpet alloy as church music
and the worship of the people (liturgy), then the theology of music of church music (blend of trumpets) must also be
highlighted.Therefore, there is a response action (thanks giving) to God (vertical aspect) and brings joy to others
(horizontal aspect). Or in other words church music becomes a means of fellowship (koinonia), ministering (diakonia)
and witnessing (marturia). Fourth, the music of the church in the worship of the people is influenced in part or
influenced by the style or flow of each church. For example GPM that has a Calvinistic style also colored the style of
church music in GPM. Although it is not entirely defensible, for like the trumpet blend as church music in GPM it is
not the legacy of the Calvin tradition, but the influence of the music corps Prince Bernard Capelle (Dutch navy) at the
birthday of queen Wilhelmina in Batu Gajah3 which became the embryo the rise of trumpet music in worship services
week in GPM.
III.2 the congregation’s understanding of companion music: the Trumpet Alloys as aMusic Accompanist
One of the most important elements in church music is the herding music. In its task to lead the
congregation, understanding of the role and function of musical music is necessary. The ultimate in an effort to see
back the real function of accompanist music.
Based on interviews with some informants about the congregation's understanding of accompanists, the
authors found that the congregation's understanding of companion music is quite varied. Like the understanding that
musical music is the music that guides and organizes the congregation when singing or other opinions that the music
herd is a music that stimulates the congregation closer to God. But far different from the previous two ideas that saw
the function of accompaniment music more to the singing guides and stimulate appreciation to the Divine, there is
also an opinion that equates music penggring with music fill (music fill) although both are very different.
In general, informants did reveal that the music pengiring in a worship is very important, because it serves to
make the congregation become organized. As the informant put it that: without music to accompany worship then
worship will look chaotic. When music is used to accompany must run well because the congregation sometimes does
not match the music accompaniment. Therefore the music accompanist must walk well because without the music
accompaniment so the congregation singing is not directional. In addition to the function to guide the congregation in
singing, other functions that are not less important that raised by the congregation is the music penggiring able to
create an atmosphere that supports the process of worship through the sound produced. The dynamics marked by the
soft sound of the congregation help the congregation appreciate every process of worship.
From the interviews with the informants, it can be seen that in general the congregation understands that the
existence and function of musical music is very important in the worship of the congregation because if not, the
singing of the congregation does not guide. So it is important because it makes the congregation of the church which
is part of the worship of the congregation to be good. One informant sees accompanying music as the music that
accompanies the congregation in a song or "distress" the congregation in the congregation.

