DOCSLIB.ORG

Revitalisasi Lokananta Records Sebagai Museum Berbasis Wisata Kreatif Di Surakarta

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Revitalisasi Lokananta Records Sebagai Museum Berbasis Wisata Kreatif Di Surakarta REVITALISASI LOKANANTA RECORDS SEBAGAI MUSEUM BERBASIS WISATA KREATIF DI SURAKARTA Disusun sebagai salah satu syarat menyelesaikan Program Studi Strata I pada Jurusan Arsitektur Fakultas Teknik Oleh : BIMA PANJI PRAKOSA D300160131 PROGRAM STUDI ARSITEKTUR FAKULTAS TEKNIK UNIVERSITAS MUHAMMADIYAH SURAKARTA 2020 i ii iii REVITALISASI LOKANANTA RECORDS SEBAGAI MUSEUM BERBASIS WISATA KREATIF DI SURAKARTA Abstrak Lokananta Surakarta menjadi salah satu bukti kemajuan sejarah industri musik Indonesia. Namun, karena penurunan sejak akhir 80-an disebabkan oleh banyak hal, Lokananta secara bertahap menjatuhkan prestise yang mengakibatkan kegiatan rekaman dan produksi yang kesepian yang berujung pada bangunan diabaikan dan tidak terawat. Pada tahun 2014, Lokananta termasuk 100 bangunan dan area peninggalan Surakarta, ini menjadi dasar bagi keberadaan Lokananta dilestarikan dan dikembangkan. Masalah yang dihadapi yaitu bagaimana menghidupkan kembali Lokananta Records sebagai Museum Wisata Kreatif di Surakarta. Tujuan dari revitalisasi ini adalah Mewujudkan Lokananta Records agar hidup kembali sebagai museum berbasis wisata kreatif di Surakarta. Revitalisasi Lokananta Records sebagai museum wisata kreatif menghasilkan bangunan yang mampu mengakomodasi kegiatan pencatatan, pertunjuk an, rekreasi kreatif dan pendidikan serta fasilitas pendukung yang dapat memberikan nilai tambah bagi Lokananta. Kata Kunci : Lokananta, Revitalisasi, Wisata Kreatif Abstract Lokananta Surakarta is one proof of the historical progress of the Indonesian music industry. However, because the decline since the end of the 80s was caused by many things, Lokananta gradually dropped the prestige which resulted in lonely recording and production activities which ended up in neglected and untreated buildings. In 2014, Lokananta included 100 buildings and relics in Surakarta, this became the basis for the existence of Lokananta preserved and developed. The problem faced is how to revive Lokananta Records as a Creative Tourism Museum in Surakarta. The purpose of this revitalization is to Realize Lokananta Records so that they can come back to life as a museum based on creative tourism in Surakarta. The revitalization of Lokananta Records as a creative tourism museum produces buildings that can accommodate recording activities, performances, creative and educational recreation and supporting facilities that can provide added value to Lokananta. Keywords : Lokananta, Revitalization, Creative Tourism. 1. PENDAHULUAN 1.1 Latar Belakang Lokananta Records, Merupakan perusahaan rekaman musik pertama dan satu-satunya milik Negara dan berlokasi di Surakarta, Jawa Tengah. Berdiri sejak tahun 1956, Lokananta awalnya mengemban tugas untuk memproduksi sekaligus mendistribusikan materi siaran untuk Radio Republik Indonesia dalam bentuk piringan hitam untuk kemudian disebarluaskan ke RRI seluruh Indonesia. R. Maladi, Kepala Jawatan RRI saat itu, berinisiatif mendirikan pabrik piringan hitam dengan harapan agar lagu barat tidak mendominasi siaran RRI. 1 Selain itu, dengan luasnya lahan yang dimiliki serta lokasi yang strategis dan didukung arsitektur era kolonial, Lokananta menyediakan tempat untuk berbagai macam kegiatan, tidak hanya untuk pentas musik dan pentas seni lain, juga dapat pula digunakan untuk kegiatan diskusi, workshop, seminar, photoshoot area, wedding, dan lain sebagainya. Lokananta juga selalu membuka pintunya untuk kunjungan ke museum musik yang dikelolanya. Kedepannya, Lokananta akan mengajak para musisi, terutama di wilayah sekitar Solo dan Yogyakarta, untuk mendistribusikan karya di ranah digital. Saat ini Lokananta tengah menyiapkan sarana untuk streaming katalog-katalog rekamannya. Setelahnya, Lokananta akan menyiapkan mekanisme content agrregator untuk masuk ke beberapa gerai musik digital ternama seperti iTunes, Joox, Deezer, dan Spotify. Gambar 1. Logo Lokananta Recording Gambar 2. Bangunan Lokananta Recording Sumber : www.google.com Sumber : www.google.com 1.2 Permasalahan Bagaimana menghidupkan kembali Lokananta Records sebagai Museum Wisata Kreatif di Surakarta. 