Pola Permainan Alat Musik Keroncong dan Tenor di Orkes Keroncong Irama Jakarta

Abstract

The Musical Pattern of Keroncong and Tenor Instruments in the Keroncong Irama Orchestra Jakarta. This study discusses the musical pattern of keroncong and tenor instruments and their application to the songs "Cente Manis" and "Sambel Cobek". Both of these instruments are the identity of the Jakarta style of keroncong. The study was conducted with a descriptive qualitative approach. The data was collected through observation, interviews, and documentation. Based on the results of the study, it was found that the origin term of keroncong musical instrument came from the sound of the instrument itself. The term of tenor refers to the term for the highest male voice. The techniques of playing musical instruments of keroncong and tenor were also found, namely rasguaedo (prung), strumming, arpeggio, and by strumming on each string one by one. The techniques of playing the keroncong and tenor instruments include double ankle, double back play, old format and style. The four patterns of musical playing depend on the played songs and the agreement of the personnel. ABSTRAKPenelitian ini mendiskusikan pola permainan alat musik keroncong dan tenor serta penerapannya pada lagu "Cente Manis" dan "Sambel Cobek". Kedua alat musik ini merupakan identitas keroncong gaya Jakarta. Penelitian dilakukan dengan pendekatan kualitatif deskriptif dan data dikumpulkan melalui observasi, wawancara, dan dokumentasi. Berdasarkan hasil penelitian ditemukan bahwa asal mula istilah alat musik keroncong berasal dari bunyi alat musik itu sendiri. Istilah tenor merujuk pada istilah suara laki-laki tertinggi. Ditemukan juga teknik permainan alat musik keroncong dan tenor yaitu teknik rasguaedo (prung), strumming, arpeggio dan dengan cara dipetik satu-satu pada setiap senar. Teknik memainkan alat musik keroncong dan tenor tersebut meliputi pola permainan dobel engkel, dobel balik, format dan gaya lama. Permainan keempat pola tersebut bergantung pada lagu yang akan dibawakan dan kesepakatan para personilnya.Kata kunci: cente manis; tenor; Irama Jakarta tradisi tetap dikenal dan digemari oleh masyarakat pendukungnya (Kautzar, 2019).Dari berbagai fenomena yang tampak, penamaan karya itu bukan hanya sebatas kepada arti musik keroncong saja, tetapi lebih bermakna sebagai suatu identitas dalam perkembangan musik keroncong yang mempunyai paradigma estetika PendahuluanMusik keroncong sebagai salah satu budaya Indonesia sejak dulu telah diwarnai dengan keragaman karya dan dinamika wacana. Keberagaman ini perlu diperkenalkan kepada masyarakat luas, agar kesenian daerah atau seni ABSTRACTThe abstract is a summary of the article. It is consist of aim/goal/problem of research, research methods, results and discussion, and conclusion. Implications or recommendation can be added in the abstract. The abstract must be written in 150-250 words. The abstract must not contain lengthy background information and have no reference to figure, table, equation, any bibliographical reference either coming within or other article. The language of abstract must be clear and con...

Repertoire Keroncong Music

“…Keroncong music repertoire has experienced a setback since the 1980s, the following table explains the setbacks in keroncong song production as below: Based on the table 1, it is proven that in the 80s to this day keroncong has suffered a setback in song production there is no sound at all of the new songs being produced. The present performance or recording of keroncong is merely a repetition of the keroncong song repertoire before the 80s, and only a kind of klangenan as if the representation of the powerlessness of keroncong music competes with other types of music in the music industry scene [19]. Therefore, this research will seek to find the right formulation in adding the keroncong song repertoire, namely through the ideas and ideals of today's generation of students who know and understand what forms of keroncong can be accepted by Indonesian young generation because they are the culprit.…”

Representation of Music Learning

“…These data have been compared based on previous writings and also oral data from witnesses who were used as informants by the researcher. It can be concluded that in addition to the authenticity of the data, there has never been any research examining the development of the keroncong orchestra of young people from 2010 to 2019, the relevant research on this is a dissertation study entitled "Reconstruction of Young Keroncong Music in Bandung City" [6]. However, this research looks at the young people of Bandung constructing their ideas from time to time, very holistically.…”

Teaching and Learning Music in Digital Era: Creating Keroncong Music for Gen Z Students Through Interpreting Poetry

“…The cuk and cak may be called in various terms in some Keroncong music. In Keroncong Tugu, for instance, they are called prounga and machina (Ganap, 2011), while in Keroncong Jakarta, they are called 'Keroncong' and 'tenor' (Supiarza, Setiawan, & Sobarna, 2019). Keroncong is divided into some kinds, which are resulted from the hybrid process (Ganap, 2000).…”