8th ASIAN ACADEMIC SOCIETY INTERNATIONAL CONFERENCE

(E-12) TRADITIONAL HOMECOMING MELODY (STUDY CASE: JATINEGARA AND RAILWAY STATION) Otniel Sinaga1, Farhan Nuruzzaman1, Akmal Aldino1, Hidayati1 1Faculty of Humanities. Airlangga University, Surabaya, Corresponding author’s email: [email protected]

ABSTRACT The song is an aesthetic expression of humanity. The song can be used as a tool of expression, morale, and an ethnicity's identity. In Indonesia, the traditional song was an essential tool of expression. Melody can be used as a medium of expression. Besides, it can also be some medicine. According to plos one, music beneficially impacts health, such as reducing stress or mental health illness. This paper discusses and focuses on the usage of the traditional song according to psychological and cultural approaches. Besides that, this paper also discusses the value and meaning of the traditional song played in a railway station, which impacts people who depart or arrive at the railway station. We choose Jatinegara and Railway Station for our research using the traditional song as a homecoming melody.

Keyword: Railway Station, Traditional, Song, Melody

INTRODUCTION Music was the essentials thing of humankind; it was as old as the human civilization itself. The music itself from the research was first recorded from Homo Heidelbergensis. We can know that Homo Heidelbergensis can make simple music from their vocal and sounds techniques from their time. The following steps of music development were Homo Neandhertalensis. They can make simple musical tools from bones that are called a flute. Research nowadays showing us that music has connectivity with our mental health and Psychology. Music therapy had significantly improved self-esteem and reduced stress depression. It can be a medicine for the mood of the person who discourages mental and healing psychology in our disruptive era. Some Melody or Music can we use in our public room such as Railway station, public waiting room, and other places. However, in this case, we will choose the train station because many people surround it. For Indonesia's case, the music was very diverse, and it also contains the heritage of the regions from which the music came from. This type of music was known as folk songs, or it can be called traditional songs and many distinct functions; it represented the tradition where the music came from and represented how the conditions of the society of the music originated. Traditional music also has functions for counterhegemonic for the traditions that came from the outside of the society and make stronger the identity of the people who own the traditional songs itself. From the definitions themselves, the traditional music had lyric and melody patterns sensitive to specific ethnicities and certain regions. Moreover, talked about the local life dynamics

8th ASIAN ACADEMIC SOCIETY INTERNATIONAL CONFERENCE for particular ethnic and also some specific regions. If we put this for the bell of the railway station, we can make the people have a sense of belonging and missings for its hometown.

METHODS The method that we use in this study is the qualitative method. This qualitative method is an approach to study some natural objects. This method is also used as an approach of some phenomenon studies. The Qualitative method requires various data sources such as literature review, observation, or some questionnaires. This method also requires theory to support the research's hypothesis to get some results and conclusions of the problem in this study. In this case, we use a psychological and cultural approach using the theory of culture in music cognition. It refers to the study of musical thinking. In simple terms, music cognition is the study used to research and understand the mental process of music, including creating, performing, or listening to music. Moreover, there is a cultural term in this cognition. As the basis of humankind, culture has its values in human cognition. One of those values is in music cognition. According to that, The impacts of culture in music cognition are about the preferences, emotional, and memory recognition.

LITERATURE REVIEW

The Birth of Traditional Music in Indonesia Before The Entry of Hinduism-Buddhism In this period, music was used as a ritual activity or community activity. In this, the sound of music produced comes from primitive instrumental and used the surrounding natural resources around vocal in singing the song. Hindu-Buddhist Influence At this time, there was an increment of music development (especially in the area around the kingdom). At that time, music did not only function as part of religious rituals or ceremonies; music began to be used for entertainment, such as entertaining the royal family and the king's guests, like a gamelan instrument. Influence of Islam Apart from conducting trade interactions and spreading the religion of Islam. Arab traders introduced musical instruments such as the lute and Urbana. This interaction has led to many orchestras in various places in Indonesia.