2. METODE Metode yang digunakan : 1. Metode Observasi Pengamatan 2. Metode Wawancara 3. Metode Literatur 2 3. HASIL DAN PEMBAHASAN 3.1 Lokasi Gambar 3. Lokasi Revitalisasi Sumber : google.com/maps, 2020 Lokasi tapak/site berada di Kelurahan Kerten, Kecamatan Laweyan dengan luas lahan 21.150 m2 . Lokananta Record merupakan studio rekaman musik pertama di Indonesia. Batas Tapak : • Timur : Permukiman penduduk • Selatan : Permukiman penduduk • Barat : Hotel Sunan • Utara : Kantor Kelurahan Kerten 3.2 Gagasan Perancangan Bangunan Lokananta Records adalah studio rekaman musik pertama kali di Indonesia, bangunan tersebut terkesan kuno dan tergolong dalam bangunan peninggalan. Dasar Pertimbangan Untuk pengalihan fungsi, yang dari awalnya sebagai studio rekaman musik menjadi museum wisata kreatif dengan tidak menghilangkan sedikit peninggalan yang ada di dalamnya. 3.3 Analisa dan Konsep Pencapaian 3.3.1 Analisis Pendekatan Dalam pemilihan site, mempertimbangkan sirkulasi sekitar site, kondisi bentuk site, dan kemudahan pencapaian dari jalur utama. 3.3.2 Dasar Pertimbangan Bertujuan untuk menentukan main entrance (ME). Tapak terletak di Jl. Ahmad Yani yang merupakan salah satu jalan utama Kota Surakarta, maka dari itu peletakan untuk main entrance berada di area Jl. Ahmad Yani. 3 3.4 Analisa dan Konsep View 3.4.1 Analisis dan Pertimbangan • Site berada di pusat jalan utama, mempermudah masyarakat untuk melihat Lokananta Records. • Mendapatkan arah dan pusat kegiatan yang tepat. 3.4.2 Konsep Site berada di lokasi strategis dan di jalan utama. View hanya dapat di peroleh hanya di area depan site karena di sekitar site terdapat dinding yang mengelilingi tapak tersebut. Gambar 4. Analisis View Sumber : Penulis, 2020 3.5 Analisa dan Konsep Matahari 3.5.1 Analisa dan Pertimbangan • Arah matahari bergerak dari timur ke barat. • Sinar matahari beberapa akan terkena langsung pada bagian site karena ada bagian tertentu yang tertutup pohon. 3.5.2 Konsep Sinar matahari dapat merusak koleksi pada museum, maka harus meminimalisir bukaan pada bagian yg terkena matahari. • Mengurangi efek panas matahari dengan memberi vegetasi pada bagian yang terkena sinar matahari yang berfungsi untuk peneduh Gambar 5. Analisa Site terhadap matahari Sumber : Penulis, 2020 4 3.6 Konsep Tata Ruang Table 1. Luas Total Keseluruhan Bangunan NO BANGUNAN LUAS BANGUNAN 1. Museum Utama 709 2. Museum Kreatif 900 3. Kantor 335 4. Studio Musik 1185 5. FoodCourt dan Souvenir 366,25 6. Kesenian Indoor 556 7. Kesenian Outdoor 1035 8. Mekanikal 114 LUAS TOTAL KESELURUHAN BANGUNAN 5200,25 Sumber : Penulis, 2020 Tata Guna Lahan : • Luas Tanah : 21.150 m2 • KDB : 60% • Perhitungan KDB : KDB x Luas Tanah : 60% x 21.150 m2 : 12.690 m2 • Kebutuhan : 5.200,25 m2 Luas lahan adalah 21.150 m2 sedangkan kebutuhan ruang yaitu 5.200,25 m2, maka kebutuhan ruang sesuai dengan aturan KDB yang maksimal 60%. 3.7 Konsep Tampilan Bangunan 3.7.1 Sebagai dasar pertimbangan fasad bangunan • Kondisi site • Kesesuaian fungsi • Memiliki nilai historis • Masih menggunakan bangunan peninggalan/kuno • Bisa menjadi ikon di kawasan tersebut. 