Category Archives: Driwan Music Record Cybernuseun

Dr Iwan E-book In Cd Rom :The Music History Collections Intro”

THE COMPLETE cD-ROM WITH FULL ILLUSTRATIONS EXIST

BUT ONLY FOR PREMIUM MEMBER

PLEASE SUBSCRIBED VIA COMMENT

The Music History collections

Intro

 

Created By

Dr Iwan Suwandy,MHA

Privated Limited E-Book In CD-rom edition

Special for Senior collectors

Copyright @ 2012

Introduction

Koleksi Sejarah Plat gramophone(piring hitam) Di Indonesia Sebelum Perang Dunia kedua

(The Indonesian’s Phonograph Record   Historic collections) 

Frame One : Introduction

1. I have starting build the collections of  Gramophone plate since study in hish school at Padang city West Sumatra in 1960.

2. Until this day in 2011 I cannot found the complete informations about the Indonesian’s  gramophone plate History, that is why I have made reasech about this topic in order to give the young generations about the development of music gramophone technology in the world since found by Mr Thomas Alfa Edison and when first arrived in Indonesia during The Dutch East colionial Era.

3. I will show my collections with information from that very rare and amizing historic collections, very lucky I had found vintage book of gramophone and also many info fram google explorations,especially from wikipedia ,for that info thanks very much.

4. This exhibtion will divide into two parts, first before World War I and second Between WWI and WWII. all during Indonesia under Dutch east Indie Colonial time.

5.The earliest Gramophone’s Plate in 19Th Century produced by Addison inc with very thick plate almost 4 times then now circa 1 cm,then became half centimer and latest 0,2 cm more thin,please look the comperative picture below:

First the mechanic gramophone look the promotion picture of His Mater Voice company below:

and later electric gramophone, still used gramophone needle look the needle promotion label below :

6.In Indonesia during Colonial time , the gramophone’s plate sold by the chinese marchant ,many at Pasar Baru Market Batavia (Jakarta) please look the trader mark below :

7.I hope all the  collectors all over the world ,especially Indonesian Collectors plaes honor my copyright with donnot copy or tag this exhibitons without my permisssion,thanks.

Jakarta January 2011

Dr Iwan suwandy @ copyright 2011

 

The  Music Record History Collection E-Book In CD –Rom  is a project of Dr Iwan Cubermuseum .Wordpress.Com Web Blog  for Audio Visual Conservation.

 The goal of the Jukebox is to present to the widest audience possible early commercial sound recordings, offering a broad range of historical and cultural documents as a contribution to education and lifelong learning.

These selections are presented as part of the record of the past. They are historical documents which reflect the attitudes, perspectives, and beliefs of different times. Dr Iwan E-book In CD-ROM  does not endorse the views expressed in these recordings, which may contain content offensive to users

This Project dedicated to My son Albert suwandy Djohan Oetama because one of his hobbies were music record beside  the art of photography, I hope this informations will need for him to conservated my old music record collections in the future.

I hope one day when I am still alive this collections can chow in Indonesian television or may be there are the sponsorship for marketing promotion of the music record incoperations in Indonesia,

The old music record can be used for the listener in a special Old Music Café at Jakarta in the future

Dr Iwan Collections

A. Before World War One

I.Before 1920

I.Early 20th century

Edison Diamond Disc Phonograph  record

 

1Betsy Lane Shapherd

Song Calm As The Night By Carl Bohm ,Edison record 5075

Singer Soprano solo Betsy Lane Shepherd

 

Read more about Carl Bohm

 

http://images.google.com/imgres?q=Song+Calm+As+The+Night+By+Carl+Bohm&hl=en&biw=1360&bih=559&tbm=isch&tbnid=6_owo5zsrzLphM:&imgrefurl=http://www.allmusic.com/album/karl-b%25C3%25B6hm-conducts-mozart-and-strauss-box-set-mw0001841583&docid=wH5dr6PALhkRCM&imgurl=http://cps-static.rovicorp.com/3/JPG_250/MI0001/108/MI0001108979.jpg%253Fpartner%253Dallrovi.com&w=249&h=250&ei=TFZvUK-3EsnRrQeCnYGAAg&zoom=1&iact=hc&vpx=176&vpy=241&dur=4071&hovh=200&hovw=199&tx=103&ty=159&sig=117954604287720468075&page=1&tbnh=105&tbnw=111&start=0&ndsp=29&ved=1t:429,r:21,s:0,i:135

Carl Bohm

James Russell Lowell, probably the most philosophical of American poets, not even excepting Emerson and Whitman, says in Rousseau and the Sentimentalists: “Talent is that which is in a man’s power; genius is that in whose power a man is.” Genius is peculiar and the limitations it imposes upon the composer are distinct and easily defined. Richard Wagner was as great a genius as the world has ever known, but it would doubtless have been impossible for him to have written a piece in the type in which the subject of our sketch, Carl Bohm (sometimes spelled Karl Bohm), has written. The music of Wagner has its place and the music of Bohm likewise has its scope and influence. A glance at the catalog of any publishing house will show the remarkable fecundity of this man. Many of his melodies arc so near the folk-song in type that they have necessarily become extremely popular. Other of his works, such as the ever-demanded Calm as the Night, shows a finish and musicianship together with originality which indicate that his position will be permanent. The great popularity .of his innumerable piano pieces may in a sense be the result of his long training under that admirable pedagog Losechhorn, who introduced Bohm to those idioms of the keyboard he knew so well.

 

 Bohm’s music supplies a kind of material which is invaluable in teaching pupils who demand melodies. Unfortunately there is a class of teachers which does not appreciate the necessity for tunes which may be easily assimilated by those students whose musical tastes are not manifest, or those whose talent flickers in the glare of the strong light from the immortal masters. Bohm was born in Berlin in 1844, and has remained there most of his life. His most successful piano pieces in the past have been The Silver Stars, La Vi-vandiere and La Zingara, The Fountain, Murmuring Spring, Frolics of the Butterflies, Pollacca Brilliante, Salon Mazurka. Of us 259, No. 2; Throwing Kisses. In presenting Carl Bohm’s latest piece in this issue we believe that we are rendering the student and teacher readers of THE ETUDE a real service.

 

“Mignon” Nocturne is a drawing-room piece of the very best type, showing the experienced hand of the master throughout. It must be played in a graceful, elegant manner, with strict attention to rhythmic values and accents and due observance of all the various nuances. The manner of expression is like that of a refined song.

 

Karl Böhm interview

By Alan Blyth

To mark 30 years since his death, we revisit a classic interview from 1972 – with listening suggestions

 

Conductor Karl Böhm, remembered 30 years on (photo: Tully Potter Collection)

This week marked the 30th anniversary of the death of Karl Böhm. We looked through the Gramophone archive and found this interview with the legendary Austrian conductor from 1972 when the music critic Alan Blyth sought out Böhm in Salzburg. The result was a stunning insight into one of classical music’s finest minds as Böhm looked back on his career, reminiscing on his friendship with Richard Strauss, his studies under Bruno Walter and performing Wozzeck in the presence of the composer.

WHEN I was in Salzburg for the festival during the summer, I took the opportunity of searching out Karl Böhm, more cherished in his own land than perhaps he is in ours. He was kind enough to give me some of his time in spite of the fact that, at the age of almost 78, he was conducting no less than 12 opera performances at Salzburg, plus concerts there and more opera at Munich.

The very morning we met he was due to rehearse Theo Adam who was sharing the role of Wozzeck with Walter Berry after Geraint Evans had to withdraw following an accident filming in Wales. The performance of the Berg opera was that night and it turned out to be a thrilling one, Böhm’s activity in the pit belying his somewhat frail appearance away from it.

He has for some years stayed during the festival at a charming little cottage behind one of the less well-known hotels, where for the most part he enjoys absolute peace. Unfortunately this year some building work was taking place nearby and, as we sat in the garden, Böhm did not hesitate to inveigh against how long it all seemed to be taking. The evidence is certainly there on the tape of our conversation, but luckily it did not blot out what Böhm said to me in his good English (which he constantly declared was inadequate), spoken—as is his German—with an attractive Viennese accent. In fact his home town is not Vienna but Graz, where he first studied at the Conservatory. It was at Graz too that he got his first job—as a repetiteur and assistant conductor. “Karl Muck by chance heard me direct Lohengrin there, and he invited me to study all Wagner’s scores with him. He was the first and greatest influence on me. Then in 1920, I conducted a new production of Fidelio—the first time I had done the work—and it was a success. I had the chance of becoming the musical director there the following year, but just at the same time I received a telegram from Bruno Walter inviting me to conduct Freischütz and Butterfly in Munich. He said that there was an opening for a fourth conductor there and advised me to take that post, rather than the one in Graz, as it would give me a better chance to learn the repertory. I accepted, and stayed six years in Munich. For the first year I worked with Walter. Then in 1922 Knappertsbusch became musical director of the Munich company. From both I learned all I needed to know. Walter really taught me my Mozart. You see my father had been a Wagnerian, out and out, so until I got to know Walter, I had not regarded Mozart as highly as I should have done. My first Mozart opera at Munich was Entführung at the Festival in 1921—with a marvellous cast: Maria Ivögun, Tauber and Paul Bender. I’d love to have that cast today for my new recording of the work. Two years later I did my first Tristan at the theatre.

“In 1927 I went to Darmstadt. Ebert was administrator during my time there – and Rudolf Bing was his assistant. That’s a bit of operatic history for you. About this time I conducted my first Wozzeck in the presence of the composer, who wrote a dedication in my score. You can’t imagine how difficult the work then was for everyone. I recall that my first rehearsals were just with the wind and percussion, the strings coming in only later. In all, we had 40 orchestral rehearsals for the production. Even today the work is still rhythmically very difficult to manage. Each musician must know what his colleagues are playing because it is impossible to give everyone a lead.

“Then in 1931 I went to Hamburg where I was to be musical director for four years, followed by nine years in Dresden. I met Strauss for the first time when I was in Hamburg, where we did a new production of Elektra. After that we were close friends for the rest of his life. Of course he was a musical genius as a composer, but he was also a very good conductor— and taught me a great deal. I remember once after he had rehearsed the first scene of Elektra, he said to the orchestra,’Play it very softly, it’s too loud composed’. He always told me that one must conduct only with one hand; the other should be in one’s pocket. But I recall one occasion when he was doing Die Frau ohne Schatten at Dresden, he followed his own advice for most of the evening until he got to the final quartet. There, in the fortissimo C major he brought out his other hand and got really excited. After the performance he asked me, ‘Böhmel’—he always called me that—’how was it?’. I said that it was fine except that you used your left hand. Three days later I was sitting in my box when he conducted the same work again. When he reached that passage, he used only his right hand—and with the other, waved to me”.

Having had so many excellent ensembles where he conducted before and after the war, did he miss that aspect of performances today? “Well, we can still achieve the same thing—but only at festivals. Here, for Così this time, I have had four weeks rehearsal with my wonderful cast. In the normal opera-house routine today, I know it’s impossible. A singer flies in the morning before a performance. He doesn’t want to rehearse—he wants to rest for the following night”.

Böhm very much likes recording live performances, but he says that it does depend on circumstances. For Tristan, one of his favourite sets, he told me that they did one act at a time with an audience present. “If Windgassen had had to do all three acts at once, he would naturally have had to reserve himself a little in Act I; for Nilsson, of course, it makes no difference. She could sing the whole work every day without tiring herself. In the studio, you can of course correct everything, but you sometimes lose the line of a performance, or at least it’s very hard to retain it”.

He was greatly looking forward to recording Entführung, in which Arleen Auger will be Constanze, Peter Schreier, Belmonte, and Kurt Moll, Osmin. He would also like to make Idomeneo. Next summer he will conduct a new production of the opera at the Salzburg Festival. “In the past I’ve used the Baumgartner edition but next summer I will go back to the original. Of course, it’s impossible to say exactly what that is. In Munich he cut this, in Vienna he cut that. There are difficult decisions to make”.

In Così at Salzburg this summer Böhm cut two arias—”Tradito, schernito” and “E amore un ladroncello”-that are included in his recording of the work for EMI. Why was that? “On stage, they make the work too long. I spoke many times with Strauss about this, and with his and my experience of numerous performances, I’m sure these cuts are right, and made with devotion to Mozart”.

Next summer Böhm will—at last—conduct a British orchestra again, not in this country but also at Salzburg when the LSO appears there for the first time. “I would love to conduct at Covent Garden again. I have happy memories of being there in 1947 with the Vienna State Opera. I remember the excellent acoustics”.

When considering orchestras and their characteristics, he feels that he is spoilt by his close connection (over forty years) with the Vienna Philharmonic and the Berlin Philharmonic. “For records, I must use these orchestras because I know them so well, I have to have a close contact with the players before I start, and that’s difficult with an orchestra I don’t know”.

For Wagner, Böhm thought that he had learnt most from Karl Muck. “He had the tradition from Cosima who presumably knew Richard’s own ideas. Muck told me where the orchestra should be more prominent, how to handle the Bayreuth acoustics, and so on. My own view of Wagner is to avoid sentimentality and bombast as far as possible. When I first did the Ring at Bayreuth, with Wieland in his last production, the critics said my Rheingold and Walküre were so transparent. I replied that in the old days I conducted Wagner before I knew Mozart and Bach; now I conduct his works, that is Wagner’s, purified by the other composers. That’s my opinion”.

Where Mozart himself is concerned, he believes that his understanding comes merely through love. “And I hope that is transferred from me to the orchestra and from them to the audience. Strauss used to say that in every piece there are one or two bars that tell you the right tempo. My example for this is the quintet in the second act of Zauberflöte. You see there alla breve and Allegro, so you’re tempted to begin too quickly, because when the Three Ladies get to the phrase ‘Man zischelt viel sich in die Ohren’ they won’t be able to fit it in, so the speed of that phrase must govern that for the whole piece. Strauss also said that Mozart was the inventor of unending melody—and took for his example Cherubino’s ‘Voi che sapete’. The melody begins with the first bar and ends with last”.

For conducting Strauss, Böhm went back to that dictum of the composer himself. “Not too loud”. He added; “I conducted the premieres of Schweigsame Frau and Daphne. Strauss was always present during rehearsals and he repeatedly said, ‘too loud, Böhmel’. In the former opera, he once said he couldn’t hear the words, so he took the score back to his hotel and reduced the clarinets and bassoons from four to two, with red ink”. Then the thought ran through Böhm’s mind that the work had never been recorded, and he made a mental note to put right that neglect.

Although known as a specialist in the German repertory, Böhm loves conducting Italian opera. Two years ago he directed a new production of Macbeth in Vienna, and last year Otello at the Met of which we have the love duet on the Bing Farewell disc (DGG 2530 260, 10/72). “I did all the repertory pieces in the old days and I also remember a wonderful Otello with Max Lorenz—he’s here in Salzburg, you know, this summer. I think I’ve done about 160 operas in my life”.

With that, Böhm had to leave to rehearse Wozzeck, one of the 160 that will surely long remain in the memory of those who have heard him conduct it.

 

Karl Bohm other record

 

Though none of these are among Karl Böhm‘s greatest performances of orchestral works by Richard Strauss, they are still superlative performances that easily out-distance most later recordings, despite their antique sound. Recorded in 1952 and 1954, the sound is quite fine for its time, with enough detail and plenty of presence. The performances themselves are all magnificent. Conducting the RIAS-Symphonie-Orchester, Böhm leads a bold and dashing Don Juan with a death scene of astonishing impact, a massive and mighty Eine Alpensinfonie with an Epilogue of tremendous beauty, and a Suite of Waltzes from Act III of Der Rosenkavalier of wonderful suppleness and sensuality. Böhm‘s 1957 recordings of Don Juan and Eine Alpensinfonie with the Staatskapelle Dresden are more fully realized and certainly better sounding than these, but this disc should interest any true believer in either Böhm or Strauss.

 

 

 

Hear the song

click

http://wn.com/Calm_is_the_Night

 

http://images.google.com/imgres?q=Song+Calm+As+The+Night+By+Carl+Bohm&hl=en&biw=1360&bih=559&tbm=isch&tbnid=ZJbvxxwdqbU_-M:&imgrefurl=http://www.musicnotes.com/sheetmusic/mtd.asp%3Fppn%3DMN0040802&docid=65mMVz_K-6aioM&imgurl=http://www.musicnotes.com/images/productimages/mtd/MN0040802.gif&w=300&h=400&ei=TFZvUK-3EsnRrQeCnYGAAg&zoom=1&iact=hc&vpx=324&vpy=102&dur=1918&hovh=259&hovw=194&tx=87&ty=154&sig=117954604287720468075&page=1&tbnh=108&tbnw=81&start=0&ndsp=29&ved=1t:429,r:2,s:0,i:76

 

Calm As the Night digital sheet music. Contains printable sheet music plus an interactive, downloadable digital sheet music file.

   

Title:

Calm As the Night

Composed by:

Carl Bohm

   

Instruments:

Alto Saxophone, range: F#4-C6

 

Piano

   

Scorings:

Solo & Accompaniment

 

Score

   

Original Published Key:

G Major

   

 

Singer Soprano solo Betsy Lane Shepher

http://images.google.com/imgres?q=Singer+Soprano+solo+Betsy+Lane+Shepherd&hl=en&biw=1360&bih=559&tbm=isch&tbnid=MxhMcWd8Lqc3sM:&imgrefurl=http://randyspeck.blogspot.com/2012_07_01_archive.html&docid=CvrCC8YszEPDnM&itg=1&imgurl=http://4.bp.blogspot.com/-DomGwu0i7z8/UBN7iVc2bXI/AAAAAAAAB94/5cblOAdOJ8A/s1600/betsylaneshepherd.png&w=329&h=279&ei=IVxvUPuMCcLrrQfE7YCIBg&zoom=1&iact=hc&vpx=78&vpy=126&dur=5102&hovh=207&hovw=244&tx=153&ty=129&sig=117954604287720468075&page=1&tbnh=105&tbnw=124&start=0&ndsp=31&ved=1t:429,r:0,s:0,i:70

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1920 New Edison Phonograph with a Soul Soprano Betsy Lane Shepherd 2

page Ad

1b.Bariton singer Thomas Chalmers

1b.Thomas Chalmers

Recording by Edison record no 480

Singer Bariton Italian Thomas Chalmers

Thomas Chalmers (Baritone) (New York City 1884 – Greenwich, Connecticut 1966) 

Thomas Chalmers was born on October 20, 1884 in New York City, the son of Thomas Hardie and Sophia Amanda (De Bann) Chalmers.
 
In 1909,
he went to Florence to study singing with Vincenzo Lombardi and made his operatic debut in May 1911 in Fossombrone as Marcello in La bohème. His first appearance in the United States was as Jack Rance in The Girl of the Golden West with Henry Wilson Savage’s English Grand Opera Company.
 
Chalmers toured the United States with the company from 1911 to 12. He then sang as the leading baritone with the Boston National Opera Company and the Century Opera Company before making his Metropolitan Opera debut on November 17, 1917 as Valentin in Faust. He went on to appear regularly at the Met until 1922 and sang in the world premiere of Shanewis, the US premiere of Mârouf, and the first Met performances of La forza del destino and Crispino e la Comare. His recordings were all made for Edison and covered a wide range of repertoire from folk songs to opera; he recorded both on cylinder and the Edison Disc Record formats.
 
Following a throat operation, Chalmers withdrew from opera and became a stage and film actor.
 
His many stage roles included several Broadway premieres such as Landolfo in Pirandello’s The Living Mask (Henry IV), 1924; Doctor Schindler in Schnitzler’s The Call of Life (Der Ruf des Lebens), 1925; Captain Adam Brant in O’Neill’s Mourning Becomes Electra, 1931; Ben Loman in Miller’s Death of a Salesman, 1949; and Richard Bravo in Maxwell Anderson’s The Bad Seed, 1954.
 
One of Chalmers’s earliest film roles was The Minister in the 1923 silent film Puritan Passions, based on Percy MacKaye’s play The Scarecrow, which was in turn based on Feathertop, by Nathaniel Hawthorne.
 
His last film role was The Judge in Martin Ritt’s The Outrage, released in 1964.
 
Chalmers also produced and directed several short comedy films written by Robert Benchley, including The Sex Life of the Polyp and The Treasurer’s Report, both released in 1928.[5] His voice can be heard as the narrator in two documentary films by Pare Lorentz,
 
The Plow That Broke the Plains (1936) and The River (1938), both with scores by Virgil Thomson.
 
In the 1950s and 60s,
Chalmers appeared on television as an actor in several drama anthology series including Westinghouse Studio One, CBS Television Workshop, Kraft Television Theatre, The DuPont Show of the Month and Play of the Week.
 
He also appeared in single episodes of The Further Adventures of Ellery Queen, The Defenders, Mister Peepers, and several other weekly series.
 
Chalmers’ wife, Vilma Fiorelli, was originally from Florence. They were married in London on June 24, 1913. One of the couple’s daughters, Vilma Flora Chalmers, married the banker Alfred Hayes in 1937.
 
Thomas Hardie Chalmers died on June 11, 1966
 
at the Laurelton Nursing Home in Greenwich, Connecticut. He was survived by his wife and his daughter, Vilma Hayes. 
 

