The Kroncong Music Record 1945-1965

The Kroncong Music Record 1945-1965.

A.Era 1945-1950

1 Fontana Record,Krontjong Nusantara,


George de Fretes

 George Fretes


George Fretes (Bandung (Dutch East Indies), December 23, 1921 – Torrance (California), November 19, 1981) was a Dutch (of Malayan origin) steel guitarist, singer and composer.

The Fretes was born from the marriage of military KNIL Anton Balthasar de Fretes Tersemas and Carolina. As a child he played on bottles of water and listened to the radio to hear music as it was Hoopi Sol, a famous Hawaiian guitarist from the 30s and 40s of last century.

In 1936 won the Fretes with the “Hawaiian Little Boys” (with Vic Spangenberg, Hans de Water, Leo Cress and Guus Shrine) with its first prize, an incentive in a Hawaiian Competition in Batavia. For the first prize he did not qualify because the average age of just fourteen years the band was therefore out of competition to be participated. It gave the “Hawaiian Little Boys” is a performance for NIROM, the Dutch East Indies Radio Broadcasting.

Joyce Aubrey gaat zingen bij het ensemble The Royal Hawaiian Minstrels en Suara Istana o.l.v. haar ex- echtgenoot George de Fretes. Hij is als verstekeling aan boord van de Johan van Barneveldt in de zomer van 1958 naar Nederland gekomen. De kleine Wanda wordt bij de optredens betrokken als hula danseres en bespeelster van percussie instrumenten. Later is zij ook als zangeres actief.

George de Fretes en Suara Istana - Tuney Tunes feb. 1959
Uit de TUNEY TUNES van februari 1959
vlnr: Bill Toma – Joyce Aubrey – Wanda – George de Fretes – Eddie Scipio Blume – Fred Hoogduin

When he was sixteen formed the Fretes the Royal Hawaiian Quintet, which also starred brother Arie. With the now famous Fretes composition Royal Hawaiian Hula won a competition in 1937.

In the spring of 1938 he was on another show in Surabaya voted “Champion of the Archipelago” with his band, which has since been renamed The Royal Hawaiian Minstrels. Under this name provides the band 67 years later still shows.

In Dutch East Indies were the Royal Hawaiian Minstrels until the outbreak of World War II the most popular and most expensive pay band. During the war it was forbidden to play Hawaiian music and changed its name to Suara Istana (voice of the palace) and played successfully krontjong Music.

After the war, their success was so great that it resulted in the fact that the group broke down and sometimes in two places at once occurred. The core were the brothers George, John, Peter and Arie, supplemented with cousin Tony, and the solid Bram Titaley singer Aubrey Joyce (then wife of George), supplemented by other musicians.

Early 50’s divorced George Joyce with their daughter Wanda left for the Netherlands. George came in 1958 as a stowaway on the Johan van Oldebarneveldt with him and his fame had traveled ahead in January for the Winter Producer of Phonogram telegraphed ahead to the ship under contract that he would like to have. On September 1, 1958 George joined the Fretes for the first time in Utrecht, Netherlands, on one day records for traders. In the newly formed Royal Hawaiian Minstrels played alongside George also include Bill Thoma, Wim van der Beek and sang Joyce Aubrey. It was so successful that he was a few weeks later, his own radio show at the AVRO and had the Christmas of 1958 was seen with his own TV show. (The Dutch television existed at that time from a transmitter in black / white exceptions). Tickling the strings he had heard such a difficult song he played blindfolded.

His arrival in the Netherlands caused quite a stir since his student Rudi Wairata – previously the Netherlands had come – though his numbers had been stolen and the plate put in his Amboina Serenaders, where the Fretes wife Joyce Aubrey’s hard singer had been . The judge Rudi exposed as impostor and a long time he could not occur in the Netherlands.

George Fretes was a musical genius. He composed dozens of songs, played many instruments include: trumpet, saxophone, guitar, violin, but was a champion on the steel guitar. His musical oeuvre spans less than 65 LPs.

