Aransemen Ansambel Woodwind Sebagai Identitas Orkes Keroncong Gita Puspita di Tegal
Abstract
The Keroncong Orchestra Gita Puspita Orchestra is one of the Keroncong Orchestras that has a place in the hearts of the people of Tegal Regency. This happened not instantaneously, Keroncong Orchestras Gita Puspita has always been in the process of working and being creative so that he managed to get a place in the hearts of the people of Tegal Regency, especially teenagers. One of the uniqueness of Keroncong Orchestras Gita Puspita is the use of woodwind ensembles for Keroncong music, where this kind of collaboration has never existed before in the Tegal district. This study aims to describe the use of woodwind ensembles in Keroncong music by Keroncong Orchestras Gita Puspita in Tegal. This study uses a qualitative method with a music analysis approach, data collection through observation, interviews, and documentation studies. The results showed that the use of the woodwind ensemble on Keroncong Orchestras Gita Puspita is quite important in composition, because the woodwind ensemble functions as an accent filler, filler, blocking note, and melody note, this is what makes the woodwind ensemble have an important role in every Keroncong Orchestras Gita Puspita arrangementDownloads
References
Asriyani, N., & Rachman, A. (2019). Enkulturasi Musik Keroncong oleh O.K Gema Kencana Melalui Konser Tahunan di Banyumas. In Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik (Vol. 1, Issue 2, pp. 74–86). Universitas Negeri Padang (UNP). https://doi.org/10.24036/musikolastika.v1i2.27
Fauziah, Z., & Rachman, A. (2017). Aransemen Vokal Sebagai Identitas O.K. Congrock 17 di Semarang. Jurnal Seni Dan Budaya, 1(2), 63–69. http://jurnal.unimed.ac.id/2012/index.php/GDG
Ferzacca, S. (2015). Learning How to Listen : Kroncong Music in a Javanese Neighborhood Learning How to Listen. The Senses and Society, 8927(October). https://doi.org/10.2752/174589206778476207
Ferzacca, S., Hickey, M., & Bunnell, T. (2012). Deep Sound , Country Feeling : Kroncong Music in a Javanese Neighbourhood. 180.
Ganap, V. (2006). Pengaruh Portugis Pada Musik Keroncong (portuguese influence to Kroncong Music). Harmonia, VII(4), 1–8. https://doi.org/10.15294/harmonia.v7i2.753
Ganap, V. (2011). Krontjong Toegoe. Badan Penerbit Institut Seni Indonesia Yogyakarta.
Ganap, V. (2020). Krontjong Toegoe: Asal-usul Musik Keroncong (I. Suhanda (ed.)). PT Kompas Media Nusantara.
Harmunah. (1987). Musik Keroncong: Sejarah, Gaya, dan Perkembangan. Pusat Musik Liturgi.
Harmunah. (1996). Musik Keroncong. Pusat Musik Liturgi.
Henry, N. (2017). Diskursus Pelestarian Seni Budaya Keroncong. Sosiologi Dilema, 32(2), 52–63.
Iqbal, M. N., Aesijah, S., & Rachman, A. (2020). Bentuk Komposisi Musik Tradisional Balo-Balo Grup Kampung Tirang di Kecamatan Tegal Barat Kota Tegal. Jurnal Seni Musik, 9(2).
Kodijat, L. (1986). Tangga Nada dan Trinada. Djambatan.
Kodijat, L. (2004). Istilah-istilah Musik. Djambatan.
Leon, S. (1979). Structure and Style: The Study and Analysis of Musical Forms (Expanded E). Warner Bros. Publications.
