The Study of Organizational, Production, and Marketing

Management in Mangampu Tua and Tambunan Brass Band

Ensamble Groups at Medan

Muhammad Takari and Elisabeth Purba

Faculty of Cultural Science, University of Sumatera Utara

Keywords: Management, Organization, Production, Marketing, Brass Band.

Abstract: The theme this paper is the brass band ensamble management. The main question in this research are, how

management application, in (a) organization, (b) production, and (c) marketing in two brass band group at

Medan, Mangampu Tua and Tambunan, by qualitative method, and researchers as participant observer. The

fieldwork data analyzed by management and ethnomusicology science. We use three main theory:

organization, production, and marketing management. The finding this research are: (A) the organization

management based on Batak Toba tradition management, they adopted the musicians based on patrilineal

kinship and friendly system, meeting with verbal media, very focused the role of the leader, the musicians

majority as freelance player. (B) The production management based on repertoires Toba Batak musical

tradition, plus North Sumatran another ethnic musics, Indonesian’s popular musics, and world popular

musics. There are variations the group of musicians accordingly to market demand, as simple in sulim and

keyboard, the trio vocalist plus keyboard, and the full ensamble. (C) The marketing management two brass

band groups use the oral media, the group card name, plank, quality of performance, discount the money of

performance, variated the performances to equilibrium the economic power of demander, etc.

1 BACKGROUND

In filling their lives, humans create and are based on

culture which includes elements: religious systems,

languages, technology, education, social

organizations, arts, and economics. These cultural

elements can be realized in forms: ideas, activities,

and artifacts (Koentjaraningrat, 1990). In living life

and culture, humans must work in certain fields,

which involve management. The same is true of art

groups. These artists generally form art

organizations. This organization was created by

humans to manage their lives more directed and

better.

Etymologically the word management comes

from French management, which means the art of

implementing and regulating. While

terminologically experts define management in

various ways. Terry (2005:1) defines management as

a process that involves guidance or direction of a

group of people towards tangible organizational

goals. Thus management is an effort carried out

jointly to determine and achieve organizational goals

by implementing the functions of planning,

organizing, directing, staffing, and controlling. In

this paper, three main issues are examined, namely:

how is organizational, production, and marketing

management of the Mangampu Tua and Tambunan

music group?

2 LITERATURE STUDY

To support understanding in discussing problems,

several reference books are used, as follows. (1)

Performance Management Books, written by

Wibowo (2014), discuss performance management,

which creates relationships and ensures effective

communication. Performance management focuses

on what organizations, managers, and workers need

to succeed. (2) Aritonang research, 1992, in Melody

Analysis of Brass Music at Saur Matua Traditional

Ceremonies in Medan Municipality, describing the

traditional ceremonies of the Toba Batak death

through an approach to analyzing the melody of

music played by wind music groups by presenting

the concept of margondang music. (3) Sianturi,

2012, wrote a thesis entitled The Ensemble of

Takari, M. and Purba, E.

The Study of Organizational, Production, and Marketing Management in Mangampu Tua and Tambunan Brass Band Ensamble Groups at Medan.

DOI: 10.5220/0009198600430050

In Proceedings of the 2nd Economics and Business International Conference (EBIC 2019) - Economics and Business in Industrial Revolution 4.0, pages 43-50

ISBN: 978-989-758-498-5

Inflatable Music at the Toba Batak Traditional

Ceremony, describing and reviewing the repertoire

of musical structures that functioned at traditional

ceremonies in the Toba Batak community. (4)

Sinurat, 2001, which examines the Development of

Brass Music in Medan City with the Entry of Music

Elements of the Toba Batak Tradition in a music

group in the city of Medan. This thesis highlights

and focuses on how the Toba Batak traditional

musical instruments enter acculturatively into the

wind ensemble. (5) Damanik (2006) analyzes the

ups and downs of wind music organizations in

Medan. It can be seen from the results of his study

that the periods of ups and downs of the inflatable

group occurred, due to the law of demand and

supply.