His business, he could hardly settle well and he was by all and sundry in the Dutch music cheated. The interest in Hawaiian music disappeared early 60s but the influence of George was huge on so-called Indo-rock musicians.

In 1966 he made a tour with the Tielman Brothers, who he knew from India, Germany, Switzerland and Scandinavia. Also in that year he made an LP with the German orchestra of Frank Valdor before the Netherlands for good and to turn his back to the United States to leave.

From 1969 to 1981 he lived in Los Angeles where he was on 19 November of that year would die from a heart attack. He was buried next to his idol Sol Hoopi and they have the same bronze plaque on the grave because George had long ago surpassed his idol and they had room for him beside Sol Hoopi made.

The Royal Hawaiian Minstrels after the death of George just moved on. There was a group of that name in the United States with his brother John in the Netherlands with his brother Peter and his son Roy Fretes, each year at the Pasar Malam in The Hague to play. Wanda was the daughter Fretes sixties well known in the Netherlands as a teen singer. They made records in the Netherlands and Germany and also sang regularly at her father’s band, where they participate in Indonesia, Japan and Hawaii occurred.




1a.Kroncong Bram Aceh(Titaley)

Bram Aceh atau Bram Titaley yang dijuluki “Buaya Keroncong” sejak tahun 30-an sudah mulai menyanyi. Berikut ini beberapa lagu irama keroncong oleh kakek dari Harvey Malaiholo ini dengan iringan Orkes Keroncong Senja Ayu. Pak. Fauzi silahkan nikmati suara berat oleh Bram Aceh.

  1. Kr. Tanah Airku( Kelly Puspita, 1960)
  2. Kr. Moresko(N N, 1930)
  3. Kr. Pasar Gambir(?, 1930)
  4. Bunga Anggrek(N N, 1910)
  5. Schoon Ver Van You(N N, 1930)
  6. Salabinta(N N, 1955)
  7. Terkenang Kenang(Sariwono, 1950)
  8. Dibawah Sinar Bulan Purnama (Maladi, 1940)

 2.LAGU NASIONAL(National song)

1) RRI (Radio Republic Indonesia ) by Lokananta  March Indonesian anthem,

side 1 Proklamasi Negara Republik Indonesia(Bung Karno)-

Republic Indonesia Independent proclamationLagu Kebangsaan Indonesia Raya (W.R.Supratman)-Indonesia Anthem.Until this day I havenot found The Indonesian anthem Kroncong style,who have it please show us.

Ten Year Anniversary Asia Africa Confrence memorable , lokanata national kroncong song record

a) Cover


Lp 2 Lagu Kroncong

1. Lagu Jembatan Merah ciptaan Gesang 2.Lagu telomojo Ciptaan Sj’ahban

3.Lagu saputangan ciptaan Gesang

4.Lagu Gema dwikora ciptaan leby.

Yang sulit ditemui saat ini adalah Lagu kroncong Bengawan solo ciptaan gesang,harap yang memilikinya berkenan merperlihatkannya kepada kita.

Lp 4: Lagu Kroncong  Djawa

1). Lagu Kuwi apo Kuwi ciptaan Tjokrowarsito

2). Lagu Jula Juli (nn)

During Asean Games V at Jakarta,Lokanata record also issued the souvenier LP -music record with near same songs, I have only one of the five part.


2.Lagu Kroncong Era 1950-1960

1) Orkes suara Angkasa dibp R Sutedjo

lagu : Seruan terumi ciptaan saleh

2)Orkes Empat Sekawan Djakarta pimpinan S.Jahja 

side one : Lagu sampaikan salamku (nn)

1) lagu Tinggi di awan (saleh)

2)  Sampaikan salamku(nn)