3
One of the location in Ambon city
44 International Journal of Music and Performing Arts, Vol. 6, No. 1, June 2018

There is also a mention that the trumpet alloy as accompaniment music that accompanies the process of church
congregation while other informants see accompaniment music as an element of music used to accompany either it
accompanies the congregation or accompany a group that sings. In contrast, some express that accompaniment music
as something that makes or stimulate the congregation to get closer to God also the accompanying music that is the
trumpet blend as guides of the church congregations. The next informant looked at the accompanying music
(trumpet) as a companion that created a harmonious blend in the worship of the congregation. the next also saw
accompaniment music as all music or something that can produce sounds and can be used to accompany the
congregation. there is also a view of accompanying music as music that accompanies the singing of the congregation
and builds a peaceful and orderly atmosphere in worship. It further argues that adding companion music has a
function as a companion in congregational worship so that the existence of liturgical continuity and make worship
come alive and well. While the last informant said that the music accompaniment is a music that regulates the
compactness of praise in the worship of the congregation, set the tempo also the rhythm of the song so that the
congregation can sing well.
According to the authors of all interviews with informants, all informants see the trumpet blend as
accompaniment in relation to the singing of the congregation. In this case the song of the church is seen as primary
music and musical accompaniment (trumpet) as secondary music. But the relationship between the trumpet alloys as
musical accompaniment with the singing of the church is seen as a mutually supportive relationship, creating order,
harmony, cohesiveness, mutual animation, and sustainability. Hence the apparent relationship between the trumpet
alloys as musical accompaniment and the singing of the congregation is a reciprocal relationship, and not dominating
and even complementary relationships, where the existence of trumpet alloys as secondary music does not negate
congregational singing or otherwise, but rather to complement, lead or guide the congregation and organize the tempo
as well as the rhythm of the song so that the congregation can sing well and beautifully.
In contrast to a number of other informants, this informant just saw the trumpet alloy as accompaniment
music in relation to the fill music or "music filler". He further explained that the trumpet must be a fill music in the
congregation (vocal) vocals. The position of the congregation is understood as the primary music hence the trumpet
alloy becomes filler music, which is as intro and fill music.
In relation to what this informant discloses, there are several things that can be put forward:
1) There are a number of overlapping terms, "musical accompaniment" is understood the same as "fill music". The
use of this overlapping term leads to vagueness and ambiguity of meaning.
2) Awareness to understand the trumpet alloys as accompaniment music in relation to "primary music" and
"secondary music" is an important thing to highlight.
3) Companion music or Accompaniment is a musical accompaniment over a melody that sounded. The companion
music position is associated with a "melody" that is sounded. In relation to the singing of the church as primary
music, the singing congregation is the congregation that sounds the melody and the trumpet blend as companion
music also blows the notes according to the melodie filler. Therefore it can be said also that the music
accompaniment (secondary music) is music that goes together (in conjunction) with vocal music-singing
congregation (primary music). Trumpet alloys as accompaniment music plays melodies (melodie filler) to the song
of the congregation.
4) Music filler or fill in music is a term stuff-pasasi songs that display the skills of players. The term is heavily
associated with drumming, Murakami and Miura explain that:
“Drum patterns can be distinguished inti “basic-rhythm” and “fill in” pattern. The “fill in” pattern is an improvised
pattern compared to the basic-rhythm pattern, and is usually used to fill in blanks in the accompanying melody”.4
According to the author's opinion, the two terms interpreted in overlapping by the informant above must be
understood separately. Therefore the trumpet alloy must be seen as musical accompaniment and not as filler music or
fill in music.
III.3.The congregational understanding of the trumpet alloy in playing its role and function
The existence of the music of the escort of Trumpet Allege is very important in the process of congregational
worship. But the extent of the existence of the trumpet alloy is considered important, very dependent on the people
who feel the benefits.

4YukiMurakami dan Masanob Miura, “Automatic detection system for fill in form drum patterns employed in popular music”,
Makalah yang disampaikan dalam The 10th Western Pacific Acoustics Conference, hlm. 1-2
Michael R. Kempa 45

