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 categorized 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 music 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. In the final semester, they Z generation, and ultimately contribute to played the Keroncong and explained their the renewal of Keroncong music, which is play to the audience. On the contrary, they considered just ancient music that enjoyed previously used to imitate the existing mainly by an elder. In addition, it also can Keroncong song to be played, and conse- be considered as the Z generation’s con- quently, they could only play based casu- ceptual contribution to the development of ally. The students involved in this project Keroncong in the digital era. were those 2017 batch who were mostly The development of digital technolo- born in the 2000s and categorized as the gy or the digital era has changed people’s Z generation – as Linnes (2017) stated that mindset and field of education and stated 1995 to present birth year is the Z genera- that the digital revolution had changed tion birth year. our works, association, and schedule. It In addition, it is found that the pro- also affects how teenagers and children duction of Keroncong music went signi- play, require the information, communica- ficantly lower from the 80s to the present te with one another, and learn (Srinivasan – comparing with its victory around 30s, et al., 2017: p. 10). Yet, the development 50s, 60s and 70s. The Keroncong music had doesn’t change most colleges or teaching actually reached the top of its popularity and learning processes in the class. The around 1920 through the gramophone re- colleges are demanded to perform an al- cording industry of Beka company, Ode- teration in the context of the digital era, on, Colombia, Polyphone, Ultra, Edison and so is music learning. The examination Bell, Tio tek hong, Yktj & Pplr, Angsa, 126 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 123-139

Delima, Canary, Triplex, and extra. It was the glory period of Keroncong music. This ranked at 2nd and 3rd most popular among popularity can also be seen in the research, other music genres (Yampolsky, 2013); the which was written as a dissertation titled following illustrates Keroncong populari- music and media in the Dutch East Indies: ty in that year: Gramophone records and radio in the late colonial era, 1903-1942 (Philip Bradford Table 1. Malay/Straits region (M/S ) popular Yampolsky, 2013) – as a researcher has music category, 1920–42 explored from sorts of existing literature % of *(M/S) Popular Music (MSPM) such as books and Keroncong anthems MSPM which were popular in every Keroncong M/S popular music (unspecified) 1606 55.55 music festival. The researcher acquired Melayu repertoir (tentative) 738 25.53 this data from a literature study (Philip B. 3. Kroncong 378 13.08 Yampolsky, 2010), which discussed Keron- 4. Stambul 45 1.56 cong in the 1920s and the data of Keron- 5. Kembang Kacang 2 <0.00 cong production from a book ‘Rupa-rupa 6. Hawaiann 30 1.04 Musik Keroncong Tahun 1940-1970an’ (B, 1979). The bellow table shows the amount 7. Jazz Accompaniment 3 0.10 of Keroncong song based on its period: DEI popular music issued in M/S DEI Table 3. Production estimation of Keroncong a. Malay language 14 0.48 music based on its period: b. DEI Regional languages 75 2.59 Keron- Langgam Stambul To- Period (Acehnese, Toba, Ambon, cong (Kr) (Lgm) (Stb) tal Bawean) TOTAL 2891 99.93 1920-1942s 1424 - 226 1650 *The Dutch East Indies (DEI) was a colony of the Netherlands, while the 1950-1970s 157 95 15 267 Malay/Straits region (M/S) was a British colony. 1980-pres- - - - - ent Table 2. The Dutch East Indies (DEI) popular music category, 1920–42 Table 3, 1920-1942 is an estimation of % of DEI Popular Music (IPM) research record (Yampolsky, 2013) resear- IPM cher concluded from gramophone recor- DEI popular music (unspecified) 1414 34.79 ding production. For the 1950-1970 period, Kroncong 1424 35.04 it was counted manually. Keroncong song Stambul 226 5.56 production in 1950-1970 was filtered based Hawaiian 261 6.42 on its popularity within the Keroncong Melayu repertoir (tentative) 206 5.07 community, where they played the song Jazz Accompaniment 98 2.41 and took place to record. For the period Kembang Kacang 14 0.34 1980s, no Keroncong song creation was found. Even if it was, it was excluded from Military 2 <0.00 the criteria required in this research (Su- Nationalist 18 0.44 piarza, 2019). The dissertation states that Popular music DEI regional lan- 374 9.20 Keroncong works were legitimated neither guages (Manado,Javanese, Sun- danese, Ambon, Sangir, Batak, by the music industry nor Keroncong com- Banjar, Aceh, Bugis, Makasar) munity. This means that Keroncong works M/S popular music issued in DEI 27 0.67 did exist but with poor legitimation. TOTAL 4064 99.94 Keroncong Music In 1930s, through NIROM, VORO, Keroncong music, in other words, is VORL, PPRK radio broadcasts (Suadi, an identity of Indonesian struggle, spirit, 2017), Keroncong came to be a great vogue and pluralism entity of this nation. Keron- for Indonesian. It proves that 1930s was cong music began in the early 20th century; Hery Supiarza & Irwan Sarbeni, Teaching and Learning Music in Digital Era: Creating Ker- 127 some speculate Keroncong music to have sition rule which employs terms such as been brought by the Portuguese in the 16th Poorspel, Senggahan, Overhang, Bar Amount, century (Ganap, 2006) when Indonesia was and Harmony Framework (Kusbini, 1970). under Portuguese colonialism. Keroncong Those indications – the musicology is a combination of music, acculturation, rules that are conventionally agreed as ‘pa- and crossbreeding that produces a hybrid kem’ – are largely referred to by Keroncong culture (Ganap, 2011). The acculturati- musicians in Indonesia today. However, on is not only with Portuguese as Ganap the fact shows that those styles have under- mention in his article “Pengaruh Portugis gone the development by the influence