Empat Sekawan
Four Gang
One of the musical group formed under the auspices of Ismail Marzuki Jakarta RRI. Key personnel are only four people, namely Saleh Soewita (guitar), Isaac (contra-bass), Jachja (violin), and Ariston da Cruz (piano; musician from the Philippines which was renamed Arief Effendi). Contra-bass is sometimes held by Sarom. Ismail itself acts as an orchestra leader and arranger’s music. This group was formed shortly after the proclamation of independence, which aimed to lower the political temperature is hotter and at any moment erupt into open battle. Curtain time is given by the RRI Jakarta to the Gang of Four orchestras around 30 minutes to 1 hour. Hours of their broadcast twice in one week, usually every Tuesday and Wednesday afternoon. In 1946, the day and hour of Gang of Four played erratic, sometimes on Monday, Tuesday, or Wednesday. Generally, this orchestra is playing about 45 minutes, and broadcast three times in one day; afternoon at 13.15, afternoon at 17:15, and dinner at 20.00. Gang of Four music show on RRI Programa Jakarta Hiboeran entitled Heroes, Army Forces Hiboeran Oentoek Laoet and Oedara RI, Hieboeran Saturday night, Hiboeran evening, Bidder Rindoe, and Alam Ria Indonesia. In addition to periodically fill the musical events in the radio studio, Gang of Four also took down directly to the various fronts. They cheer the fighters and the local community who love the fight song, especially the songs that were created by the orchestra quartet’s personnel, including Ismail Marzuki.
   Ismail Marzuki song creation work of the most popular is the Palm Island Flirt used as final cover songs broadcast by TVRI during the New Order government.

Ismail Marzuki got a gift honors in 1968 with the opening of Taman Ismail Marzuki, a park and cultural center in Salemba, Central Jakarta. In 2004 he was crowned a national hero of Indonesia.

He had founded the orchestra Gang of Four

2. Various Colors Markasan Kroncong DBP (Srimpi record Inc.)
side 1 with the song:

1) pack sakerah (Sueb) 2) Kuto suroboyo (Sukemi),

3) numpak gauge (j, sudarminto et al),

4) Nyang T.H.R (noerjatian

ismail Marzuki.

Side 2 :

1)Motor Uduk(Achmad &J.sudarminto),

2)Si Banci (Juwariyah T.M.),

3)Mimpi dicokot ulo(Soekemi/Achmad),


3. Orkes Kroncong Tjendrawasih dbp S.Padimin(lokananta record Inc)

Song side 1 :

1)Nandur Djagung(M arif),

2)Burung Merpati(S.Padimin)

song side 2 : 

1)ditepi bengawan solo(s.Padimin-kustiati),

 2).Kroncong Mesra (sunarno-supardi achijat)


3.Orkes Kroncong Kemayoran dbp  M.Sagi

(Irama record Inc)

1)Irama produksi  India with song

side one : Djali Djali  (NN) singer Oje


side two : Mengenang Nasib ciptaaan Sukamto-St.P.Bustamil

Gambang semarang(Oei Yok sioe)

kroncong meratap Hati(Mardjo Kahar)

Keroncong M.Sagi Info (google explorations)


I thought that, coupled with the previous post of today, I’d post something languid and tranquil, something somewhat relaxed. So, I brought out another classic Indonesian krontjong piece from the mid-20th century, on the local Irama label. “Irama” actually means “rhythm” in English – thus the title of the piece as well as the name of the record label are explained.

I posted a krontjong tune of the same vintage, and on another independent Indonesian label (Dendang), . This one is similar – it’s the style of krontjong that I quite enjoy, featuring the walking guitar and fiddle player trading runs in between smooth vocals. Krontjong itself is a relatively new type of urban folk music, developing in Indonesian urban areas a little over 100 years ago, with Batavian, Portuguese, Malay, and even African influence. Krontjong had changed dramatically since it was first recorded ca. 1904, and when this record was released (probably the late 1940s or so). The instrumentation was bare bones at first, featuring trios and the like. I’ve heard 1920s krontjong that sounds influenced by Stamboel theater, with a slightly more operatic sound, showing further influences at work. By the 1940s, krontjong was a rage, with whole orchestras and popular singers getting into the act…yet, to me this music is not easily explained. Indonesian-Hawaiian-guitar-and-fiddle-ballads?