Dio Possente Faust (cit Gounod)

Charles Gounod Composer

 

Other Dio Possente Faust recording

Read more about Dio Possente Faust

·         Recording Title

Dio possente

·         Other Title(s)

    • Even the bravest heart (Parallel (translated) title)
    • Faust. Avant de quitter ces lieux (Uniform title)
    • Faust (Work title)

·         Composer

Charles Gounod

·         Baritone vocal

Antonio Scotti

·         Genre(s)

Opera

·         Category

Vocal

·         Description

Baritone vocal solo, with orchestra

·         Language

Italian

·         Label Name/Number

Victor 6284

·         Matrix Number/Take Number

C-8280/1

·         Recording Date

1909-10-05

·         Place of Recording

Camden, New Jersey

·         Size

12″

·         Duration

03:32

other record

Madama Butterfly: Ve loi dissi…Addio fiorito asil with Guido Ciccolini Edison 83038  5245-C
Madama butterfly: Amore o grillo with Guido Ciccolini 83038 5245-C
Tannhauser: O tu bell’astro Edison 9982
Pescatori di perle: Del tempio al limitar with Guido Ciccolini 82203 5332-A
Pagliacci: Si puo? Edison 357
 
Lucia di Lammermoor: Chi mi frena with Enrico Baroni, Giovanni Zenatello, Margaret Matzenauer, Arthur Middleton and Marie Rappold 82266-L 5224-A
Carmen: Votre toast Edison BA 82060 2997 

Read more about

Charles Gounod Composer

Charles-François Gounod (French pronunciation: [ʃaʁl fʁɑ̃swa ɡuno]; 17 June 1818 – 17 October[1][2] or 18 October[3][4] 1893) was a French composer, known for his Ave Maria (based on a work by Bach) as well as his operas Faust and Roméo et Juliette

Biography

Charles Gounod in 1859, the year of the premiere of Faust

Gounod was born in Paris, the son of a pianist mother and an artist father. His mother was his first piano teacher. Under her tutelage, Gounod first showed his musical talents. He entered the Paris Conservatoire, where he studied under Fromental Halévy and Pierre Zimmermann (he later married Zimmermann’s daughter). In 1839, he won the Prix de Rome for his cantata Fernand. He was following his father; François-Louis Gounod (d. 1823) had won the second Prix de Rome in painting in 1783.[4] During his stay of four years in Italy, Gounod studied the music of Palestrina and other sacred works of the sixteenth century; these he never ceased to cherish. Around 1846-47 he gave serious consideration to joining the priesthood, but he changed his mind before actually taking holy orders, and went back to composition.[5] During that period, he was attached to the Church of Foreign Missions in Paris.

In 1854,

Gounod completed a Messe Solennelle, also known as the Saint Cecilia Mass. This work was first performed in its entirety in the church of St Eustache in Paris on Saint Cecilia’s Day, 22 November 1855; from this rendition dates Gounod’s fame as a noteworthy composer.

Gounod late in his career.

During 1855

Gounod wrote two symphonies. His Symphony No. 1 in D major was the inspiration for the Symphony in C, composed later that year by Georges Bizet, who was then Gounod’s 17-year-old student. In the CD era a few recordings of these pieces have emerged: by Michel Plasson conducting the Orchestre national du Capitole de Toulouse, and by Sir Neville Marriner with the Academy of St Martin in the Fields. Fanny Mendelssohn, sister of Felix Mendelssohn, introduced the keyboard music of Johann Sebastian Bach to Gounod, who came to revere Bach. For him, The Well-Tempered Clavier was “the law to pianoforte study…the unquestioned textbook of musical composition”. It inspired Gounod to devise an improvisation of a melody over the C major Prelude (BWV 846) from the collection’s first book. To this melody, in 1859 (after the deaths of both Mendelssohn siblings), Gounod fitted the words of the Ave Maria, resulting in a setting that became world-famous.[6]

Gounod wrote his first opera, Sapho, in 1851,

at the urging of a friend of his, the singer Pauline Viardot; it was a commercial failure. He had no great theatrical success until Faust (1859), derived from Goethe.

This remains the composition for which he is best known; and although it took some time to achieve popularity, it became one of the most frequently staged operas of all time, with no fewer than 2,000 performances of the work having taken place by 1975 at the Paris Opéra alone, not counting other theatres.[7] The romantic and melodious Roméo et Juliette (based on the Shakespeare play Romeo and Juliet), premiered in 1867, is revived now and then but has never come close to matching Faust’s popular following. Mireille, first performed in 1864, has been admired by connoisseurs rather than by the general public. The other Gounod operas have fallen into oblivion.

Caricature from Punch, 1882

From 1870 to 1874

Gounod lived in England. In 17 Morden Road, Blackheath. A blue plaque has been put up on the house to show where he lived.[8]

He became the first conductor of what is now the Royal Choral Society. Much of his music from this time is vocal. He became entangled with the amateur English singer Georgina Weldon,[9]

a relationship (platonic, it seems) which ended in great acrimony and embittered litigation.[10] Gounod had lodged with Weldon and her husband in London’s Tavistock House.

Later in his life,

Gounod returned to his early religious impulses, writing much sacred music. His Pontifical Anthem (Marche Pontificale, 1869)

eventually (1949)

became the official national anthem of Vatican City. He expressed a desire to compose his Messe à la mémoire de Jeanne d’Arc (1887) while kneeling on the stone on which Joan of Arc knelt at the coronation of Charles VII of France.[4]

A devout Catholic, he had on his piano a music-rack in which was carved an image of the face of Jesus.

He was made a Grand Officer of the Légion d’honneur

in July 1888.[4] In 1893,

shortly after he had put the finishing touches to a requiem written for his grandson, he died of a stroke in Saint-Cloud, France.

One of Gounod’s short pieces for piano, “Funeral March of a Marionette”, received a new and unexpected lease of life

from 1955

when it was first used as the theme for the television series Alfred Hitchcock Presents.

The March was one of the eight records that Alfred Hitchcock selected to take to his desert island when he appeared on the BBC radio program Desert Island Disks in 1959.[11] T

he March had earlier been used to produce equally suspenseful moments in F. W. Murnau‘s American silent film, Sunrise: A Song of Two Humans (1927) and Harold Lloyd’s first sound film, Welcome Danger (1929).[12]

Gounod’s secular piano-accompanied songs were numerous and much praised by Ravel, but are seldom heard in recitals today.

2.Final Trio(Consuelo Escobar de Castro

,Albert Lindquist and Virgilio Lazzari)

Albert Lindquest

3.Collins and Harlan

 

There was a time when, in American households, the expression “sung by Collins & Harlan” was instantly recognized, like an advertising jingle of the future such as “like a rock.” In the case of the popular vocal duo of the early 19th century, the comparison with a truck commercial serves a more literal purpose than simply pointing out how fleeting popular taste is or how quickly both stars and headlights can dim. Baritone Arthur Collins and tenor Byron Harlan were actually such large men that they were sometimes introduced as “the Half Ton Duo.” Collins was such a heavy piece of human machinery that when he accidentally stepped on a trap door backstage in 1921, the contraption gave way and the singer didn’t stop falling until he hit the basement. It took him two years to recover, but either member of the duo could be said to have earned a lengthy hiatus, not to take the accident lightly.

Collins is said to be the vocalist who made more recordings than any other artist of this period, some 200 sides for the Edison label alone. Partner Harlan sprinted just a bit behind on the discographical racetrack, cutting 130 slabs as a soloist, not to mention the duo’s prolific output of more than 100 Edison releases. With so much material pressed by these artists between 1902 and the late ’20s, it is not surprising that copies are still being found as well as bought and sold, although sellers sometimes feel a necessity to report on the relative presence of mold. In terms of content, some listeners may find some of the duo’s actual songs even more repulsive than any residue found on the record itself. Too often, the presence of a wide range of subject matter, from hating one’s wife (“My Wife Has Gone to the Country! Hurrah! Hurrah!”) to loving (“Alexander’s Ragtime Band”), is overlooked because of scandalous titles such as “Nigger Loves His Possum.” Both performers came up in the minstrel era, effectively inventing the concept of pop music once someone figured out how to make and sell recordings. Standing on the edge of some kind of controversial subject, be it minstrel themes or gangsta rap, seems to be part of the territory. Collins & Harlan can be said to be common currency in only one type of household in the 21st century, that being one that produces or distributes historic archival recordings. The duo is well-represented on such reissues, good news for any interested listeners with allergies to mold.

II.20th Century

1a.Peter Dawson

Peter Dawson (bass-baritone)

Peter Dawson
Background information
Birth name Peter Smith Dawson
Also known as J.P. McCall, Will Strong, Will Danby, Hector Grant, Arthur Walpole, Robert Woodville, Evelyn Byrd, Peter Allison, Denton Toms, Charles Weber, Arnold Flint, Gilbert Mundy, Geoffrey Baxter, Alison Miller
Born 31 January 1882(1882-01-31) Adelaide, South Australia, Australia
Died 27 September 1961(1961-09-27) (aged 79)
Sydney, New South Wales, Australia
Genres Opera, oratorio, song
Occupations bass-baritone singer, songwriter
Years active 1899–1950s

Peter Smith Dawson (31 January 1882 – 27 September 1961) was an Australian bass-baritone and songwriter.[1] Dawson gained worldwide renown through song recitals and many best-selling recordings of operatic arias, oratorio solos and rousing ballads during a career spanning almost 60 years.

 

B, Edison Record  Auctions

5 Edison Diamond Disc Phonograph Records

 

Sold Date: 07/24/2007

Channel: Online Auction

Source: eBay

Category: Tools

Thank you for stopping. Today up for auction we have a five piece set of Edison original Diamond Disc Phonograph Records. These discs are wonderfully made, and seem to be in great condition with little to no scratching. Each one features a song on each side.

 

 Disc one features No. 80431-R (5449)

 Saved by Grace by Geo Stebbins and the Metropolitan Quartet, and No. 80431-L (5487) Blest Be the Tie That Binds, Geo Stebbins and the Metropolitan Quartet.

 

The second record features (4843)

 Home Sweet Home, Payne Bishop, Betsy Lane Shephard, and

(5075)

Calm as the Night, by Carl Bohm, performed by Betsy Lane Shephard.

(same with dr Iwan collections above)

 

The third disc contains No. 80315-R (4588)

 Annie Laurie by Lady John Scott, performed by Christine Miller, No. 80315-L (4477) Then You’ll Remember Me, The Bohemian Girl (Balfe), performed by James Harrod.

The fourth disc features No. 50584-R(6878)

 Breeze (Blow my baby back to me), Macdonald-Goodwin-Hanley, performed by the Premier Quartet, and 50584-L (6831) Ragging the Chopsticks by Frankl-Gottler performed by Arther Fields.

The fifth record features No. 50169-R (3035)

 America by the New York Military Band, and 50169-L (3069) (a) Hail Columbia (b) The Star Spangled Banner also performed by the New York Military Band.

All of these discs measure approx. 10” wide and 1/4” thick

Other collections of Auction

Item 330588085156 is no longer available.
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Dr Iwan Record label collections

https://driwancybermuseum.wordpress.com/2011/01/21/the-earliest-album-record-production-historic-collections-exhibition/

Dr Iwan collections’s

 

The Earliest Chinese

Play Record Collections

The Vintage  China Music record found in Indonesia

https://driwancybermuseum.wordpress.com/category/chineses-overseas-collections-exhibition/

Read More

http://uniquecollection.wordpress.com/page/5/

Driwan Masterpiece vintage International Music Record CollectionsI.ORIGINAL SOUNDTRACT OF MOTION PICTURE

.ORIGINAL SOUNDTRACT OF MOTION PICTURE

II. ELTON JOHN WHITE LABEL RECORD



III.DIANA ROSS WHITE LABEL RECORD

IV.THE GUITARIST MAESTRO LES PAUL RECORD

V. THE MICHAEL JACKSON WHITE LABEL RECORD : BAD

VI THE HOMOKORD RECORD LABEL

VII. THE MIDDLE OF THE ROAD WHITE LABEL RECORD

VIII. THE VINTAGE CHINESE OPERA MUSIC RECORD (COVER)

ix.THE WINSTON CHURCHILL AND MARTIN LUTHER KING JR SOUND RECORD


X.SANTANA WHITE LABEL RECORD

XI LED ZEPELLIN II WHITE LABEL RECORD

XI. PRINCE AKIHITO(NOW EMPEROR) AND PRINCE MICHIKO(NOE MEPRESS) WEDDING MUSIC COLUMBIA RECORD

XII.MISS RIBOET ODEON DARDANELLA ,JASIDI SONG, BEKA RECORD

XIII. BARRY MANILOW WHITE LABEL RECORD

ps. I hope the collectors who have this masterpiece collections to show us his collections with info and suggestion via comment,THIS INFO FOR RESEACRH HOW MUCH THIS RARE RECORD STILL EXIST NOW, THANKS VERYMUCH FOR YOUR INFO.

FOR MORE INFO,PLEASE LOOK AT MY CYBERMUSEUM BLOG,PLEASE CLICK
hhtp://www.Driwancybermuseum.wordpress.com
the end @ Copyright Dr Iwan Suwandy 2012

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The Indonesian Music Jazz History Collections

The Indonesian Music Jazz

History Collections

 

Created By

Dr Iwan Suwandy.MHA

Copyright@ s013

THIS THE PART OF E-BOOK IN CD-ROM

“The Indonesian Music Record History Collections”

This sample not full illustrated,the complete CD exist but only for Premium Member ,please subscribed via comment.

 

 

 

Introductions

JAZZ

First,

jazz is important thing/genre for musician, if you can play jazz you can play anything, find as many jazz song as you can get, listen to that song carefully, feel it in your heart, feel the beat, feel the tempo, feel the note, listen to that song, take what they play, and try to improvisation the song with your skill.

Second,

 you must know the basic chord for jazz, like Maj7, m7, Dom7, Maj, min, and also you must memorize the 12 major scales, and chord arpeggios, its really useful for playing jazz you know, you can’t play anything, if you can’t play the basic right?

 

Third,

 you must know the chord progression, like circle of fourth, circle of fifth, and the others, its really useful for making jazz songs, with chord progression you can made a nice song, or nice rhytem melodic.

Fourth,

 buy a songbook that have the chord, tone, and also the chord progression, it will help you to play the song, play with low tempo, then try a mid tempo, and try a fast tempo if you can:P

Fifth,

find a software for computer that contains the tone, and the chords sounds, and try to improvise the song with yourself, try the scales, the arpeggios, the chords, and the others.

Sixth,

learn Chord inversion, Pentatonic scales of your favourites chords, blues scales, melodic minor scales, harmonic minor scales, minor scales, major scales, and the modes.

Seventh,

made a jazz band! you couldn’t go forward if there is no friend to ask right? ask many people about the teoric, and practice.

Good luck

 for the exercise!!!, remember, practice not make perfect

The Indonesian Music Jazz Collections

 

History

The History of Jazz Music in Indonesia

in the 30’s.

Jazz music first entered Indonesia in the 30’s.

Brought by

Jazz  musicians from the Philippines in 1930

who are looking for a job in Jakarta with playing music.

Not only transferring jazz, they also introduced a wind instrument, such as trumpet, saxophone, the music lovers in Jakarta. They play Latin jazz rhythms, such as boleros, rhumba, samba and more.

The names of the musicians who still remember is

 Soleano, Garcia, Pablo, Baial, Torio, Barnarto and Samboyan.


 
read more about The Jazz  musicians from the Philippines in 1930

The Philippines Jazz Dance Bands of the 1930s

 

 

 

The new jazz messengers in the Philippines were the dance bands, which performed the “de cajon” or stock arrangements. The brass and horn sections’ harmony was in block, closed-chord position and was often audibly predictable. Among the very popular Swing bands of the 1930s, the Shanghai Swing Masters, the Pete Aristorenas Orchestra, the Cesar Velasco Band, the Tirso Cruz Orchestra at the Manila Hotel, the Mabuhay Band (also overseen by Tirso Cruz), and the Mesio Regalado Orchestra were among the more prominent names that flourished.

These big bands would provide dance music in the Swing style for Manila’s high-class society and for major provincial capitals where fiestas and other social events would take place year- round. It kept the jazz musicians busy and gainfully employed which gave them an opportunity to travel around the country and eventually overseas, where the pay was much higher.

In fact, many of the jazz musicians after discovering other foreign capitals where jazz was appreciated, would decide to have long extended contracts living a more prominent way of life as compared to the economic limitations back home. But home being close to their hearts, these foreign-based Filipino jazz musicians would periodically visit their motherland to update locals with their latest musical wares.

Read more anout

The popular Jazz Band in 1930

 

 

 

Duke Elinton band

For the first time in the Czech Republic, the Duke Ellington Orchestra will perform their stylized magic.

 

The first-class artistic ensemble interprets the wonderful jazzy music of Duke Ellington, the legendary jazz composer, big band leader and pianist. Duke Ellington was one of the most important figures in the genre of Jazz music and the Duke Ellington Orchestra is known for doing the man proud.

So if you feel like kicking up your jazz feet and experiencing a night of atmospheric music, go have a listen to the Duke Ellington Orchestra performing at Lucerna Hall in Prague. Tickets available at http://www.ticketpro.cz

 

 

Count Basie orchestra

 

Count Basie Orchestra
Directed by Grover Mitchell

 

GROVER MITCHELL

Photo: Armond Bagdasarian

 

***1999 GRAMMY WINNER***
(Best Large Jazz Ensemble Performance)

And winner of :

* Total of 17 Grammy Awards
* 2 Grammy Hall of Fame Awards
* 9 DownBeat Readers and Critics Poll Awards

The swing revival currently going gangbusters in clubs and ballrooms across the nation is generating a new audience for swing music, both contemporary and classic. These new-found fans, sensing something big is to be found behind the music of Big Bad Voodoo Daddy and other favorites of the current scene, have started to seek out the originals, the roots of the music. Inevitably, their search leads them to the Count Basie Orchestra.

Something similar happened in the 1980s, when the era’s young lions introduced a new audience to the hard-bop era heroes they emulated. Today’s swing bands – Royal Crown Revue, Squirrel Nut Zippers, Cherry Poppin’ Daddies – are sending new fans to Benny Goodman, Cab Calloway, Louis Jordan and beyond to the birth of swing and Basie. After all, it was in the Basie bands of the ’30s, in front of the dance floor at Kansas City’s Reno Club, that the jazz rhythm section blossomed and what came to be forever known as “Basie swing” developed.

The reemerging popularity of swing in all its forms is just one of the factors in the recent ascendancy of the Count Basie Orchestra. Another is the strength of the ensemble itself. After back-to back-Grammy awards for 1997 and 1998, the Basie band, directed during the last four years by Grover Mitchell, is crackling with musical vibrancy. With drummer Butch Miles back at the center of the rhythm section, the band has roared through a 1999 itinerary that lists multiple trips to Europe, two weeks in Japan and stops in such exotic locations as Istanbul and Brazil. But the orchestra is most busy here in the U.S. with performances in towns running the gamut from Baltimore, New York, Detroit, Chicago and Atlanta to Fort Wayne, Lubbock, Savannah, Worster and Morgantown.

Maybe that’s one reason the orchestra sounds so good on this latest recording Swing Shift. Another is the first-rate writing of Allyn Ferguson and Bob Ojeda. Ferguson is the noted arranger whose pen was central in Sarah Vaughan’s 1981 meeting with the Basie Orchestra’s horn section as well as last year’s Grammy Award-winning Count Plays Duke. His seven new compositions and three standard arrangements embody the classic sound of Basie swing yet reflect the harmonic depth that Ferguson has brought to his writing since his days with Stan Kenton – full of color, contrast and what can only be called artistry in rhythm.

This theme of modernism within the tradition (no contradiction in today’s Basie band) is continued by Ojeda, one of the group’s trumpeters who has written for everyone from Lionel Hampton to George Benson. While Ojeda’s pieces glisten with sleek harmonic touches and rhythmic shifts, they nonetheless read as authentic pages from the Basie omnibus, both in their spirit and the crafted spaces they arrange for soloists.

Add to this mix Grover Mitchell, a leader with deep roots in the orchestra’s history and long associations with its founder. A lyrical lead trombonist and soloist in the tradition of Tommy Dorsey, Lawrence Brown and Jack Teagarden, Mitchell worked with Duke Ellington and Lionel Hampton briefly before joining Basie in 1962. Absent from the band in the ’70s, Mitchell returned in 1980, remaining until Basie’s death in 1984. Of the three directors who have been at the helm since Basie’s passing (Thad Jones and Frank Foster were the others), Mitchell seems best able to project the Basie spirit, to both his band members and audiences. “I knew from the moment I joined this band I was going to lead it someday,” he says. “I can’t tell you why, but I knew it was my destiny.”

Under Mitchell, the band has returned to its hallmarks: swing, precision, and above all, a focus on the ensemble. The current aggregation has its share of great soloists, but Mitchell has stressed the totality of sound and interplay among musicians. He is aided in this endeavor by the remarkable continuity of personnel that continues to connect past to the present in the band. There are five permanent members in the current band who played under Count Basie’s personal leadership: trombonist Bill Hughes, who joined in 1956, John Williams, Butch Miles, Kenny Hing and Clarence Banks. They are part of the musical DNA that is replicating the Basie spirit for present and future members who never played under Basie himself.

This “guarding of the flame” is the same mission that has driven Count Basie Enterprises, the administrative operation behind the Basie Orchestra which has guided its growth and protected its integrity in the post-Basie years. “Our role has been to keep the Basie band a living, breathing, growing orchestra,” says Aaron Woodward III, CEO of Basie Enterprises and an uncompromising purist regarding all matters concerning Count Basie. “Above all, we want to keep the music true to the Basie way.”

Today, the Basie band is bringing generations of fans together as never before. Young audiences who’ve heard their favorite neo-swing band play “One O’clock Jump,” now sit or dance side-by-side with veteran fans who’ve spent a lifetime cherishing Basie’s 1937 recording of the same tune. This multi-generational appeal is what sets the Basie band apart from the current crop of swing bands. Swing music is not a fad, and it is no passing fancy with the Basie Orchestra. Rather, it is a living art form with an esteemed tradition and a history that spans most of our waning century.

The Count Basie Orchestra continues to build new fans the old fashioned way – by hitting the road, meeting its audiences and playing its music, night after night. It has managed to fuse contemporary sensibilities with its own traditions, in part because it is a genuine “working band” with the esprit de corps that comes from facing its listeners nightly – not a rehearsal unit playing for the recreation of its members or a studio unit that comes together occasionally to make a record. The Basie band is that rarest of all musical ensembles today: a full-time touring jazz orchestra. Night in and night out, they let audiences experience firsthand that miraculous combination of power and grace that only exists when 19 jazz musicians stand shoulder to shoulder and call themselves a big band.

 

Jazz in the 1930s was widely heard on radio as popular music. Besides the usual Duke Ellington and Count Basie hits, local talents abounded, like singer Ding Yalong, who “crooned” in the style of Bing Crosby, then a vocalist in Paul Whiteman’s Orchestra. Radio music in the 1930s had outstanding locally-bred musicians perform live while broadcasting featured instrumentalists like pianists Joe Climaco, Rafael Artigas, and Ariston Avelino. This was a way of informing the listening public that Filipinos were learning rapidly from their foreign counterparts.