of dalam Keroncong Tugu”, but Ducth also other rhythm styles such us pop, dangdut, held an important role to this acculturati- jazz, rock, and others. The styles are then on (Barendregt, Bart. Bogaerts 2016). The termed as ‘di-keroncongkan’ (Widjajadi, phenomena of naming such this music 2005). Those genres indicate that there is were limited in the meaning of the Keron- still an opportunity to develop Keroncong cong music itself, but it meant more as an music that can adapt to the current situa- identity in the development of Keroncong tion. Thus there will emerge new styles music with its aesthetics paradigm. Ac- of Keroncong. As can be learned, the ‘Ja- cording to (Sullivan, 1993) a paradigm is maican Sound Keroncong’ is a result of the a process of forming a concept, model, or collaboration of two music genres, Ska and conventional point of view to a fact. Ac- Keroncong, by SirIyai band in Bandung cording to this definition, aesthetics para- City (Supiarza, H. Sobarna, 2019; A’yun & digm in this research approach processing Rachman, 2019). To achieve that goal, it is of creating an image or aesthetics model to necessary to conduct guidance (supervi- be conventionally agreed by all Keroncong sing) to the students of The Department of music players, as to how the forming of Music Education in order to get clear direc- Keroncong music performance concept in tion (of their learning and practice). This a global era that is interpreted by Bandung research is an effort to create another type youth generation to embody the role mo- of Keroncong, that is, by creating a Keron- del as a proposal for millennials (Supiarza, cong song based on poetry. The author cal- H. Sobarna, C. Sukmayadi, Y . Mulyadi, led this practice ‘Keroncongisasi Puisi.’ In 2018). This research aims to emerge the addition to this effort, the research is also new composition of Keroncong music by held to create a new atmosphere from ba- Z generation as their song product and ex- sic principles of Keroncong music on deve- tend the Keroncong song collection in res- loping the old aesthetics paradigm which ponse to the decreasing production of the was longstanding controlling the Keron- Keroncong song. Even the literature which cong by its musicological rules and made talks about Keroncong production had it stayed unprogressive. been hardly found since 1990 until today. By identifying the old Keroncong Ly- According to the various concept of ric – the metaphoric lyric that worth high developing Keroncong music, some play- literature value, mainly the popular one in ing styles underlies Keroncong music re- around 1940s during the period of revolu- pertoire. There have existed Keroncong tion and effort to Indonesia independence Asli, Stambul, Langgam Keroncong, Lang- (Nugraha, 2016) – within that period, the gam Jawa, Keroncong Tugu, and Keron- metaphoric lyric was purposed to distract, cong Extra (Harmunah, 1996). In addition particularly, the colonial audience from to those conventional Keroncong music the fact that the lyric was written to burn genres, Keroncong music contains sets of Indonesian spirit to fight against the colo- regulation called ‘pakem’. For instance, in nial (Nugraha, 2016). But according to the singing context, the terms Gandul, Gregel, researcher, this metaphor lyric had been or alike are known as characters of singing even existing since early Keroncong mu- Keroncong (B, 1979), as well as in compo- sic development in the form of traditional 128 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 123-139 poetry for drama purpose which ultima- 2017). Z is a generation who has been fami- tely called as ‘Stambul Keroncong’ (Yam- liar with technology since their born. Such polsky, 2010). a great fact that it has been a lot of children In this writing context, metaphor who have been able to operate technolo- is defined as artist self-expression that is gy devices since their childhood such as conveyed in supposition sentences. The smartphone, tablet, mp3 player and digital words which come to be a lyric in Keron- camera (UNICEF, 2017). cong music are wrapped in metaphor un- Those technology devices have been der-covering the words’ aim and purpose. fitted out with applications or software This is one of Keroncong music characters which may support children’s education. which is instead lost today. Regarding the Thus, these support their learning process high literature value of the old lyric, lite- and help parents and teachers guide and rature experts claimed this to be included filter the information from the internet that in text analysis. Text analyzing was held is not suitable for them. Every generation to comprehend the analyzed works; it has – start from pre-millennium to millennium been developed further with its various generation – has different needs (Smith, approach (Mukmin, 2008). All approaches Travis. Nichols, 2015). This difference is were done to understand the meaning be- influenced by technology development, hind the literature work and to appreciate which also changes the agent’s structure to its beauty. In the creation of the text works adapt to the time. Generation can be defin- such as lyrics, the term ‘licentia poetica’ ex- ed as a group that is identifiable through presses the poet’s freedom or poetry lan- its birth date, age, location, and important guage deviation. However, licentia poetica event that forms its personality (A. Guha, may not be arbitrarily used to deviate the 2010). In the last sixty years, three genera- language (Mohd Azam bin Sulong, 2015). tions are dominating the workplace: Baby For the students, the deep study of the Boomer, X Generation, and Millennium meaning of poetry was a new experience, (Kaifi, Nafei, Khanfar, & Kaifi, 2012). moreover when this should be interpreted Baby Boomer Generation are those to be music works for the purpose of Kron- who were born between 1943 and 1960. At congisasi puisi. that time, a lot of men returned home from World War II, contributing to the increase Learning and