Europe Colonialism The entry of Western nations to Indonesia also significantly influenced the development of traditional music in Indonesia. Their arrival in Indonesia introduced musical instruments from their home countries, such as the violin, cello, guitar, flute, and ukulele. Such as bringing a solmization system in various song works. The arrival of western influences brought about the development of

8th ASIAN ACADEMIC SOCIETY INTERNATIONAL CONFERENCE modern Indonesian music. They were bringing Indonesian musicians to create musical performances, which are a mix of western music and Indonesian music. Modern period Along with the entry of electronic media into Indonesia, various types of western music, such as pop, jazz, blues, rock, and R&B, also entered. Likewise, with Indian country music, which is widely carried through his films. From this development, there was a combination of foreign music with Indonesian music. Indian music is mixed with Malay music to produce a type of dangdut music. Thus, various Indonesian pop, jazz, blues, rock, and R&B musicians emerged. Also developed a type of music that combines elements of Indonesian regionalism with elements of western music, especially musical instruments. This type of music is often called ethnic music.

Dimensions of traditional music and community life Music in understanding as a work of art is a human expression of its environment. Human response interacts with various sides of life, either in response to pleasure, joy, or sadness and concern. This interaction processes emotions and feelings in musical expressions that are sung through traditional musical instruments that can manifest sounds that are considered to represent the depth of their taste. The dynamics depend on the urge to create humans and the availability of equipment in their environment so that each region produces musical instruments with different peculiarities. Of course, this depends on the technical touch presented by a more modern environment, but it comes from the uniqueness. Pride in the profession of a region encourages the birth of musical expressions that reinforce this pride. Likewise, sadness, bitterness, or concern are expressed in music with dimensions of grief, sadness, or other emotions. Various dimensions go through the taste selection process, which can only be felt whether it is sad or happy. It is where the importance of feeling, which is the source of the birth of music, further processing this feeling in the form of music gives the nuances of a community and can reflect beautiful and positive things in people's lives. The beauty of music as a reflection of the beauty of human taste can encourage and inspire bigger things from human life regarding human culture and civilization. It can trigger the birth of great works that can change the world and calm the turmoil of life to become more apparent, calm, and stable. Expressions of beauty and deep taste are born from a soul who hopes for a beautiful life in the future. Music is born from a beautiful creation, that beauty can activate one's imagination against the image of the beauty that will come; this is the turning point for everyone to manifest people in their hopes with pride that is sung by music, a community can continue to nurture and strengthen their identity. Not easily swayed by the invasion of Pop culture. This form then gives birth to the character of a nation that can fulfill the beauty of the colorful life of the world. Many dimensions of life depart from the musical dimension. A large civilization tends to produce large-scale music and touches the sense of beauty between communities or even between nations. Likewise, traditional music born from a deep sense can penetrate a more open stage and become more national and modern. The point that brings music together is the depth of taste that is processed into music and can make a meeting point between the person and the human soul.

8th ASIAN ACADEMIC SOCIETY INTERNATIONAL CONFERENCE

Recently, much traditional music has inspired charcoal seman or global instrumentally music. So the problem is that in the global world, music born from any scope can be met by the beauty and depth of the taste itself.