As for the singer and band – I’m afraid these are muddy waters. I am mostly sure that “Moh.” stands for Mohammed, and “Kr.” stands for krontjong, but at the risk of being incorrect, I will let the original label stand as the official record

3)Jasa pemain biola M.Sagi

Awalnya dengan nama Kroncong Betawi lalu Kroncong Jakarta” … Di Jakarta saat itu … Susunan instrument seperti ini adalah berkat jasa M.Sagi seorang Violinist keroncong

also in Indonesia (Irama indonesian music co ltd) look below compare with above :

1) Dimin ,Mengenang nasib with M.Sagi Keroncong Orchestra ,productions Irama Record



Keroncong music was born in Indonesia through the course of its long history and full of unique views of its constituent elements consisting of various components of cultural, ethnic, and language. If we draw a red thread about the origins of the birth of music keroncong in Indonesia, we will be faced with the mystery concerning the history of world history. History of Islamic occupation in the southern region of the Iberian peninsula from the fifth century until the thirteenth century. Historical background that explains why the Europeans in the sixteenth century was so determined to mobilize all its military and navigational skills to get the spices from the East. The history of the arrival of the Portuguese and the Dutch in the seventeenth century to fight over hegemony in Southeast Asia through trade monopoly in the Malacca, Sunda Kelapa, and the Moluccan islands. The history of slavery, and the lives of street musicians during the Dutch East Indies. Identity formation history of the nation of Indonesia as an independent nation and has a cultural heritage that is not infinite number of music including keroncong. Fortunately for music that eventually keroncong accepted and become the property of the Indonesian nation, a fact which has gained international recognition.

Today when we talk about keroncong, we are faced with a term that contains a broad sense. Etymologically, keroncong derived from the name of a musical instrument similar small-sized guitar, commonly four strings made of nylon, so it produces sound when played crong, jreng not like the sound of metal strings. Keroncong term believed to derive from the crafters in the village monument waditra who inherited the art of craft skills waditra guitar. Guitar was named as an adaptation of the guitar keroncong cavaquinho brought by Portuguese sailors sailed around the world. When he arrived in the archipelago of Madeira is called braguinha guitar, because it comes from the region of Braga in Portugal. In Brazil people call this machete is used to accompany dances. On the Caribbean island was called Cuatro guitar, because the four stringed. When the Polynesians arrived in the Pacific, the natives call it a ukelele, or fingers that jump, because it learned how to play but not crushed. Interesting to note that the guitar that gained popularity as a Hawaiian ukulele with patents, while the ukulele as keroncong designation has been recognized as a patent Indonesia by Salwa El-Shawan Castelo-Branco in the dictionary of The Grove’s Dictionary of Music and Musicians, “Portugal” (2002:197) .

Thus the ukulele can be said to occupy a key position in every game keroncong music, so it must have a color crong orkestrasinya that serves as a rhythmic riffs (repeated patterns). In addition, the ukulele is spread and used in various types of ensemble gives an indication that the color also crong formations wherever it is played the ukulele. We in Indonesia have also agreed that there is no any music that may appear keroncong without bearing the label has a unique color of the game crong ukulele. It is universally believed that there is no keroncong without crong, and through the deployment of ukulele music keroncong not impossible in many different versions can also be found in various corners. Currently crong color can still be found among others in the islands of Halmahera in the ensemble bastidor are generic, in Malacca in the ensemble dondang unfortunately, in the Netherlands in the ensemble toegoenezen, in Hawaii in the Hawaiian guitar ensemble, in Suriname with krontjong ensambelnya, except in Indonesia in the ensemble keroncong orchestra.

If keroncong as waditra has worldwide, then keroncong as a musical ensemble, keroncong as a form of song, and keroncong as guitar playing style is typical of Indonesia, a genre influenced by Javanese gamelan. Keroncong ensemble orchestration typically featuring violin or flute as a carrier flow of melody, the guitar as an accompanist and a carrier flow of counter-melodies, ukulele as a time-beater, and stringed cello (Pizzicato) as a tune-percussion rhythm that sometimes dipertebal with stringed bass.