3.7.2 Konsep bentuk penampilan bangunan Bentuk tampilan bangunan tetap sama seperti awal, tetapi fungsi bangunan akan dialihkan dan ditambah agar fungsi sebuah bangunan 5 tidak hilang dari nilai historis. Berikut penambahan fungsi yang akan digunakan, antara lain : • Area wisata kreatif • Taman pintar • Teater/tempat pagelaran 3.8 Konsep Struktur 3.8.1 Sistem Struktur Dasar Pertimbangan : • Tahan terhadap segala kondisi cuaca di Indonesia • Kuat menahan beban • Kokoh 3.8.2 Pondasi Semua bangunan menggunakan pondasi batu kali dan footplat, pondasi yang dibuat dengan bahan dasar batu kali yang disusun sedemikian rupa. sehingga dapat menahan berat bangunan yang ada di atasnya dan meneruskan ke tanah. Gambar 6. Pondasi Batu Kali Sumber : google.com, 2020 3.8.3 Struktur Pendukung • Kuat dan tahan lama • Pada bangunan yang akan ditambahkan menggunakan struktur tahan gempa. Konsep : Menggunakan beton bertulang untuk kolom dan balok. 6 Gambar 7. Beton Bertulang Sumber : google.com, 2020 3.8.4 Struktur dinding Dasar pertimbangan : • Ringan • Perawatan mudah • Tahan terhadap iklim di Indonesia • Memberi perlindungan dari cuaca panas dan dapat memasukkan sinar matahari sesuai kebutuhan bangunan. 3.9 Konsep Utilitas 3.9.1 Transportasi Vertikal Tangga Alat transportasi vertical yang digunakan untuk mencapai ketinggian tertentu dengan menggunakan pijakan kaki. Konsep : Penggunaan tangga pada bangunan terdepat pada pintu masuk dan sirkulasi lainnya. 3.9.2 Sanitasi Dasar pertimbangan sistem air bersih : • Efisiensi penggunaan pompa • Sumber air dari PDAM Dasar pertimbangan sistem air kotor dalam pengelolaan limbah, yaitu : • Limbah yang berasal dari kamar mandi (Limbah Black Water) • Limbah yang berasal dari dapur (Limbah Grey Water) 3.9.3 Jaringan Listrik • Aliran listrik besumber dari Perusahaan Listrik Negara (PLN). • Memiliki listrik cadangan jika terjadi pemadaman, yaitu genset. 7 4 PENUTUP Lingkup pembahasan ini meliputi konsep desain revitalisasi Lokananta Records sebagai Museum Wisata Kreatif di Surakarta. Menghasilkan museum rekaman musik yang berlandaskan perusahaan rekaman musik pertama dan satu-satunya milik negara yaitu Lokananta Records, dengan berkonsep Wisata Kreatif untuk menciptakan obyek wisata dan menciptakan daya tarik pengunjung wisata. Pemanfaatan lahan untuk kebutuhan ruang dan fasilitas lain. DAFTAR PUSTAKA Anon., 2011. Pengertian, Fungsi,
Load more

Recommended publications
  • Radio Republik Indonesia Surakarta, 1945-1960S: Its Role in Efforts to Maintain Indonesian Independence and the Formation of National Culture
    Indonesian Historical Studies, Vol. 1, No. 2, 138-153 © 2017 Radio Republik Indonesia Surakarta, 1945-1960s: Its Role in Efforts to Maintain Indonesian Independence and the Formation of National Culture Dhanang Respati Puguh Department of History, Faculty of Humanities, Diponegoro University * Corresponding Author: [email protected] Abstract This article discusses the role of Radio Republik Indonesia (RRI, The Radio of RepuBlic of Indonesia) Surakarta in the period 1945-1960s. In that period RRI Surakarta had two roles in the context of decolonization. In the period 1945-1949, RRI Surakarta had a role in the effort to maintain the independence of Indonesia. The RRI Surakarta employees struggled to maintain the existence of RRI Surakarta with rescueing the station and Received: transmitter so that the struggle of the Indonesian nation in defending the 8 DecemBer 2017 independence of Indonesia could Be Broadcasted to various parts. In the period 1950-1960s RRI Surakarta participated in efforts to formation a Accepted: 18 DecemBer 2017 national culture. When the discourse of national culture continued to Be discussed By the elite of Indonesia, since 1950 the Bureau of the Radio of RepuBlic of Indonesia had set the estaBlishment and the choice of ways to Build a national culture. In this connection, RRI should Be directed to build a national culture. Based on the policy of the Bureau of Radio of RepuBlic of Indonesia, RRI Surakarta realized that idea By organizing Javanese art Broadcasts (gamelan, wayang wong, kethoprak, and shadow puppets), “local entertainment” and national music, and organizing Radio Star Competition. RRI Surakarta Radio Star made an important role in the creation of popular music in Indonesia.