Music and Identity Recently, many music colors were composed of various color sources, both local and global. This is because of the desire to meet the needs and the increasing number of modern musical instruments that can change various colors according to the desired taste. On-street corners, you can find many musical instruments made from bamboo (angklung) and followed by drums and others to reflect the sound of street children's typical music, which sounds more dynamic. Likewise, at the railway station, even the bus terminal at the port and airport, there were also simple musical instruments played by someone and in cement charcoal according to the musician's desire. It is not uncommon to find eclectic music that has been summarized in specific applications to give birth to the desired music. There are many ways to present music with various interests to liven up the atmosphere to make it more cheerful and uplifting. Those who live in stations, bus terminals, and street corners also rarely fulfill requests from service users to sing certain music. In response to non-formal and lucky music fans, the musicians also composed various instrumentally, which were composed themselves to emphasize their identity. The higher the willingness to affirm identity with music, the higher the need for creativity. This era happened where the street musicians need during intermission to explore music, both learning from seniors and through their ability to mix various musical instruments in order to give birth to new colors that support their uniqueness. With the angklung musical instrument, lately, due to their persistence, roadside musicians have popularized music with the main angklung instrument so that it has become their brand that angklung is synonymous with music on the corners and the roadside. The music in a station is general, depend on the perspectives. It can be in a straightforward form or even a complete orchestra that produces vibrant music. Music that refers to a specific identity requires togetherness and cooperation between musicians with a strong enough network to spread to various places and become a trend image that music in certain strains points to specific identities. Therefore, finding the correct type of musical instrument is a challenge for forming a musical identity. Not many traditional music raised on the surface by being touched by specific instruments can contribute to new compositions in the music field. The need for young people in the interior to compete with modern musical instruments to produce traditional music oriented towards global musical needs. The richness of customs that give rise to the diversity of music and the various musical genres that engulf human life are never dry materials to give birth to musical colors. Many great musicians are born from groups of the street, station, and terminal musicians. They are diligent and determined to work in music so that they gradually become musicians with global class and

8th ASIAN ACADEMIC SOCIETY INTERNATIONAL CONFERENCE standards. The problem is the opportunity to graduate at the stage of their musical life. It depends on their seriousness and the government's seriousness to provide space and facilitation that can encourage their progress. In developed countries, traditional musicians are not considered by their eyes as a noble profession because it provides sufficient facilities, and even many parties contribute to their progress. Schools linkage with them, so that from where they were born successful musicians. Musicians at stations, terminals, and street corners know the traffic of people from various backgrounds and community groups. Not many musicians at stations, terminals, and roadsides use traditional music as material for their compositions. Many of them are more interested in pop music, which they composed themselves into their music. The diversity of ethnicities and customs and the flow of people moving from one place to another should be a source for promoting traditional and regional music. Each region needs to create a cultural park that displays traditional music and animates its unmatched creativity to be at the forefront of the global community.

Classification of Indonesian traditional music. Percussion Musical Instruments Percussion is the name for all musical instruments whose playing techniques are struck using hands or sticks. In this case, some musical instruments that are classified as percussion instruments are: Gamelan is a musical instrument made of metal. Gamelan comes from the area of Central , DI. Yogyakarta, , also in , commonly referred to as Degung and Bali (Balinese Gamelan). One gamelan instrument consists of saron, demung, gong, kenong, slenthem, bonang, and several other instruments. Gamelan has a pentatonic/pentatonic tone. Talempong Talempong is a traditional music art from Minangkabau / . Talempong is a musical instrument with a diatonic tone (do, re, mi, fa, sol, la, ti, do). Kolintang Kolintang or kulintang comes from the Minahasa / North Sulawesi area. Kolintang has a diatonic/diatonic scale which all musical instruments consist of bass, melody, and rhythm. The primary material for making kulintang is wood. How to play this instrument is hit with a stick. Arumba (strains of bamboo clumps) comes from the area of West Java. Arumba is a musical instrument made of bamboo played melodically and rhythmically—initially using a pentatonic scale but in its development using a diatonic scale. Kendang is a kind of percussion instrument whose membrane comes from animal skin. Kendang or drums can be found in many parts of Indonesia. In West Java, the drums have a role. We can see the type of music compositions that make as the homecoming bell of the Jatinegara and the Cirebon Railway Station from this classification. The first one we talked about Cirebon Railways Station. This station used bells from traditional instruments called Tarling or the "Gitar Suling" as the main compositions of the music. However, this also can be mixed with the gamelan instrument of traditional Javanese music. We can see from the bell of the Cirebon Railways Station that used Tarling songs titled Kota Cirebon. This song was called the identity of the Cirebon itself,

