Resitensi Musik Keroncong di Era Disrupsi: Studi Kasus Pada O.K Gita Puspita di Kabupaten Tegal

Ramadhani, Fandi Akhmad; Rachman, Abdul

doi:10.24036/musikolastika.v1i1.18

Cited by 8 publications

(9 citation statements)

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“…This can be proven by the Bonex dangdut music group's frequent appearance to provide entertainment such as a wedding celebration, circumcision, or a celebration by their respective communities or villages. This is in line with the opinion of A'yun & Rachman (2019); , 2019Ramadhani & Rachman, (2019) that a music will get more public attention if the presentation is attractive in terms of stage layout which includes lighting, decoration, performance venue, musical arrangement, as well as the novelty of the musical theme in accordance with the times.…”

Section: Dangdut Koplo Performancesupporting

confidence: 78%

Aesthetic Response of Audiences’ Behavior of Dangdut Koplo Music Performance

2020

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Dangdut Koplo music performances are favored and watched by the public. This is able to generate an aesthetic response of the audiences, which is shown by their behavior. This study aims to examine the aesthetic response of audience behavior of dangdut koplo music performances in Pekalongan. This research uses qualitative methods, data collection using observation, interview, and document study techniques. Data analysis procedures used data reduction, data presentation, and data verification. The validity of the data used is triangulation, data sources, and theory. The results showed that the aesthetic response in the audience behavior of dangdut koplo music performance in Kalirejo village, Talun, Pekalongan Regency had a positive response that led to behavior, such as (1) dancing with friends in groups or alone; (2) Menyawer (giving some money); and (3) notice the show schedule. Based on the research results, it can be suggested: (1) can broaden the insight and description of the development of music, especially dangdut koplo music in the present era, (2) can be taken into consideration how the impact of dangdut koplo on the behavior of dangdut koplo music performances.

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Section: Dangdut Koplo Performancesupporting

confidence: 78%

Aesthetic Response of Audiences’ Behavior of Dangdut Koplo Music Performance

2020

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“…Not so many Keroncong music works have been made today. The creation is mostly imitations and less acceptable to today's youth flavor (Fauziah & Rachman, 2017;Rachman, 2013;Rachman & Utomo, 2017, 2019Ramadhani & Rachman, 2019).…”

Section: Composingmentioning

confidence: 99%

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

Supiarza

Sarbeni

2021

Harmonia

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This study aims to examine the ability of ‘Z Generation’ students to interpret poetry. The z generation lives in the digital technology era where they tend to possess liberal and intelligent character. Poetry was chosen since this literature type has historical closeness to Keroncong music, especially in the Keroncong Stambul and Keroncong eras in the 1950s. The issue of Keroncong, whose development has been stagnant since the 1980s, is expected to trigger the Z generation to emerge a solution in the form of Keroncong music. The action research model used in this research was implemented through 6 stages: preparation, implementation, production, mixing and mastering, discussion and evaluation, upload, and publication. This project was applied to 33 students who were divided into five groups of 6 to 7 members each. Each group received a different poem. The project resulted in 5 Keroncong works and emerged a new Keroncong music genre called ‘Kroncongisasi Puisi.’ The study found that the learning achievements of the Z generation were achieved due to several factors: (1) their brilliant abilities in accessing various information digitally; (2) the digital age contains all the information they need; (3) their liberal nature makes them open to modernity. Regarding the process of creating Keroncong, the researcher found ten steps in the composting process: 1) interpretation, 2) composing song melody, 3) implementing the melody with accompanying musical instruments, 4) creating harmony framework, 5) practicing, 6) recording, 7) Mastering, 8) Shooting, 9) editing, 10) publishing. This study result was recommended to the Keroncong community, government, and education community.