2.1 Concepts and Theories

Music is a sound organization that plays an active

role in human life. The important role of music is

also very much needed in a culture either through

vocals, instruments, or a combination of both. Music

always develops its form, use, and function in the

midst of society. Among the functions of music is as

a medium of entertainment, ritual, worship, and

education. Music is one part of the arts that is

enjoyed through hearing through sound color,

rhythm, melody, harmony, and dynamics that are

woven in a texture that can produce an expression.

Brass band is a form of wind which consists

entirely of musical instruments made of brass, which

originated in the 1820s. Brass bands were used by

the cavalry regiment and became very well-known

especially in the United Kingdom and the United

States. In England, brass bands became a military

tradition together with wooden wind ensembles in

the 1800s. The brass band music tradition that

originally appeared in Europe and America, in this

day and age has become a musical tradition of other

nations, including the Toba Batak people in North

Sumatra, which is also commonly referred to as an

inflatable music ensemble.

The three main theories used in reviewing the

inflatable ensemble management system. (A) In

reviewing organizational management,

organizational and leadership theory are used,

namely organizing is the whole process of grouping

people, tools, tasks, responsibilities and authorities

in such a way as to create an organization that can be

moved as a unity in order to achieve predetermined

goals.

(B) To review the management of musical art

production by Mangampu Tua and Tambunan in

Medan, production management theory was used.

According to Assauri (1980), production is defined

as all activities in creating and adding to the use of

goods or services, for which activities require

production factors in economics in the form of land,

labor, and skills (organization, managerial, and

skills). The optimal production area of a company

will be fulfilled by the following factors: (a) the

availability of basic materials, (b) the availability of

machinery capacity, (c) availability of labor, (d) the

amount of demand for production, (e) availability

other production factors.

market their products in the form of performances,

marketing management theory is used. This theory

rests on how products in the form of goods and

services are marketed, according to the needs of

their customers. Assauri (2004) states that marketing

is the activity of analyzing, planning, coordinating,

and controlling all activities related to product

design and launch, communication, promotion, and

distribution of these products, setting prices and

transacting, in order to satisfy consumers and while

being able to achieve the goals of corporate

organization in the long term.

2.2 Brass Band in Toba Batak Culture

at Medan

Before Christianity appeared in Batak land, the

music used in traditional customs events, or other

ritual events was the gondang sabangunan ensemble

and the uning-uningan ensemble that was used to

call ancestral spirits and in the context of other

traditional ceremonies. Gondang as a local wisdom

for Batak people has a strategic role in the

environment of this community's cultural activities.

Along with the entry of Christian religion, it also

developed an inflatable music ensemble.

Now wind music for the Batak people seems to

have been culturally attached. At each wedding

ceremony and death of saur matua or other events,

always include the genre of wind music as part of

this ceremony. In its development, wind music

groups were found in various big cities that were

professionally managed to accommodate the

demands of the Toba Batak community in

conducting ceremonies.

The presence of an inflatable music ensemble in

the cultural life of the Toba Batak community,

especially its use in the ceremony of the death of

Saur Matua, gave rise to many different reactions

among the Batak people themselves. Some people

are worried about the presence of this wind music,

which erodes the role of gondang. The view of

Christian theology gives the assumption that the

presence of wind music is a "savior" for Batak

people.

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The first Toba Batak wind music group is

Tambunan Music Group, which grew and developed

in the village of Tambunan Balige, which then

moved to the city of Medan. With the presence of

this music group, making musicians who do not

have jobs yet have the knowledge and musical talent

join in looking for landlords to form new wind

groups. Within a few decades, the Tambunan

inflatable music group in Balige accompanied a

traditional event in the city of Medan. The same is

the case with the first use in the Toba Samosir area.

But beforehand in the city of Medan there were

already inflatable music groups accompanying the

traditional ceremonies of death, specifically for

spiritual songs. This group serves long-term

activities similar to the time determined by the

musician itself, because the musicians consist of

police officers. This group was called the Brimob

Music Corps in the care of the Mobilization

Detachment Brigade of the North Sumatra Police

around 1978 to 1986.