    [Show full text]
  • East and Southeast’ Refers to the Geographical Scope of the Exhibition
    ����������������������������������������������� ����������������������������������� ���� ����������������������������������� ������������������������������������� ������������������ ������������������������������������������ ���������������������������������������������������������������� ������������������������������������������������������������ Photograph showing a ‘scene’ from Item 2: Cukaria [Bitter sweet] / Ahamd Lutfi. (Singapore : Qalam, 1949) cover credits thanks Item 2. Image taken from Exhibition and catalogue This exhibition represents a team effort by the Asian Studies Research the cover of a Malay popular by Dr Aline Scott-Maxwell, Collection staff, Dennis Kishere, Jung-Sim Kim, Ayako Hatta, Kumi novel written in Jawi Script: Senior Asian Studies Suzuki and Hueimin Chen, all of whom contributed a huge amount of Cukaria, by Ahmad Lutfi Librarian, Monash University work and language, subject and collection expertise, especially in the (Singapore: Qalam, 1949) Library, Box 4, Monash selection and description of material for display. Translation assistance University, Victoria, 3800 in various languages was provided by Hashim Abdulhamid, Professor Australia. David Chandler, Prateep Changchit, Kamaludin Diraji, Allan Lim, Desmond Naing, Professor Stuart Robson, Helen Soemardjo and David Templeman. An electronic version of this I wish also to thank Jill Wilson for management support, Nina Orbitani and catalogue, with additional Barbara Hood for administrative assistance, Lorraine David for assistance illustrations, is available
    [Show full text]
  • Case Study Music Recording Lokananta Surakarta)
    The 3nd International Conference on Technology, Education, and Social Science 2020 (The 3nd ICTESS 2020) MEDIA MANAGEMENT OF STATE MUSIC RECORDING (CASE STUDY MUSIC RECORDING LOKANANTA SURAKARTA) Muadz1 1Lecturer, Universitas Slamet Riyadi (UNISRI) [email protected] Abstract Music recording industry cannot be separated from the role of recorded music company that enliven the market with recorded music products. High public interest toward recorded music has become a major attention drawer for recorded music stakeholders to make a profit. This industry, moreover, is not static, but dynamic. It is closely related to consumer tastes and the development of communication information technology. In other words, we can say that this industry is full of uncertainty. Responding to this situation, recorded music companies should be able to adequately apply the principles and functions of media management. Hence, the recorded music produced can well respond to consumer tastes and meet the development of information and communication technology of the industry. This study aims to determine the management processes and functions of Surakarta Lokananta recorded music media which is owned by the government. Lokananta is operated under 2 (two) different institutions, namely the Ministry of Information (Deppen) and the General Printing Company of Republic of Indonesia (Perum PNRI). These two different institutions employ different processes and management functions which, in turn, give impacts on the recorded music and condition of Lokananta. Those differences lie on the applied governance regulations, processes and management’s functions, quality and quantity of financial, recorded music, technology, and human resources. Keywords: Media Management, Music Recording, Company Resources, State Music Recording Company.