In interviews with some members of the congregation, the congregation and the trumpet members of the
three congregations, the answers tended to question the function of the trumpet alloys that were considered to have
not run maximally. In addition, there are also various reasons for the function and role of the Trumpet Alloys. The
answer of the informant about the function and role of the trumpet alloy is seen from the cause of the lack of
maximum function and the role of the highest trumpet alloy is due to the lack of exercise (six informants) and the
overwhelming volume of the volume (five informants) while the lack of inspiration of the players and the lack of
procurement and maintenance tool only revealed by one informant.
One of the informants mentioned that the trumpet alloy has not performed its function and role well. This is
due, among others; a) lack of preparation (training), b) liturgical spatial arrangement that complicates communication
between musicians and singers, and c) lack of connection between liturgical supporters. In line with this, there is also a
revealing that the function and role of trumpet alloy as accompaniment music "is far from perfection." He proposed
several reasons; 1. There is an impression of mutual dominance among the trumpet players, thus affecting the sound
produced. 2. The sitting position (where the trumpet alloys) are in the liturgical space. 3. Pressure to the aesthetic
aspect (beauty), so that other aspects tend to be forgotten. Another informant also said the importance of liturgical
room layout and player composition.
An informant who is a senior trainer sees that today's trumpet alloy is more "rame" means to pay attention to
the aspects of showing or performing and ignoring the aspects of diakonia (serving), marturia (witnessing) and
koinonia (fellowship). He also mentions two main factors as musical accompaniment that has not been run by a
trumpet alloy; 1. Proficiency (skill / art) in blowing trumpets, 2. Endurance players in playing songs with different
tempos in succession. Therefore, according to him suggested the importance of training and coaching. Indeed what is
put forward is important because training and coaching continuously, thus encouraging the spirit of changing how to
play gradually and produce good sound quality.
Along with that there is also a saying that the need to improve the function and role, this indicates not the
maximum role and function of trumpet alloy as musical accompaniment. This informant put forward a number of
reasons; a) the need to pay attention to the preparation stage well and well, b) structuring or management of trumpet
alloys, including the determination of the coordinator and the arrangement of the number of personnel, as well as the
distribution of trumpet player composition in the implementation of services that occur together or in unison. No less
interesting there are also informants who complained about the lack of preparation and alertness in playing a different
song different tempo and play atmosphere.
In addition there is a convey the same thing that is about the lack of preparation done by trumpet alloys.
Furthermore, one of these informants highlights the dominance of the volume of sound by the trumpet blend that
obscures the voice of a congregation of a congregation, so the congregation's voice (primary music) is not heard but
merely the sound of trumpet music as secondary music. There is also a highlight of the aspect of the volume control
or sound control of the trumpet players. Volumes that are too loud by the sound of trumpets can affect the meaning
and appreciation of songs by the congregation who sing. In addition, one of the informants also added a loud and
dominant volume to make the congregation restless, so that the worship that was held was not understood, the
solemn worship became lost. The volume is too big according to him caused by the lack of awareness in playing
trumpets as the music accompaniment singing congregation, many trumpet blower who just merged.
This informant also mentions the limited base of the tone that can be played by the trumpet alloys C, F and
Bb, so that also influence the accompaniment of singing congregation singing on the basis of the other tone according
to the song, for example the base tone G. Therefore he stressed the need special and ongoing training and careful
preparation. Another informant put forward another reason for the functions and roles of trumpet alloys that have
not been run properly, because they are a new trumpet alloy, so the need for an intense workout process.
In contrast to a number of informants who have been mentioned one informant saw that the function and
role of one of the trumpet alloys has been well executed. To reinforce his argument he argues that there has been a
heightened awareness of the role and function of trumpet alloys as secondary music that accompanies the singing of
the congregation, so that the trumpet volume is arranged and disiasati in such a way that the resulting volume does
not dominate or mask the voices of the singing congregation.
Starting from all the interviews with the informants, there are some things that the author thinks are important in
relation to this subject:
46 International Journal of Music and Performing Arts, Vol. 6, No. 1, June 2018

1. Majority of informants mentioned that roles and functions of trumpet alloys have not been well executed.
The reasons stated include 3 stages namely; 1. Pre Service (Pre-Perform) or preparation stage, 2. At Service (perform)
and 3. Post-Service (post-perform).
2. Stages of preparation or pre-service (before perform) became the attention and highlighted sharply by the
informants. The lack of preparation made the resulting service process is not maximal. Therefore there needs to be
a regular schedule of preparatory work done before serving. Besides that the continiou and intense and serious
training process becomes an important part that needs to be emphasized in the preparation stage. At the
preparatory stage of technical aspects such as breathing (breathing technique), breathing control, finger ring, and
Embouchure, the position of the lips in the mouthpiece cup needs to be considered because it affects the amount
of sound produced. In addition the discipline aspect (discipline) becomes one of the important key factors related
to the preparation stage performed (before perform).
3. At the stage of Enlightenment (ministry performing), a number of aspects to note are liturgical spatial, trumpeted
seat positions, large liturgical space as well as distance and range of possible communication with other liturgical
supporters, such as singers as well as deacons or elders in charge . These aspects are important because they
contribute significantly to the appreciation and meaning of the chanted song. If the liturgical chamber is small then
the dämfer is used to adjust the volume produced by the trumpet alloy. Or if the composition of players too banya
then can also use dämfer to manage the small sounds that sounded by trumpet alloys.The aspect of
communication among liturgical supporters also needs to be an important concern, since a sitting position must be
visible, unobstructed and easy to reach. Because, at any time there may be a sudden change and it is important to
be communicated with a trumpet alloy as accompaniment music. Or if there is repetition on a particular song then
this should also be communicated. That is why communication in the liturgical space is a matter of concern.
Another aspect that must be seen is that in ministry performing or service process is done aesthetic aspect or beauty,
aspect of voice softness, theological aspect (diakonia-marturia-koinonia), aspect of tempo and rhythm of song
being played, as well as temporary kind of worship held. The worship aspect of the grief desires a different way of
blowing with joyful worship. It is important to note so as not to cause unrest for worshipers. The balance of all
aspects mentioned needs to be seen and cared for.
4. Post-service stage (post ministry performing), at this stage periodic evaluation of the service process conducted by
trumpet alloys. The evaluation process can be done by asking responses, suggestions and inputs of worshipers as
well as the servants serving the worship. After the evaluation is followed up with the follow-up of the
reorganization of the training process and the management of trumpet alloy is also the process of continuous
training and consolidation and even commitment to always practice (practice), because practice becomes one
important factor that affects the skill of a player, in addition to a number of other skill characters; efficiency,
timing, knowledge, adaptability and mental, physical, artistic and emotional capacities.