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“…Formasi 'pakem' ini terdiri dari vokal, biola, flute, cak, cuk (ukulele atau keroncong), cello, gitar, dan bass. Formasi ini oleh sebagian besar musisi keroncong disebut 'formasi asli' (Ramadhani & Rachman, 2019). Gamelan Jawa sangat memengaruhi gaya bernyanyi dan gaya permainan seluruh instrumen, kecuali instrumen bass.…”

Section: Pendahuluanunclassified

Pola Irama Keroncong Progresif - Pada Komposisi Kidung Panyuwun

Sanjaya

2021

Resital

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This research creates a progressive or innovative keroncong rhythm pattern. Keroncong music is one of the musical genres that exist in Indonesia, which is a hybrid music from Javanese (Central Java and Yogyakarta) gamelan music, 'pop' music and Western diatonic orchestras. Keroncong music consists of vocals, ukulele or 'cuk' (derived from Hawai'i), 'cak' (Portugal), flute, violin, cello, and contrabass (instruments derived from Western diatonic orchestral instruments). Since the 1950s until today, the keroncong rhythm pattern has had very little development, so it needs to be developed. There are several rhythm patterns in keroncong music but the ones that are often played are 'engkel' and 'double' rhythm patterns. The aim of this research is to create a progressive keroncong rhythm pattern so that keroncong music is more interesting and it is hoped that it will have more fans. The creation of this progressive rhythm pattern is used in the compositions of the author's Kidung Panyuwun. This study used descriptive and experimental analytical methods with the following steps. First, examine the audio recording, transcribe, analyze, and conclude; second analyzes rhythm patterns on multiple references; the third records (audio-video) a 'standard' rhythm pattern; fourth, exploration of progressive rhythm patterns; the fifth recorded a progressive keroncong rhythm pattern. This research resulted in the creation of several rhythmic patterns and several formulations, namely: 1) the creation of a vertical progressive keroncong rhythm pattern (one-instrument solo, two-instrument solo, three-instrument solo) and 2) the creation of a horizontal progressive keroncong rhythm pattern (two-bar pattern and four-dimensional pattern). time frame). The important thing that has the meaning is the temuah cirikhas or 'ruh' keroncong music as the 'jati diri'.Keywords: rhythm; pattern; keroncong; progressive AbstrakPenelitian ini menciptakan pola irama keroncong progresif atau inovatif. Musik keroncong merupakan salah satu genre musik yang ada di Indonesia merupakan musik hibrid dari karawitan Jawa (Jawa Tengah dan Yogyakarta), musik ‘pop’ dan orkestra diatonis Barat. Musik keroncong terdiri dari vokal, ukulele atau ‘cuk’ (berasal dari Hawai’i), ‘cak’ (Portugal), flute, biola, cello, dan contrabass (merupakan instrumen-instrumen yang berasal dari instrumen orkestra diatonis Barat). Sejak tahun 1950-an sampai hari ini, pola irama keroncong sedikit sekali perkembangannya sehingga perlu dikembangkan. Ada beberapa pola irama dalam musik keroncong tetapi yang sering dimainkan hanya pola irama ‘engkel’ dan ‘dobel’. Tujuan penelitian ini untuk menciptakan pola irama keroncong progresif sehingga musik keroncong lebih menarik dan diharapkan lebih banyak penggemarnya. Penciptaan pola irama progresif ini digunakan pada komposisi Kidung Panyuwun ciptaan penulis. Penelitian ini menggunakan metode analitik deskriptif dan eksperimental dengan lankah-langkah sebagai berikut. Pertama mencermati rekaman audio, mentranskrip, menganalisis, dan menyimpulkan; kedua menganalisis pola irama pada beberapa referensi; ketiga merekam (audio-video) pola irama ‘pakem’; keempat eksplorasi pola irama progresif; kelima merekam pola irama keroncong progresif. Penelitian ini menghasilkan beberapa ciptaan pola irama dan beberapa formulasi, yaitu: 1) penciptaan pola irama keroncong progresif vertikal (solo satu instrumen, solo dua instrumen, solo tiga instrumen) dan 2) penciptaan pola irama keroncong progresif horizontal (pola dua birama dan pola empat birama). Hal penting yang bermakna adalah temuah cirikhas atau’ruh’ musik keroncong sebagai ‘jatidiri’nya.Kata kunci: pola irama; keroncong; progresif

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Resitensi Musik Keroncong di Era Disrupsi: Studi Kasus Pada O.K Gita Puspita di Kabupaten Tegal

Cited by 8 publications

References 0 publications

Aesthetic Response of Audiences’ Behavior of Dangdut Koplo Music Performance

Aesthetic Response of Audiences’ Behavior of Dangdut Koplo Music Performance

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

Pola Irama Keroncong Progresif - Pada Komposisi Kidung Panyuwun

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