Based on historical facts, the first wind music

group that appeared in Medan was Duma Music.

This group was founded in March 1987. Duma

Musik is in Medan City, when it was formed it

consisted of 10 members from the City of Balige

who were contracted for two years. When Duma

Musik was formed in the city of Medan, actually

there were already inflatable bands in several

churches and the Regional Police of North Sumatra,

but because the players pulled out from areas in the

Toba Batak region and did not have a specific name

and binding organization, the authors considered that

the beginning of forming an inflatable music group

based on the organization was Duma Music.

Tambunan Music experiences glory from the

beginning of its formation. With 12 members of the

player, Tambunan Musik performed with a complete

inflatable music ensemble, so it seemed more grand

and luxurious. Tambunan Music still survives today

even though with various dynamics in it and the

players in it have also been changing. The

Tambunan Music player who still remains today is

only Mr. S. Tambunan who is the leader of

Tambunan Music at this time.

In 1995, the number of inflatable bands in the

city of Medan again increased. This year, Horas

Music was formed and then followed Tonggo Music

and Parulian Music. Of the three inflatable groups,

only Tonggo Musik still survives to this day. So in

1995 there were 5 inflatable bands in the city of

Medan namely; Duma Music or Esperanza Music,

Tambunan Music, Horas Music, Tonggo Music, and

Parulian Music.

In 1997 the monetary crisis that occurred in

Indonesia was enough to influence the development

of wind music groups in the city of Medan. Until

around 2000 there were no inflatable bands formed.

However, in the era of the 2000s and beyond there

were developments marked by the formation of

many new wind groups. In 2018 there were around

23 inflatable music in the city of Medan.

2.3 Organizational Management

Independent Variable

The two wind music groups, namely Mangampu Tua

and Tambunan Music can be classified as traditional

based organizations, which are passed down from

one generation to the next regularly following the

norms that occur in that society. According to Takari

(2008), the management of art carried out by people

in Indonesia archipelago [including the Toba Batak]

is traditionally the following. (a) Artistry is not the

main profession but a side job, (b) highlight the

leaders who are usually also the main artists and the

main funding supporters of the organization, (c)

distribution of honorariums that are somewhat

confidential, and usually "sweet" words such as

"cash money," "money tired," and the like, (d)

division of tasks is not very specific, (e)

organizations of traditional traditional arts are rarely

formed based on certificates, (f) recruitment of

artists is "revoked," (g) the principle is family, (h)

very closely with rituals.

Similarly, what happened in the two

organizations of wind music, namely the Old

Mangampu and Tambunan Music. For the case of

the Mangampu Tua, this group even though they still

use family and family principles, but they are more

open. This means that this group accepts other clans

outside the leadership clan, Silaban. But for the

Tambunan Musik case, they prioritized the family

principle, especially the colleague of one clan, but

still the Tambunan clan. Although they also included

musicians outside the Tambunan clan, in principle

this organization prioritized and the majority of its

members were surnamed Tambunan.

In accordance with Takari's description, then in

the case of the wind music group Mangampu Tua

and Tambunan Musik, the ritual aspects of the Toba

Batak tradition with musical performances are very

closely related. But the other side is interesting, even

though what they do is seen and lived as worship,

but these music players still expect the honorarium

in each show. So the aspects of worship and

economy in these groups go hand in hand and

strengthen each other, not only dominated by aspects

of worship, so they are sincere if they are not given

honorarium.

The Study of Organizational, Production, and Marketing Management in Mangampu Tua and Tambunan Brass Band Ensamble Groups at

Medan

(A) The Mangampu Tua music group was

established on December 6, 1998 in Medan and does

not have a notary certificate. The owner and leader

of the Mangampu Tua music group is M. Silaban.

This Mangampu Tua music group is in great demand

by Batak people in Medan City. Usually a day or

two can order them to play music in different places.

The economic impact benefits musicians.