IV. GIFT DISTRIBUTION, FACILITIES OF GOSPEL OF GOSPEL AND RECOGNITION OF FAITH:

REFLECTION OF FUNCTION, ROLE AND POSITION OF A STOMPED SUPPLY IN CULTURE
IN GPM
IV.1.Instrumental Music Through Trumpet Alleys as a Distribution of Gifts
There is an invitation to serve each other (diakonia) according to the gift (charisma) that each person obtains
(I Pet 4: 10-11). It seems clear that there is a connection between "service" and "gift". Even in I Corinthians 12: 4-6
there is an alignment between ministry (diakonia) and gifts (charisma). Serving one against another is possible because
they have been given the gift by God. Therefore instrumental music through the trumpet alloy is a manifestation of
the distribution of the gifts God has given. The willingness to serve according to the power God provides (I Peter
4:11) through the trumpet alloy is a manifestation of God's grace.
Peter's Advice "Serve one another, according to the Gifts which every man has as a good steward of grace" (I
Pet 4:11) contains an invitation to perform "ministries" that not only provide funds, but as a "Self-Giving" as has been
exemplified by Christ himself.
"Giving yourself" in service is not an easy task, no challenge. Because sometimes we face so many challenges,
when our ministry is not responded well, the ministry we do is misunderstood, even scolded. Of course all the
treatment experienced it to make hurt, emotion, and anger. However, through all of them as "servants of love" we are
required to survive and be a servant despite being depressed. Through all these issues there is a meaningful lesson.
Michael R. Kempa 47