    [Show full text]
  • The Protection and Promotion of Musical Diversity
    THE PROTECTION AND PROMOTION OF MUSICAL DIVERSITY A study carried out for UNESCO ∗ by the International Music Council Richard Letts, Principal Investigator June 2006 ∗ This study is made available to the public with the prior agreement of UNESCO. CONTENTS Preface 6 Introduction 8 The countries from which information was received 13 Executive summary 15 ADDRESSING THE TERMS OF REFERENCE 28 1. Musical diversity and human rights 29 1.1 International human and cultural rights conventions 29 1.2 From the consultants’ reports 33 1.3 Freemuse: a watchful ear 42 2. Musical diversity and sustainable development 44 2.1 Music in development, development of music 44 2.1.1 The developed and developing worlds 45 2.1.2 Cultural development vs. industry assistance 46 2.1.3 Musical diversity and development 47 2.2 Music in development 47 2.2.1 Music as a source of funds for non-music 48 development projects 2.2.2 Music as a tool of advocacy for development 48 2.2.3 Music as a lure to involve people in development 48 programs 2.2.4 Music as an element in non-music development 49 2.3 Development of a music industry 51 2.3.1 Some research studies and theoretical papers 51 2.3.2 Development projects 55 2.3.2.1 The forms of development 55 2.3.2.2 Targets for support 58 2.4 The use of music to alleviate poverty or the conditions 66 contributing to poverty 3. Musical diversity and peace 72 4. The standards regulating musical diversity 79 4.1 Possible forms of regulation impacting on musical diversity 80 4.2 Examples of the current application of regulations to 82 affect musical diversity 4.2.1 Broadcast 83 2 4.2.2 New media and e-commerce 91 4.2.3 Education 93 4.2.4 Subsidies 98 4.2.5 Copyright 102 5.
    [Show full text]
  • UPT Perpustakaan ISI Yogyakarta ANALISIS LAGU BENGAWAN SOLO DAN YEN ING TAWANG (Studi Kasus Rekaman Musik Keroncong Produksi Lokananta Di Surakarta)
    ANALISIS LAGU BENGAWAN SOLO DAN YEN ING TAWANG (Studi Kasus Rekaman Musik Keroncong Produksi Lokananta di Surakarta) TUGAS AKHIR Program Studi S-1 Seni Musik Oleh: Yosep Putra Dirgantara NIM. 1111641013 JURUSAN MUSIK FAKULTAS SENI PERTUNJUKAN INSTITUT SENI INDONESIA YOGYAKARTA 2016 UPT Perpustakaan ISI Yogyakarta ANALISIS LAGU BENGAWAN SOLO DAN YEN ING TAWANG (Studi Kasus Rekaman Musik Keroncong Produksi Lokananta di Surakarta) Oleh : Yosep Putra Dirgantara NIM. 1111641013 Karya tulis ini disusun sebagai salah satu syarat untuk mengikuti ujian Sidang Skripsi Semester Ganjil 2016 pada Program Studi S1 Seni Musik dengan Konsentrasi Musikologi Diajukan kepada : JURUSAN MUSIK FAKULTAS SENI PERTUNJUKAN INSTITUT SENI INDONESIA YOGYAKARTA 2016 i UPT Perpustakaan ISI Yogyakarta UPT Perpustakaan ISI Yogyakarta INTISARI Lokananta merupakan perusahaan label rekaman yang memiliki peran penting terhadap perjalanan musik indonesia termasuk keroncong sejak jaman perjuangan hingga dekade 90-an. Lokananta memiliki koleksi arsip karya-karya lagu daerah, hiburan, gendhing jawa, serta pidato kenegaraan, arsip tersebut berupa piringan hitam dan kaset pita. Salah satu arsip tersebut ada lagu-lagu keroncong. Setelah melalui penelitian kualitatif ditemukan bahwa arsip-arsip musik keroncong tersebut tidak semuanya direkam di studio Lokananta sendiri. Metode yang digunakan dalam penelitian ini adalah analisis deskriptif untuk menguraikan analisis lagu Bengawan Solo dan Yen Ing Tawang yang direkam di Lokananta. Penelitian ini bertujuan untuk mengetahui lagu keroncong yang ada di Lokananta serta menganalisis lagu “Bengawan Solo” dan “Yen Ing Tawang” yang direkam di Lokananta. Kata kunci: analisis, lagu keroncong, lokananta iii UPT Perpustakaan ISI Yogyakarta KATA PENGANTAR Puji dan syukur peneliti panjatkan kepada Tuhan Yang Maha Esa atas limpahan nikmat, rahmat dan karunia-Nya sehingga peneliti dapat menyelesaikan skripsi yang berjudul “Analisis Lagu Bengawan Solo Dan Yen Ing Tawang (Studi Kasus Rekaman Musik Keroncong Produksi Lokananta di Surakarta)”.