Like pengendang become the leader of the Javanese gamelan, the cellist with the typical pattern according Kusbini gedugannya became conductor in the orchestra keroncong. Gedugan it has a dual function as a bass and percussion, who led the orchestra keroncong not need it and avoid the use of drum-set in orkestrasinya. From here we can see how strong the dominance waditra displaying character strings in an orchestra keroncong chordophonic in total from its role as a carrier of the melody to rhythm and harmony.

Orchestration keroncong Moresco actually a dance accompaniment consisting of guitar and tambourine percussion pieces of metal as a musical blend of Arab-Caucasian. Tambourine is also used in orchestral musicians keroncong Indies in Batavia in the Dutch East Indies. That’s why another version of the term emerged when the tambourine keroncong keroncong excluded from the orchestra under the influence of Javanese gamelan, so that the color of the metal triangle is no longer heard, and which remains is the color of his guitar keroncong. The color of the metal triangle is returned as a property of the Javanese dancers who wore bracelets on their legs. Currently though tambourine is still heard in Tugu village, orchestra keroncong in Indonesia are no longer using it.

 Keroncong community orchestra Indies in Batavia (Illustration: A.Th. Manusama (1919:12 a))
During the Dutch East Indies, keroncong appeared as ars nova, a new art which is non-traditional and non-classical Western art favored by urban communities. Major cities in Java and then grow into a center keroncong, since achieving popularity through the Night Market in Gambir, Krokodilen communities in Kemajoran, up to concours Jaar Markt in Surabaya. Keroncong when it became part of mass culture that has commercial value, so the ensemble keroncong popping up everywhere. But after independence, there was a musical revolution around the world with the birth of rhythmic rock music popular with young people. Rhythmic rock music quickly spread through the music and recording technology of today that displace the popularity of conventional rhythmic music including keroncong.

A musicologist, music is music with a conventional rhythm accentuation falls on the first beat, like a dance rhythm walsa the count of three, or four-count rhythm in marcia. Instead rock rhythms provide a fresh breath when it moved accentuation of the first beat is marked by the beat of snare-drum stick on the second beat of rhythmic patterns in between the game-bass drum and hi-hat cymbal. The move gave birth to accentuate the character sinkopatik, continuous dependence, giving rise to the psychological sensation of questions unanswered. Not surprisingly, when the rhythm of rock managed to attract the attention of the younger generation, and quickly mastered the universal musical life.

There is no denying that the drum-set occupies a key position in the rhythm of rock. Currently there are no popular music of any kind that does not use a drum-set, ranging from the simple to the band’s symphonic band groups or sophisticated light music orchestra. Rock rhythms through drum-set game has worldwide and became the basis of all kinds of popular music today. Along with the popularity of conventional music and is considered to be marginalized musical representation of the past that have been outdated, the only demand by the elderly only.

In this case his music keroncong faced a dilemma, because on the one hand, if the slump in popularity will continue to maintain a conventional rhythm, while on the other hand the use of drum-set in the orchestration keroncong will kill the music characteristics. Time passes quickly when music keroncong finally moved from the mass culture of commercially valuable music industry entered the cultural traditions that are classified as ethnic music. Types of music such as this are always vulnerable to the threat of extinction, so the concept of preservation and revitalization of the agenda. Fortunate that the social capital of keroncong lies in the support of some communities in Indonesia to ensure that the music has been born for centuries will not become extinct. However, revitalization efforts need to continue to be done for any purpose, including the purpose of reconstruction, go-international goals, or for the benefit of experimental and archiving.

Go-international effort against keroncong music ever undertaken by Rudi Pirngadie through keroncong Stay Fresh orchestra performances that brought the genre Keroncong-beat in the New York World’s Fair in 1964. Keroncong beat is a concept that explores rhythm gedugan keroncong in the form of a cello, rhythmic riffs ukulele, and banyu milli guitar to accompany all types of songs including songs West. No less keroncong singers like M. Rivani, Rita Zahara, and Sayekti managed to attract the attention of American society in the Western rendition of I Left My Heart in San Francisco that dikeroncongkan. Experimentation Keroncong beat did not bring results, among others due to not having a strong cultural roots in Indonesia. Not impossible that the failure was also due to the characteristic rhythm of the exotic, are powerless against the sensational rock rhythms. But after all, innovation Pirngadie has successfully demonstrated the position and value of fresh music keroncong Indonesia in the international arena.