According to M. Silaban in every month, when

they are in the decade of the 1980s, the number of

orders or calls to play music can reach up to 40 to 50

times on average. In line with the times, with more

and more birth of inflatable music groups in the city

of Medan, resulting in increasingly intense

competition, making a lack of orders to play music

to each group. As a result, it reduces the income of

managers, chairmen, and musicians. At present, the

musicians in the Mangampu Tua group are mostly

freelance musicians, by the management they are

given the freedom to play with any music group

other than Mangampu Tua, if there is no order to

play music for this group. They are commonly

referred to as musicians "pull out."

(B) The Tambunan music group is from the

Pematangsiantar area, which was founded in 1980

by S. Tambunan. He took members of his music

group from Pematangsiantar. He trained local youth

to learn instrument sulim, keyboard, taganing, and

trumpet.

As it grew and many people used the Tambunan

music group, S. Tambunan added members to his

music and made facilities for the members of his

music. The facilities provided are housing for

members of the music, vehicles, and a fairly large

salary and they are bound by a contract in the

Tambunan music group.

Within a month in the 1980s, the number of

orders or calls to play music reached up to 30-40

times. But the growing age, more and more

emerging music groups in the city of Medan or

outside the city of Medan. So this made competition

in the wind music groups in Medan tight and made a

lack of orders to play music in Tambunan's group.

The impact is making less income for musicians.

During its heyday, musicians were bound by

contracts and provided with housing facilities. In

accordance with social conditions, then in the

present period starting in 2005 to 2015, musicians

are no longer provided with housing facilities and

are not tied to work. The musicians in Tambunan

have been freelance or have been free to go to any

music group if there are no calls to play music in the

Tambunan music group.

Figure 1: The Organizational Structure of Mangampu Tua

Figure 2: The Organizational Structure of Tambunan

Music

The complete cost of performing the inflatable

groups is as follows.

(A)Mangampu Tua, chairman or leader of musicians

namely A. Silaban who arranges musicians and

divides his salary. The performance costs based on

the distance and proximity of the venue are as

follows.

1. The cost of performances in the city of Medan

and its surroundings, with a complete ensemble,

is in the range of IDR 2,500,000 to IDR

3,000,000.

2. The cost of the show in Medan and surrounding

areas, with a complete ensemble, plus the

gondang sabangunan ensemble is IDR 3,500,000,

because they added 3 more gondang players.

3. The cost of the show at Brastagi, complete with

all musical equipment, is IDR 4,000,000 to IDR

5,000,000.

4. The cost of the show in Balige and Dolok The

complete bun of all musical instruments in the

range of IDR 10,000,000 to IDR 12,000,000.

5. The cost of the show in Medan, which only uses

sulim and keyboard (sulkib) is IDR 1,500,000

6. The cost of the show in Medan, which only uses

the trio singer and keyboard is IDR 1,500,000

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(B) Tambunan Music, show fees can be specified as

follows.

1. Performances in the city of Medan in a complete

wind music ensemble of IDR 2,500,000

(determined by the leader of this fee will be

deducted by 10% (IDR 250,000) for

transportation.

2. If the show is only a keyboard and flute in the

city of Medan, it costs IDR 1,200,000 (with a

distribution of IDR 250,000 for two players; and

Rp. 700,000 for the owner and transportation

costs.

3. If you leave Medan City and show in the City of

Brastagi, Karo, the cost of the show is IDR

5,000,000.

4. All performances above, if added gondang music

involving 2 people, then each gondang player

gets an honorarium of IDR 300,000 (two players

IDR 600,000) for the venue for performances in

Medan. If you leave Medan City 2 people x IDR

1,000,000 = IDR 2,000,000.

Nowadays, in Medan, seldom use gondang, now

people prefer to use keyboards and just the reason to

save because of the difficulty of making money now.

The honorarium distribution system conducted by

the Mangampu Tua music group is the distribution

of results, which are determined as follows.