    [Show full text]
  • Heritage Tourism Development Model Through An
    The 1st ICSEAS 2016 KnE Social Sciences The 1st International Conference on South East Asia Studies, 2016 Volume 2018 Conference Paper Heritage Tourism Development Model Through an Audio Visual Concept in Lokananta, Surakarta - Indonesia Umi Yuliati, Amad Saeroji, and Yusana Sasanti Dadtun Faculty of Cultural Sciences, Universitas Sebelas Maret, Jl. Ir. Sutami 36A, Kentingan, Surakarta, 57126, Indonesia Abstract Surakarta is a cultural city with many historical relics that can serve as tourism objects. One of the historical heritages which can be used as a heritage tourism in Surakarta is Lokananta. It is the first music record company in Indonesia, which was established in Surakarta in 1956. The tourism potential of Lokananta, including physical building, various types of collections as well as phonograph record, audio tape and Corresponding Author: movie industry, make it viable to be developed as a tourism object by applying a Amad Saeroji more modern concept, i.e. audio visual concept. This concept is a combination of [email protected] the existing potential in Lokananta and certain space arrangement such as audio Received: 2 April 2018 visual theater room, music room, workshop room and integrated cafe so as to put Accepted: 17 April 2018 Published: 23 May 2018 up a more interesting, attractive and modern atmosphere. This is expected to attract more potential tourists to visit Lokananta as one of the heritage tourism objects in Publishing services provided by Knowledge E Surakarta City. This study is a descriptive analysis of the cultural tourism development model in the city of Surakarta. The purpose of this study was to explore: i) the Umi Yuliati et al.
    [Show full text]
  • 7456 Gamelan of Java Vol 1
    (LYRCD 7456) Gamelan of Java VOLUME ONE: KRATON KASUNANAN A COMMENTARY by Sumarsam In recent years John Noise Manis has been fulfilling acommendable commitment to provide students of gamelan and gamelan enthusiasts with the opportunity of hearing a varied range of Javanese ensembles and musical repertoire through published recordings. With the present CD the producer begins a new series on the Lyrichord label. On this CD two gamelans of the court of Surakarta are presented: the well-known Kyai Kaduk Manis (pelog) Manis Rengga (slendro) and the historic Kyai Lokananta (slendro). Hopefully, on future recordings we can also hear the Kyai Semar Ngigel gamelan (the dancing Semar), the pelog gamelan commonly paired with Lokananta. 1 A prominent court musician and leader of the court gamelan, Warsodiningrat, informs us that Kaduk Manis Manis Rengga was acquired by Paku Buwana IV (r. 1788-1880) from a wealthy Chinese in Surakarta. By contrast, Lokananta is a much older gamelan, originating from Demak. This suggests that Lokananta was constructed around the 16th century. Although there is no hard evidence to support Warsodiningrat’s claim, the possibility cannot be ruled out. During this period, the north coastal area experienced an economic boom and, by extension, intense cultural development. This is the period before the emergence of the Mataram kingdom (the predecessor of the courts of Surakarta and Yogyakarta) in the inland of central Java. What I find remarkable about the Lokananta gamelan is the physical size of the instrument—much smaller than more recent gamelans. It produces a powerful sound, similar to that of contemporary gamelans.