8th ASIAN ACADEMIC SOCIETY INTERNATIONAL CONFERENCE

Cirebon as we have known, was a " Kota Wali." Because in Cirebon there is a "Wali" called Gunung Jati and also this city was the Islamic center in the Northern Coast of Java Island. Moreover, this song described the topography of Cirebon as a coastal city in the north of Java. From the compositions of the melody itself, we can hear that gamelan and gendang were majoring in the compositions of melody, and this is the general type of traditional Javanese music. The next was the melody of the Jatinegara Railways Station. These stations used traditional songs called Kicir-Kicir. From this song, the melody was upbeat and can raise the happy emotion. From the melody itself, the songs were used Gambang Kromong, the Style of Gamelan. This song used pantun style to make happy emotion, and this style was the long tradition that came from Melayu traditions. This song was also used as the station's melody cause it was easy listening too. We can make the same innovations from these two stations to promote the traditional songs from another region. First, we see the melody of the song, if it was ear catchy or not. The second was to see the lyrics to see if they could sense belonging for its regions. The last was used as the melody of the railway stations or another place like the bus terminal.

CONCLUSION Indonesia has many diverse cultures, especially in music, many of them and come many from region. We know that the traditional music has dynamic in our daily life until nowadays, one of many to conserve it make the music for homecoming melody in railway station the benefit we put traditional music in there are for promoting our local wisdom melody or song, conserve it for next-generation last but not least it can keep someone mental health condition and emotional for who listen to the music.

REFERENCES Efendi, Ahmad. ( 2020, Mei). Lirik Lagu Kicir-Kicir yang Jadi Bahan Belajar dari rumah TVRI. Retrieved From https://tirto.id/flu6 Fraser, Jennifer. (2004). Review Essay Discovering the Music of Indonesia. In Music of Indonesia. Retrieved from https://www.academia.edu/20261497/Discovering_the_Music_of_Indonesia Killin, Anton. (2017). The Origins Of Music: Evidence, Theory, And Prospects. In Music & Science Journal, 1(2), 1-23. Retrieved from https://www.researchgate.net/publication/323191645_The_origins_of_music_Evidence_t heory_and_prospects Merriam, Alan P. (1964). The Anthropology of Music. Illinois: Northwestern Univerity Moleong, Lexy. (2000). Metodologi Penelitian Kualitatif. Bandung: PT. Remaja Rosdakarya. NN, Year N.A. Lirik Lagu Tarling Kota Cirebon-Diana Sastra, Retrieved from http://dianasastra.com/discography/kota-cirebon/ Prier, Karl. Edmund. (1996). Ilmu Bentuk Musik. Yogyakarta : Pusat Musik Liturgi.

8th ASIAN ACADEMIC SOCIETY INTERNATIONAL CONFERENCE

Saputra, Aditya Budhi. (2016). Kajian Bentuk dan Komposisi Musik Perunjukan Wayang Pring. Semarang: Fakultas Bahasa dan Seni Universitas Negeri Semarang. Sastra, Diana. (2017, November). Kota Cirebon-Diana Sastra. Retrieved From https://www.youtube.com/watch?v=SB_ANaKJEok Seyedeh, Nasim Habibadeh. (2015). The Effect Of Music On Mental And Physical Performance. In Acta Kinesiologica , 1, 31-34. Situngkir, Hokky, Toward Complexity of Indonesian Songs, N.A.5. Retrieved from https://www.academia.edu/1287193/Towards_Complexity_Studies_of_Indonesian_Song s Soedarsono. (1999). Seni Pertunjukan dan Pariwisata. Yogyakarta: BP ISI Yogyakarta. Triyanto. (1993). Pendidikan Seni Sebagai Proses Enkulturasi Nilai – nilainya Budaya. In Media FPBS. Semarang : IKIP Semarang Press. Cinta Indonesia. (2014, November) Kicir-Kicir Lagu Daerah Jakarta Instrumental Retrieved from https://www.youtube.com/watch?v=4q_IwLDMpy0