Another venue in the 1930s where jazz was predominantly heard was the Ugoy-ugoy Cabaret. This dance hall was dimly lit and the music was non-stop. The taxi dancers were paid by a number of minutes indicated by a whistle, which had nothing to do with the music because the music was continuous. Located in a town in the province of Laguna, ugoy-ugoy, a Tagalog that means “swing” in English. This is probably where the late composer, Miguel “Mike” Velarde, was inspired to name one of his compositions “Ugoy-ugoy Blues”, which became a hit in the early 1930s.

 

 

 

Top left Photo:

 

The Filipino Band jazzes it up big time at the Saratoga Hotel-Restaurant, Chicago, Illinois, earning $1,000.00 a month in the early 1930s. Courtesy of John Silva Collection.

 

 

 

 

 

Bottom right Photo:

 

 Nemesio Regalado introduced the Tonette wind instrument to the Philippines in 1937.

 

 

 

 

 

 

 

 

 

 


In addition to playing in Jakarta, such as

 

the Hotel Des Indes

 

 

 (now Ambassador Merlin Plaza)

and

 

the Hotel Der Nederlander

 

 

 

(so the government offices),

they also play in other cities, such as

 

the Hotel Savoy Homann – Bandung

and

 

 in Hotel Oranje (Yamato) – Surabaya.

In 1948
 
approximately 60 musicians Dutch came to Indonesia to form a symphony orchestra that contains the local musicians. One is the famous Dutch musician

 

Jose Cleber

Jozef Cleber or too often simply written Jos Cleber (born in Maastricht, June 2, 1916 – died in Hilversum, The Netherlands, May 21, 1999 at age 82 years) is a musician (conductor) a Dutch national who arrived in Indonesia in 1949 in cooperation with the Dutch Government and Indonesia in order to develop the music in Indonesia

Family
He was the youngest of eight children Josephus Gerardus Cleber, an organist and choral conductor, his mother Anna Maria Bastian. He was born a Catholic family.

 In 1939

he was married to Elisa Magdelijns (1917-2007), had a daughter (Yvonne Charlotte).

 

But in 1951

 then divorced and married again in 1951 was also in Jakarta with

Johanna Dirkje de Bruijn (born 1923)

who met at Radio Batavia (Jakarta) and had a daughter also (Karian).

 Music education
He has a tremendous musical talent, and learned music from his father. After completing secondary school, he entered the School of Music Up (muzieklyceum), and continued studying violin and piano at the conservatory in the city of Luik (Belgium). He also studied jazz music, and admirers of

 

 

Duke Elington,

and are advised to learn the saxophone and clarinet, but the trombone is a musical choice (which is said to correspond with his trombone mouthpiece).

Experience the music
At the age of 15 years (1931)
 He has played at Stedelijk Maastrichtsch Orchestra (orchestra city) as a viola player. Then he played on

 

Paul Godwin orchestra,

and

then at the time of military service in 1939 at

 

 the Tonhalle Orchester Zürich play.

After World War II ended
 he returned to Holland and worked as a trombone player and a violin

 

 in ‘Tuschinski-Theater’

under the leadership of musician Max Tak, and the assistance he has worked as a musician in the orchestra Pop trombonis leaders Avro Elzard Kuhlman (AVRO = Algemeene Vereeniging Radio Omroep / Radio Broadcasting The Netherlands).

Later in 1942

 

 He worked as trombonis the Concertgebouw-Orchestra (an orchestra at the Concert Hall of Amsterdam’s famous until now).

 

 

Besides, he also learned the conductor, the science of harmony and kontrapun Baaren composer Kees van Amsterdam.

Then he met with

 

Theo Uden Masman, a dance orchestra leader in Hilversum.

 

 Not long after he joined

 

 

 the Metropolitan Orchestra leader

Dolf van Linden

as a trombone player and aransir between 1945-1948.

 

He also joined the band and Decca Selecta Swing Combo. [1]
Music career trip to Indonesia since
Off to Indonesia 1948

In the month of June 1948
 He went to Indonsia.
After his return to Holland in 1952,
in 1962
 He and his wife (Joke) and son (Karian) to South Africa.

However, in 1964

 he returned to Holland (Hilversum).
 Year 1981
 his retirement (age 65), and died in Hilversum in 1999 (at age 83 years).
 Jos Cleber history in song Indonesia Raya

In 1948
The Dutch government sent an

orchestra leader

 

 

 Yvon Baarspul

 

Philharmoni

coming from the Netherlands about 46 people, but then declined

 

read more about Yvon Baarspul

Radio Philharmonic Orchestra 1948-1950

In 1947,

the idea to give the radio orchestra of Batavia a professional status arose in The Hague and Jakarta simultaneously. At the instigation of the Colonial Office the conductor Yvon Baarspul was approached to form an up to par symphony orchestra over there, that should be able to play an extensive repertoire.

Added to the NIROM-orchestra that was already in existence, this ensemble would ultimately count approximately 63 members. The musicians (most of them were male) were offered a contract for two years, while the Dutch government sponsored the initiative. Because in those days, it was still long before ‘the East’ could be called a safe place, one might remark that this was a risky business. Anyway, in those turbulent years there was a great need for cultural relaxation ‘overseas’.

The result:

 

 

On 5 June 1948,

 

27 candidates left Rotterdam on the M.S Garoet to the Dutch East Indies.

Another group of 12 musicians followed a little later by plane.

 

The violinist Herman v.d. Vegt

was released from his occupation for one year to assist Baarspul in the function of leader of the orchestra.

The members of the orchestra who came from the Netherlands were lodged in Hotel Chaulan, at a walking distance from the radio on King’s Square. A year later, the wives and children came over. In those times, a new quarter was being built on the edge of Batavia, and this was where most people were lodged eventually.

The rehearsals started soon in the big studio of the recently renamed ‘Radio Broadcasting Organisation of the Transition Period’ (ROIO). Vice-president Mohammed Atta became the patron of this new orchestra.

On 30 August 1948

the inaugural concert took place in a sold out hall

 (the so-called Garden Hall)

 

in the Tjikini zoo of Batavia.

(now Taman Ismael Marzuki Garden-TIM)

 

 

 

 

 

 

Read more info about Tjikini Zoo

 

This old zoo in the former Batavia was obviously very popular with small children. Besides large and dangerous animals, there was a lot of small stuff, you should give even to eat. And if you had been there and it was very hot, you could always go to Tjikini pool next to the zoo. But that there is also no longer

 

The zoo no longer exists, no longer. He was moved to Jakarta Selatan(south Jakarta) Cilandak and there become Kebun Binatang Ragunan Zoo.

Whether this hippo is still alive I do not know. Not very likely. This picture is from 1958 and I do not know how old these animals can be. What I do know is that every time that I saw I was wide open mouth or sleep or appetite ayam pang corridor. (Chicken roaster)

 

1957,

 my wife is with our firstborn to look at the elephant, remarkable animal, what with that terrible long nose? For such a large animal but he has a small mouth, but still …. better but at a safe distance.

But there was more in that old Kebon Binatang Cikini, a cinema, I am for the first time in my life been to the movies.

1938,

I was ten years and was with two friends(sobats) by my father for the party brought to the film. “Tom Saywer” was called.

The story I can not remember, but there was an angry Indian in those with a life-size Golok (native daggers)Tom chased.

Tom fled into a cave and climbed the wall to a ledge he can not go. Then comes that Indian look with recurring Golok between his teeth and a few nasty green eyes closer and closer. Palpitations, almost, just a meters …. and then … tolol Giel jatuh pingsan, fainted and only in the taxi home again added.

The last time I was in that movie theater in 1955 from the Cikini hospital Raden Saleh. I had just visited my wife, who received follow-up after the birth of our firstborn.

The film was called “Them” and went about ants as big as buffaloes. Mutants by atomic radiation during nuclear tests in the desert of Alamagordo. Bukan main say(abismal lover) , people and animals were eaten and the cracking of the bones sounded like Mercon in Tahun Baru Tiong Hoa.(Chinese lunar new year)

Slept poorly that night. And dese crazy, I know all there, but namanya cinema, I can not remember. If anyone knows that yet, please leave a message on this website, I would really like to know. Also a picture of that cinema is very welcome.

Source”

Pak Giel

More than 1000 people were in the audience. On the program: Works by Bach, Geraerdts and Brahms with assistance of the oratorium choir.

In the two years that the orchestra existed a number of members formed chamber music ensembles. There were, for instance, two string quartets that came into being. The “Radio Philharmonic Brass quintet” performed with the pianists Frans Szabo and Douda Poliakine and there were numerous recitals and solo-performances. The orchestra went on tour several times:

· September ’49

 to Semarang, Surabaya and Bali on

 the M.S. Ophir (the ship served as a hotel as well).
· November ’49 to Singapore by plane to do 5 concerts in the ‘Victoria memorial Hall’ and a youth concert in ‘Happy World’, a big tent.
· The end of ’49, two concerts in Pladjoe, near Palembang.

From the Radio Philharmonic Orchestra a chamber orchestra was also formed, which was under the leadership of conductor Frits Hinze and which mainly played at the local theatre. In the mean time, the Cosmopolitan orchestra, under the guidance of Jos Cléber, provided for the lighter repertoire. At the same time, the interest of the Indonesian and Chinese side increased.

The management of ROIO, that had been able to establish this new symphony orchestra with strong support from the government, supposed that it would serve the cultural purpose of this institution best not by keeping the orchestra conscientiously within the privacy of the walls of the studio, but by taking care that the concerts were broadcast from the concert hall as much as possible. As a rule, the concerts would be recorded to be broadcast later from the various relay stations in the country, amongst others those of Semarang, Surabaya, Bandung and Makassar. Apart from the ‘Garden Hall’, the concerts also took place

in the ‘Willemskerk’,

 Portuguese Church 1 430x557 Portuguese Church

 The Portuguese ‘Buitenkerk’, the theatre and

 in ‘Concordia’ in Batavia.

read mote about Portugeus Church batavia

Portuguese Church

 
If you travel to the old city of Jakarta, sempatkanlah stop by the Zion Church. The church is located at the corner of Prince Street and Jalan Mangga Dua White Rose, in West Jakarta area. In the past, the Church Zion Church known as the Portuguese (Portugeesche Buitenkerk). In those days, there are two churches, known as the Portuguese Church, First Church of Zion, called “Portuguese Church Outside the City” (outside the fortress city of Batavia) and the second “Portuguese Church in Town” (located in the fortress city of Batavia). However, the latter church was burned down in 1808 AD, while still standing upright Zion Church with all its glory until now.


Portuguese Church 1 430x557 Portuguese Church

 

Portuguese Church or Church of Zion are still used as places of worship. According to history, Zion Church was completed in 1695 AD and inaugurated on Sunday, October 23, 1695 AD, with the blessing by the Reverend Theodore ZAS. The full blessing of the church’s story neatly written in Dutch on the notice board, which until now can still be seen on the walls of the church.

Physical construction of a church that has a magnificent architecture takes approximately two years. Laying the first stone made by Pieter van Hoorn in the year October 19, 1693 AD Zion Church is known for the robustness of the building and still have the same furniture since its inception. This church suffered only two times the renovation, which in 1920 and 1978. In fact, it is said the church building suffered no cracks at all, despite the huge earthquake which spread to Australia, Sri Lanka, and the Philippines, caused by the eruption of Krakatoa in August 1883 AD This church building is protected by the government as a historic building by the Governor of DKI Jakarta Decree No. CB/11/1/12/1972.

Portuguese Church 4 430x322 Portuguese Church

Zion Church was built on an area of 6725 square meters with building area of 32 X 24 meters which is supported by the main pillar of six and are built with a foundation block of a round rod 10 000. This church building can accommodate at least 1000 the congregation. However, now, shrinking the churchyard after being displaced Prince Jayakarta Road widening and road Mangga Dua, each five meters.

As the name implies, Portuguese Church is a church relic of the Portuguese who had landed in the archipelago since the 16th century. However, mention of the word “Portuguese” as the name of the church have its own story. Perhaps, before the Church of Zion stand, where it stood a chapel (small church) Catholics in the year 1675 AD The chapel was founded by the Portuguese to the slaves who came from Bengal, Malabar, Koromandel, and Sri Lanka. The slaves were brought to the archipelago (including the Batavia) and employed for the sake of commerce and households. In general, they are Catholic and speak Portuguese.

Portuguese Church 2 Portuguese Church

Since VOC Batavia and seize control of Portuguese rule, East India Company built the fort city of Batavia Batavia as a barrier region and areas outside it. In addition, the VOC also brought slaves from around the Portuguese archipelago to the city of Batavia (in the castle) to build urban infrastructure. No exception Portuguese slaves who live around Catholic Chapel-which incidentally is outside the castle of Batavia, was also brought into the City. Since then (1628 AD), a former Portuguese slave is flooding the central region and the outskirts of Batavia.

Zion Church is actually a church built in place of the Catholic Chapel (Portuguese) before, as the release of the Portuguese slave residing on the edge and center of the City of Batavia. Terms of slave liberation is they have to switch religion (the Protestant) and use the Dutch language. The slaves who had been free is what is known as the Mardjiker. In a long time, the Church of Zion has been used by the Mardjiker hereditary, while the elite officials Batavia (VOC) worship in downtown. However, when the church burned in downtown Batavia, the VOC communities, officials, and the family moved worship to the Church of Zion, which lies on the edge of town. Over time this church eventually became the property of the elite Dutch Batavia. The Mardjiker was expelled from the church, but the elite Dutch / VOC already overdo mention this church as Portugeesche Buitenkerk aka Portuguese Church.

Portuguese Church 3 430x218 Portuguese Church

After Indonesian independence, the former church of the Mardjiker is administered under the auspices of the Protestant Churches of Western Indonesia (GPIB). In 1957, when the trial Synod GPIB, Portuguese Church decided to change its name to GPIB Zion Church. By the surrounding community, the church is known as the Zion Church. Zion or Zion comes from the name of a hill in the Palestinian areas and is a symbol of salvation for the nation of ancient Israel.

Zion Church has a unique characteristic, if viewed from the style and form of architecture, and furniture that have. The particular architecture stand out in every detail of the building. It can be seen, the church building to form one long room with three wooden ceilings the same height and curved like a keg. Since 2006, the church which included the type of the church hall (hall church) is also enhanced by the church floor tiles composed of gray granite, glazed entrance, and additional space measuring 6×18 meters around the church.

Design and construction of a church that looked diarsiteki Mr. E. Ewout Verhagen from Rotterdam, it certainly will add to the impression of awe, at once fascinated. Look at the durability and robustness of the church that have survived for hundreds of years. Apparently, this robustness is supported by the construction of a building wall constructed from bricks bonded by a mixture of sand and heat-resistant sugar.

In addition to architectural uniqueness, the furniture of the church also served with its own nuances. Upon entering the church door, for example, immediately posted four chandelier (chandelier), a large candle with a reflector (reflective light) shield-shaped bersimbol City of Batavia. Fourth chandelier is dependent on the corners of the room, since over 300 years ago.

Right in the middle of the room, stands a baroque pulpit work of H. Bruyn (1695 AD). This pulpit supported two pole roll and a large canopy hoods that resembled a crown. Making octagonal pulpit carved with a blend of China, Europe, and India is said to have cost about 260 ringgit. Compare the cost of construction of the church who spend around 3,000 ringgit. Ornaments on the bottom side also gave its own style in the pulpit. Travelers who observe the details of this pulpit will find a complete angel ornaments shaped head with wings painted in colors similar to human skin.

In addition to Pulpit, just to the right (if the tourists facing the altar from the front door), there are several rows of chairs and benches carved from dark wood (ebony). The chairs are often used for meetings of this church have a somewhat unique engraving. In the middle of the back of the chair for example, etched into a holy book that is open and on either side there are two little angels picture. If the tourist gaze into one wall of the church, it will be posted an inscribed stone in the Dutch language, which means: “The first stone church was laid October 19, 1693 by Pieter van Horn.”

In addition, on the upper floor, the back, the travelers also can see the inflatable organ musical instruments (organ), parents who are still well preserved. Old organ which is the daughter of Reverend John Maurits grant Moors in the 17th century can still be used. Tourists can also see an iron wheel on the left side of the organ. Fibrous rubber wheel serves to fill the wind that blew the pipe-organ pipe tone when keys are pressed. Once the wheel is rotated by human power (two people), but since 1982 was replaced by electricity. The organ is supported by four slender pillars was last used on October 8, 2000.

Around the neighborhood church, precisely in the foyer of the church, there are 11 graves in the official Dutch Batavia kumpeni first. Among those officials tomb is the tomb of the Governor-General Zwaardecroon (1718-1725 AD), tomb of the primary surgeon named Frederick Ribalt Batavia City (died in 1735 AD) and his son Francois Ribalt (1695 AD), as well as a sailor, named Commissioner General SH Frijkenius.

Zion Church is located on the corner of Prince Jayakarta and Jalan Mangga Dua Raya, West Jakarta, DKI Jakarta, Indonesia. Zion Church is relatively easy to reach tourists, because it is about 300 meters to the City Railway Station (Station Beos City) and 200 meters from the Mangga Dua shopping complex. From Beos City Station, visitors simply walk away or hire a rickshaw heading towards Jalan Mangga Dua and stop down the road, the place where the church is located.

Zion Church is now equipped with facilities such as 8 air conditioner (AC), parking lots, and buildings commonly known by the name of the manse. Manse is a special house built behind the church for the employees and the priest in charge of the church.

A series of 7 concerts, dedicated to Dutch composers, took place in the big hall of the Radio Broadcasting Company of Jakarta. The composition and editorship were in the hands of the oboist Victor Swillens. These concerts were also broadcast by the radio stations of Semarang and Surabaya.

The two valedictory concerts of the Radio Philharmonic Orchestra

 in June 1950

made mention of the performance of the 9th symphony of Ludwig van Beethoven, with assistance of Batavia’s mixed choir. On this occasion Yvon Baarspul was knighted as “Ridder in de Orde van Oranje-Nassau”.

The voyage back was made on

the M.S. “Johan van Oldebarnevelt”

on 21 July 1950.

They arrived in Amsterdam on 17 August. Some of the members of the orchestra returned later to form

 

 

 

 the “Orchestra Radio Jakarta”, under the leadership of Henk te Strake,

 which remained in existence until 1953.


Yvon Baarspul

 

Director of the Radio Philharmonic Orchestra in Batavia / Jakarta

 

Bataviaas Staforkest          

 

Batviaas Staff Orchestra o.l.v. Nico Gerharz ± 1915


The orchestra being overseas.

Long time, the music loving public depending on ad hoc ensembles, which needs to evolve into an orchestra.

The tournerende buitelandse opera companies often have their own band names that possibly supplemented by local forces or good amateurs.

The music-staff in Batavia emerged with the advent of a real conductor Nico Gerharz symphonic orchestra  that include 20 strings and horns full occupancy standard program could handle. It gave regular symphony concerts with or without soloists.

From 1904-1916

came the orchestra flourished and even went on tour to major cities in Java.

The Käthe Haasse when young, mother of Hella Haasse, the famous writer, performed concerts at that time of Beethoven, Grieg and Paul Seelig.

These gifted professional pianist also composed songs for choral polyphony. Immediately after the Japanese occupation, there were a few concerts in the theater, by the so-called Station Orchestra. (AFRIB) by the Allied Forces Radio broadcast in Batavia.


The later NIROM Radio Orchestra,

the result of smaller formations could, at the initiative of

Theo van der Bijl and Picklertrio

conquer a permanent place in listeners around the archipelago by support channels to let them hear. Fritz Hinze was the first conductor of the orchestra led format.


Locally formed smaller amateur orchestras in places like Surabaya (Vincent Loo) Malang, Makassar, Medan and Bandung.

For the court orchestra of the Sultan were Yokyakarta

 

artist Walter Spies

 

Walter Spies with Angelica Archipenko circa 1930

Walter Spies (15 September 1895 – 19 January 1942)

 was a Russian-born German primitivist painter. In 1923 he came to Java, living first in Yogyakarta and then in Ubud, Bali starting in 1927.

He is often credited with attracting the attention of Western cultural figures to Balinese culture and art in the 1930s and he influenced the direction of Balinese art and drama.

In 1937,

 Spies built what he described as a “mountain hut” at Iseh in Karangasem. Adored by the Balinese, Spies was the co-founder of the Pita Maha artists cooperative, through which he shaped the development of modern Balinese art and established the Westerner’s image of Bali that still exists today

 

Spies was the first to arrive, settling in Ubud in 1927.

The son of a German diplomat, he spent his formative years in Russia and traveled widely, living in Java before settling in Bali. He lived a heady, bohemian existence in those early Ubud days — it was the beginning of the West’s love affair with Bali, drawing luminaries such as Noel Coward, Charlie Chaplin, Vicky Baum, Miguel Covarrubias and Margaret Mead.

As a painter, Spies was profoundly influenced by Bali’s culture and landscape.

 One can see evidence of this in the following works, the first, Das Karussel, painted in 1922 before his travels to Bali, the second and third after his arrival there:

 

 

 

Spies’ life took a tragic turn after a decade of artistic productivity and growing fame.

His openly homosexual lifestyle attracted the disapproval of the Dutch colonial government and led to his imprisonment for “indecent behavior” during much of 1939.

Not long thereafter came the start of World War II and the German invasion of Holland. The Dutch-Indies government arrested all Germans, sending Spies to a prison camp in Sumatra.

From there, Spies was placed on a transport ship to Ceylon, a voyage that ended his life when the ship sank under bombardment by the Japanese

 

and

 

Paul Seelig

muzicus attracted.

Paul Seelig (1876 – 1945)          

Among the musicians in Indonesia there were also a few composers who left behind a voluminous oeuvre. The most important one among them was Paul Seelig, about whom there will be more later on. To just mention a few names: Constant van de Wall, Hector Marinus, Theo Smit Sibenga en Emile Hullebroek.

In Europe, there were also a number of composers who were inspired by eastern music and the gamelan: Claude Debussy, Maurice Ravel, Francis Poulenc, Colin McPhee and Peter Schat.  </P

 

Paul Johan Seelig

(1976-1945)

On June 13, 1945

 Mr. Cornelis died on Java. He was a talented composer, whose work has remained virtually unknown in the Netherlands until today: Paul John Seelig, born in Breda, 1876.