Teaching Challenge in Z of demography through birth; this was Generation what created the baby boom effect. Baby The future of Indonesia is in the hand boomers were grown when the economy of the young generation today; it is inclu- was in its prosperous. This generation ding the development and conservation of was independent of technology, unlike in Keroncong music. Indonesia has plenty of the present (Kaifi et al., 2012). X Generati- young generations full of achievement in on (also called Gen X, or Xers) were born music proven from the awards they achie- between 1961 and 1979, where their birth ved nationally or internationally. Music marked the significant decrease of pre- has been integrated into the internet. The vious demography fluctuation as well as digital era and the existence of internet to the next generation (Kaifi et al., 2012). labels (netlabel) have given new hope in Z Generation is nurtured within the social the development of modern music and network. Ultimately, they are the digital, potentially could turn to be a changing and technology is their identity (Dangmei agent of culture (Kusumawardhani, 2015). & Singh, 2016). The students who partici- The dense global development supported pated in this research project were classi- by technology that is getting closer to the fied as the Z Generation because they were children’s life marked the age of a Z ge- born between 1996 and 2012 as defined neration, also known as a Net Generation, (Schwieger & Ladwig, 2018). Digital Generation, or Gen Next (Linnes, Indonesia is open to the advance- Hery Supiarza & Irwan Sarbeni, Teaching and Learning Music in Digital Era: Creating Ker- 129 ment of digital technology. Unfortunately, teleconference. In addition, the Z Genera- the government does not really concern to tion can use google to help them find the control this advancement, mainly to the relevant reference in the scope of Keron- information technology (Facebook, Twit- cong; they can also have correspondence ter, Instagram, and Youtube) (Furqon et to Keroncong experts via email, Facebook, al., 2018), and this cause a new generation Twitter, Instagram, or alike personally. with liberal character somewhat, individu- These simplicities possibly allow the Z Ge- alistic, and in the music context, they tend neration to know everything very quickly. to like diverse music genre. This tremen- Dauksevicuite and Rothman (in Cilliers, dous revolution of the Z generation affec- 2017: p. 190) argue that Z Generation is ting how we approach society. In purpo- the first generation to have been connected se of planning and opening a new way of globally through the internet and stay ali- education, the awareness of “the rise of the ve and breathing. Likewise happened in new generation that aware of their around the college where the Z Generation count and speaking a technology language” (Cil- more on the recording device than taking liers, 2017). The students involved in this a note; they also tend to ask any question research were college students of the 3rd online. Studying in their college is just a semester. As the Z Generation, they have routine. They tend to demand information a different character from their predeces- and communication instantly instead of sors. This character is strongly related to waiting for it coming. the advancement as an effect. According to our analysis, the litera- This is also significantly impacting ture has shown that the Keroncong music the teaching and learning process in uni- needs treatment from the Z generation on versity structure (Cilliers, 2017), deman- behalf of its preservation and develop- ding lecturers a special strategy to teach ment. Yet the literature also remains the this Z Generation who have already mas- gap where there has been no research that tered their own high technology. Learn, concerns Z generation supervision in cre- and learning are two related concepts: tied ating Keroncong music through poetry as and inseparable; both are the main activi- an approach. Through the learn and lear- ties in the education process. Learn means ning, this research aims to create Keron- a process of behavior change as a result of cong of a poet based on the Z generation’s individual interaction with the environ- interpretation in this digital era. The rese- ment. This result will be continuous, po- arch questions are stated as follows: 1) Are sitive, active, and directed (Hanafy et al., the Z generations able to create Keroncong 2014). The environment factor is the main music based on their interpretation?; 2) condition to create a strategy of learning How is their process in creating Keron- and learning activity. In this context, the cong music of a poet?. author uses the learning concept of the relation between stimulus and S-R response METHOD from Skinner (Goddard, 2018). Z Generation can easily find any The project of compossing Keron- kind of information on Youtube as expe- cong music through interpreting poetry rienced by this research students through was applied to the students of The Depart- digital development. The Z generation can ment of Music Education, Faculty of Arts see sorts of genres, thereby taking them and Design Education, Universitas Pen- as their references without going to a for- didikan Indonesia (FPSD UPI). The pro- mal education institution, music shop, or ject was served through the 3rd semester’s music library. Through Youtube, they can subject ‘The History of Nusantara Music practice the music at home. Even in some Analysis II’. By this, the students were su- contents, there found the instructor inter- pervised to create a Keroncong song which actively guide the audience live through based on poetry. This subject is typically 130 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 123-139 a prerequisite subject. Students should Nusantara Music Analysis II subject, with have begun to take this subject since their 2 SKS which managed to be done in one second semester in ‘The History of Nusan- semester, particularly in the 3rd semester. tara Music Analysis I’ course which dis- The selected method for this project was cusses about the dissemination of music guidance in the form of a workshop and around Nusantara which affected by other implementation of Keroncong song crea- cultures as Tanjidor, Tarling, Gambus, and tion or ‘Kroncongisasi Puisi.’ This project Malay. was done in two months respectively, Sep- The qualitative method with the ac- tember and December 2018, and the result tion research model used in this research, was recorded in audio and video format. specifically participatory action research, The stages can be described as follows: is considered appropriate because the researchers were also involved rightly in the Table 4. Project Phases research. Participatory action research is a Implemen- Production and Preparation qualitative research methodology that fos- tation Evaluation ters collaboration among participant and Schedule Audio-vid- Forming of researcher (MacDonald, 2012)equitable, manage- eorecording groups liberating, and life-enhancing qualitative ment process inquiry that remains distinct from other Guidance Selecting the Mixing and mas- qualitative methodologies (Kach & Kralik, of playing poetry tering 2006. Richard Winter (in O’Brien, 1998) technique suggests six comprehensive summaries Poetry Instrument from the main principle of action research, interpreta- Discussion repertoire those are: 1) reflective critique; 2) Dialecti- tion cal Critique; 3) Collaborative Resources; 4) Upload and pub- Risk; 5) Plural Structure; 6) Theory, Prac- lication tice, Transformation. In this research context, the researchers emphasized the prin- Preparation ciple stated in the third point where the The Division and Formation of Or- participants – according to action research kes Keroncong The first step was dividing – are the researchers’ members. The prin- the 40 students into small groups of Orkes ciple of resource collaboration considers Keroncong; each consists of five to six per- that every personal idea is the resources sonnel according to the amount of musical that are equally significant in establishing instrument available: cuk, cak, bass, cello, the classification of analysis interpretati- flute/ violin, and vocal. on negotiated among participants (Hasan, 2009). Logically, the stages in the research The Poetry Selection are explained as follows: After the formation, students were The data sources were the students offered to choose one of the selected poet- of Department of Music Education FPSD ries. Each group would hand poetry as UPI. The action research participatory con- their composition base. text is considered democratic, equitable, liberating, and life-enhancing qualitative Instrument Preparation inquiry that remains distinct from other The preparation was made by qualitative methodologies (MacDonald, checking carefully available instruments 2012)equitable, liberating, and life-en- on campus, whether the instruments were hancing qualitative inquiry that remains ready to be used or need a repairment. The distinct from other qualitative methodo- students were also asked if they owned logies (Kach & Kralik, 2006. The students additional instruments to support the gui- were those who engaged in The History of dance project. Hery Supiarza & Irwan Sarbeni, Teaching and Learning Music in Digital Era: Creating Ker- 131

Implementation on 24 December 2018 rightly after the mi- Due to the fact that this guidance xing and mastering session, followed by project was a practice, and amount of the all participants of the guidance project to music instrument available in department discuss the recording result, poetry inter- was limited, it was necessary to firstly set pretation, composition, and the decision to the training schedule in order each group upload and publish strategy. could have their turn use the Keroncong music instruments effectively and effi- Upload and Publication ciently. Upload and publication were dis- seminating recording products via social The guidance of music playing technique media such as Youtube, Instagram, Twit- This guidance took place to accelera- ter, and Facebook. The purpose was to te the process of music creation knowing publish the ‘Kroncongisasi puisi’ to hear au- that few students had no experience yet of dience feedback. playing Keroncong music instrument. This guidance focused on the playing technique RESULTS AND DISCUSSION application of cuk, cak, and cello which are the main elements in Keroncong music. For a reason mentioned above, this project was managed to supervise that Z The guidance of poetry interpretation generation to utilize their skill to create a In the process, the students were gi- Keroncong music with a poetry script as ven guidance scheduled to interpret the its song lyric as well as to create a new Ke- poetry for Keroncong’s musical purpose, roncong music called Kroncongisasi puisi. they were guided as they had turned the Another supporting reason is the fact that poetry into a Keroncong music melody Keroncong music remains conservated and sounded in Midi or Sibelius. and get lacks revitalization. Consequent- ly, this state-led Keroncong music drawn Production and died among other music genres ma- After the creation of the song, they naged in the capital system (Supiarza, came to the technical training both indi- H. Sobarna, C. Sukmayadi, Y . Mulyadi, vidually or in a group until 18 December 2018). As far as the researcher can concern, 2018, when they started to record their song this research is essential to do. The Z ge- in the Department of Music Education stu- nerations should be directed to empower dio. The recording process was taken place their liberal character and their ability as live, capturing the audio and video. The the dwellers of the digital era in reflec- recording was scheduled at 19.30 to get a ting and creating a new sort of Keroncong quiet moment anticipating possible noise music. This research is also meant to de- during the recording process. All groups monstrate a concrete example of learning who got their turn were managed to finish media of the digital era, perfecting previo- the recording in one night. us research result in the field of digital era learning media as done by the previous Mixing dan Mastering researchers such as Srinivasan et al. (2017) Mixing and mastering were the pro- Gouzouasis & Bakan (2011), Srinivasan cesses taken to get an adequate recording (2017), and Gouzouasis (2011). Hopefully, result; this process consumed a lot of time. through Kroncongisasi, the students’ work Regarding this, students have obtained six could emerge a new discourse among the workdays from 18th to 24 December 2018 Z generation, mainly those who are liberal (Rattie, 2002), to modify and create Keron- Discussion and Evaluation cong music work that freely offers up to Discussion and evaluation were held date musical taste. 