(A) Old Mangampu

1. For all players, 30% of IDR 2,500,000 = IDR

750,000. So, for each music player that is equal

to IDR 750,000 / 8 people = DR 93,750.

2. For owners (group leaders) of 70% of IDR

2,500,000 = IDR 1,750,000

(B) Tambunan Music

1. 20% of the one-time income for the owner.

2. As much as 80% of the one-time income for

music players after deducting the cost of

transporting goods in the form of musical

instruments and sound systems. The price

determined by the Tambunan music group for

each consumer who booked the Tambunan music

group at a party around Medan was IDR

2,500,000, for example the cost of transporting

goods amounting to IDR 200,000, which was

divided by IDR 2,300,000 where 20% x

2,300,000 = IDR 460,000 for owners and

musicians there are 7 people so that 7 people get

80% x 2,300,000 = IDR 1,840,000; so each

musician gets IDR 1,840,000 / 7 people = IDR

262,857.

2.4 Production Management

One of the factors that used this wind music outside

the church was due to the limitations of the gondang

sabangunan ensemble to be used as accompaniment

on the event. The second reason, as one of the

factors when in the event of the death of a wealthy

and respected businessman in Balige in the 1950s.

His death, which had no offspring for the Batak

people, was called mate ponggol, an unwanted death

in the traditional life of the Batak people. This kind

of death is not condemned, including not being

allowed to use music during the funeral ceremony

with the accompaniment of gondang sabangunan.

Prestige hasangapon which is inherent makes them

show authority by inviting wind music at the

ceremony of his death. The Batak people who

witnessed the ceremony were moved and were

amazed at the ceremony. In a relatively short time,

the idea of the community to use wind music for an

alternative to gondang sabangunan arose.

The first time the inflatable music was used in

the ceremonies of the death of Saur Matua was the

result of deliberations by members of the church,

because they felt they were united with the wind

music that had been heard and presented during

worship services and on Christmas and New Year's

Day. They assume that wind music can have a dual

function, namely in ceremonies and ceremonies.

Inflatable music was originally used in the

traditional Saur Matua ceremony around the 1950s

and was combined with the music of gondang

sabangunan.

In the implementation of adat, wind music is

performed to accompany tortor (Batak dance) during

the ceremony. Thus this wind music is a tool for the

panorors for respect for God, the elements of

succession of Natolu, and all the people present at

the ceremony. Before the intermediate elements of

natolu paopat sihal-sihal (the kinship elements of

natolu and elements of friends who died in groups or

individuals) gave words of comfort to the bereaved

family, they were greeted with wind music and the

tortor (tradition dance) of the deceased family.

Dalihan natolu's relatives pay homage to the

deceased and the family asks for gondang in the

wind music group, according to the rules for

gondang demand in the traditional Toba Batak

tradition. During funerals, wind music is also used

and presents songs that are adopted from Christian

hymns on Ende Books.

Just as in the traditional ceremony of saur matua

(the death of perfect old man), wind music is also

The Study of Organizational, Production, and Marketing Management in Mangampu Tua and Tambunan Brass Band Ensamble Groups at

Medan

used to accompany the traditional Toba Batak

marriage ceremony. In this ceremony, wind music is

played at certain times, namely: (1) when picking up

the bride from her parents' house (marsibuha-buhai),

(2) accompanying the bride from the house to the

church, (3) when the bride enters customary hall, (4)

when receiving donations from the invitation

(manjalo), and (5) at the time of mangulosi

(receiving ulos from two elements of dalihan natolu

and those who love them).

After the ceremony of blessing the marriage in

the church, the two brides and their families and

other invitees will leave the church and prepare to

enter the building where the traditional ceremony

will take place. The entry of the bride and the whole

family to the traditional house was greeted with

wind music, until all invitations entered the building,

and took positions according to custom. In addition,

wind music is played during a batch ride. The last

time the inflatable music was played to accompany

the mangulosi ceremony was to give ulos to the

bride and her party by the parboru (women's party).