The course of his life is an absorbing story that for the most part takes place in the Far East. He had an all-round musical education in Germany for the most part and studied with prominent teachers. He studied the piano, the cello, orchestration and theory.

In 1888,

he was 2nd conductor of the Stadttheater in Essen. In the mean time, he was often travelling through countries such as Japan, Palestine, Turkey, Romania, Hungary and the Netherlands.

In 1900,

 Seelig comes back to the Dutch East Indies and becomes the conductor of

the court orchestra of the Susuhunan of Surakarta.

During the following 8 years in Solo,

 a penetrating study is made of eastern music.

After the death of his father, he settles in Bandung,

to take on the leadership of the publishing business (Matatani) and music- and instrument shop his father had founded. However, the wanderings have not yet finished.

Music and dramatic society “Braga” in 1910 with,

 amongst others, Paul Seelig on cello.

Publication Seelig / Matatani

 

 

Muziek en toneelvereniging “Braga” in 1910 met o.a. Paul Seelig cello

 

 

 

 In 1911

he leaves for Siam (Thailand). There he becomes

conductor and musical advisor of the Royal Orchestra of Bangkok.

 At that time, he noted down a large number of Siamese folk-melodies and he also composed the national anthem of Siam.

 

A large collection of songs, recorded from

native singers of Central Java,

would also appear in print afterwards.

The compositions of Seelig display an intriguing combination of eastern and western elements, the structure always betraying the craftsman.

Much of his voluminous, practically undated oeuvre has, apart from the Indies themselves, also been performed in Germany, France, Austria, America and Japan, but strangely enough hardly ever in our country.

After about 1930

 he has composed little more, because he was preoccupied with the publishing- and music business in Surabaya, Bandung (Bragaweg), Batavia and Semarang.

Most of his work has been indexed by his grandson and can also partly be found in the music libraries in this country.

Seelig has become famous mainly because of the so-called Pantun, a Malaysian variant of the Portuguese Moresco, which was accompanied by the plucked instrument, the krontjong. At the time, his piano concerto has been performed in the Indies several times with an orchestra by the pianist Käthe Haasse, the mother of writer Hella Haasse.

The musical score of this work that, like so many of his compositions, had been fancied lost because of the war, has been recovered recently. People are trying to put new life into it, among other things, by way of the computer. The orchestral score must still be worked out with the help of very concise notes.

Finally, the Radio Philharmonic Orchestra composed of local musicians and Hungarian and Dutch forces.

 After 1950,

 there remained a small band in Jakarta led by Henk te Strake

 

in 1952

to return to the Netherlands.
Some of these musicians (who later settled in Yogyakarta) is the forerunner of educators musicians in Indonesia

since 1952
School of Music with the establishment of Indonesia (SMIND),

 

and

 

 

Argo Records – RG-2 – P.1952. Side A. 2-A1 Kebiar 8’49

 

in 1961
transformed into the Academy of Music Indonesia (AMI) in Yogyakarta, which is now named
Indonesian Arts Institute (ISI) since 1984.

 

Read more info

 

Academy of Music Indonesia “AMI” another component, was born in 1961 evolved from the School of Music Indonesia (SMIND) that was built in 1952

Institut Seni Indonesia Yogyakarta

is known as the ISI is an institution of higher learning the art of status of public universities that have the authority to provide education to the highest level.

 

 ISI

was established on the basis of Presidential Decree No. 39/1984 dated May 30, 1984 and inaugurated by the Minister of Education and Culture Prof. Dr. Nugroho Notosusanto on July 23, 1984.

Although relatively young age as an institute, but the universities which is a component of the ISI has long existed and has been a long time to take part in the development of the country of art and generate a lot of artists and professionals who are scattered in various functions, professions and expertise, both within as well as abroad. ISI was formed by the fusion of three higher education pre-existing art, namely the College of Arts Indonesia “ASRI”, Academy of Music Indonesia “AMI”, and the Academy of Dance Indonesia “ASTI“.

 

 

 

 

 

 

 

 

 

 

 

ASRI

 

College of Arts Indonesia “ASRI”

as the oldest of its components have been around since early 1950 as a result of the efforts of artists who were then gathered in Yogyakarta. Indonesia has a tradition of high art will be able to maintain and develop kemapuannya. Thus was born the Indonesian Academy of Fine Arts (ASRI) that originated from academy status and obtain a new shape in 1968 as a high school that gave him the authority to open an undergraduate degree.

AMI

 

Academy of Music Indonesia “AMI”

another component, was born in 1961 evolved from the School of Music Indonesia (SMIND) that was built in 1952; and the Academy of Dance Indonesia “ASTI” was born in 1963; a continuation of the Conservatory of Dance Indonesia (KONRI) which born a little way behind, namely in 1961

ASTI

As with ASRI,

the establishment of AMI and ASTI is also due to the strong encouragement of Indonesia art and culture lovers for mengmbangkan what they have. Although long before that arts education has traditionally been there, but to increase both vertical and horizontal necessary institutions of formal education and modern art

In early 1973,

the trial of the leaders STSRI “ASRI”, AMI, ASTI and several other arts academy with officials from the Ministry of education and Culture, agreed to establish an institution of higher education are more wide-ranging artistic and greater authority in both the field art and in terms of the provisions of higher education

 

Back to Jos Cleber informations

Then Jos Cleber a classic pop musicians such as Mantovani, working as an orchestra leader Cosmpolitan in Jakarta, because the players made up of various races (kosmospolitan).

 The players there are from Russia (Nicolai Varvolomeyeff), Hungary (George Setet, Henry Tordasi), Philippines (Pablo, Sambayon), Indonesia (Sardi,

 

Ismail Marzuki .,

 Iskandar

(father of

diah Iskandar).
While in Indonesia he had a lot of attention to the art of gamelan.
 I

ndonesia Raya Jos Cleber filmed version of

the Symphony M Jusuf Ronodipuro,

 

 

 that when it became the Head of Studio RRI Jakarta,

in 1950

 

 requested that Jos Cleber (at that time he was 34 years old) make arrangements Indonesia Raya, having successfully worked on the arrangement of songs, Indonesia, among others, Under the Full Moon Light, and Jasmine series.

Jusuf Ronodipuro describes Indonesia Raya, how songs are born and created, as well as explaining the meaning of the song. Cleber commented that he captures the nuances Marseillasse (French national anthem) in Indonesia Raya.

 

Composed by Jos Cleber was recorded at Studio RRI Jakarta on
beginning in 1951

by involving all the musicians of the orchestra cosmopolitan, recorded with a tape recorder that new Philips owned RRI at that time.

Then in 1997
re-recorded with a digital technique in Australia by Victoria Philharmony led Adie MS.

Bung Karno comments above arrangement Jos Cleber
Jusuf Ronodipuro Jos Cleber then invited to meet President Soekarno to Merdeka Palace to play the tape.
Bung Karno directly criticized the composition Cleber. According to Jusuf, Bung Karno said, “Indonesia Raya is like our Red and White Flag.
No need to be given more lace. “[2]

 


Orkes Studio Jakarta dalam dunia musik periode 1948-1950

.

Top of Form

Djakarta Studio Orchestra
One of the orchestra is in Jakarta Indonesia in the early days of independence, led by

 

 

 Soetedjo.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Sutedjo  also the leader of angkasa sound  orchestra

The other two are Philarmonisch Radio Orchestra and

the Orchestra Cosmopolitan led by Jos Cleber.

Jakarta Studio Orchestra in the music world has duty to the period 1948-1950 is not light, which is trying to modernize the art keroncong to fit the era.

Despite facing various obstacles, OSD always tries to give consideration between Western and Eastern music, Hawaian and Malay, as well as jazz and keroncong. Soetedjo OSD lead since the first time established until July 1, 1950.

Cleber’s Jakarta studio  Orchestra cosmopolitan

music game to accommodate California.

 Of new bands springing up like

 The Progressive Trio, Iskandar’s Sextet and Octet who plays jazz and the Old Timers who plays Dixieland repertoire.

read more about

M Jusuf Ronodipuro

original in native java language

Muhammad Jusuf Ronodipuro utawa Joesoef Ronodipoero

 (Salatiga, Jawa Tengah, 30 September 1919Jakarta Kidul, 27 Januari 2008) iku misuwur minangka salah sawijining perintis RRI.

Saliyané iku dhèwèké uga naté dadi Duta Besar Indonesia. Ronodipuro tau dadi Duta Besar ing Uruguay, Argentina, lan Chili. Jusuf Ronodipuro gegarwa karo Siti Fatima Rassat nganti séda lan pinaringan telung putra: Dharmawan, Irawan lan Fatmi.

Panjenengané séda ing RSAD Gatot Soebroto déning komplikasi stroke lan kanker paru-paru: Ronodipuro misuwur olèhé ngrokok sing nganthi kaya sepur. Banjur panjenengané disarèkaké ing Taman Makam Pahlawan Kalibata, Jakarta Kidul ing tanggal 28 Januari 2008. Nalikané séda ora olèh kawigatèn akèh amerga mbarengi sédané lan panyaréyan Pak Harto.

Ronodipuro iku dianggep sawijining pahlawan Indonesia.

Panjenengané sing biyen bisa kelakon nggiyaraké Proklamasi Kamardikan 1945 lumantar radio menyang bangsa-bangsa saindhenging jagad. Ronodipuro uga sing ngrintis anané Radio Republik Indonesia (RRI) nganti saiki iki.

Menawa Dina Radio dipéngeti saben tanggal 11 September, iku amarga dina iku tanggaleYusuf Ronodipuro sakanca sejawaté miwiti ngedegake RRI ing tanggal 11 September 1945

Jaman pendhudhukan Jepang

Ing taun 1942,

Hindia-Walanda dibedhah déning Tentara Dai Nippon lan Tentara KNIL nungkul kasoran. Wiwit iku Hindia-Walanda dibroki Jepang lan Walanda ditendhang metu. Yusuf Ronodipuro dhéwé wiwit taun 1943 dadi wartawan radio militèr Jepang ing Jakarta, sing diarani Hoso Kyoku. Radio kuwi pemimpiné wong Jepang, yaiku Letkol Tomo Bachi, wakilé wong Indonesia anama Utoyo Ramlan. Déné pemimpin redaksiné Bahtar Loebis, kangmasé sastrawan dan wartawan Mochtar Loebis. Mochtar Loebis dhéwé nalika semana dipercaya mligi kanggo siaran mancanegara.

Tekané dina kamardikané bangsa Indonesia wis trontong-trontong. Jepang dibom atom déning Amérika Sarékat, sepisanan Hiroshima ing tanggal 6 Agustus 1945, banjur kasusul tanggal 9 Agustus 1945 Nagasaki uga dibesmi.

Jepang banjur nungkul marang Sekutu, nanging pawarta wigati iki durung tekan ing Indonesia, jalaran nalika semana arang-arang sing ngrungokaké radio.

Ronodipuro dhéwé senadyan nyambut gawé nèng radio Jepang, ya durung ngerti pawarta kuwi. Ujug-ujug siaran luar negeriné Hoso Kyoku ditutup embuh kena apa. Mochtar Loebis sing dipercaya nangani bab pawarta manca kuwi banjur mbisiki jaré Jepang wis nungkul marang Sekutu. Merga jejibahané dadi wartawan, PakYusuf banjur menyang Menteng 31, papan ngumpule para pejuwang mudha.

Nèng kono wis ana rapat wigati sing dipimpin Sukarni. Kabèh wis ngerti yèn Jepang nungkul, mbokmenawa saka Adam Malik sing dadi wartawan Domei. Pas Yusuf teka kabèh padha seneng. Sukarni kandha, jaré kaum mudha arep ngrebut Radio Jepang. Yusuf sing ngerti Hoso Kyoku diajak rembugan kepriyé carané ngrebut. Kamangka wektu kuwi Radio Jepang dijaga rapet banget déning Kempetai, pulisi militèr Jepang sing kejem banget.

 Proklamasi Kamardikan Républik Indonésia

Jemuwah ésuk jam 10.00 tanggal 17 Agustus 1945,

Proklamasi Kamardikan klakon diwacakaké déning Bung Karno ing Dalan Pegangsaan Timur 56. Ronodipuro dhéwé kala semana ora ngerti, sebab wong-wong ing Hoso Kyoku wiwit dina Rebo sadurungé wis ora entuk mlebu utawa metu manèh. Kabèh ana njero. Dumadakan ana wong teka, jenengé Syahrudin, nggolèki Yusuf karo menehaké kitir salembar. Layang cekak aos kuwi saka Adam Malik isiné tèks proklamasi.

Ronodipuro isih bingung, kepriyé carané teka Syahrudin bisa mlebu gedhong radio sing saiki ing Dalan Medan Merdeka Barat 4-5, kamangka wong Kempetai jaga kupeng. Bareng arep nyiaraké, Yusuf Ronodipuro bingung manèh, amarga panggonan siaran kabèh dijaga Kempetai. Tujuné kélingan yèn studio siaran luar negeri wis ora kanggo. Nanging, piyé carané wong pemancare ora ana. Yusuf banjur takon bagéyan teknis, ya nemu akal jempolan. Kabel sing kanggo menyang pemancar dalam negeri dicopoti, disambung karo pemancar luar negeri. Nanging ing studio katoné ya kaya siaran biyasa, amarga swarané ya isih kaya adat sabené. Kamangka wis ora dipancaraké.

Bareng wis tumata, jam 19.00,

 Yusuf Ronodipuro sing umuré ngancik 26 taun, banjur nyiaraké Proklamasi liwat siaran luar negeri. Kira-kira nganti 20 menit, lan ambal-ambalan, uga diterjemahaké menyang basa Inggris. Kuwi tegesé radio-radio BBC London, Radio Amerika, Singapura, lan sapituruté bisa nangkep kabèh, dadi wusana sadonya ngerti Indonesia wis Proklamasi Kamardikané.

Usaha Ronodipuro kuwi wekasané dikonangi déning Tentara Dai Nippon. Mbokmenawa siarané ketangkep radio ing Jepang. Mula, Kempetai dadi nesu banget. Angger kapapag wong Indonesia ing Hoso Kyoku, kabèh dipala. Ronodipuro ditendhang, diidak-idak, lan mèh dibabat samurai. Sikilé diidak nganti dhengkulé dheglok lakuné.

Sawisé iku Ronodipuro ngedegaké Radio Suara Indonesia Merdeka mawa barang-barang bekas.

Tanggal 25 Agustus

Bung Karno diaturi supaya pidato. Iki pidatoné Bung Karno kang sepisanan sasuwéné dadi Présidèn. Bung Hatta pidato

tanggal 29 Agustus.

Nalika semana ing daérah-daérah radio Jepang isih akèh sing siaran.

Ing daérah pancèn ora dijaga rapet kaya Jakarta. Sing njaga mung siji loro, iku merga Kempetainé wis kaya ora nduwé daya sawisé Jepang nungkul.

Mula Yusuf Ronodipuro matur marang Abdurahman Saleh, supaya radio-radio daérah mau beciké ngadani sesambungan siaran kanggo perjuwangan. Gagasané ditampa lan ing

10 September

pimpinan radio-radio daérah, saka Sala, Yogyakarta, Bandung, Semarang, lan liya-liyané bisa kumpul rembugan. Kabèh nyarujuki, njaluk marang pamaréntah Jepang supaya masrahaké radio-radioné ing Indonésia. Jepang ora gelem, amerga miturut rencana arep diserahaké marang Sekutu.

Tanggal 11 September

rapat manèh, nyarujuki madege Radio Republik Indonesia, lan uga sepisan maneh njaluk marang pemerintah Jepang supaya masrahaké radio-radio ing daérah. Merga tetep ora gelem, kepeksa banjur dirudapeksa, radio-radio direbut. Wong Jepangé dhéwé wis padha wedi, dadi wis kaya ora ana alangan. Yusuf Ronodipuro dhéwé banjur kapatah minangka Kepala RRI, déné Abdurahman Saleh mélu ngadegaké Angkatan Udara RI. Mula asmané saiki dilestarèkaké dadi jeneng lapangan terbang ing Malang.

Sekutu sing menang Perang Donya II kuwi banjur teka. Nalika semana sawisé Rapat Akbar Ikada, kaum mudha ngrebut kantor-kantoré wong Jepang dadi darbéné Republik, klebu Hoso Kyoku. Nalika Walanda ndomplèng Sekutu arep ngrebut bali Indonesia lumantar

Agresi I ing taun 1946,

 RRI dikuwasani Walanda, lan Yusuf Ronodipuro banjur dicekel lan dipenjara ing

 21 Juli 1947.

 Kedaulatan Indonesia ing taun 1949

Sawisé Walanda ngakoni kedaulatan Indonésia ing

taun 1949,

 Yusuf Ronodipuro lenggah manèh dadi Kepala RRI Serikat.

 Sabanjuré Yusuf Ronodipuro dipercaya ngayahi manéka warna jejibahan utawa tanggung jawab ing negara manca, klebu dadi duta besar utawa utusan menyang PBB.

 Sumber

       (jv) Winarto. 2005. “M. Yusuf Ronodipuro Bapak RRI. Dipala Jepang Nganti Dheglok Marga Nggiyarake Proklamasi” ing Damar Jati 2005:4 kaca 26-27, 36.

Year 1945 – 1950

Famous jazz band in 1945 – 1950 in Surabaya member

 

 Jack Lemmers (known as Jack Lesmana, Indra’s father) on bass / guitar,

 

 Bubi Chen (piano), Teddy Chen, Jopy Chen (bass), Maryono (saxophone), Berges ( piano), Oei Leng Boen (guitar), Didi Pattirane (guitar), Mario Diaz (drums) and Benny Hainem (clarinet).


When RRI Jakarta handed back to Indonesia,

 

Jusuf Ronodipuro

doing some renovation. Orchestra on the third Philarmonisch Radio Orchestra, Djakarta Studio Orchestra, and the Cosmopolitan Orchestra – will be retained but leadership is replaced. Ismail Marzuki was appointed as leader of the OSD bam.

Although the sense of hearing is already less than perfect, Jusuf still “forcing” Marzuki to led the orchestra that aspires to “advance the art-noise Indonesia” is.

OSD leadership handover is like a meeting between the “books with mas”. What is arranged Soetedjo continued Ismail Marzuki.

They stand shoulder to shoulder to bring the art of music and sound art to one goal: the music is understood by all the people of Indonesia.

Soetedjo “betrays an array of experts who have been musicians will understand the meaning and significance of training and discipline,” while Ismail was “forging of which is Dear to popularize the songs into the society … the society entertaining.”

Soetedjo maing himself referred to as “the only one who knew arrangeur Indonesia, which could rapidly-tjekatan been working” and “an artist-music-conscious organizations.”

But Ismail Marzuki OSD lead only for three months, then conductor submitted to a sebelurnnya Sjaiful Bahri known as orchestra players Puspa Delima. Sjaiful by Ismail Marzuki considered “fully gifted”.

 OSD advances under Sjaiful Bahri did not escape the influence of Dutch musicians such as Jos Cleber Diessevelt and Tom, who also had to educate Ismail Marzuki song arranging and orchestration. After the death Sjaiful Bahri, Cleber Diessevelt returned to the Netherlands, acting as a writer Ismail Marzuki keroncong arrangements for OSD

In 1955,

Bill Saragih form a group of Riders Jazz.

He played the piano, vibes and flute.

 Other members are Didi Chia (piano), Paul Hutabarat (vocals), Tobias Herman (bass) and Yuse (drums).

The next edition of the member Hanny Joseph (drums), Sutrisno (tenor saxophone), Lopis Thys (bass) and

 Bob Tutupoly (vocals).

The names of jazz musicians in Surabaya in the 50 – 60s

 Karamoy Eddy (guitar), Joop Talahahu (tenor sax), Leo Massenggani, Benny Pablo, Dolf (saxophone), John Lepel (bass), Alexander (guitar and piano) and Sadikin Zuchra (guitar and piano).

 

In the,, history “RHYTHM for 10 years one of the orchestra who has taken a special place in my heart which alone is,, RHYTHM SPECIAL TRIO / Quartet” led by Nick Mamahit, as long as there is no orchestra alone which can give more numerous kapada satisfaction and kesengan but also the difficulty in recording their lagu2 Mamahit besides Nick.

Nick Mamahit

name can not be separated by the establishment RHYTHM 10 years ago. Which begins in a recording studio (garage) small-sized 2×3 M. didjalan H. Agus Salim 65 (now N0.119) and didjalan Besuki 23, Nick et al his friends : Dick Abel (guitar, saxophone), Dick v / d Capellen (bass) and Max v. Preformance (drums) has made its own history with the establishment,, Special Rhythm Trio / Quartet “. They are pioneers in a new style  which show the songs ..

 The term which they use are,, progressief “.

Surely such the song

s style  which can not be so alone accepted by crowded peoples . Having experienced various hurdles and criticism from other artists as well as an duran2 then made a little spin songs  which many may also be accepted by chalajak who crowded bertjorak ie,, commercieel progessief “which means, that they play like what is embodied in their hearts (progressief) , but also not to forget and ignore common sense, or which may be accepted by fans of vinyl records.

Just remember back to lagu2 with,, Special Rhythm Trio “(progessief) al: Angin Mamiri , etc. Ole2 Bandung. which did not get a warm welcome and which is difficult to sold . Besides, there are also songs with new stles together, Rhythm Quartet “(commercieel progessief) which is,, tophit” then al: Lenggang Djakarta, dream last night, and Action Kutjing.Memang ………… Senjum uncompromising art.

Although the opinion and hearing the song was just something kind and quality, if the buyer does not like ………… then he too would not bought it

Recording with Nick Mamahit’s songs  not as easy as with others orchestra. Each player is an expert on their own and the songs  which must also be able to change their,, accentueer “spirit of their own with no one among them depending on their own, while in addition,, recording engineer” should also be able menjelami their spirit.

There is not a song   which can be recorded at night, on the contrary if they are really , in the mood “at least 2 pieces of many songs which can be inserted tape.