132 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 123-139

Table 5. Group and Poetries was purposed to solve any rising technical Group’s Name Poetries Title problem such as synchronizing the melody to the poetry, difficulties in playing the Merasuk Hati Di Taman Partere instrument, and the basic framework of Harapan Kasih Penyeberangan Keroncong music. In this step, the resear- Penyejuk Jiwa Komering cher suggested the students ignore a valid Rayuan Malam Sayap-sayap Laron rule of playing Keroncong (such as asli, langgam, stambul, and extra) temporarily. Cahaya Malam Mahoni In addition, they were also taught a brief sight about Hasta Indriyana’s poetry. Early process The supervisor continually carried This project was carried out in early out a discussion of comprehending the September 2018 by first observing the lear- poetry. In every meeting, the supervisor ning process of Nusantara Music Analysis used to associate the writer’s intent in his II followed by presenting the project plan poetry and the student’s interpretation. to the class, offering renewal of Keroncong Overall, this step ran well, and surprising- music classes called poetry chronology, ly the students could compose the suitable project compromise, and the formation of Keroncong melody that met the writer’s keroncong groups. Each group was deter- expectation as Hasta Indriana himself ad- mined to have consisted of 6 to 7 members. mitted this suitability after listening to the There formed five groups out of 33 total melody the group had composed. class members. A discussion then followed At this stage, the poetry interpretati- this formation to name the groups and di- on process is carried out by students with vide the poetry into groups. The result is group members to determine the main reported as Table 6. melody frame. At first, the melody was not written in the form of scores, but students Table 6. Group’s name and poetry title did recordings via cellphones. The task Amount Group’s name Poetry Title of determining the melody of the song is of Student given to one of the predetermined group Merasuk Hati 7 students Di Taman members. Prior to this determination, the (A) Partere groups had tried to interpret the poetry Harapan Kasih 7 students Penyeberan- they had chosen. In the interpretation pro- (B) gan cess, each group conducted an interview Penyejuk Jiwa 7 students Komering with Hasta Indriana about the meaning of (C) the poem he created (who was currently Rayuan Malam 6 students Sayap-sayap an interpretation student). The results of (D) laron the interview were then elaborated and Cahaya Malam 6 students Mahoni collaborated with the group’s interpretati- (E) on. In the view of the researcher, the students’ interpretation refers to the essence After forming, naming the group, of the poetry said by (Richard 1997), name- and dividing the poetry texts, each group ly: 1) sense, 2) feeling, 3) Tone, 4) Intenti- were asked to independently compose the on. Based on the researcher’s analysis, the base melody for a week deadline from 1 to process of creating this poem consists of 1) 6 December 2018. The results were soun- interpretation, 2) making a song melody ded to be evaluated together. UMB Lapis (horizontal), 3) implementing with musi- Legit assisted this evaluation, a student’s cal instrument accompaniment, 4) making organization of Keroncong music lovers, a harmony framework, 5) practicing, 6) re- consisting of students of the department cording, 7) mastering, 8) shooting, 9) edi- of music education FPSD UPI. This help ting, 10) publishing. Hery Supiarza & Irwan Sarbeni, Teaching and Learning Music in Digital Era: Creating Ker- 133

Kroncongisasi Puisi: A Keroncong Music impact of their intensity of exploring You- Reproduction of Z Generation tube that provided them lots of instant in- After nearly two months of intensi- formation and applicable knowledge, and ve supervision, the Kroncongisasi Puisi consequently, it formed their musical cha- was ultimately made. Five Keroncong mu- racter away from the pakem. sic works were created of five Keroncong These characters appeared as (one groups. Before coming to the Keroncong of the song work) in ‘penyeberangan’ song works recording, the researcher shared which could depict four other songs’ cha- an example to social media. Facebook was racter and was taken as a prototype shared chosen to be shared with where Keroncong earlier in social media. Besides, this song musicians and letters experts mainly acces- was composition more complex by adding sed it. Hereby, the researcher could see the blow instruments supporting other stan- commentaries from qualified experts and dard instruments (cuk, cak, cello, guitar, any anonymous commentators who might and bass). concern about this working prototype. In summary, 90% of commentators respon- ded to the work positively; those commentators were mostly musicians and letter experts who possessed objective evaluation and qualified background. While the rest 10% were those non-experts and musicians who simply appreciate ‘good’ to work. The following step after sharing the prototype with Facebook was to