All the songs performed by this wind music are not

bound and generally what is often performed in a

wedding ceremony is the Anakonhi Do Hamoraon di

Ahu song from North Tapanuli, at a Selayang

Pandang (Glence) from Malay culture, Poco-poco

from Eastern Indonesia, Lapaloma from Spain, or

song Tapanuli's pop song.

2.5 Marketing Management

In relation to marketing within these Toba Batak

wind music groups in Medan, each group has their

own marketing policies. However, in general, the

marketing they do generally includes: (a) promotion,

(b) media and means of introducing wind music

groups, (c) negotiating performance costs, (d)

introduction of leaders and musicians, and similar

things.

(a) Reported verbally, which was carried out by

these two wind music groups, through kelisanan. In

this case, the existence of the two groups of music

was conveyed by the management (leaders and

musical artists) to all those who were known or were

newly known. The content of oral communication

messages in this regard is about the existence of a

music group that they are members of the group.

Then to the person who receives the message

(communicant) who is later expected to invite or use

the services of this group's musical performances,

told about the existence of the inflatable group,

especially its advantages both in terms of product

superiority and price. But in this case according to

the two leaders of the inflatable group, they did not

vilify other groups, or negatively promote other

music groups, and promoted positively towards their

own music groups. They only communicate what is

superior in this group.

(b) Promotion through business cards and

plankat, besides marketing management carried out

by Mangampu Tua and Tambunan Musik wind

music is to give business cards that they have

printed, to their family or close relatives. Also

handing out business cards at family gatherings. In

addition, the two inflatable bands made plans for a

music group to be installed in front of the main road

of their activity headquarters, which can be seen by

many people. So the promotion technique in the

framework of this marketing is by visiting

acquaintances or relatives who are already sick,

especially in conditions of serious illness (usually

hospitalized), to use their music groups in various

traditional Batak ceremonies. According to the

explanation of the two inflatable groups, usually

what happens often is that close relatives of this

music group ask for a discount or ask for a tilted

price from the actual price, making this music group

sometimes experience reduced money coming in for

this music group.

Figure 3: Performing Situation of Mangampu Tua Brass

Band in Medan City

Sumber: Dokumentasi Takari dan Elisabeth Purba, 2018

fees, these two wind music groups in Medan City

also offer discounted show fees, the amount of

which is not more than 10% of the usual price or

standard price. The main purpose of this discount is

to attract interested people who will use their

services in a traditional ceremony or other event in

the Toba Batak culture. According to the two grum

leaders' speeches, with a promotional strategy with

discounts, it will be able to increase the number of

consumers or their potential recipients for various

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purposes of this Toba Batak culture. They recognize

this discount strategy as a form of economic activity

in any field. The goal is to attract more consumers

and also adjust to the financial capacity of

consumers.

(d) Expansion of the genre of musical

performance production, both of the inflatable bands

although specializing in the flow of music to

traditional Toba Batak. However, they also improve

the quality and quantity of music in the Tambunan

and Mangampu Tua music groups, in a better and

broader direction so that all people can enjoy not

only the Toba Batak tribe. According to the

explanation of the two leaders of this group, the

progress of the development of music in Indonesia

towards more modern music such as jazz, R & B

(Rhythm and Blues), rock'nroll, pop, and of course

to follow this development, this Toba Batak wind

group adopt performances from these genres that are

tailored to the needs of ceremonies and events in

culture.

(e) Promotion by maintaining customer trust, in

increasing competitiveness, the two groups carry out

marketing strategies by maintaining customer trust.

This strategy covers psychological, artistic, technical

and religious aspects. According to the explanation

of the two leaders of the inflatable group, in order to

maintain the continuity of their existence, one of the

marketing strategies they do is by maintaining

customer trust. This means that customers are people

who have trusted them, both in terms of

psychological closeness and the musical

performances they perform. All this is done so that

social relations are maintained and they get closer

again.

