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Creating Keroncong Music for Gen Z Students Through Interpreting Poetry

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Creating Keroncong Music for Gen Z Students Through Interpreting Poetry Harmonia: Journal of Arts Research and Education 21 (1) (2021), 123-139 p-ISSN 2541-1683|e-ISSN 2541-2426 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v21i1.28585 Teaching and Learning Music in Digital Era: Creating Keroncong Music for Gen Z Students Through Interpreting Poetry Hery Supiarza, Irwan Sarbeni Universitas Pendidikan Indonesia, Indonesia Submitted: 2021-01-19. Revised: 2021-03-23. Accepted: 2021-04-26 Abstract 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. Keywords: Teaching and Learning, Z Generation Students, Keroncong Music, Interpreting Poetry How to Cite: Supiarza, H., & Sarbeni, I. (2021). Teaching and Learning Music in Digital Era: Creating Keroncong Music for Gen Z Students Through Interpreting Poetry. Harmonia: Journal of Arts Research And Education, 21(1), 123-139 INTRODUCTION By this, the students – which were cate- gorized as the Z generation – were super- Composing Keroncong music vised to create a Keroncong song based on through interpreting poetry was applied poetry. This subject is typically a prerequi- to the students of The Department of Mu- site. Students start taking this course in the sic Education, Faculty of Arts and Design second semester. The course is called His- Education, Universitas Pendidikan Indo- tory of Nusantara Music Analysis I. nesia (FPSD UPI). The project was served The subject discusses the dissemi- through the 3rd semester’s subject, ‘The nation of music around Nusantara, which History of Nusantara Music Analysis II.’ is affected by other cultures like Tanjidor, Corresponding author: E-mail: [email protected] 123 124 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 123-139 Tarling, Gambus, and Malay. formed from the ukulele instrument which In the process, The History of Nusan- is played in rasgueado (Sanjaya, 2018). The tara Music Analysis provides theory and cuk and cak may be called in various terms practice to students to analyze basic mu- in some Keroncong music. In Keroncong sic scattered throughout the archipelago. Tugu, for instance, they are called proun- Meanwhile, in The History of Nusantara ga and machina (Ganap, 2011), while in Music Analysis II, students only explore Keroncong Jakarta, they are called ‘Keron- Keroncong music as a unit of Nusantara cong’ and ‘tenor’ (Supiarza, Setiawan, & music through practice. According to the Sobarna, 2019). Keroncong is divided into author’s observation, the practices held some kinds, which are resulted from the previously in The History of Nusantara hybrid process (Ganap, 2000). In addition Music Analysis II were limited only in imi- to Keroncong’s characteristics, one of the tating the existing Keroncong songs. The important elements in Keroncong music is students played the song in their groups. its lyric. In Keroncong music, the develop- This practice seemed to be less developed ment of lyric has gone through a long jour- and done as just a subject completion. The- ney that began from the 1880s where it was refore, students were willing to do it. After first taken from the text of Stambul come- getting their score on the subject, the prac- dy. Its initial story was written in the Ma- tice was stopped and discontinued. Hence, lay language, and the text was composed through this project, the author tried to ser- of 2 ‘formals,’ poems, and poets. Pantun ve students the opportunities to compre- can achieve a high level of literature, but hensively deepen the important elements the verses sung with Keroncong melody of Keroncong (both its composition and are folk poems. It is not always polished lyric) and encourage them to make brand and smooth (Yampolsky, 2010). Theoreti- new creations and innovations. Another cally, the poem has its own music, one of reason for carrying out this research was the literature where the sound and pat- that Keroncong was currently deemed a tern contain concept and reference (Green, preserved type of music and suffered a 2011). But the need of poem musicality lack of development. Not so many Keron- depends on its current period’s aesthetics cong music works have been made today. (Green, 2011), According to the mentioned The creation is mostly imitations and less description, in this research we try to in- acceptable to today’s youth flavor (Fau- terpret the poetry which align with the Z ziah & Rachman, 2017; Rachman, 2013; generation current aesthetics. Rachman & Utomo, 2017, 2019; Ramadha- The poetry selected in this project ni & Rachman, 2019). was poetry of Hasta Indriyana titled ‘Pik- The characteristics and elements of nik yang Menyenangkan’ (An Exciting Pic- Keroncong music are the basics that the nic), which was selected considering its student should comprehend to under- resemblance to a common song lyric and stand Keroncong music. This is also the representing youth. Hasta is a poet figure main requirement to allow the student to with who the author closes with. This op- understand Keroncong music. Keroncong portunity allowed the author to be more is an acculturated music that emerged cooperative in having permission and through the invasion of a foreign nation to coordination in composing Keroncong Indonesia, mainly Portuguese and Dutch music from his poetry (this act is called a (Ganap, 2006). Besides, in the musicolo- ‘Kroncongisasi Puisi’). Poet is a sound. In gy context, Keroncong is distinguished a poet, the sound is aesthetics and related from the other sorts of music. The speci- to the elements of music, song, melody, fic characteristic can be identified from its rhythm, etc. (Pradopo, R, 2009). Likewi- instrument repertoire, which consists of se, music as a culture of sound, one of the cak, cuk, cello, guitar, bass, violin, and flute important elements of a poet is sound, so (Sanjaya, 2018). The cuk and cak are trans- the poet and music have a strong relati- Hery Supiarza & Irwan Sarbeni, Teaching and Learning Music in Digital Era: Creating Ker- 125 on. Through this supervision, the students of the digital creative impact in the music were directed to learn Keroncong song ly- education of the 21s century was ever done rics and poetry that would underly their (Gouzouasis & Bakan, 2011). In the last brand new Keroncong song creation and decade of their research, it is found that di- created a new discourse of Keroncong mu- gital technology has fundamentally chan- sic within students, particularly the youth ged the making, sharing, teaching, and generally. Therefore, it was necessary to learning of music and these were rapidly supervise the kroncongisasi puisi (illustra- developed. Then, they conclude that mu- ting poetry reading with Keroncong mu- sic educators should be able to follow the sic) process. emerging trend to keep relevant with the Based on the background mentio- youth culture. Yet their research just cont- ned above, there identified some issues as ributes an exclamation of the future curri- follows: (1) the lack of students skills to culum revolution without demonstrating a deepen the Keroncong song lyric, (2) the concrete example. Responding to the pre- minimum of Keroncong song repertoire vious research, this research contributes mastered by the students, (3) the lack of more a concrete example of music learning students skill to learn poetry, (4) matter struggle in colleges with the music Keron- of students bravery to create a Keroncong cong as the media. song based on the poetry, (5) the need of The theory which the students had developing a new form of Keroncong mu- learned in The History of Nusantara Music sic that is adaptive to the today’s sense. Analysis I subject was then implemented Ultimately, this research and supervision through music practice in The History of aimed to give the Z generation students Nusantara Music Analysis II where se- space in The History of Nusantara Music lected genre of the practice was Keron- Analysis II subject to compose a Keroncong cong. Based on the researcher’s analysis, music work out of poetry. Kroncongisa- the students could feasibly comprehend si puisi is a new offer in the development what they were learning about by practi- of Keroncong music in Indonesia. It is ex- cing it. In this context, the students them- pected to raise a new spirit for the practi- selves experienced their musical practice tioners of Keroncong music, especially the immediately.
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