IV.2. Trumpet Alloys as a Gospel Evangelistic Tool

Church music has an important and even central position in church worship. Sri Handoko reveals the role of
church music (instrumental), among others, as an accompanist and guide the congregation. Not only that, Handoko
further mentions that church music (vocal-instrumental) is a means of preaching the gospel (kerygma), as well as a
sacrifice to God.
Trumpet alloy is the music of the church, which in general is an instrumental music that is the type of music
produced from the use of musical instruments / instruments in this case is a wind instrument (aerophone). As the
music of the church, the trumpet alloy can not be separated from its relationship with the worship of the people or
the liturgy. A thorough and comprehensive understanding of the trumpet alloys as church music is only obtained
when viewed in relation to church worship or liturgy.
The implication of the linkage between the trumpet alloy as church music and the worship of the people
(liturgy), then the theology of music of church music (blend of trumpets) must also be highlighted. Therefore, there is
a response action (thanks giving) to God (vertical aspect) and brings joy to others (horizontal aspect). Or in other
words church music becomes a means of fellowship (koinonia), ministering (diakonia) and witnessing (marturia).
The preaching of the gospel is not only understood as the duty of the particular minister (priest, elder and
deacon), and should not be narrowly understood in relation to sermon affairs, but more broadly than that the
preaching of the gospel is the call of every faithful (Mt 28: 19-20). Therefore, through the trumpet alloy frame as the
music of the church (instrumental) becomes the means of preaching (kerygma) for every people who worship and
contain in it the invitation to witness the intrumental act in daily life. In this kerygma perspective the task of preaching
and testimony (marturya) undergoes a paradigm shift and orientation from the originally oriented to the (special)
minister moves to be oriented towards all the faithful.
IV.3. Music through the Trumpet Alley as a manifestation of the Faith of the People
De Young in his book Sound the Trumpets says that trumpets are a further development in the modern era
of shofar or trumpet during the Jewish period in the old covenant, "While hebrew references to the shofar have been
translated as" trumpet "in the modern bible".
In that connection Ps. 150: 4a mentions "Praise the Lord with a trumpet blast" through the instrumental
music of the people praising God and giving thanks to God. People who praise and give thanks to God are also
people who profess faith and express or express their faith in various liturgical deeds, among others, through a
trumpet alloy.
Thus musically instrumental music through a trumpet blend not only proclaims or testifies of God's love but
is first an expression of the faith experience with God in his life. And the experience of faith with God is expressed
through the trumpet game, so through the instrumental music of the trumpet blower that the people actually also
express and express the confession of faith to God.
V. Conclusion
1. Majority of informants mentioned that roles and functions of trumpet alloys have not been well executed.The
reasons stated include 3 stages namely; 1. Pre Service (Pre-Perform) or preparation stage, 2. At Service (perform)
and 3. Post-Service (post-perform).
2. Stages of preparation or pre-service (before perform) became the attention and highlighted sharply by the
informants. The lack of preparation made the resulting service process is not maximal. Therefore there needs to be
a regular schedule of preparatory work done before serving. Besides that the continiou and intense and serious
training process becomes an important part that needs to be emphasized in the preparation stage. At the
preparatory stage of technical aspects such as breathing (breathing technique), breathing control, finger ring, and
Embouchure, the position of the lips in the mouthpiece cup needs to be considered because it affects the amount
of sound produced. In addition the discipline aspect (discipline) becomes one of the important key factors related
to the preparation stage performed (before perform).
3. At the stage of Enlightenment (ministry performing), a number of aspects to note are liturgical spatial, trumpeted
seat positions, large liturgical space as well as distance and range of possible communication with other liturgical
supporters, such as singers as well as deacons or elders in charge . These aspects are important because they
contribute significantly to the appreciation and meaning of the chanted song. If the liturgical chamber is small then
the dämfer is used to adjust the volume produced by the trumpet alloy. Or if the composition of players too banya
48 International Journal of Music and Performing Arts, Vol. 6, No. 1, June 2018

then can also use dämfer to manage the small sounds that sounded by trumpet alloys.The aspect of
communication among liturgical supporters also needs to be an important concern, since a sitting position must be
visible, unobstructed and easy to reach. Because, at any time there may be a sudden change and it is important to
be communicated with a trumpet alloy as accompaniment music. Or if there is repetition on a particular song then
this should also be communicated. That is why communication in the liturgical space is a matter of concern.
Another aspect that must be seen is that in ministry performing or service process is done aesthetic aspect or beauty,
aspect of voice softness, theological aspect (diakonia-marturia-koinonia), aspect of tempo and rhythm of song
being played, as well as temporary kind of worship held. The worship aspect of the grief desires a different way of
blowing with joyful worship. It is important to note so as not to cause unrest for worshipers. The balance of all
aspects mentioned needs to be seen and cared for.
4. Post-service stage (post ministry performing), at this stage periodic evaluation of the service process conducted by
trumpet alloys. The evaluation process can be done by asking responses, suggestions and inputs of worshipers as
well as the servants serving the worship. After the evaluation is followed up with the follow-up of the
reorganization of the training process and the management of trumpet alloy is also the process of continuous
training and consolidation and even commitment to always practice (practice), because practice becomes one
important factor that affects the skill of a player, in addition to a number of other skill characters; efficiency,
timing, knowledge, adaptability and mental, physical, artistic and emotional capacities.

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