After,, the old gang “broke up in 1954,  

associated with the departure of Dick v / d v Capellen and Max. Dick preformance into the land of Abel to the Netherlands and Singapore, then Nick Mamahit own abode in Indonesia and the establishment of a new orchestra which can replace or menjamai,, Special Trio / Quartet “last, while the bauyers  very cold reception.

Then two years later in 1956, 

 Nick formed a trio with Risakotta Bart (drums) and Espehana (bass) who serve lagu2 of instrumental and the outcome  is longplay,, Sarinande “.
What a welcome from buyers and fans of the LPs and abroad on the outward appearance,, Sarinande “Mamahit prove that Nick has successfully captured the hearts of fans of vinyl records and views of,, in terms commercieel” succesnja achieve anyway.
And ……………… 5 years after,, Sarinande “longplay which then made the second by a,, SPECIAL RHYTHM” caption :,, ………… miss NICK Mamahit “.

The period of the recording, Sarinande “with,, miss” is 5 years (1956-1961).

 many problems , but just know that this is,, specifiek “Nick. heard as a contradiction or conflict, but precisely because,, specifiek “which is tjiri  specific  from Nick, it was just a matter of time granted.

Because of these styles coupled with the principles and perseverance which his property own , little give in the course and many other teman2 RHYTHM boost in driving the company which originally was,, hobby “, but then become a necessity in serving the arts.

Young musicians

 in Jakarta sprung up in 70 – 80.

INTERVIEW WITH Sudibyo Pr.
A History of Jazz in Indonesia Note

Fatherly figure was actually initially wanted him to be a musician, but not accomplished. Would end up just listening to it.

 

Although only one of jazz music lovers, but from his experience will be full of footage and historical development of jazz music in Indonesia.

 

Familiar with jazz music since the days of Indonesia’s independence war in the 1940s until he was much involved and the man behind the screen a variety of jazz events in Indonesia, especially in London.

With the support of many thousands of documentation about jazz and jazz albums in his home, now he is planning to publish a book of jazz music.

 

From a glance at the Radio interview with WartaJazz Bikima FM Yogyakarta, Indonesia has revealed that there is a jazz group in 1922. Surely it would be more satisfied if we wait for the book can be published and the important thing is probably what can be described in the book he may be a reflection of us all about the emergence of jazz music in Indonesia.

Jazz News (WJ): reportedly is preparing to launch a book about jazz music?

Sudibyo Pr (SP): Now working on a book, a new approximately 90% complete.

WJ: What motivated you to write a book of jazz?

SP: Actually, in an effort to communicate and socialize jazz music. Since most jazz books here mostly in English and not many books about jazz in Bahasa Indonesia. And of course my own as a jazz lover, want to try to share my experience to better communicate to new generations.

WJ: Do you really see that jazz is not popular in the community in Indonesia?

SP: I think it’s still a lot of the wrong image, wrong understanding. We as a true jazz lovers are also willing to raise the status of jazz as an art.

But until now I still understand that the situation in Indonesia is still so. In the United States alone that jazz before 1950 is actually somewhat neglected community as well.

 

After receiving the European jazz seriously, Americans are just beginning. And what was in Indonesia I think is still reasonable and it is one effort. It has never been a single published book entitled Jazz Indonesia, whose contents are only telling musicians or anyone who ever played jazz.

 

With some mixture of jazz and biographies of the characters. In addition, the book might be a little jazz my other guide book of nature is history.

WJ: I wonder what is written in the book?

SP: The first time about starting with what is jazz, all kinds of misconceptions and try to straighten our understanding. Especially knowing that jazz is very different from other music.

 

For as we look at jazz music with European musical glasses then always be missed. So does jazz have to approach the other way and may not exist in other music.

In the book I describe it, especially compared with European music. European music is music composition. Something that is built and the music should be played like what is written.

 

So if people like to paint pictures to paint. If jazz, to the contrary, he would express himself as well as the main priority is performance rather than composition.

 

Whether it’s jazz or not, after playing the new people know that it’s jazz or not. So if you like this game if you play jazz and it’s not like jazz.

 

 If the classical music, I play the score was able to say I play classical music and jazz that is later used to play, we hear first.

 

Actual composition was made by the musicians themselves when he was playing. Composition used here only as a basis for improvisation and melody build itself.

WJ: What is it that makes the impression of jazz music in our society is difficult to understand, a music class?

SP: If jazz music really can be difficult to understand as well. If up to now there is the impression that jazz is only for the upper class, was in Indonesia since the beginning of jazz music played on a five-star hotels.

 

 Because at the time it was difficult to ask clubs or a small café to showcase jazz music. Of their commercial aspect they did not dare. They think that jazz is still too foreign, and also happens to be the manager of these hotels as well as jazz lovers and also a lot of friends there so we finally started playing jazz in there.

 

Because hotels are five-star hotel, so that came mostly from upper middle class. This gives the impression that they make an exclusive group.

 

Perhaps it is true, but that eksklusifme jazz that’s more in terms of artistic rather than in terms of prestige.

 

Actually, they are for the love of jazz music and match the specific groups to form a group. Indeed, until now most are still a lot of jazz played in the major hotels and many have not played in other places though now little by little has been started (played in other places too-red).

WJ: And in the past, anything that you try to promote jazz music?

SP: We previously did not hold in hotels, but on campus. In the beginning was simple.

 

At that time the only source of jazz from the radio and there are several local musicians. Entertainment while students at the time when there is gathering together every week.

 

There we can drive around music, dance and always invite some jazz musicians. After that show they play. I often also bring some jazz recordings, finally my friends who love jazz and the other remains might come home we’re late.

 

At that time I ventured to hold a concert at the ITB LPs are played every full moon on the basketball court. I also love sober explanation according to my knowledge by recording from vinyl records and turntables powered by 50 watt amplifier that it was a great time. Finally nice enough, 2 hours with jazz music and after that we play dance music. Originally the case.

WJ: What exactly is the main activity of the Pak Dibyo it? Is jazz columnist? Or something else?

SP: When I was a lot of activity. But my profession is the architect, former professor of ITB, but indeed from the days of my students are active in promoting jazz, introducing jazz at the time not many people are familiar with jazz music, music that is still considered a lunatic. Although ultimately had an impact too.

WJ: First you study in?

SP: I went to the ITB which I then proceed to study in Britain and America.

WJ: In the book, is there any sort of how to enjoy jazz music?

SP: There are several things to consider, the first is the familiar elements of jazz music are the elements that make music that could be called jazz.

 

The second part is the identifier of each element of jazz music and a little bit about the structure of jazz music. Next is the history of jazz music, from the birth of jazz music.

 

Then was the development of style-style, because that person is known to jazz it was a lot of his style. It also indicates that very fast jazz music in its development, which in a century has been remarkable progress.

 

If the era of classical music from another era to era take hundreds of years. A lot of people that listen to jazz now be confused. Many in the jazz style.

 

Especially if the person did not know him. I hereby attempt to discriminate between one style with another style. There are funny stories, first time there are no bands that put on a musical instrument drum while wearing only a jazz group only. So that there are people who call the instrument is jazz. If anyone says that the band had a jazz band that means it has a drum.

WJ: What is the history of jazz in Indonesia is also specifically mentioned in the book?

SP: Yes, at the end. According to the data that I got that jazz was first played in Indonesia is about the year 1922.

 

So actually the first jazz recording ever produced in America was in 1917.

 

Since then the record began to spread across the world. Actually there is a musician from the Netherlands after a long time in America, he is also a saxophone player, came to Indonesia with his friends and make a band.

 

At that time regarded as the first jazz band in Indonesia. And I’ve noticed over the history of the game it was the Indo-Dutch almost 80% while the natives probably very few who play jazz music.

 

Indeed, if their names are read Dutch but judging by the name of the person is actually one of Jember, Banyuwangi and so on.

 

Why so? I have not found the right reasons but it should be investigated as well.

There are also a source that says about the year 1925 – 1927 many Filipinos into Jakarta and most of them are musicians. It also had an impact. Still some left, if in London there is still a musician whose name is Pablo Benny, Benny Corda, including the head of the radio orchestra in London, Sambayong it was the Filipinos who are jazz musicians who came to Indonesia in 1925.

WJ: Actually its development center in?

SP: Jakarta, Bandung, Bogor, Surabaya and Makassar. Originally used jazz played by a military group that usually they play to the top of his Dutch and Indonesian people, including his right to equal by the Dutch.

 

In the past they played in Societet, while the people of Indonesia can enter the building can be calculated, and even jazz had entered the palace.

 

We’ll see, at the time of the Dutch people who already have grammaphon Indonesia’s who?

 

Perhaps the Sultan alone. Anyway people of Indonesia on the social position like that of course they want to be aligned with the Dutch, who prefer to join the party events, dance with the Dutch.

 

In the United States was at that time jazz was still at an early stage, ie as much as a musical entertainment, as keadaanya not until now that some people considered as one of the jazz art form.

WJ: In those days, if there is a native who played jazz music?

SP: There is. In the report that I got it menebutkan that indigenous jazz musicians from Indonesia Aceh was the first time.

WJ: Is it true that some of our freedom fighters of the Army or its participating student play jazz to entertain the Netherlands?

SP: That’s not the Army their students, but individuals only. Incidentally I am also of the TP and there are some friends of Yogyakarta is also one of the union leaders that we are familiar with the name calling Pung mas.

 

He’s a musician too, and many of my friends at school who moved to Jakarta Yogyakarta about the year 1948.

 

There had with my friend from Ambon named Rudi Wayrata (live Lempuyangan, Yogya) and theists Matulesi, Edi Laluyan of Manado later formed the band in Jakarta.

 

At the time the band plays songs Hawain and pop songs, even though it in some style Hawain have started a little guitar solo in the direction of jazz music.

 

So they leave Yogyakarta to Jakarta. At one time mas Pung and I have an idea, why do we make the arrangements of vocal-group jazz arranger.

 

So that at the time, because mas Pung is also a fairly reliable aransir, has begun to make arrangements that are now possible such as Manhattan Transfer iringannya although still modest.

 

Playing in the studio until RRI (then still under the Dutch) and found by Jos Cleber (a Dutch orchestra leader).

 

 When he saw us play he remarked, “you are actually having an excellent vocal group, it helps me swatch cuman a jazz accompaniment is right”.

 

Eventually found by a trio (piano: Doddy Hughes; Drum: Boetje Pesolima; Bass: Dick Van Der Capellen) and offered to entertain the Dutch army.

 

So if what we did when it was known by friends in Yogya even later considered traitors. Then also appeared with Nick Mamahit.

WJ: In addition to names such as

Jack Lesmana,

Bubi Chen

and others, would anyone important jazz figures in Indonesia in addition to or before genarasi them?

SP: It depends from where we started. If we start from the beginning of the Republic of Indonesia may be familiar, even though they had died, among others Boetje Pesolima, Dick Van Der Capellen, Tjok Sin Soe (prior to 1950 has been played), Sigar Lucky Brothers (but since there is the assumption that jazz is not have a future in Indonesia they go to California) also Nick Mamahit (he ever get a formal education in the Netherlands),

Iskandar (Diah Iskandar ‘s father )

 he is a saxophone player and aransir already quite advanced, although the game has not been commensurate with aransemenya (the arrangements very well sung by someone else and never brought in a jazz festival in the U.S.).

In addition Etto Lattumeten he made famous Dixieland band The Old Timer in Jakarta. At the beginning of independence there was also a pianist who is both Marihut Hutabarat, who was called ‘George Shearing was Indonesia’.

 

He is a Bachelor of Law who died in an accident. And he’s the best after Nick Mamahit. Only then entered his generation Bill Saragih, Paul Hutabarat, Eddie Billy, Bing Crosby. Bing Crosby is actually a great singer and a jazz guitarist, even though more people know him as a comedian than a jazz player.

 

In the first independence war era, including Bing Crosby from one of three famous singer in Indonesia

 

 

 

 (Sam Saimun

and Mantovani).

Additional ‘Bing’ in his name because he was a great admirer of Bing Crosby.

WJ: Does the book also has an appreciation of your own to the development of jazz music in Indonesia today?

SP: There was little comment about it. There may also be some criticism about the jazz festival.

 

Regarding the development of jazz music here is actually from Indonesia’s population of more than 200 million, is still too little for his jazz players.

 

So if we look from a variety of events organized jazz will return to the name-that’s all, not many new names.

 

The process is still slow. Perhaps it happened views of the history of popular music in the 1930s where the music is jazz.

 

Because jazz at the time it was easy to dance and rhythm accompaniment for young children will easily access.

 

But after the 1960s jazz more and more complex and complicated that many teens getting away. While the outside of jazz music going on teenage trends that began to roll and swell the rock n roll.

 

Finally, many teens who fled. In the past, we can one record from the United States alone has been a bone of contention and busy to listen to the radio.

 

There is also admiration arose because many jazz musicians in Indonesia in the past, only learn from the radio broadcasts that make them a creative and great musicians, for example; Jack Lesmana and so on.

Now we are so many sources even exceptional. There’s MTV, pop subculture that many teens suck there.

 

So if there’s even a jazz happy teens teen said “odd”. Although in every era, teenagers are always called by certain pulses.

 

Given the positive fusion exists too. There are beat into jazz fusion, so there is concern and teenagers became interested in jazz rock in the hope they would be interested also in the jazz music itself, but some are not. It could also serve as a bridge early.

 

Same thing now with people like Kenny G, initially people think that Kenny G is also a jazz player. But it’s also a good start, because teenagers started pleased with instrumental music. Usually the “hero” his solo vocalist, with a hearing Kenny G is a saxophone player, maybe they’ll find another sax player.

 

Appreciation is always through specific pathways. 1960 may be the bossa nova and more people get into music like jazz.

WJ: When about this book can be published?

SP: Then, depending on the publisher and actually still need sponsors. In the book I also also analyzes the history of each instrument. At the same time I also gave the albums a choice of many jazz musicians.

WJ: What was initially met with figures of jazz lovers or in HPMJI (Association of Jazz Music Enthusiasts Indonesia)?

SP: At the time, jazz was already crowded. Increased local players in Bandung, while that in Jakarta at the USIS once every 2 weeks performing jazz.

 

Then they’ve asked me to organize a jazz gig in London and a successful event.

 

After that, they often ask for my help to find a musician if there are events in the USIS. My first assignment here and there looking for musicians and set up some programs.

Finally I got involved also with HPMJI and jazz players whose relationship is close enough.

 

 

 

Bubi Chen was not yet known.

 

 I just had a friend in Surabaya are familiar with the Bubi. So the next time it comes Tony Scott, Jack Lesmana in Surabaya said that there was a Chinese who can play the blues and bebop.

 

 

 

At first did not believe it. After Bubi Chen invited to the house at that time was young, about age 24 years, getting out of bed and was wearing a sarong. So Bubi play, Tony Scott direct speech, “This man must play with me”.

 

 

Read more about bubi chen

Bubi Chen veteran Jazz musician dies

 

TRIBUNNEWS.COM, JAKARTA – sad news re-covered world of Indonesian music. Bubi Chen, jazz musician who was born in Surabaya, today is Thursday (2/16/2012) reportedly died at the age of 74 years. Bubi died in Semarang at around 18:50 pm last.
News of the death Bubi Chen is a bustling media social networking Twitter.

 

 

Here’s a tweet from @ anandasukarlan account owner.
@ anandasukarlan: TLH Bubi Chen’s death, the great jazz Indonesia pk. 18:50 in Semarang. R.I.P. Tlg ya tweeps RT.

 

 


Bubi Chen was born in Surabaya, East Java, February 9, 1938 was a jazz musician Indonesia.


Bubi Chen is scheduled to be present in the arena of the great jazz party’s annual Java Jazz from 2, 3 and 4 March through Djarum event SuperMild Java Jazz 2012.


Originally Bubi will be featured at this event along with other jazz musicians, among others, country and Dewa  Budjana Dwiki Dharmawan


WJ: According to some sources, you are also involved in the project Indonesian All Stars album was produced and when it appeared in the Berlin Jazz Festival in 1967?

SP: It was the first to say there are jazz group from Indonesia “Go International”. If you think about the story at first is

 

 

 

Tony Scott’s

 

 

 

visit in Indonesia.

 

Here he was playing with Bubi Chen, and Jack Lesmana Maryono until eventually they become a thick friend and as a teacher.

 

 Because Tony Scott is one of a clarinet player, who at that time say the progressive game. He had played with

 

 

Charlie Parker,

 

 

 

 

Billie Holiday  jazz singer and so on.

 

But for one thing he had to leave Indonesia, so he was not too long here. Tony Scott also happened to be good friends with

 

 

a German jazz critic Joachim Berendt.

Berendt him a message to Indonesia if the do not forget to contact

 

 

Jack Lesmana.

 

Berendt to Jakarta and then introduced to

 

 

the mas Yos (red-Suyoso Karsono).

Actually he is a Jack father -in-law on wakti Lesmana where he had a record company (Rhythm Records).

 

After their dialogue on the possibility to send group of Indonesia. That upon the recommendation of Tony Scott.

 

Finally they made some recordings in Jakarta and then sent to Germany to be played on some radio station there as warming up. Once it was established Indonesian All Stars.

 

Because they constantly practicing for 2 months, finally they were all in Jakarta moved  to stay in his house Mas Yos.

 

This is due at the time Jack Lesmana and Bubi Chen is still in Surabaya. And also went to Europe.

Indeed, according to their plans to tour in Europe with a peak to participate in

 

 

 

 

the Berlin Jazz Festival.

 

But they were hit by disasters. After the tour a success, when he got in Berlin, Maryono fell ill.

 

So the festival’s Indonesian All Stars does not appear, but the Bubi himself to play.

 

So the next time the committee was there to choose International All Stars band in which the members chosen from various countries and Bubi was selected as the accompanist.

Since then, the name Bubi began to be known by jazz critics. And Downbeat magazine in late 1967 issue of the name has been started called “the best in Asia” and “one of the best in the world”.

WJ: Given the economic and political conditions in our country in 1967 about the same as we are experiencing right now, why they seemed to have a ‘power struggle’ high?

SP: That when I look at Jack and Bubi it shows the game is best in their years of suffering and difficulty. Their games are very inspiring.


Among them Ireng Maulana (guitar), Perry Pattiselano (bass), Embong Raharjo (saxophone), Luluk Purwanto (violin), Oele Pattiselano (guitar), Jackie Pattiselano (drums), Benny Likumahuwa (trombone and bass), Bambang Nugroho (piano ), Elfa Secioria (piano).

Several other young musicians to learn rock and fusion, but still within the framework of jazz. They are Yopie Item (guitar), Karim Suweileh (drums), Wimpy Tanasale (bass), Abadi Soesman (keyboard), Candra Darusman (keyboards), John WH (guitar) and others.

Mid-80s,

Fariz RM name appears. He further categorizes his music as new age. However, some compositions breathe pop jazz, latin and even. Indra, Donny Suhendra, Pre B. Dharma, Dwiki Darmawan, Gilang Ramadan Krakatau formed, and this group eventually transformed into Java Jazz, by replacing some of the personnel.

90s up to now,

 a lot of jazz musicians and groups are formed. Brought jazz music is no longer mainstream, but the distillation of a variety of music such as fusion, acid, pop, rock and more. Call it SimakDialog, Dewa Budjana, Balawan and Rock Ethnic Fusion, Bali Lounge, Andien, Syaharani, Tompi, Bertha, Maliq & D’essentials and much more.

Usually a lot of jazz musicians popping up in Jakarta, Bandung, Surabaya and Bali. This is due to currents flowing jazz more jazz gigs there by (JakJazz, Java Jazz Festival, Victoria Jazz Festival), jazz music schools, recording studios and a cafe featuring jazz. Which also contributed to a “stream” jazz flows into Indonesia is the Peter F. Gontha, a Jamz owner and founder of the initiators of the Java Jazz Festival.

Music Jazz Record Collections

THE Indonesian Vintage music JAZZ record COLLECTIONS

Alpha

 

in the 30’s.

Jazz music first entered Indonesia in the 30’s. Brought by musicians from the Philippines who are looking for a job in Jakarta with playing music.

The names of the musicians

 Soleano, Garcia, Pablo, Baial, Torio, Barnarto and Samboyan.

In 1948
 
approximately 60 musicians Dutch came to Indonesia to form a symphony orchestra that contains the local musicians.

One is the famous Dutch musician Cleber Jose.

Cleber’s Jakarta Studio Orchestra music game to accommodate California.

 The Progressive Trio, Iskandar’s Sextet and Octet who plays jazz and the Old Timers who plays Dixieland repertoire.

Year 1945 – 1950

 Jack Lemmers (known as Jack Lesmana, Indra’s father) on bass / guitar,

 

 

Bubi Chen (piano),

Teddy Chen, Jopy Chen (bass), Maryono (saxophone), Berges (piano), Oei Leng Boen (guitar), Didi

 

 

 

In 1955,

Bill Saragih form a group of Riders Jazz. He played the piano, vibes and flute.

 Other members are Didi Chia (piano), Paul Hutabarat (vocals), Tobias Herman (bass) and Yuse (drums).

The next edition of the member Hanny Joseph (drums), Sutrisno (tenor saxophone), Lopis Thys (bass) and Bob Tutupoly (vocals).

The names of jazz musicians in Surabaya  in the 50 – 60s

 Karamoy Eddy (guitar), Joop Talahahu (tenor sax), Leo Massenggani, Benny Pablo, Dolf (saxophone), John Lepel (bass), Alexander (guitar and piano) and Sadikin Zuchra (guitar and piano).

 

 

Feb 21, ’08 7:29 PM
for everyone

 

Rindu ……… Nick Mamahit & Trio
Rindu … Nick Mamahit & Trio

oleh Sujoso Karsono

(,,Mas Jos” utk. teman2nja)


Young musicians in Jakarta in 70 – 80.

Ireng Maulana (guitar), Perry Pattiselano (bass), Embong Raharjo (saxophone), Luluk Purwanto (violin), Oele Pattiselano (guitar), Jackie Pattiselano (drums), Benny Likumahuwa (trombone and bass), Bambang Nugroho (piano), Elfa Secioria (piano). Several other young musicians to learn rock and fusion, but still within the framework of jazz. They are Yopie Item (guitar), Karim Suweileh (drums), Wimpy Tanasale (bass), Abadi Soesman (keyboard), Candra Darusman (keyboards), John WH (guitar) and others.