(f) Maintaining the quality of performances, in

this marketing strategy, which is not done directly is

by the way each of these inflatable groups maintain

the quality of the performance. What they mean by

the quality of the show is the musical performance

of the inflatable group which includes: neat and

orderly performances, aesthetic compositions

according to the tastes of the Batak people, the use

of songs in accordance with the demands of the

times, as well as maintaining traditional songs as

identities that strengthen Batak culture. Likewise the

quality of appearance on the stage includes a good

sound system, the appearance of musicians and

singers well, if necessary in the performance at night

managed by exotic and interesting lighting and stage

systems.

(g) Providing various choices of performance

costs, in the framework of this marketing strategy,

the two groups of winds, get around the economic

capabilities and tastes of consumers by providing

various forms of performances at different costs.

This they do based on experience in the field. That

among those consumers there is someone who wants

a simple form of performance such as the genre of

sulkib (sulim and keyboard), or a keyboard and a

trio of vocals. What was important to them in the

ceremony they held was accompanied by and

colored musical performances characterized by

Batak, but with a relatively simple form and

appearance.

3 CONCLUSION

(A) The management of the Mangampu Tua

organization is based on the management of

traditional musical groups found in the Toba Batak

culture. Its management is very dependent on the

chairman or leader of this organization of wind

music, even this chairman has also been named the

owner of the organization of wind music. In this

case the Old Mangampu is chaired by M. Silaban.

However, organizational authority does not fully

support the group leaders. In the Mangampu Tua

group, a music leader is also appointed, who is

responsible for the performance and distribution of

players' honorariums. The group leader shares the

organization's power and authority with its members.

Under the head of music, there are several

musicians: saxophone, trombone, trumpet, sulim,

bass guitar, string guitar, and gondang, as well as

keyboard players. Organizationally, when the

beginning of the development of wind music and

experiencing glory, most music players are

permanent members of this group, but now

according to the development of the times when so

many similar groups emerged which resulted in a

lack of show orders, the majority of Old Mangampu

music players were freelance.

The Tambunan inflatable music group also bases

its organization on the main role of the group leader,

Mr. S. Tambunan. Slightly different from

Mangampu Tua who recruited members based on

friendship and musical skills, the Tambunan Musik

inflatable music group put forward the members of

one clan, namely the Tanmbunan clan, though not

all of them. Then it is also quite different from the

Old Mangampu which divides organizational

elements into three groups, namely the group leader,

musician leader, and musicians - the Tambunan

music group uses only two organizational elements,

namely the group leader, and the musician.

However, to guard not to get a vacancy of players,

this group divides the two groups of music players,

namely those who are semi-permanent and those

who are freelance.

Still in relation to the management of this

organization, especially its financial management,

The Study of Organizational, Production, and Marketing Management in Mangampu Tua and Tambunan Brass Band Ensamble Groups at

Medan

Mangampu Tua divides revenue by a slightly larger

amount than Tambunan Musik, which is to the

owner, which is 30%, the remaining 70% is shared

with all music players. Conversely, in the Tambunan

Music group, 20% for the owner, and 10% for

transportation were also paid to the owner, so it was

cumulative 30%. The remaining 70% is shared

equally among all musicians.

(B) The management of Mangampu Tua and

Tambunan Musik production is relatively the same.

The production produced by these two wind groups

is in the form of musical performances. The songs

presented are traditional Toba Batak songs, popular

Batak Toba songs, popular songs in the North

Sumatra area, other regional songs from the

Archipelago, national popular songs, even popular

world songs. In order to produce this musical

performance, both of them always look in the

context of the ceremony in which the production is

presented. If for ritual ceremonies, the production of

this musical performance will use repertoires that are

commonly used in the ritual tradition, but are added

with other songs when entering entertainment

programs.

these two wind music groups can be said to be the

same. Both use marketing methods through: (i)

preached verbally, (ii) promotions through business

cards and plans; (iii) marketing strategies with

discount on show costs; (iv) the expansion of the

genre of musical performance production; (v)

promotion through maintaining customer trust; (vi)

maintain the quality of the performances, and (vii)

provide a variety of performance costs.

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