Another go-international efforts can be done through the preparation of packaging for keroncong orchestra as conducted by RRI Jakarta Studio Orchestra led by Isbandi in event Star Radio Television Keroncong type. Similarly, experimentation Singgih Sanjaya through arable Light Keroncong in orchestral format that maintains grip keroncongnya. This effort is more suitable for the preservation of musical tradition keroncong music as a packaged artistically musical. This effort is more academic and respectable in lifting keroncong as a repertoire of Indonesia in international forums, is more than just offering a generic rhythm.

Go-international effort is also meant to promote the international world that is music keroncong Indonesia, through patents or intellectual property rights, followed by numerous publications about keroncong of the researchers. So far researchers like Surya Brata, Paramita Abdurachman, Harmunah, Budiman BJ, and Suka Hardjana has a lot to do, while foreign researchers such as Ernst Heins Bronia Kornhauser and contributed to them. Research Philip Yampolsky producing generic recording keroncong singer of the 1930s a different color with singer keroncong voice today, other than for years Philip has paid great attention to the ethnic music of the archipelago.

Go-international effort also requires us to appreciate the maestro who has managed to develop keroncong music since the days of the Dutch East Indies to be able to look at this as one of the mainstream music of Indonesia, as has been pioneered by the community of Monument in Krontjong Toegoe, Kusbini in Keroncong Original, Gesang in Keroncong Idioms, Idioms Andjar Any in Java, and the singers who have contributed to the life keroncong music from generation to generation. May be expected with the rapid music education in Indonesia, the younger generation of academic musicians will instinctively moved their concerns to participate to maintain the ancestral heritage which has bequeathed our nation.

Thus efforts are a true go-international against keroncong music does not lie solely on the spread and popularity of music keroncong internationally, or at archiving the music in the form of the figure scores, or in the form of orchestra performances kroncong immanent, but rather focused on attitudes that reflect the desire of the creators, musicians, and researchers keroncong Indonesia to behave in a musical.

In the end we are morally obligated to maintain and support the international confidence that keroncong is the music of Indonesia, as well as Portuguese music known as fado, blues to African-American musical identity, from Spanish flamenco, and tango as an Argentine folk songs, national music that is popular with songs that not only sung but also expressed Coração, or from the deepest depths.

Save the Music Kroncong We

Reading several publications bulletin “Tjroeng”, stretching the spirit of community seems keroncong Indonesia (KKI), both fans, musicians, singers, and observer keroncong willing to dig back and preserve the art of music keroncong perceived prominence began to recede. In the KKI may further increase with the increasing number of people in Indonesia, but the percentage may be decreased. Can it be said keroncong music began to recede pamorya?

When compared with the 70 state may have a point. At that event keroncong music activities sponsored by the government or state can be said to be solid. Among them, are not lost from memory is always held regularly every year election race radio stars from the local level (provincial) to the national level. Selection is sponsored (held) by the Ministry of Information, and Radio Republik Indonesia (RRI) which is an institution under the auspices of the Ministry of Information has always broadcast the race elections tsb radio star. At that time the contested not only music but also of the type keroncong seriosa and “entertainment”, or more dekenal today as a kind of pop.

Enthusiastic people to follow the holding of a huge radio star. This event proved that disiakan by RRI until late at night is always awaited by the pendenganya. And keroncong music among the public at that time occupied a higher position, more popular when compared with other types of music and entertainment seriosa. Developments in society influence the development of public taste of music available. Naturally formed polarization taste and appreciation of music as well as influence the development of music itself. A shift in tastes, especially among young children (teenagers) are more like the type of entertainment or pop music. Many of the emerging pop music groups like Koes Plus, Favourit Group, D’lloyd, Pambers, Mercys etc.. In addition, slowly but surely, began creeping up the popularity of dangdut music which at that time better known as the musical “Malay”. Even dedengkot dangdut music like Oma Irama at the beginning of his musical career through pop music, and several single song was popular at that time. The situation now, the popularity of both kinds of music is higher (more fans) far left and seriosa kroncong types of music.