 

Mid-80s,

 Fariz RM

Indra, Donny Suhendra, Pre B. Dharma, Dwiki Darmawan, Gilang Ramadan Krakatau formed, and this group eventually transformed into Java Jazz,

90s up to now,

 SimakDialog, Dewa Budjana, Balawan and Rock Ethnic Fusion, Bali Lounge, Andien, Syaharani, Tompi, Bertha, Maliq & D’essentials
Peter F. Gontha, a Jamz owner and founder of the initiators of the Java Jazz Festival

the end @ copyright @ 2912

The History Of Betawi Music Record and Composer Kusbini,R Sutedjo,ismael marzuki,M.sagi, S Jahja,S Padimin and Markasan etc

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom : 

 http://img.photobucket.com/albums/v188/missriboet/missdjadanmissriboet1932.jpg

Dr Iwan  Book Cybermuseum

The historical development of   Jakarta Betawi Music Record 

 In 20th Century.

Sejarah Perkembangan Rekaman Musik Betawi (1920-1960)

                   Based on

Dr Iwan Rare Old Books and Music Record Collections             

             By

               

     Dr Iwan Suwandy,MHA

    Limited Private Publication In CD-ROM

   special for premium member

_______________________________________________________________________________

 hhtp://www.Driwancybermuseum.wordpress.com copyright @ Dr iwan Suwandy 2012

INTRODUCTIONS

I have just find  a vintage magazine  Budaya 23,Year IX,Pebruary March 1960 ,in this rare magazine I find a informations of Composer

Kusbini ,

 

He created the Jacatra Betawa native song Stambul II  notification based on the 1935 Betawi song ,composer anonim (NN) in 1959.

This new informations will added the my article about Betawi Music record which upload in this web before.

I hope the Betawi Jacatra native people will enjoy to read and sing theoir old native stambul song name Masuk kampung Keluar Kampung

(enter the village and exit of Village, Jakarta May 2012

Dr Iwan Suwandy,MHA

 

The Composer Kusbini Biography Read more about Composer Kusbini

Komedie Stamboel 1891-1903

born in the city of Port of Surabaya in 1891, a Performance Style Instanbul, which held a road show in the Netherlands East Indies, Singapore and Malaya by rail or steamer. In general, the show includes the story 1001 Nights (Arabian) and the European story (and the People’s Opera), including Tale of India and Persia. As an interlude, between the scene and the opening, the music is played marches, polkas, harp, and keroncong. Special music keroncong Stambul known at that time I, Stambul II, and III Stambul.

At that time Stambul upbeat songs (about 120 meters to one beat a quarter note), in which village residents as a monument or call Kusbini Keroncong Portuguese, while Gesang said as Keroncong Quick, and mingle with the native Betawi Tanjidor. At this time the Indo known musicians, and the legendary violinist M. Sagi (note recording Idris Sardi violin song Jali-jali Stambul II based on the arrangement of M. Sagi)

In the Year 1935

 Two notations Stambul entitled to enter the village of Kampung Exit vocal text that are prevalent diperdengarkan.sampai currently unknown creator, and then notified by the composer in 1959 Kusbini

How beautiful and full of innuendo popular melody, we invite readers to sing sebagimana written below, which illustri In 1935

 Kusbini composer who created the notation Stambul two caption

“Exit and enter the Village “

 Kusbini notation  the original lyric 1935 according to the melody composed by Kusbini complete in 1959

Lyrics of Song stambul  II

Exit the village entered the village,

which unknown composer  NN (unknown),

Kusbini composed notation:

Stambul two songs keepsake from my friends

“Ungkapan kasih” looving act longing song saying

Longing of my blood spilled soil kampong page

I remember there is much your wispering

Stambul II in my blood spill ‘s land

Log out kampong kampong

 looking for a self-hosted food by  feet’s walking

sell the sound while playing the guitar

In 1950,

 where the village is then loaded with artists, emerging as the Tangkiwood – like Hollywood

In the Year 1959

To introduce the song Stambul II in the wider circles, composed Kusbini Stambul III in the form of piano-forte, by not leaving the basic harmonies that have become classics that while the text is the result of adjustments Kusbini own. Stambul III can be played on an ad labium and accordingly also to be held in the orchestra with or without kendangan (source magazine Budaja 23, year IX, February-March 1960, the collection of Dr. Iwan)

 

original Info

Komedie Stamboel 1891-1903

lahir di Kota Pelabuhan Surabaya tahun 1891, berupa Pentas Gaya Instanbul, yang mengadakan pertunjukan keliling di Hindia Belanda, Singapura, dan Malaya lewat jalur kereta api maupun kapal api. Pada umumnya pertunjukan meliputi Cerita 1001 Malam (Arab) dan Cerita Eropa (Opera maupun Rakyat), termasuk Hikayat India dan Persia. Sebagai selingan, antar adegan maupun pembukaan, diperdengarkan musik mars, polka, gambus, dan keroncong. Khusus musik keroncong dikenal pada waktu itu Stambul I, Stambul II, dan Stambul III.

Pada waktu itu lagu Stambul berirama cepat (sekitar meter 120 untuk satu ketuk seperempat nada), di mana Warga Kampung Tugu maupun Kusbini menyebut sebagai Keroncong Portugis, sedangkan Gesang menyebut sebagai Keroncong Cepat, dan berbaur dengan Tanjidor yang asli Betawi. Pada masa ini dikenal para musisi Indo, dan pemain biola legendaris adalah M. Sagi (perhatikan rekaman Idris Sardi main biola lagu Stambul II Jali-jali berdasarkan aransemen dari M. Sagi)

Pada Tahun 1935

 notasi Stambul Dua yang berjudul masuk Kampung Keluar Kampung dengan teks  vokalnya  yang  yang lazim diperdengarkan.sampai saat ini tidak diketahui penciptanya,dan kemudian dinotifikasi oleh komposer Kusbini tahun 1959

Betapa indah dan penuh sindiran kerakyatan  melodi itu ,kami persilahkan  para pembaca menyanyikan sebagimana tertulis dibawah ini,yaitu illustri Pada tahun  1935

 Komposer Kusbini menciptakan  notasi Stambul dua yang bejudul Masi notasi  kusbini 1935 menurut melodi aslinya.serta  notasi gubahan kusbini yang lengkap tahun 1959

 

 

 

Lirik lagu stambul II

Masuk kampung Keluar Kampung,

penciptanyanya NN(tidak diketahui),

notasi digubah Kusbini:

Stambul dua lagu tanda mata dari kawanku

Lagu rindu ungkapankasih saying

Rindu kampong halaman tanah tumpah darahku

Aku mengenang bisikanmu jauh disana

Stambul duaditanah tumpah darahku

Masuk kampong keluar kampong

 mencari makanjalan kaki seorang diri  tuan

menjual suara sambil bermain gitar

Pada 1950,

 di mana kampung ini kemudian dijejali seniman, muncul sebutan Tangkiwood – seperti Hollywood

Pada Tahun 1959

Guna memperkenalkan lagu Stambul II  dalam kalangan yang lebih luas, Kusbini menggubah Stambul III dalam bentuk piano-forte,dengan tidak meninggalkan dasar harmoninya yang telah menjadi klasik itu sedangkan teks adalah hasil penyesuaian Kusbini sendiri. Stambul III dapat dimainkan secara ad labium dan sesuai pula untuk digelar dalam orkes dengan atau tanpa kendangan( sumber majalah Budaja 23,tahun ke IX,pebruari-Maret 1960,koleksi dr Iwan)

read more about Kusbini

 

Kusbini (Kemlagi, Mojokerto, East Java, January 1, 1910 – Yogyakarta, February 28, 1991) is an Indonesian composer.
In his day, Kusbini known as a keroncong musician.
Kusbini better known as

Kusbini Bagimu Negeri

Bagimu Negeri

“For My Country”

by Kusbini

Top songs by Kusbini:

the creator of the national song Bagimu Negeri.


Kusbini died in Yogyakarta in 1991. As a tribute, the local government of Yogyakarta to change the name of the street in front of his house into Kusbini Road.

original info

 

 Read More Info about Native Betawi Music Record

Keroncong Betawi
Keroncong is the name of a type of musical instrument ukulele as well as the name of the type of music that uses distinctive Indonesia keroncong musical instruments, flute, and a female singer.

Keroncong come from similar roots music known as fado Portuguese introduced by sailors and merchant slave ship that nation since the 16th century to the archipelago. From mainland India (Goa) was first entered music in the Malacca and then played by the slaves of the Moluccas. The weakening influence of the Portuguese in the 17th century in the archipelago does not necessarily mean the loss of this music as well. This early form of music called Moresco (a dance of Spanish origin, such as the rather slow polka rhythm), where one of the rearranged songs by Kusbini now known as Kr. Muritsku, accompanied by a stringed musical instrument. Keroncong music coming from the monument called the monument keroncong. During its development, it makes a number of traditional elements of the archipelago, such as the use of the flute as well as some components of the gamelan. At about the 19th century forms of popular music has been mixed in many places in the archipelago, even down to the Malay Peninsula. This golden era continued until sometime in the 1960s, and then faded due to the inclusion of a wave of popular music (rock music that developed since 1950, and victories Beatle music and the like since 1961 until now). Nevertheless, keroncong music still played and enjoyed by all walks of life in Indonesia and Malaysia until now. In its earliest form, Moresco music accompanied by strings, like a violin, ukulele, and cello. Percussion is also sometimes used. Set the orchestra of this kind are still used by keroncong monument, which still form keroncong played by the community of Portuguese descendants of slaves who lived in Kampung Ambon Monument, North Jakarta, which later expanded to the south in Kemayoran and Gambir by Betawi people mingle with the music Tanjidor (year 1880 to 1920). 1920-1960 year development center moved to Solo, and adapt to a slower rhythm of nature according to the Javanese.

Keroncong music leaning more on chord progressions and the type of tool used. Since the mid-20 th century has been known for at least three kinds of keroncong, which can be recognized from the pattern of progression akordnya. For musicians who already understand the plot, to accompany the songs keroncong actually not difficult, because quite fit the prevailing pattern. Development is done by keeping the consistency of the pattern. In addition, there are mixed forms and adaptations.

 

 

After experiencing a long evolution since the arrival of the Portuguese in Indonesia (1522) and the settlement of the slaves in the village monument in 1661 [1], and this is the early evolution of the long keroncong music (1661-1880), nearly two centuries, but keroncong not show the actual identity of the voice-crong crong-crong, so it may be said keroncong music was not born in 1661-1880.

And finally experienced the evolution of music keroncong last short since 1880 until now, with three stages of the recent developments that have taken place and an estimate of new developments (keroncong millenium). Initial milestone was in 1879 [2], in the discovery of the ukulele in Hawaii [3] which soon became the main instrument in keroncong (ukulele sound: crong-crong-crong), whereas the early millennium keroncong existing signs, but not yet developing (Mariah Carey).

Four stages of the development is [4]

(A) The keroncong old days (1880-1920),
(B) The eternal keroncong (1920-1960), and
(C) keroncong modern period (1960-2000), and
(D) The keroncong millennium (2000-present)
Ukulele was found in 1879 in Hawaii, it is estimated that next year a new Keroncong transformed in 1880, in the monument and then spread to the southern region and Gambir Kemayoran (see there is a track and Markets Gambir Kemayoran, circa 1913).

 
 
 

original info

Keroncong Betawi

Keroncong merupakan nama dari instrumen musik sejenis ukulele dan juga sebagai nama dari jenis musik khas Indonesia yang menggunakan instrumen musik keroncong, flute, dan seorang penyanyi wanita.

Akar keroncong berasal dari sejenis musik Portugis yang dikenal sebagai fado yang diperkenalkan oleh para pelaut dan budak kapal niaga bangsa itu sejak abad ke-16 ke Nusantara. Dari daratan India (Goa) masuklah musik ini pertama kali di Malaka dan kemudian dimainkan oleh para budak dari Maluku. Melemahnya pengaruh Portugis pada abad ke-17 di Nusantara tidak dengan serta-merta berarti hilang pula musik ini. Bentuk awal musik ini disebut moresco (sebuah tarian asal Spanyol, seperti polka agak lamban ritmenya), di mana salah satu lagu oleh Kusbini disusun kembali kini dikenal dengan nama Kr. Muritsku, yang diiringi oleh alat musik dawai. Musik keroncong yang berasal dari Tugu disebut keroncong Tugu. Dalam perkembangannya, masuk sejumlah unsur tradisional Nusantara, seperti penggunaan seruling serta beberapa komponen gamelan. Pada sekitar abad ke-19 bentuk musik campuran ini sudah populer di banyak tempat di Nusantara, bahkan hingga ke Semenanjung Malaya. Masa keemasan ini berlanjut hingga sekitar tahun 1960-an, dan kemudian meredup akibat masuknya gelombang musik populer (musik rock yang berkembang sejak 1950, dan berjayanya musik Beatle dan sejenisnya sejak tahun 1961 hingga sekarang). Meskipun demikian, musik keroncong masih tetap dimainkan dan dinikmati oleh berbagai lapisan masyarakat di Indonesia dan Malaysia hingga sekarang. Dalam bentuknya yang paling awal, moresco diiringi oleh musik dawai, seperti biola, ukulele, serta selo. Perkusi juga kadang-kadang dipakai. Set orkes semacam ini masih dipakai oleh keroncong Tugu, bentuk keroncong yang masih dimainkan oleh komunitas keturunan budak Portugis dari Ambon yang tinggal di Kampung Tugu, Jakarta Utara, yang kemudian berkembang ke arah selatan di Kemayoran dan Gambir oleh orang Betawi berbaur dengan musik Tanjidor (tahun 1880-1920). Tahun 1920-1960 pusat perkembangan pindah ke Solo, dan beradaptasi dengan irama yang lebih lambat sesuai sifat orang Jawa.

Musik keroncong lebih condong pada progresi akord dan jenis alat yang digunakan. Sejak pertengahan abad ke-20 telah dikenal paling tidak tiga macam keroncong, yang dapat dikenali dari pola progresi akordnya. Bagi pemusik yang sudah memahami alurnya, mengiringi lagu-lagu keroncong sebenarnya tidaklah susah, sebab cukup menyesuaikan pola yang berlaku. Pengembangan dilakukan dengan menjaga konsistensi pola tersebut. Selain itu, terdapat pula bentuk-bentuk campuran serta adaptasi.

 

 

Setelah mengalami evolusi yang panjang sejak kedatangan orang Portugis di Indonesia (1522) dan pemukiman para budak di daerah Kampung Tugu tahun 1661 [1], dan ini merupakan masa evolusi awal musik keroncong yang panjang (1661-1880), hampir dua abad lamanya, namun belum memperlihatkan identitas keroncong yang sebenarnya dengan suara crong-crong-crong, sehingga boleh dikatakan musik keroncong belum lahir tahun 1661-1880.

Dan akhirnya musik keroncong mengalami masa evolusi pendek terakhir sejak tahun 1880 hingga kini, dengan tiga tahap perkembangan terakhir yang sudah berlangsung dan satu perkiraan perkembangan baru (keroncong millenium). Tonggak awal adalah pada tahun 1879 [2], di saat penemuan ukulele di Hawai [3] yang segera menjadi alat musik utama dalam keroncong (suara ukulele: crong-crong-crong), sedangkan awal keroncong millenium sudah ada tanda-tandanya, namun belum berkembang (Bondan Prakoso).

Empat tahap masa perkembangan tersebut adalah[4]

(a) Masa keroncong tempo doeloe (1880-1920),
(b) Masa keroncong abadi (1920-1960), dan
(c) Masa keroncong modern (1960-2000), serta
(d) Masa keroncong millenium (2000-kini)

Ukulele ditemukan pada tahun 1879 di Hawaii, sehingga diperkirakan pada tahun berikutnya Keroncong baru menjelma pada tahun 1880, di daerah Tugu kemudian menyebar ke selatan daerah Kemayoran dan Gambir (lihat ada lagu Kemayoran dan Pasar Gambir, sekitar tahun 1913).

_____________________________ 

The History Of Betawi Music record deevlopment 1951-1980 

1.TANGKIWOOD

DSC_0061_25_preset1.jpg

Once down the narrow alleys and crowded, we finally see a big way again. It seems a brother salted fish sellers were hawking wares. It becomes us to explore the region Tangkiwood end. Next time I want to visit the house djadoel artists who once lived here, and explore again the remains of the triumph of “Hollywood” her this Betawi

Child Puppet at Village Tank

Still remember August Mahieu with Komedie Stamboel? Mahieu like a trend setter in Java. He makes others emulate the style of the stage spectacle Komedie Stamboel or dkenal as Komedie Nobility. In fact, all of the show mimics Mahieu Abdul Muluk. Many people say, Abdul Muluk also mimic a similar performance from Iran. Throughout the history of human movement, of course subject imitate imitation, adaptation, collaboration, mixing, merging, or influenced by the arts and culture is inevitable.

Mahieu anesthetize the public in the Netherlands East Indies and stimulate other artists founded the alias comedy show. Call it Komedie Samboel Opera, Opera Sri Permata, Royal Opera, and Lord Indra. Unlike the group that contains the player Indo Mahieu Java, the new group using entirely indigenous players. However, the taste was abandoned Mahieu, namely the appearance of dancing tango, cabaret, pantomime, waltz, polka, with a costume a la noble, prince, queen, princess, just the smell of the west. That’s why Komedie Stamboel and their associated Komedie called Duke.

So the spectacle was entertaining a lot of heart grassroots “in those days, the 19th century. Town square is often so big stage for the comedy troupe. Audience? Diverse. But mostly yes “grassroots earlier. Even the plantation coolies want to be entertained entourage, according to Misbach Yusa Biran in the History of Film 1900-1950: Film Making in Java.

Mixed-repertoire repertoire of Baghdad, Europe, India, they play without using a script. Only the outline only understood the players. They do not know the script stage, all other conversations hanylah no improvisation. What article? The players were mostly illiterate.

Knowledge of the original Kroncong not complete unless we turn our attention to other forms of folk song which is usually called Stambul II.

III, including the song Stambul keroncong. Both can not be separated from each other, where one enjoys the original Keroncong and certainly not isolated from the opera II.

Stambul III song is poetry improvisatoris selurunhnya kgusus shaped, other than a form of poetry Keroncong, but both are songs of romance, as a solace or a song of yearning.

Stambul II is for a single song, performed by using the “twisted” Keroncong original, accompanied by orchestra keroncong use kendangan

It’s also probably why the show is not changing

original info

Pengetahuan tentang Kroncong asli tidak lengkap rasanya kalau kita tidak memalingkan perhatian  kita kepada bentuk lagu rakyat lain yang biasanya disebut Stambul II.

Lagu Stambul III termasuk wilayah  keroncong. Kedua-duanya tidak dapat dipisahkan satu sama lainnya,dimana seseorang menyenangi Keroncong asli dan tentu  tidak terasing dari stambul II.

Lagu stambul III selurunhnya bersyair secara improvisatoris berbentuk kgusus ,lain dari daripada bentuk syair Keroncong , akan tetapi kedua-duanya bersifat lagu asmara,sebagai pelipur lara atau lagu rindu .

Stambul II  adalah untuk nyanyian tunggal, dibawakan dengan mengunakan “Cengkok” Keroncong asli ,diiringi dengan orkes keroncong mempergunakan kendangan

It’s also probably why the show is not changing the comedy troupe repertoire or create their own style story. Until finally came Tio Tek Djien with Miss Riboet Orion and Piedro the Dardanelles. Two large entourage was spawned stories of their own devising with expertise Andjar Asmara and Nyoo Cheong Seng.

The development of this comedy troupe determine this nation’s artistic journey, especially in terms of cinema. From this comedy troupe and then appeared the term puppet children follow a term that developed in the land of Malacca, where Mahieu imitate the appearance of Abdul Muluk. The term is commonly used by the crew of the party. They called a puppet show stage.

Human life stage, kids puppet, is a life that consists of players in one group. They live, eat, drink. sleeping, playing, joking, playing in one house or village to then play together on stage, as always. Misbach wrote, if you’re in the recital tour, they lived in a house joint venture – empty buildings hired by the owner of the group. This causes them to not get along with other human beings other than humans in the group that the average illiteracy. Players are paid a daily comedy, they often have to work extra if the show in a deserted town audience.

In Batavia, children gathered in the region puppet named Tank, at Mangga Dua area. In the 1920s, stood Malayan Opera. Child puppets Malayan Opera is what most of living in the tank. In 1950, in which the village is then loaded with the artist, emerged as Tangkiwood – like Hollywood

 Puppet children in Kampung Tank

Tangkiwood portrait piece, the City
  
 
  DSC_0061_25_preset1.jpg
  

Once down the narrow alleys and crowded, we finally see a big way again. Seems a brother of salted fish vendors were hawking wares. This be the end of our exploring Tangkiwood region. Next time I want to visit the house the artists who once lived here djadoel, and again eksplore remnants glory “Hollywood” it Betawi
 
 

Still remember the komedie Stamboel August Mahieu? Mahieu as trend setters in Java. He makes others imitate the style of the stage spectacle komedie Stamboel or dkenal as komedie Lord. In fact, Mahieu also mimic the performance of Abdul Muluk. Many people say, Abdul Muluk was imitating a similar show from Iran. Throughout the history of the movement of people, of course, subject to imitate imitation, adaptation, collaboration, blending, merging, or the influence of the elements of art and culture is inevitable.

Mahieu anesthetize the people in the Netherlands Indies and stimulate other artists founded the comedy show alias. Call it komedie Samboel Opera, Opera Sri Jewels, the Royal Opera, and Lord Indra. Unlike the group that contains the player Mahieu Indo Java, a new group of players who are using entirely indigenous. However, the taste was abandoned Mahieu, namely the appearance of dancing tango, cabaret, pantomime, waltz, polka, with costume nobleman, prince, queen, princess, just the smelling west. That’s why komedie Stamboel and ikutannya called komedie Lord.

Thus the spectacle was entertaining a lot of the underprivileged in the liver, the 19th century. The town square often the big stage for the comedy troupe. Audience? Diverse. But mostly it was the underprivileged. Even the farm laborers want to be entertained that group, so Misbach Yusa Biran in the History of Film 1900-1950: Make Film in Java.