record the Figure 1. Video clip O.K. Harapan Kasih works in audio-video format. The notion of the recording process was completely This group could present exciting trusted to the students to see how they cinematography and consciously write would overcome potential issues during a film script before creating the video for the process. Amazingly, the result of their the audio-visual context. Therefore, their process was very interesting. Firstly, the video appearance looked to be well-ma- Z generation had already possessed a di- de and was able to narrate the meaning gital technology intelligence that they of the poetry. As recorded in the video, had learned intuitively from social media. they visualized the word ‘penyeberangan’ They were already skilled at sound engi- by showing a person walking on the stair, neering, cinematography, and arrange- which appeared in the beginning, middle, ment – see the following link for the detail and end of the video. Google and Youtu- https://drive.google.com/open?id=133h be inspired those audio-visual creativities. P1sENKPlkc2W0F80mlVXzjQOpOltg. Se- This was all the Z generations who are condly, only in two months total, they fac- aware of where they are and understand tually could compose Keroncong music of the language of technology (Cilliers, 2017) the poetry well. This ‘well’ term could be to create adequate visualization according concluded from the positive commentaries to the current technology language. given by the letter experts and the Keron- For the music context, their music cong musician during sharing sessions on character could not be categorized into Facebook as well as appreciated by poets any conventional Keroncong music. In the and Keroncong practitioners in workshop matter of instrument, they had added two events. Thirdly, the Z generation posses- western blow instruments Saxophone and sed a liberal character where they freed Trombone. They composed the song freely themselves from the Keroncong musicolo- out of the existing conventional rule. The gy rules or pakem. They liked to collaborate interesting part was that they had been various kinds of music in their works as an 134 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 123-139 quite concerned about the relation bet- IV . . . V . . . III(m) . . . VI(m) . . .( II(m) . . . V ween lyric and melody; they carefully ma- . . . IV(m) . . .I . . .)2x naged every word to be synchronized with the music melody. The following example Coda will illustrate how the lyrics are applied in I . . . II . . . V . . . V(m) . . . I . . . II . . . V . . . the melody: V(m) . . (ritt) .I . . . Three styles were applied in this play Penyeberangan and were adopted from the ukulele cuk and Di tepi itu //aku membayangkan kau// cak play style as the important elements of Menungguku//// Di sini waktu/ Seperti Keroncong. The first style was Toegoe sty- mistar/yang kuurut////. Dan daratan// le, known as kemprong, which the rhythm Di telapak kakimu/ barangkali//Angka illustrated in Figure 2: terakhir/ yang mesti kucatat////Pada perjalanan// penghabisan/ di tepian/ Nanti mata/ bakal menatap pasir//. Dan karang/Menungguku jadi batu//. Men- jelma batu//Ditimpuki/ batu, diguyur / bunga kamboja//Lalu di tepi itu //mela- Figure 2. Toegoe style rhythmic pattern yar kapal-kapal masa lalu.// In detail, this partiture is compo- Toegoe style play patterns are played sed as the main melody by O.K. Harapan on ‘Penyeberangan’ starting from the intro Kasih; in the harmony framework, this is to the last song. The play was also colo- transcribed as follows: red by strumming and rasgueado effect. In Intro: (Toegoe Style) Keroncong Toegoe style these colors were III(m) . . . IV(m) . . . III(m) . . . IV . . . V . . . heard along with the song composition. The rhythmical pattern of ukulele cak and Song 1: (Toegoe style) ukulele cuk is matrical; the cord played the I . . . III(m) . . . IV . . .V . . . I . . . III(m) . . . second inversion with the same or diffe- (flute as Bridge) rent register of an octave (Ganap, 2011). In the Penyeberangan song of Harapan I . . . III(m) . . . IV . . . V . . . I . . . I (7) . . .( Kasih, there found a similar hit style to Septim cord aims to step ) Keroncong Toegoe, but the chord did not perform the second inversion as it should; Reff: they were all out of playing a progressive IV . . . V . . . I . . . VI(m) . . . II(m). . . V . . . I chord rather than a formal pattern of Ke- . . . I (7) . . . roncong Toegoe. The Toegoe pattern was IV . . . V . . . III(m) . . . VI(m) . . . II(m) . . . V played in Penyeberangan song from intro to . . . IV(m) . . . (brass in) one last song part then moved to Surakar- ta patterns, engkel and doable. These pat- I . .(rubatto) . I . . . (break only cuk and cak terns were also known as sawilet and kering for engkel style) . . . II . . . IV. . . IV(m). . . in Sunda, or tunggal and ganda (rangkep), III(m) . .(Trombone solo) . VI(m) . . . II(m) which means a doubled-rhythmical pat- . . . IV(m) . (flute in)..VI(m)...II(m)... tern, the pattern this is used to gain play Song 2: (engkel style) spirit and live the song playing (Harmu- I . . . III(m) . . . IV . . .V . . . I . . . III(m) . . nah, 1996). .(brass as Brigde) Figure 4 is a partiture that illustrates I . . . III(m) . . . IV . . . V . . . I . . . I (7) . . .(brass) the double style. Syncope style fills the spa- Reff (Double Style) ce of ukulele cuk play by rasgueado picking IV . . . V . . . I . . . VI(m) . . . II(m). . . V . . . I – played in double rhythm. . . . I (7) . . . Hery Supiarza & Irwan Sarbeni, Teaching and Learning Music in Digital Era: Creating Ker- 135

violin. As seen in the group’s Keroncong composition, the word quotation is more concerned compared with its music melody. The melody follows and even adapts the meaning and purpose of the poetry’s words. The group also managed to interpret the word ‘past’ minor accord expressi- Figure 3. Surakarta style rhythmic pattern on, as written in the late paragraph, in the word “masa lalu” (see image 6).