Muhammad, Y. R., & Rachman, A. (2020). Media Sosial Sebagai Sarana Promosi Karya Musik Di Era Industri 4.0 (Studi Kasus Pada Band Sendau Gurau Di Semarang). Musikolastika: Jurnal Pertunjukan Dan Pendidikan Musik, 2(1), 23–30. https://doi.org/10.24036/musikolastika.v2i1.35
Prasetyo, B., & Trisyanti, U. (2019). Revolusi Industri 4.0 dan Tantangan Perubahan Sosial. IPTEK: Journal of Proceedings Series, 5, 22–27. https://doi.org/https://dx.doi.org/10.12962/j23546026.y2018i5.4417
Prier, K. E. (2005). Bentuk Musik (S. Sunarto & U. Utomo (eds.); Edisi Satu). PT Balai Pustaka (Persero).
Qurrata A’yun, W., & Rachman, A. (2019). “Keroncong in Jamaican Sound” Sebuah Inovasi dalam Melestarikan Musik Keroncong di Bandung. Jurnal Seni Musik Unnes, 8(1).
Rachman, Abdul; Lestari, W. (2012). Bentuk Aransemen Musik Keroncong Asli Karya Kelly Puspito Dan Relevansinya Bagi Remaja Dalam Mengembangkan Musik Keroncong Asli. Catharsis: Journal of Arts Education, 1(2).
Rachman, A. (2013a). Bentuk dan Analisis Musik Keroncong Tanah Airku Karya Kelly Puspito. HARMONIA - Jurnal Pengetahuan Dan Pemikiran Seni, 13(1), 69–77.
Rachman, A. (2013b). Bentuk Dan Analisis Musik Keroncong Tanah Airku Karya Kelly Puspito. Vol. 13(No. 1), 70.
Rachman, A., & Pribadi, S. E. (2019). Kroncong Music in Semarang: A Process of Enculturation. IJAL: IC ADRI 23- ICUTK, June Pattaya – Thailand, 4(2), 1–9. https://drive.google.com/drive/folders/1vlRHgCoi07hYzJnY3T9ywS8VjWSJdB8d
Rachman, A., & Utomo, U. (2018). “Sing Penting Keroncong”: Sebuah Inovasi Pertunjukkan Musik Keroncong di Semarang. Jurnal Pendidikan Dan Kajian Seni, 3(1).
Rachman, A., & Utomo, U. (2019). The Rhythm Pattern Adaptation of Langgam Jawa in Kroncong. Advances in Social Science, Education and Humanities Research, Volume 276 2nd International Conference on Arts and Culture (ICONARC 2018), 276(Iconarc 2018), 99–101.
Rachman, A., Utomo, U., & Asriyani, N. (2019). Penciptaan lagu keroncong berbasis kearifan lokal di kota semarang. JPKS: Jurnal Pendidikan Dan Kajian Seni, 4(2), 101–114.
Ramadhani, F. A., & Rachman, A. (2019a). Resistensi Musik Keroncong di Era Disrupsi: Studi Kasus pada O.K Gita Puspita di Kabupaten Tegal. Musikolastika: Jurnal Pertunjukan Dan Pendidikan Musik, 1(1), 41–51.
Ramadhani, F. A., & Rachman, A. (2019b). Resitensi Musik Keroncong di Era Disrupsi: Studi Kasus Pada O.K Gita Puspita di Kabupaten Tegal. In Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik (Vol. 1, Issue 1, pp. 41–51). Universitas Negeri Padang (UNP). https://doi.org/10.24036/musikolastika.v1i1.18
Setiyawan, K. B. (2018). Keroncong : Musik dan Identitas. September, 0–17.
Soeharto, D. (1996). Serba-Serbi Musik Keroncong. Musika.
Sulestiyorini, C. R. (2013). Kreativitas dan Fungsi Musik Keroncong (Studi Kasus Pada Grup Musik Keroncong Kasela Bergema). Universitas Negeri Semarang.
Wijayadi, A. S. (2007). Mendayung di antara tradisi dan modernitas: sebuah penjelajahan ekspresi budaya terhadap musik keroncong. Hanggar Kreator
Copyright (c) 2021 Meizan Riza Arhamni, Abdul Rachman
This work is licensed under a Creative Commons Attribution 4.0 International License.
Authors who publish with this journal agree to the following terms: Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
.png)
1.png)