Mixed-repertoire repertoire of Baghdad, Europe, India, they play without using a script. Only the outline is understood the players. They do not know the script stage, all the other conversations hanylah improvisation. What article? The players were generally illiterate.

That’s also probably why the show is a comedy troupe did not alter the repertoire or create their own style of story. Tio Tek finally came up with Miss Riboet Djien Piedro with Orion and the Dardanelles. This great group spawned two stories of their own with the expertise of Asmara and Nyo Andjar Seng Cheong.

The development of this comedy troupe determine the course of this nation’s art, especially in terms of cinema. Of this comedy troupe and the term following the term puppet child that develops in the land of Malacca, which imitate the appearance of Abdul Muluk Mahieu. The term is commonly used by the crew of the troupe. They called a puppet show stage.

Stage of human life, kids puppet, is a life that consists of players in one group. They live, eat, drink. sleeping, playing, joking, playing in a home or neighborhood for later play together on stage, as always. Misbach wrote, if it is being joined on tour, they lived in a house joint venture – an empty building owner hired a group. This causes them to not get along with other human beings other than humans in the group that the average illiterate. Comedian is paid daily, they often have to work extra if the show in a deserted town audience.

In Batavia, children gathered in the puppet named Tank, in the Mango Two. In the 1920’s, standing Malayan Opera. Malayan Opera puppet children who mostly live in this tank. In 1950, in which the village is then packed with artists, emerging as the Tangkiwood – like Hollywood

 
 
 

original info

Anak Wayang di Kampung Tangki wood

Sepenggal potret Tangkiwood, Kota
 
 
 
 
 
 
DSC_0061_25_preset1.jpg
Setelah menyusuri gang-gang sempit dan padat, akhirnya kami ketemu jalan besar lagi. Nampak seorang abang penjual ikan asin sedang menjajakan jualannya. Ini menjadi akhir kami menjelajahi kawasan Tangkiwood. Next time saya ingin berkunjung ke rumah artis-artis djadoel yang pernah tinggal disini, dan eksplore lagi sisa-sisa kejayaan “Hollywood”nya Betawi ini

Masih ingat August Mahieu dengan Komedie Stamboel? Mahieu bagai trend setter di Jawa. Ia membuat orang lain meniru tontonan panggung ala Komedie Stamboel atau dkenal sebagai Komedie Bangsawan. Padahal, Mahieu meniru pula dari pertunjukan Abdul Muluk. Banyak orang bilang, Abdul Muluk pun meniru pertunjukan serupa asal Iran. Sepanjang sejarah pergerakan manusia, tentu saja perihal tiru meniru, adaptasi, kolaborasi, percampuran, penggabungan, atau pengaruh  unsur seni dan budaya tak terelakkan.

Mahieu membius masyarakat di Hindia Belanda dan merangsang seniman lain mendirikan komedi alias pertunjukan. Sebut saja Komedie Opera Samboel, Opera Sri Permata, Opera Bangsawan, dan Indra Bangsawan. Tak seperti rombongan Mahieu yang berisi pemain Indo Jawa, rombongan baru tersebut menggunakan pemain yang seluruhnya pribumi. Meski demikian, cita rasa Mahieu tak ditinggalkan, yaitu penampilan dansa tango, kabaret, tablo, waltz, polka, dengan kostum ala bangsawan, pangeran, ratu, putri, pokoknya yang berbau barat. Itu sebabnya Komedie Stamboel dan ikutannya disebut Komedie Bangsawan.

Demikianlah tontonan tersebut menghibur banyak hati wong cilik di masa itu, abad 19. Alun-alun kota seringkali jadi panggung besar bagi rombongan komedi tersebut. Penontonnya? Beragam. Tapi kebanyakan ya wong cilik tadi. Bahkan kuli perkebunan ingin dihibur rombongan tersebut, demikian Misbach Yusa Biran dalam Sejarah Film 1900-1950:Bikin Film di Jawa.

Repertoar-repertoar campuran dari Baghdad, Eropa, India, mereka mainkan tanpa menggunakan naskah. Hanya garis besarnya saja yang dipahami para pemain. Mereka tak kenal naskah panggung, semua percakapan tak lain hanylah improvisasi. Apa pasal? Para pemain itu umumnya buta huruf.

Itu juga barangkali, kenapa pertunjukan rombongan komedi tersebut tak mengubah repertoar atau membuat sendiri kisah ala mereka. Hingga akhirnya muncullah Tio Tek Djien dengan Miss Riboet Orion dan Piedro dengan Dardanella. Dua rombongan besar ini menelurkan berbagai kisah karangan mereka sendiri dengan kepiawaian Andjar Asmara dan Nyoo Cheong Seng.

Perkembangan rombongan komedi ini menentukan perjalanan kesenian bangsa ini terutama dalam hal perfilman. Dari rombongan komedi ini kemudian muncul istilah anak wayang mengikuti istilah yang berkembang di tanah Malaka, di mana Mahieu mencontoh penampilan Abdul Muluk. Istilah tersebut biasa digunakan oleh awak rombongan itu. Pertunjukan mereka disebut wayang panggung.

Kehidupan manusia panggung, anak-anak wayang, adalah kehidupan yang terdiri dari pemain dalam satu rombongan. Mereka hidup, makan, minum. tidur, bermain, bercanda, bermain di satu rumah atau kampung untuk kemudian bermain bersama di atas panggung, begitu selalu. Misbach menuliskan, jika sedang ikut pertunjukan keliling, mereka tinggal di satu rumah kongsi – bangunan kosong yang disewa pemilik rombongan. Ini menyebabkan mereka tak bergaul dengan manusia lain selain manusia dalam rombongan itu yang rata-rata buta huruf. Pemain komedi dibayar harian, mereka seringkali harus bekerja tambahan jika pertunjukan di satu kota sepi penonton.

Di Batavia, anak wayang dikumpulkan di kawasan bernama Tangki, di daerah Mangga Dua. Di tahun 1920-an, berdiri Malayan Opera. Anak wayang Malayan Opera inilah yang kebanyakan tinggal di Tangki. Pada 1950, di mana kampung ini kemudian dijejali seniman, muncul sebutan Tangkiwood – seperti Hollywood

1a. Miss Tjitjih 

The group leader named Miss Tjitjih S.A. Bafaqih, one born in Pasuruan, East Java. He was already quite advanced ditahun 1962, 75 years old, born in 1888. Theoretical Dad has been retired, according to its own terms, but in practical secraa still lead straight. Actually he was bored with the play, both as a player or a leader or a play, but somehow, when you hear there is a play, just want to watch, apaun would happen, maybe it’s inborn. He told me that he knew very well that people who play it are snadiwara liar, is tantamount to a drug seller, is not entirely correct. The difference, play and the players got dressed lakon.punya story interesting. Perhaps in this world does need people like him. The people who are just moving the field of arts and culture. People said of him, people who are not so normal, he watched people, but we also sometimes be a spectacle because people rarely live IAMI no worse than a trash. but let us feel satisfied, and the audience that we need seba if they are not satisfied, recording will not come again.

  Bafaqih father was a traveling salesman from a disorder of the city, indeed the family is a family of merchants. Then went along with the heartfelt drama. Then mewrasa interested in the play field, seterusna easement and release their commercial work into play. in the history of the father hidunya Bafaqih met alone showman, a virgin from Sumedang who have talent with a fairly good-looking face, which later became his wife. The name comes from the name of Miss Tjitjih isterinyalah, before the play group was given the name: Opera De Nacht “. then” Valencia Opera “, and so Miss Tjitjih until 1962

Let stumbling We Were There …
Community Arts Miss Tjitjih
 

 
 
 
When you cross the street in East Cempakabaru, Central Jakarta, was standing strong a building that is named Miss Tjitjih Art Building. In the era of the 1970s, the building is always crowded with society are “thirsty” entertainment. They want to see pergelaraan Sundanese traditional arts groups.

Miss Tjitjih Arts Building with a capacity of 400 people were at the time keemasaannya never empty. “In that year (1970), we have a gig if you can up to three hours. Moreover, even a Saturday night gig could be up to four hours,” said Maman Sutarman, the player who doubles as director and screenwriter staging of Miss Tjitjih, when found in the Warta Kota his home in the back of the building arts, Friday (15 / 1).

In conversation, Maman Sutarman from West Java who was familiarly called Mang Esek, accompanied by Mohammad, co seprofesinya. They both claim to remember very well once their better period, especially when staged a play titled Bridge Shirotul Mustaqim.

“If now remember, sometimes sad also with our fate now. If we had played, the audience is full. Due to limited building capacity, the audience at that time in the queue. So every show the audience is always full,” recalled Mohammad diamini Asek Mang.

Mang Esek said, the group named their artistry Miss Tjitjih taken from a showman who was born in Sumedang, West Java, on tahun1928. In the past, this art is so popular because of the entertainment world and segemerlap not as much as now.

According to Mang Esek, the popularity of their community began to seem to fade in 1987. Along with the times especially the entertainment world that increasingly rampant, eventually displaced them as the times. Then Mang Esek along with members of the arts can survive only with the Foundation bernanung Miss Tjitjih who managed the city administration.

Today, Mang Esek with Miss Tjitjih arts group members lived in a two-story building behind the arts building as a “gift” to the struggle of the artist plays Miss Tjitjih first. “Yes, thank God we were still given a place to shelter,” said Mang Esek about two-storey building consisting of 17 rooms that.

When asked if they still do performances in the building that now run DKI Jakarta Provincial Government through the Department of Tourism and Culture, he says, “It depends.”

The point? “It depends on subsidies. If you go down so we play. Now these subsidies more widely used to treat the building. Even if we are playing well now quiet crowd,” he said. They appear usually on Saturday night. Every spectator entrance fee charged Rp 10,000.

Although the audience appeared minus Mang Esek and Mohammad and his colleagues always look excited. “We do not care if quiet is important we entertain people with Sundanese traditional theater. Intention we now want to prove even if we struggled we struggled there,” said Mang Esek

Miss Tjitjih, Devotion A Girl Sumedang

————————————————– ——————————

Nyi Tjitjih originally was just a regular performer in Sumedang Sunda. His role on stage is also somewhat indifferent to the role as a singer or a princess in another time. However, the story of life’s journey Nyi Tjitjih slowly changed after meeting with Aboe Fuel Bafaqih. At that time, Bafaqih, an Arab-born Bangil (East Java), with entourage stambulnya are conducting tour in West Java.

In the area of Sumedang, Bafaqih met with Nyi Tjitjih who was playing with Tonil Sunda. Bafaqih immediately attracted him into bentukannya repertory, Opera Valencia. Bafaqih invitation was welcomed Nyi Tjitjih. From then Nyi Tjitjih become part of the Opera Valencia. When joining the Opera Valencia, Nyi Tjitjih 18 years old. In this bevy of new looks Nyi Tjitjih hidden talent. Besides her beautiful face, this girl also has a lovely voice, acting ability, and agility in dancing. From day to day ability to grow Tjitjih Nyi so she became a prima donna in these associations.

In 1928, the association Opera Valencia arrived at Batavia. In the same year, Bafaqih edit Nyi Tjitjih become his second wife. When it had just Tjitjih age 20 years. Furthermore, Nyi Tjitjih changed its name to Miss Tjitjih and the name was used as the name of this association Bafaqih leadership.

The full name is Miss Tjitjih association Toneel Gezelschap. So, practically defined as the birth of the 1928 Miss Tjitjih repertory.

The prima donna

It has become a common thing, at that time the name of the association serve as the prima donna perkumpulannya name. This is part of the “arms” to grab the attention of major public and commercial purposes / commercial. This is called the “star system”. Star system began to be a trend in the world of theater since the early 1920s.

Previously, the leadership repertoire Orion Tio Tek Djien Jr. established in Batavia in 1925 changed its name to the repertory of Miss Riboet Orion, following the name of a prima donna who is also wife of Tio, Riboet. At that time, rival Miss Tjitjih to grab public attention among them Miss Dja, a society belle of Dardanelles, and Miss Riboet of Miss Riboet Orion association.

Change the name was also accompanied by changes in the language of the show. Society Miss Tjitjih who previously used to switch to Malay language. This decision was taken on the idea of Miss Tjitjih own who want to preserve the native culture and based on the reality that the public is a public supporter of Miss Tjitjih Jabar.

However, this decision is not without risk. Sundanese language usage in dialogue on the stage make the space for this group increasingly narrow. They are fixated on areas of West Java and Batavia only.

Miss Tjitjih Society who lived in Batavia since 1928 remained held regional tour to Jabar. In this tour, transportation equipment they use is a cow-drawn cart. If the journey is too far, they use the train.

The play-act that is often brought on stage was the play-the play that close to nature the majority of people thought the Dutch East Indies. Folktales like Sangkoeriang, Tjioeng Vanara, and played an active Kasaroeng Loetoeng on stage. Normally they play with improvisation.

In 1931, Miss Tjitjih theatrical troupe was invited to hold a show at the Bogor Palace. This association seems more famous so that the palace had asked for their performances. Among the audience of course there is the governor-general. In addition, they also have a fixed schedule for performing at Gambir Market Batavia until market closes in 1936.

Name Miss Tjitjih increasingly flying in stage liver lovers. In fact, various district hall who was a social event of the marvelous, as in Cianjur, Garut, Lebak, and Kasepuhan Keraton Cirebon, become the places visited Miss Tjitjih to show skill. If Miss Tjitjih’re onstage, the audience seemed mesmerized by the skill.

Age 28 years

Year 1936 seems to be the last year Tjitjih can waddle on stage. In that year, Tjitjih last breath. Before the last breath, Nyi Tjitjih still had time to play with his entourage in Cikampek (West Java) to perform a play written by Crow Solo Tek Tio Jr. Djien.

In these plays a role as Tandak Nyi Tjitjih who decided his love by the crown prince. Tjitjih who always played with all my heart on the stage when the screen suddenly fell down. Viewers who watched the show thought that what they watch is part of acting Tjitjih. Performing at this Cikampek stopped in the middle of the road. Nyi Tjitjih indeed been suffering from illness for a long time.

Although the conditions are not favorable, he was still forced to play. Nyi Tjitjih died after being taken to his homeland, Sumedang. Tjitjih died at the age of 28 years. After the death of Nyi Tjitjih, Bafaqih remain consistent to continue breathing Miss Tjitjih repertory. The prima donna has died after part of his life spent devoted to the theatrical Sunda.

Devotion Sumedang girl was not in vain. Up to now the name of Miss Tjitjih still standing in the middle of the public who support it. It is appropriate Sunda theatrical life is getting more attention from the government, and we can not simply forget the bevy of 80 years standing who has this. Hopefully

Culture Award to Sundanese Artists

sundanese award

Indonesian Culture – indonesiaculture.net. Center of Sunda Association bestowed the Culture Award to several Sunda artists considered consistent in preserving the Sundanese art and culture. Among the recipients were Ms. Tien Rostini Asikin (Ma Ageung) and Kang Ebet Kadarusman.

 Consultative Body (bammus) Sundanese Cultural Center gives grace to the few artists who are considered konsistan Sunda and serious in maintaining the culture and art sunda, including the award bestowed upon Mrs. Tien Rostini Asikin (Ma Ageung) and kang Ebet Kadarusman

Accompanied with minimal lighting, drum beats and traditional HARPS were sounded out in welcome towards the audience. Sited at the ‘Miss Tjitjih Arts Centre’, the occasion was Attended with Sundanese song performances from singers.

With a simple lighting, music started playing, just the sound of drum beat and harp audience as addressed by the language “Wilujeng Sumping” by the sound of music. Housed in the Art Building Miss Tjitjih, also lively cultural event title song by the champions pasanggiri sunda sunda song.

Every song sung by the singers were adorned with dancers accompanying the Sundanese melodies, and poetry Carried out by Adang Darajatun and Hasanudin

In each of songs sung by singers, dancing to the rhythm of the song sunda, as well as poetry verses sung by Adang Darajatun and Hasanudin complement cultural performance events Sundanese artist.

‘Miss Tjitjih Arts Centre’ endeavors to maintain and develop the Sundanese arts through performances done and the struggle of artists Sundanese Trying to maintain the preservation of Sundanese arts.

Miss Tjitjih future Art Building hope with the implementation of this cultural event may the activities of culture, especially Sunda culture can thrive and crowded audience. “The artist is trying desperately to preserve Sundanese culture”.

 
(WHO ino i have after 1962, please be willing to tell me, thank you, Dr. John)

The group leader named Miss Tjitjih S.A. Bafaqih, a birth Pasuruan, East Java. He was already quite advanced in the year 1962, 75 years old, born in 1888. Theoretically this man retired, according to its own terms, but it remains practically lead directly. Actually he was bored with the drama, both as a player or a leader or watch a play, but somehow, when you hear there is a play, to just come to watch, apaun that would happen, maybe it’s inborn. He told me that he knew very well that the people who play it are snadiwara liar, just the same as a drug seller, not entirely true. The difference, plays and players got dressed lakon.punya interesting story. This world may indeed need people like him. People are just moving the field of art and culture. People said of him, people who are not so normal, he watched people, but we also sometimes be a spectacle for the people living IAMI often worse than a hobo. but let us feel satisfied, and the audience that we need if they are not satisfied Seba, recording will not come again.

 Bafaqih father was a traveling salesman from a disorder of the city, indeed the family is a family of merchants. Then went along with the charade oragnisasi. Mewrasa interested in the field plays later, seterusna easement and release the theatrical work of trade entry. in the history hidunya Bafaqih father met with a lady performer, a virgin of Sumedang who has enough talent to look beautiful, which later became his wife. The name comes from the name of Miss Tjitjih isterinyalah, before the group is named hammy theatrics e Nacht Opera “. Then” Valencia Opera “, and so Miss Tjitjih until 1962

Let stumbling We Still …
Community Arts Miss Tjitjih
 
 
 
 
 
 
 
When you cross the street in Cempakabaru East, Central Jakarta, was standing tall a building named Miss Tjitjih Arts Building. In the era of the 1970s, the building is always crowded with society are “thirsty” entertainment. They want to see pergelaraan Sundanese traditional arts groups.

Miss Tjitjih Arts Centre with a capacity of 400 people during its Golden Age was never empty. “In that year (1970), if we can get three-hour gig. Moreover, even a Saturday night gig could be up to four hours, “said Maman Sutarman, the player who doubles as director and screenwriter staging Miss Tjitjih, when met at his house in Warta Kota behind the opera house on Friday (15/1).

In conversation, Maman Sutarman from West Java who was familiarly called Mang Esek, accompanied by Mohammad, co seprofesinya. They both remember once confessed their heyday, especially when staging a play titled Bridge Shirotul Mustaqim.

“I now remember, sometimes sad fate also with us today. If we had been playing, the audience is full. Due to limited capacity of the building, it’s time to line up the audience. So every show the audience is always full, “recalled Mohammad diamini Asek Mang.

Mang Esek said, those arts groups, named Miss Tjitjih taken from a performer who was born in Sumedang, West Java, on tahun1928. In the past, this art is so popular because of the entertainment world and segemerlap not as much as now.

According to Mang Esek, the popularity of their community begun to fade in 1987. As the times especially the world of entertainment that increasingly widespread, as they eventually displaced the times. Then Mang Esek with members of the arts can only survive with the Foundation Miss Tjitjih bernanung run the city administration.

Currently, Mang Esek with Miss Tjitjih member arts groups living in a two-story building behind the opera house as a “gift” of the struggle of the artist plays Miss Tjitjih first. “Yes, thank God we were given a place to shelter,” said Mang Esek of two-storey building consisting of 17 room.

When asked if they still do the gig in the building that now run the city government through the Department of Tourism and Culture, he says, “It depends.”

The point? “It depends on subsidies. If we play it down. These subsidies are now more widely used to treat the building. Even if we play well now quiet crowd, “he said. They appear usually on Saturday night. Every spectator tickets are Rp 10,000.

Although appearing minus the audience Mang Esek and Mohammad and his partners always look vibrant. “We do not care about silent essential we entertain people with traditional Sundanese theatrics. We now want to prove intent even though we struggled, we struggled there, “said Mang Esek

Miss Tjitjih, Devotion A Girl Sumedang

————————————————– ——————————

Nyi Tjitjih originally was a regular performer in Sumedang Sunda. His role on the stage is also fairly normal with the role as a singer or a princess in another time. However, the journey of life Nyi Tjitjih slowly changed after meeting with Aboe Bakar Bafaqih. At that time, Bafaqih, an Arab born in Bangil (East Java), the entourage stambulnya’re doing on tour in West Java.

In the area of Sumedang, Bafaqih met with Nyi Tjitjih who was playing with Tonil Sunda. Bafaqih immediately attracted him into bentukannya repertory, Opera Valencia. Bafaqih invitation was welcomed Nyi Tjitjih. From then Nyi Tjitjih be part of the Valencia Opera. When joining the Opera Valencia, Nyi Tjitjih only 18 years old. In this group the new look Nyi Tjitjih hidden talent. In addition to her beautiful face, she also has a lovely voice, acting ability, and agility in dancing. From day to day Tjitjih Nyi ability to evolve so it becomes the belle of the association.

In 1928, associations Opera Valencia until at Batavia. In the same year, Bafaqih edit Nyi Tjitjih become his second wife. When it had just Tjitjih age of 20 years. Furthermore, Nyi Tjitjih renamed Miss Tjitjih and the name was used as the name of this association Bafaqih leadership.

Association’s full name is Miss Tjitjih Toneel Gezelschap. So, practically established in 1928 as the birth of Miss Tjitjih repertory.

The prima donna

Has become a common thing, in the name of the prima donna was used as the name perkumpulannya associations. This is part of the “arms” to grab the attention of major public and commercial purposes / commercial. This is called the “star system”. Star system began to be a trend in the theater since the early 1920’s.

Earlier, the head of Orion repertory Tio Tek Djien Jr. established in Batavia in 1925 changed its name to Orion Riboet Miss repertoire, following the name of a prima donna who is also wife of Tio, Riboet. At that time, rival Miss Tjitjih to grab public attention in between Miss Dja, a society belle of the Dardanelles, and Miss Riboet of Miss Riboet Orion association.

