Kualitas personal dalam mencapai estetika “Ngroncongi”

Abstract

Kualitas personal merupakan salah satu komponen pembentuk karakteristik kualitas dalam musik keroncong. Kualitas personal tersebut terbentuk oleh beberapa aspek yang telah meng-embody dalam diri seniman keroncong. Tulisan ini bertujuan untuk mengungkap aspek-aspek beserta operasionalnya dalam membentuk kualitas personal di musik keroncong. Metode penelitian yang digunakan adalah metode kualitatif. Proyeksi tulisan ini akan membahas karakteristik kualitas musik keroncong, dan menggunakan kerangka konseptual yang berasal dari istilah-istilah lokal yang sering digunakan seniman keroncong saat menyajikan pagelaran dalam lingkup musik keroncong. Sebelum mengungkap karakteristik kualitas dalam musik keroncong, penulis akan fokus mengkaji mengenai kualitas personal yang merupakan komponen pembentuk karakteristik kualitas dalam musik keroncong. Kesimpulan penelitian ini adalah kualitas personal dalam musik keroncong terbentuk oleh beberapa aspek yang saling bersinergi, diantaranya akumulasi pengetahuan; kompetensi (skill); interpretasi terhadap lagu keroncong; dan pembawaan secara personal. Beberapa aspek tersebut telah meng-embody dalam diri setiap personal untuk membangun kesadaran secara musikal bahwa musik keroncong menjadi harmonis bukan karena menampilkan virtuositas dari kualitas yang dimiliki oleh setiap personal, melainkan keharmonisan yang tumbuh dari kesadaran ensembleship interpersonal.ABSTRACTPersonal quality is a component framer of characteristic and quality in keroncong music. The quality of personal was formed by many aspects, who has embodied in the artist of keroncong. This paper aimed to explore the aspect of personal quality includes the operational to form personal quality in keroncong music. The method of research is qualitative and use the framework of local conceptual terminology in scope keroncong music often used by artist keroncong in presenting keroncong music. Before uncovering personal quality, the writer will focus study on the quality of personal in keroncong music. The conclusion in this research is personal quality formed by many aspects with good synergy. They are knowledge, competency (skill), interpretation to song keroncong, and personal character. Some aspect was embodied in every personal to raise musical awareness that keroncong music be harmonious not for showing virtuosity personal, but harmoniously when high awareness of interpersonal ensembles

The Learning Stages of Ngroncongi/Undul usuk: Achieving the Original Solo Keroncong Singing Style

“…As explained by Solis, in her book entitled Performing ethnomusicology: Teaching and representation in world music ensembles, she completely describes the requirements of artists in a musical ensemble. In general, the research on ngroncongi conducted by (Prabowo, 2019) is quite interesting, especially with the existence of locals and his findings. However, the research specifically did not find the essence of ngroncongi itself as a peculiarity of keroncong music in the context of ensembles.…”

“…Diction that later became a musical sub-concept term in karawitan includes; nggalali, nyendaren, samenspelen, luk, gojek, and mbesut. While the musical symptoms are technical in nature, they are; mbanyumili, sintiran, isen-isen (Andini et al, 2021;Prabowo, 2019).…”

“…The research on ngoroncongi has been conducted by Prabowo (2019) entitled Personal quality in achieving the aesthetic of "ngroncongi." This research examined the relationship between the term ngroncongi and the aesthetics of keroncong music in general.…”

“…In this case, the singer's feeling is required to ensoul, love the song being sung, and feel the strains of the accompanying keroncong music, so that the character can be enjoyed by oneself and reaches the audience. The concept of achieving undul usuk is based on the results of observations and interviews, and refers to the discussion (Prabowo, 2019), in which the elements that develop personal qualities are knowledge accumulation; competence; interpretation of the keroncong song; and personal demeanor.…”

Analisis Struktural dan Gaya Musikal Penyajian Keroncong Kidung Cinderamata pada Pekan Seni Mahasiswa Nasional

“…Peristilahanpun muncul disebabkan imitasi tradisi Jawa pada pola tabuhan dan cara bernyanyi. Dalam gaya bernyanyi, muncul peristilahan capaian bernyanyi gaya Solo dengan istilah ngroncongi (Andini, 2021;Prabowo, 2019). Capaian bernyanyi gaya Solo merupakan tujuan utama dalam menggapai unsur estetika keroncong Solo.…”