    [Show full text]
  • An Analysis of Lokananta Recordings Between 1957 and 1983
    Harmonic Elasticity in Indonesian Kroncong: An Analysis of Lokananta Recordings Between 1957 and 1983 Hannah Standiford University of Pittsburgh (USA) Abstract Kroncong, an Indonesian string band music, is famous throughout the archipelago as it was used as a political tool to build a sense of national identity after Independence. It is often known as a music of nostalgia although it has been experiencing a minor resurgence since the early 2000s. Lokananta, a government-run recording studio in Surakarta, Central Java, was central to the production and dissemination of this genre during its heyday in the 60s and 70s. Kroncong includes three basic forms, kroncong asli, langgam kroncong, and stambul, each of which have fixed harmonic structures. Kroncong asli uses a 28 bar chord sequence, embellished with additional preludes and interludes, that dates back to the early 20th century. While the lyrics and melody vary for each song, the basic harmonic and phrase structure within the repeating 28 bars has remained essentially fixed. Yet musicians have developed sophisticated and subtle ways to elaborate this basic, fixed structure, as demonstrated in the Lokananta discography. This presentation will examine harmonic variations within the Lokananta corpus, focusing on kroncong asli recorded between 1957 and 1983. The corpus is divided roughly into two segments: a set of 78 tracks intended for release on vinyl between 1957-1960 and a set of 130 tracks to be published as cassettes between 1972-1983. Publication dates are based on Yampolsky’s (1987) discography and recordings were acquired directly from Lokananta. Each recording will be analyzed in terms of harmonic variance from the “standard” described by living experts.
    [Show full text]
  • Information Highways : Policies and Regulations in Construction of Global Infrastructure in Asean
    This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. Information highways : policies and regulations in construction of global infrastructure in Asean Naswil Idris 1998 Naswil I. (1998). Information highways : policies and regulations in construction of global infrastructure in Asean. In AMIC Conference on Information Highway: Policy and Regulation in the Construction of Global Infrastructure in ASEAN, Singapore, Nov 25‑27, 1998. Singapore: Asian Media Information and Communication Centre. https://hdl.handle.net/10356/93365 Downloaded on 10 Oct 2021 15:28:41 SGT ATTENTION: The Singapore Copyright Act applies to the use of this document. Nanyang Technological University Library Paper No. 6 ATTENTION: The Singapore Copyright Act applies to the use of this document. Nanyang Technological University Library FINAL DRAFT 25 October, 1998 INFORMATION HIGHWAYS: POLICIES AND REGULATIONS IN CONSTRUCTION OF GLOBAL INFRASTRUCTURE IN ASEAN CHAPTER I LITERATURE REVIEW (Summarized, compiles and quoted from Government Publication) By Naswil Idris Email: [email protected] / [email protected] The role of telecommunication in any countries at the beginning is to provide means for command and control of the power group or government. So does with Indonesia, telecommunication found in October the 3rd 1858, when the government of the Netherlands-Indies lined telegraph between Batavia (Now: Jakarta) and Buitenzorg (Now: Bogor) a city around 60 km south of Jakarta. The body that provides the duties a government body. Parallel with the development of human life, telecommunication role had moved and upgraded from the means of command and control to the means of interchanged information on any aspect of life.