Orkes keroncong komunitas Indies di Batavia  (Ilustrasi: A.Th. Manusama (1919:12a))

Not satisfied with the container provided by the government as an arena of competition, the musicians pop music pop stars hold their own elections, both at regional and national level, better known by the voters “Pop Singer”. The more pop music event was held, while the event for music keroncong the less even none at all.

Subsequent developments, with the abolition of the Ministry of Information from the ranks of the cabinet, automatically lost the election race is also a calendar of activities which include the radio star music keroncong therein. Also mean missing the event to socialize and popularize music keroncong among the wider community.

Is this the series of events ultimately lowers the overall prestige of keroncong music fans and becoming obsolete?

Indonesia in the eyes of society as a whole may fall dramatically keroncong music fame if the criterion is the amount of numbers keroncong pengemar or music lovers. But among his own popularity or prestige KKI keroncong music still exist and awake, only the number is likely much less than the pop music fan or dangdut. The addition of the number of fans are also not very significant, perhaps waiting for the changing tastes in line with the addition of age is not keroncong music fans. In fact, keroncong music community still exists, even not only in Indonesia but expanded into other countries brought about by the Indonesian people are migrating to other countries, like Malaysia, Suriname, the Netherlands etc.. In the countries mentioned above, remain consistent keroncong music community enjoys and plays music keroncong.

Enjoying or membeci a type of music or songs, with regard to taste, so it is highly subjective, can not be forced. Walk naturally obey the existing environment and habits. Pop songs sung by Shakira music grop or by a music group in Indonesia Radja very loved among teens or children smell big (ABG), but maybe the songs the group was not recognized at all by the people of Suriname. Society there may be more familiar with the song artist Waljinah “Walang Kekeknya”. In conclusion, globally, which have more prestige or more popular? Keroncong pop music or music? Please readers perceive themselves to answer the other questions mentioned above.

Problems faced by communities in Indonesia and dibelahan keroncong other world is how to maintain sustainable existence keroncong music. This needs attention in light of concerns from some quarters who doubted the durability keroncong music for the “onslaught” other kinds of music, especially pop music. As the news reported by the website, dated October 19, 2008, carried stories about the great hope maestro keroncong Indonesia, “Gesang”, asking people keroncong music fans to help preserve the flow of the original music of this Java (meaning keroncong) to stay alive all time. Behind the hope he implies the concerns that the music began to recede fallen keroncong Indonesia. Gradually, if nothing is done “nguri-uri” keroncong music, it is not likely fans will be left extinct. This situation is a challenge and an opportunity keroncong entire human community to restore luster to the hope keroncong music maestro “Gesang” keroncong can be realized.

How do our efforts to preserve the cultural art of music keroncong?

, There are various types of keroncong, there Keroncong Original, Idioms Keroncong, Stambul Keroncong, coupled with Krontjong Toegoe. Of each type did have a “formula” or “grip” on their own [regarding this formula have appeared in previous bulletins Croeng]. Looking at the formula or pakemnya, keroncong music can be categorized as serious music, equivalent to classical music because there are rules that must be met in order to be called music keroncong. Therein lies the beautiful and “adiluhungnya” keroncong music! So if there are some citizens say that the music keroncong is “tacky” or “old school” Shah-Shah was only because of different perceptions, but it’s a big mistake! Not just anyone and not many who can create and play music “pure” keroncong properly. Only people who have special talents. Therefore, keroncong music that is played without obeying the rules, or that there can be said to deviate as keroncong contemporary or experimental music. Usually of young people who likes to experiment so that the music was born CongDut (keroncong Remix), CongRock (keroncong alloy and rock), CongLan (alloy keroncong and gamelan), etc.. How do we respond to the birth of the type music

  Orkes keroncong komunitas Indies di Batavia (Ilustrasi: A.Th. Manusama (1919:12a))

 the end @ copyright Dr Iwan suwandy 2011


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