Figure 4. Ukulele cuk dobel play pattern

From the five groups made, O.K. Ha- rapan Kasih was one who demonstrated the innovation by playing the most complete hit pattern. The group inserted the main music rhythm aspect, Toegoe (also known as Jakartaan style or tempo doeloe style) and Surakarta. While the rest four groups played only the Surakartan hit pattern. The researcher considered that their knowledge led to the Z generation’s creativity level that they acquired from information technology. They knew various music Figure 5. Penyeberangan song’s complete nota- from Youtube. By the internet support, tion they could quickly access the science that hereby it could be proven that Z generation has possessed a liberal character and excited to electrical things for their intelligence enabled them to operate the digital technology. The followed image illustrates how the group managed the poetry, which be- came the song lyric synchronizing the mu- Figure 6. Accord form as the lyric adaptation sic composition. This song tonality in D Major consisted of standard music instru- The picture in bar 27 is the G minor ments of Keroncong: Cuk, Cak, Cello, Bass, chord as an interpretation of the word and Guitar – completed by three additional ‘Lalu=past’ to confirm a past event as a blow instruments: Trombone, Saxophone, keyword in this poem by inserting the Gm and Flute. For the conventional Keroncong chord, which is intended as a confirmation song, the addition of saxophone and trom- for the next closed complete cadence, i.e., bone is somewhat less appropriate. At the D major as the closing. same time, the flute is roled as a melodic As the Z generation, their intelligen- instrument and is a mandatory instrument ce is shown through the syllabic style they in the Keroncong repertoire besides the use. Every pic they sing contains the art of 136 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 123-139 song words (Mohd Azam bin Sulong, 2015) to independence fighter (Nugraha, 2016), to place the existing words in the melody it was a strategy in the war of independen- in order to get the word quotation more ce. The language power was one the last exact. The group even avoids a melismatic bullets in performing war strategy. The ly- style in which the song is played in a single rics in the Keroncong song were purposed syllable with many notes (Citron, in Mohd to entertain and burn fighters’ spirit, and Azam bin Sulong, 2015), as can be read in thus it was understood only by the fighters Figure 7. instead of colonials. Hasta Indriyana stated (interview, 1 January 2019) “awesome! I myself as a poet feel so glad! How they could compose such that song! how they might interpret exactly as what I meant!”, this commenta- Figure 7. Syllabic Style Song melody ry is evidence of deep appreciation from the poet and a form of legitimation that With the use of rhythmic triol, to this project has made it to stimulate the give the impression of swing like swinging students in their learning process, and the can explain each syllable. The following learning on behalf of motivating Z genera- example is the rhythmic triol used. tion students’ creativity to emerge a new Besides, the group also uses a rhyth- discourse in the scope of Keroncong music mic pattern of triol to defend important by the term “Kroncongisasi puisi”. words in the poetry to keep the words’ This project, finally, resulted in five meaning. According to the researcher, the works of Kroncongisasi puisi, each with its triol has a firm character as if it is an exc- musical form. Group A with Langgam Ke- lamation mark or underline (in writing) roncong, Group B with Keroncong Asli, which marks the main sentence. By the use while the rest Group C, D, E were classi- of triol, a swing impression resulted out of fied as out of the category of Keroncong it may describe each syllable. Here is the genre (No genre). triol sample used (Figure 8). Table 7. Music Form of Each Group Keroncong No Group’s Name Genre Genre Merasuk Hati (A) Langgam Harapan Kasih (B) Keroncong Asli Penyejuk Jiwa (C) free Figure 8. The example of the triol rhythmic Rayuan Malam (D) free use Cahaya Malam (E) free