    [Show full text]
  • Gamelan in North America by Nathinee Chucherwatanasak
    Gamelan in North America by Nathinee Chucherwatanasak Nee Chucherdwatanasak is a PhD pre-cadidate in musicology at the University of Michigan. Her research interests are in the area of composition and performance of contemporary Western art music in Southeast Asia. EARLY INFLUENCE OF GAMELAN IN WESTERN MUSIC The influence of gamelan in the history of Western music is widely known to begin with Claude Debussy (1862–1918) after his encounter with performances of Javanese gamelan at the 1889 Paris Exhibition. The piano piece “Pagodes” from Estampes (1903) is probably the clearest among his other works to capture gamelan sonorities. Soon gamelan musical features appeared in works by other European composers, including Maurice Ravel’s orchestral version of “Laideronnette, impératrice des pagodes” from Ma mere l’oye (1911), Béla Bartók’s “Island of Bali” from the fourth volume of Mikrokosmos (1926–39), Francis Poulenc’s Concerto for Two Pianos and Orchestra (1932) and the prologue to the opera Les mamelles de Tirésias (1944), Olivier Messiaen’s Turangalîla-Symphonie (1946–48), and Benjamin Britten’s The Prince of the Pagodas (1956). On the other side of the Atlantic Ocean, a Sudanese gamelan acquired by the Field Museum of Natural History after the 1893 World’s Columbian Exposition in Chicago became the first set of gamelan instruments in the United States.[i] Yet, American compositions inspired by music from the Indonesian archipelago did not appear until the late 1910s, when German-trained pianist and composer Charles Griffes (1884–1920) wrote a song cycle entitled Three Javanese (Sundanese) Songs (c.1919–20) for voice and piano.
    [Show full text]
  • Gramophone Records and Radio in the Late Colonial Era, 1903-1942
    Music and media in the Dutch East Indies: Gramophone records and radio in the late colonial era, 1903-1942 Philip Bradford Yampolsky A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Philip D. Schuyler, Chair Ter Ellingson Laurie J. Sears Program Authorized to Offer Degree: Music © 2013 Philip Bradford Yampolsky University of Washington Abstract Music and media in the Dutch East Indies: Gramophone records and radio in the late colonial era, 1903-1942 Philip Bradford Yampolsky Chair of the Supervisory Committee: Associate Professor Emeritus Philip D. Schuyler Music This dissertation is intended as an ethnomusicological contribution to the history of music and media in Indonesia. It deals with topics and resources that have never been systematically examined for this region: gramophone records and radio broadcasting from the years before World War II, the last years of Dutch colonial control. The gramophone records are our only documentation of the sound of Indonesian music in the years before World War II. This dissertation tries to identify (and to some extent provide) the information one needs in order to understand the records and, by extension, stylistic trends during the pre-war period. Ultimately it is meant as an argument for the importance of making use of historical recordings and discography in ethnomusicology. The use of gramophone records from before World War II (“78s”) in musicology and ethnomusicology is growing. Robert
    [Show full text]
  • UC Riverside UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title If There are Stars in the Sky: Waldjinah and Keroncong in Postcolonial Indonesia Permalink https://escholarship.org/uc/item/8qt417k6 Author Skelchy, Russ Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE If There are Stars in the Sky: Waldjinah and Keroncong in Postcolonial Indonesia A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Russell Peter Skelchy June 2015 Dissertation Committee: Dr. Rene T. A. Lysloff, Chairperson Dr. Deborah A. Wong Dr. Hendrik M. J. Maier Dr. Christina Schwenkel Copyright by Russell Peter Skelchy 2015 The Dissertation of Russell Peter Skelchy is approved: ____________________________________________ ____________________________________________ ____________________________________________ ____________________________________________ Committee Chairperson University of California, Riverside Acknowledgements My research on keroncong began in 2007 during my first year of graduate studies at the University of California, Riverside. Along the way there have been many important people who have helped me throughout the process and I am truly grateful for all of them. I start with my family, especially my wife, Lisa Boggeri, who has given me her unconditional support, love and timely advice during the tenure of this project. She not only accompanied me on every trip to Indonesia but also has patiently endured through a nomadic lifestyle and my rather erratic sleep schedule the last few years. Thank you also to my parents, Colin and Monica Skelchy, as well as Linda and Michael Boggeri for their continuous love and support.
    [Show full text]