Almost the entire song takes triol The prospect of its continuation rhythmic. From the intro to the part of The important aspect of this rese- coda rhythmic, the triol dominates to arch lies in the prospect of its continuation. bound the lyric to keep its meaning. In the The continuation of this poetry ‘Kroncon- past, lyric in Keroncong music was writ- gisasi’ project has formed the new gene- ten in metaphor in order not to let people ration z Keroncong group; they were the notice (the lyric meaning explicitly) (Kus- five groups who specifically used poetry bini, 1956). According to the researcher, as their creation media which constituted the lyric was composed in the era of the a new style for the movement of Keron- Indonesian struggle against colonial, and conger Indonesia. This movement is assig- it was written so in purpose as the media ned to diffuse information to practitioners to throw the critics and fight against the and appreciators of youth Keroncong all colonials in which there identified a secret over Indonesia. Through this movement, code behind the lyric meaning addressed a number of future programs were set to Hery Supiarza & Irwan Sarbeni, Teaching and Learning Music in Digital Era: Creating Ker- 137 take place in the form of collaboration per- modern era. formance with the poet, discussion, and the concert of Kroncongisasi puisi. The con- REFERENCES tinuation of the Kroncongisasi puisi is also believed to be going to support some as- A’yun, W. Q., & Rachman, A. (2019). Ker- pects such as 1) Collaboration of interdis- oncong in Jamaican Sound. Jurnal ciplinary. When students could successful- Seni Musik, 8(1), 34–42. ly compose the song based on the poetry, Cilliers, E. J. (2017). The challenge of teach- they have demonstrated interdisciplinary ing generation Z. International Jour- language and music collaboration. This nal of Social Sciences, 3(1), 188–198. collaboration may result in musical works Dangmei, J., & Singh, A. P. (2016). Under- with adequate lyrics and full of responsibi- standing the Generation Z: the Fu- lity; 2) Social and Cultural. As they could ture Workforce. South -Asian Journal understand and practice the local culture of Multidisciplinary Studies, 246(3), treasure, which in this context are Keron- 2349–7858. cong and poetry, they actually acted to Fauziah, Z., & Rachman, A. (2017). Aran- support the existence of the Kroncongisasi semen Vokal Sebagai Identitas O.K. puisi as the Indonesian culture within a Congrock 17 di Semarang. Jurnal discourse of western modernization. Seni dan Budaya, 1(2), 63–69. Furqon, M. A., Hermansyah, D., Sari, S., CONCLUSIONS Sukma, A., Akbar, Y., & Rakhmawa- ti, N. A. (2018). Analisis Sosial Me- This research project resulted in a dia Pemerintah Daerah di Indonesia sort of new style of Keroncong music cal- Berdasarkan Respons Warganet. Jur- led Kroncongisasi Puisi. This term means nal Sosioteknologi, 17(2), 2–4. the production of Keroncong music, which Ganap, V. (2000). Tugu Keroncong music : is derived from poetry. The project was hybrid genre of Portuguese sojourn. carried out to the students of The History Jurnal Pengetahuan Dan Penciptaan of Nusantara Music Analysis II class, De- Seni Seni, 2(4), 213–228. partment of Music Education, FPSD, Uni- Ganap, V. (2006). Pengaruh Portugis pada versitas Pendidikan Indonesia. Through Musik Keroncong. Harmonia, 2(4), series of guidance within two months, the 1–14. practice was supervised strictly through Ganap, V. (2011). Keroncong Toegoe. Yogya- workshops and discussion. The project karta: BP ISI Yogyakarta. resulted in five original works of Keron- Gouzouasis, P., & Bakan, D. (2011). The cong music out of student’s independent future of music-making and music pure notion and idea, which represents education in a transformative digital the Z generation. As its continuation, the world. UNESCO Observatory E-Jour- project is engaged in the partnership pro- nal, 2(2), 1–21. gram with Indonesian Kerongconger to Green, K. M. C. (2011). Music and the Eng- carry out a concert, discussion, workshop lish Lyric Poem: Explorations in Con- program with credible poets incorporation ceptual Blending. The University of with language association Bandung. In ad- Sheffield. dition, by the initiation of the association, Hanafy, S., Tarbiyah, F., Uin, K., Makas- the partnership program also resulted in sar, A., Ii, K., Sultan, J., … Email, S. an annual year competition event of Kron- (2014). Konsep belajar dan pembela- congisasi puisi with the participant from jaran. Lentera Pendidikan, 17(1), 66–79. senior high school. The event is expected Hasan. (2009). Action Research : Desain to be a national-level competition that be- Penelitian Integratif untuk Menga- comes a model of a conservation and deve- tasi Permasalahan Masyarakat. AK- lopment effort of Keroncong music in the SES: Jurnal Ekonomi dan Bisnis, 4(8), 138 Harmonia: Journal of Arts Research and Education 21 (1) (2021): 123-139

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