The name change was also accompanied by changes in the language of instruction show. Miss Tjitjih associations who previously used to switch to Malay language. This decision was taken on the idea of Miss Tjitjih who wants to preserve his native culture and based on the reality that public support is the Miss Tjitjih Jabar.

However, this decision is not without risk. Sundanese language usage in dialogue on the stage to make room for these associations increasingly narrow. They focused on areas of West Java and Batavia only.

Miss Tjitjih association that since 1928 it settled in Batavia held a road show to the West Java area. In these tours, transportation equipment they use is cattle-drawn carts. If it travels too far, they use the train.

Play-play that is often brought on the stage-play is a play that is close to the minds of the majority of the Dutch East Indies. Folktales as Sangkoeriang, Tjioeng Wanara, and played an active Kasaroeng Loetoeng on stage. Usually they play with improvisation.

In 1931, Miss Tjitjih theatrical troupe was invited to hold a show at the Bogor Palace. This association seems to becoming famous, so the court also asked their performances. Among the audience of course there is the governor-general. In addition, they also have a fixed schedule for a gig at the Market Gambir Batavia until market closes in 1936.

Name Miss Tjitjih growing in the hearts of lovers of the stage waving. In fact, various county hall who was a marvelous event of the association, as in Cianjur, Garut, Lebak, and Cirebon Kasepuhan palace, into the places visited by Miss Tjitjih to show his skill. If Miss Tjitjih being on stage, the audience as if mesmerized by his skill.

Age 28 years

Year 1936 seems to be the last year could Tjitjih waddle on stage. In that year, Tjitjih last breath. Before the last breath, Nyi Tjitjih still had time to play with his entourage in Cikampek (West Java) with a stage play written by Tio Tek Solo Crow Jr. Djien.

In the play the role as Nyi Tjitjih love Tandak decided by the crown prince. Tjitjih is always the heart on the stage when the screen suddenly fell down. Viewers who watched the show thinking that what they watch is part of the acting Tjitjih. Performances in this Cikampek stopped in the middle of the road. Nyi Tjitjih indeed have the disease for a long time.

Although the conditions were not favorable, he was still forced to play. Nyi Tjitjih died after being taken to his homeland, Sumedang. Tjitjih died at the age of 28 years. After the death of Nyi Tjitjih, Bafaqih remain consistent to continue breathing Miss Tjitjih repertory. The prima donna dies after most of his life spent devoted to the theatrical Sunda.

Sumedang her devotion was not in vain. Up to now the name of Miss Tjitjih remained standing in the middle of a public that supports it. It is appropriate this Sunda theatrical life received more attention from the government, and we do not just forget the 80 associations that have been established this year. Hopefully

(Anyone who has info after 1962, please deign to inform me, thank you, Dr. Iwan)

 
 
 

original info

Badan Musyawarah (bammus) Sunda Pusat memberikan Anugerah Budaya kepada beberapa seniman sunda yang dianggap konsistan dan serius dalam memelihara kebudayaan dan kesenian sunda, penghargaan tersebut diantaranya dianugerahkan kepada Ibu Tien Rostini Asikin (Ma Ageung) dan kang Ebet Kadarusman

Accompanied with minimal lighting, drum beats and traditional harps were sounded out in welcome towards the audience. Sited at the ‘Gedung Kesenian Miss Tjitjih’, the occasion was attended with song performances from Sundanese singers.

Dengan tata lampu yang sederhana, Musik mulai dimainkan, hanya suara tabuhan gendang dan kecapi penonton seolah disapa dengan bahasa “wilujeng sumping” oleh suara musik tersebut. Bertempat di Gedung Kesenian Miss Tjitjih, juga dimeriahkan gelar acara budaya tembang sunda oleh para juara pasanggiri tembang sunda.

Every song sung by the singers were adorned with dancers accompanying the Sundanese melodies, and poetry carried out by Adang Darajatun and Hasanudin

Ditiap lagu-lagu yang dinyanyikan oleh penyanyi, para menari mengiringi alunan tembang sunda, juga bait-bait puisi yang dibawakan oleh Adang Darajatun dan Hasanudin melengkapi  acara pagelaran budaya seniman sunda.

sundanese award kolg

‘Gedung Kesenian Miss Tjitjih’ endeavors to maintain and develop Sundanese arts through the performances done and the struggle of Sundanese artists trying to maintain the preservation of Sundanese arts.

Kedepan Gedung Kesenian Miss Tjitjih berharap dengan dilaksanakannya acara budaya ini semoga kegiatan-kegiatan budaya khususnya budaya sunda dapat berkembang dan ramai penonton.“para seniman tetap berusaha mati-matian mempertahankan budaya sunda”.

 

(who have i ino after 1962, please be willing to tell me, thank you-Dr Iwan)

Ketua rombongan Miss Tjitjih bernama S.A. Bafaqih, seorang kelahiran Pasuruan, Jawa timur. Usianya sudah agak lanjut ditahun 1962 ,75 tahun,kelahiran 1888. Teoritis Bapak ini sudah pensiun, menurut istilah sendiri, tapi secara praktisnya masih tetap memimpin secara langsung. Sebenarnya ia sudah bosan dengan sandiwara, baik sebagai pemain ataupun pemimpin atau menonton sandiwara, tetapi entah bagaimana, kalau mendengar ada sandiwara, ingin saja ikut menonton, apaun yang bakal terjadi, mungkin sudah dibawa sejak lahir. Ia bercerita bahwa , ia tahu betul bahwa orang yang main snadiwara itu adalah tukang bohong,sama saja dengan seorang penjual obat,tidak seluruhnya benar. Bedanya, sandiwara punya lakon.punya cerita dan pemain berpakaian menarik. Mungkin didunia ini memang perlu orang-orang seperti dia. Orang-orang yang hanya bergerak dilapangan seni dan budaya. Orang berkata tentang dia, orang yang tidak begitu normal,ia ditonton orang, tetapi kami juga kadang-kadang jadi tontonan orang  sebab tak jarang hidup iami lebih jelek daripada seorang gembel. tetapi biarlah kami merasa  puas, dan penonton yang memerlukan kami  seba  jika mereka tidak puas, merekan tidak akan datang lagi.

 bapak Bafaqih adalah seorang pedagang keliling dari satu kelain kota, memang keluarganya adalah keluarga pedagang. Kemudian ikut-ikutan dalam oragnisasi sandiwara. Kemudia mewrasa tertarik dilapangan sandiwara, seterusna keenakan dan melepaskan pekerjaan dagangnya masuk sandiwara. dalam sejarah hidunya bapak Bafaqih bertemu dengan sorang pemain sandiwara, seorang dara dari sumedang yang memiliki bakat dengan paras yang cukup rupawan ,yang kemudian menjadi isterinya. Dari Nama isterinyalah bersumber nama Miss Tjitjih, sebelumnya rombongan sandiwaranya diberi nama :D e Nacht Opera”.kemudian “Valencia Opera”, lalu jadi Miss Tjitjih sampai tahun 1962

Biar Terseok Kami Masih Ada…
Komunitas Kesenian Miss Tjitjih
 
 
 
 

Bila Anda melintasi jalan di Cempakabaru Timur, Jakarta Pusat, tampak berdiri kokoh sebuah bangunan yang diberi nama Gedung Kesenian Miss Tjitjih.

 Di era 1970-an, gedung tersebut selalu dipadati masyakarat yang “haus” hiburan. Mereka ingin menyaksikan pergelaraan kelompok kesenian tradisonal Sunda itu.

Gedung Kesenian Miss Tjitjih yang berkapasitas 400 orang itu pada masa keemasaannya tak pernah sepi. “Di tahun itu (1970-an), kami kalau manggung bisa sampai tiga jam. Apalagi malam Minggu malah bisa sampai manggung empat jam,” kata Maman Sutarman, pemain yang merangkap sebagai sutradara dan penulis skenario pementasan Miss Tjitjih, saat ditemui Warta Kota di rumahnya di belakang gedung kesenian tersebut, Jumat (15/1).

Dalam obrolan itu, Maman Sutarman asal Jawa Barat yang akrab disapa Mang Esek, ditemani Mohammad, rekan seprofesinya. Mereka berdua mengaku sangat ingat sekali masa jaya mereka, terlebih saat mementaskan sandiwara berjudul Jembatan Shirotul Mustaqim.

“Kalau sekarang ingat lagi, kadang sedih juga dengan nasib kita sekarang. Kalau dulu kita main, penonton penuh. Karena kapasitas gedung terbatas, penonton waktu itu pada antre. Jadi setiap tampil penonton selalu penuh,” kenang Mang Asek diamini Mohammad.

Mang Esek menuturkan, kelompok kesenian mereka yang diberi nama Miss Tjitjih diambil dari seorang pemain sandiwara yang lahir di Sumedang, Jawa Barat, pada tahun1928. Pada masa lalu, kesenian ini begitu diminati karena dunia hiburan belum sebanyak dan segemerlap seperti sekarang.

Menurut Mang Esek, popularitas ko-munitas mereka mulai terasa meredup tahun 1987. Seiring perkembangan zaman terlebih dunia hiburan yang semakin marak, akhirnya mereka seperti tergusur zaman . Kemudian Mang Esek bersama anggota kesenian itu hanya bisa bertahan hidup dengan bernanung di Yayasan Miss Tjitjih yang dikelola Pemerintah Provinsi DKI Jakarta.

Saat ini, Mang Esek bersama anggota kelompok kesenian Miss Tjitjih tinggal di sebuah bangunan berlantai dua di belakang gedung kesenian itu sebagai “hadiah” atas perjuangan para seniman sandiwara Miss Tjitjih dulu. “Ya alhamdulillah kami masih diberi tempat untuk berteduh,” kata Mang Esek tentang bangunan dua lantai yang terdiri atas 17 kamar itu.

Ketika ditanya apakah sekarang mereka masih melakukan pementasan di gedung yang kini dikelola Pemprov DKI Jakarta melalui Dinas Pariwisata dan Kebudayaan itu, dia mengatakan, “Tergantung.”

Maksudnya? “Tergantung subsidi. Kalau turun ya kita main. Sekarang ini subsidi lebih banyak digunakan untuk merawat gedung. Kalaupun kita main juga sekarang penonton sepi,” katanya. Mereka tampil biasanya pada Sabtu malam. Setiap penonton dikenai tiket masuk Rp 10.000.

Meski tampil minus penonton Mang Esek dan Mohammad bersama rekan-rekannya selalu tampil bersemangat. “Kita nggak peduli sepi yang penting kita menghibur orang dengan sandiwara tradisional Sunda. Niat kita sekarang ingin membuktikan biarpun kita terseok-terseok kami masih ada,” kata Mang Esek

Miss Tjitjih, Pengabdian Seorang Gadis Sumedang


Nyi Tjitjih awalnya hanyalah seorang pemain sandiwara Sunda biasa di Sumedang. Perannya di atas panggung juga terbilang biasa saja dengan peran sebagai penyanyi atau seorang putri raja di waktu lain. Namun, kisah perjalanan hidup Nyi Tjitjih perlahan berubah setelah bertemu dengan Aboe Bakar Bafaqih. Ketika itu, Bafaqih, seorang Arab kelahiran Bangil (Jawa Timur), bersama rombongan stambulnya sedang melakukan pertunjukan keliling di Jawa Barat.

Di daerah Sumedang, Bafaqih bertemu dengan Nyi Tjitjih yang sedang bermain dengan Tonil Sunda. Bafaqih langsung tertarik mengajaknya masuk ke dalam perkumpulan sandiwara bentukannya, Opera Valencia. Ajakan Bafaqih tersebut disambut baik Nyi Tjitjih. Mulai saat itu Nyi Tjitjih menjadi bagian dari Opera Valencia. Ketika bergabung dengan Opera Valencia, Nyi Tjitjih baru berusia 18 tahun. Dalam perkumpulan ini baru terlihat bakat Nyi Tjitjih yang terpendam. Selain wajahnya yang cantik, gadis ini juga mempunyai suara merdu, kemampuan akting, dan kelincahan dalam menari. Dari hari ke hari kemampuan Nyi Tjitjih berkembang sehingga ia menjadi primadona dalam perkumpulan tersebut.

Pada 1928, perkumpulan Opera Valencia sampai di Batavia. Pada tahun yang sama, Bafaqih menyunting Nyi Tjitjih menjadi istri keduanya. Ketika itu usia Tjitjih baru menginjak 20 tahun. Selanjutnya, Nyi Tjitjih diubah namanya menjadi Miss Tjitjih dan nama tersebut dipakai sebagai nama perkumpulan pimpinan Bafaqih ini.

Nama lengkap perkumpulan itu adalah Miss Tjitjih Toneel Gezelschap. Maka, praktis tahun 1928 ditetapkan sebagai kelahiran perkumpulan sandiwara Miss Tjitjih.

Sang primadona

Sudah menjadi suatu hal yang lazim, pada masa itu nama sang primadona perkumpulan dijadikan sebagai nama perkumpulannya. Ini merupakan bagian dari “senjata” utama untuk meraih perhatian publik dan maksud dagang/komersial. Hal ini disebut dengan “sistem bintang”. Sistem bintang mulai dijadikan tren pada dunia teater sejak awal tahun 1920-an.

Sebelumnya, perkumpulan sandiwara Orion pimpinan Tio Tek Djien Jr yang dibentuk di Batavia tahun 1925 mengganti namanya menjadi perkumpulan sandiwara Miss Riboet Orion, mengikuti nama seorang primadona yang juga istri Tio, Riboet. Ketika itu, saingan Miss Tjitjih untuk meraih perhatian publik di antaranya Miss Dja, seorang primadona dari perkumpulan Dardanella, dan Miss Riboet dari perkumpulan Miss Riboet Orion.

Perubahan nama itu ternyata juga diikuti dengan perubahan bahasa pengantar pertunjukan. Perkumpulan Miss Tjitjih yang sebelumnya menggunakan bahasa Melayu beralih ke bahasa Sunda. Keputusan ini diambil atas ide dari Miss Tjitjih sendiri yang ingin melestarikan budaya tanah kelahirannya dan berdasarkan realita bahwa publik pendukung Miss Tjitjih adalah masyarakat Jabar.

Namun, keputusan ini bukan tanpa risiko. Pemakaian bahasa Sunda dalam dialog di atas panggung membuat ruang gerak perkumpulan ini semakin sempit. Mereka terpaku pada daerah-daerah Jabar dan Batavia saja.

Perkumpulan Miss Tjitjih yang sejak 1928 menetap di Batavia tetap mengadakan pertunjukan keliling ke daerah Jabar. Dalam perjalanan keliling ini, alat transportasi yang mereka gunakan adalah gerobak yang ditarik sapi. Jika perjalanannya terlampau jauh, mereka menggunakan kereta api.

Lakon-lakon yang sering dibawa di atas panggung adalah lakon-lakon yang dekat dengan alam pikiran mayoritas masyarakat Hindia Belanda. Cerita-cerita rakyat seperti Sangkoeriang, Tjioeng Wanara, dan Loetoeng Kasaroeng aktif dimainkan di atas pentas. Biasanya mereka bermain dengan improvisasi.

Pada 1931, rombongan sandiwara Miss Tjitjih diundang untuk mengadakan pertunjukan di Istana Bogor. Tampaknya perkumpulan ini kian masyhur sehingga pihak istana pun meminta mereka pentas. Di antara penontonnya tentu saja ada gubernur jenderal. Selain itu, mereka juga mempunyai jadwal tetap untuk mengadakan pertunjukan di Pasar Gambir Batavia hingga pasar ini tutup pada 1936.

Nama Miss Tjitjih kian berkibar di hati pencinta panggung. Bahkan, berbagai pendopo kabupaten yang saat itu menjadi ajang pergaulan para menak, seperti di Kabupaten Cianjur, Garut, Lebak, serta Keraton Kasepuhan Cirebon, menjadi tempat-tempat yang dikunjungi Miss Tjitjih untuk memperlihatkan kebolehannya. Jika Miss Tjitjih sedang berada di atas panggung, penonton seolah-olah tersihir oleh kebolehannya.

Usia 28 tahun

Tahun 1936 tampaknya menjadi tahun terakhir Tjitjih bisa berlenggak-lenggok di atas panggung. Pada tahun itu, Tjitjih mengembuskan napas terakhirnya. Sebelum mengembuskan napas terakhir, Nyi Tjitjih masih sempat bermain dengan rombongannya di Cikampek (Jabar) dengan mementaskan lakon Gagak Solo karangan Tio Tek Djien Jr.

Dalam lakon tersebut Nyi Tjitjih berperan sebagai Tandak yang diputuskan cintanya oleh putra mahkota. Tjitjih yang selalu berperan sepenuh hati di atas panggung mendadak terjatuh pada saat layar turun. Penonton yang menyaksikan pertunjukan itu mengira bahwa apa yang mereka tonton adalah bagian dari akting Tjitjih. Pertunjukan di Cikampek ini terhenti di tengah jalan. Nyi Tjitjih memang telah mengidap penyakit sejak lama.

Walaupun kondisinya sedang tidak menguntungkan, dia tetap memaksakan untuk bermain. Nyi Tjitjih meninggal dunia setelah dibawa ke tanah kelahirannya, Sumedang. Tjitjih meninggal pada usia 28 tahun. Sepeninggal Nyi Tjitjih, Bafaqih tetap konsisten melanjutkan napas perkumpulan sandiwara Miss Tjitjih. Sang primadona meninggal dunia setelah sebagian hidupnya dihabiskan untuk mengabdikan diri pada sandiwara Sunda.

Pengabdian gadis Sumedang itu tidak sia-sia. Hingga kini nama Miss Tjitjih tetap berdiri di tengah-tengah publik yang mendukungnya. Sudah selayaknya kehidupan sandiwara Sunda ini mendapat perhatian lebih dari pemerintah, dan kita tidak begitu saja melupakan perkumpulan yang sudah 80 tahun berdiri ini. Semoga

(siapa yang memiliki info setelah tahun 1962,harap berkenan menginformasikannya kepada saya,terima kasih-Dr Iwan)

2.orchestra sound dibp R Sutedjo Space
song: Call terumi godly creation


2) Four Gang Djakarta Orchestra leader John S.
Side one: The song to convey my compliments (nn)

1) High in the clouds song (pious)

2) Say hello (nn)

Four Gang
One of the musical group that was formed under the auspices of Ismail Marzuki Jakarta RRI. Core personnel are only four people, namely Saleh Soewita (guitar), Isaac (contra-bass), Jachja (violin), and Ariston da Cruz (piano; musician from the Philippines which changed its name to Arief Effendi). Contra-bass is sometimes held by Sarom. Ismail himself acting as a leader and that orchestra music arranger. This group was formed shortly after the proclamation of independence, which is intended to lower the political temperature of the hot and could explode at any time into open battle. Curtain time is given by the RRI Jakarta to the orchestra Four Sekawan about 30 minutes to 1 hour. Hours of their broadcast twice in one week, usually every Tuesday and Wednesday afternoon.

In 1946,

days and hours of play Four Gang erratic, sometimes on Monday, Tuesday, or Wednesday. Generally, this orchestra is playing about 45 minutes, and broadcast three times in one day, lunch at 13:15, 17:15 o’clock in the afternoon, and evening at 20.00. Four Gang music event in Jakarta RRI Programa Hiboeran entitled Heroes, Hiboeran Oentoek Armed Forces sea and is difficult to determine RI, Hieboeran Saturday night, Hiboeran evening, Bidder Rindoe, and Alam Ria Indonesia. In addition to regularly fill the musical events in the radio studio, Four Gang also took down directly to the various fronts. They cheer the fighters and the local community who love the song of struggle, especially the songs that were created by the quartet orchestra personnel, including Ismail Marzuki.

   

Ismail Marzuki song creation work of the most popular is the seduction of Palm Island are used as final cover songs broadcast by TVRI station on the reign of the New Order.

Ismail Marzuki blessed honor 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 Four Gang

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

1) pack sakerah (Sueb) 2) Kuto Suroboyo (Sukemi)

3) numpak railroad (j, Sudarminto et al),

4) Nyang T.H.R (noerjatian)

Side 2:

1) Motor Uduk (Ahmad & J.sudarminto)

2) The pansy (Juwariyah T.M.)

3) Dream dicokot Ulo (Soekemi / Achmad),

4) Nanggelo (Sueb)

original info

A.ERA BUNG KARNO 1951-1965

1a.Grup Musik Sunda Miss Tjitjih di Betawi(Jakarta)

Hampir setiap orang di Indonesia ini tahu dimana terletak tontonan Miss Tjitjih. tontonan berupa tonil Sunda atau Sandiwara yang memakai bahasa penagntar bahasa Sunda. Setiap abang becak akan tahu ,bahkan kondektur Bis yang mempunyai trayek keluar kota atau datang dari jurusan luar kota di terminal Bus di Palputih akan bertanya kepada setiap penumpangnya:” Miss Tjitjih ! Ada yang turun! (hal sama diterminal kemapung melayu jatinegara, “Mester Mester turun”. Kenapa Miss Tjitjih samapi begitu terkenal? kenapa ia telah dapat merebut hati sebagian besar penduduk Jakarta? Dan mungkin pembaca tidak akan pertjaya bahwa tidak sedikit penonton asingyang pada waktu tertentu menonton sandiwara itu. Misalnya saja penonton yang berkebangsaan Rusia,Jerman,Ceko,Amerika Serikat dan sudah tentu bangsa asia seperti orang jepang dan lainnya.

Faktor pertama yang akan menonjol kedepan dalam menjawab pertanyaan tersebut diatas, yang sudah pasti adalah untuk hiburan, karena orang membutuhkan hiburan ,hiburan yang sehat dan murah. Faktor kedua adalah sejarah,s ebab rombongan miss Tjitjih sejak lama telah beroiperasi di jakarta (Betawi) ,mereka telah menanamkan sesuatu dihati penduduk Betawi. Orang Jakarta mengenal iss Tjitjih melalui tiga zaman, era Belanda,era Pendudukan Jepang dan era Republik Indonesia sampai sekarang (1962). Rombongan Miss Tjitjih sekali menginjak Jakzarta,tetap di Jakarta. Orang Jakarta mengenal Miss Tjitjih semenjak menempati suatu persil,ditempat mana orang sekarang mengenal sebagai Pasar Burrung didalam kompleks Senen.Kemudian pindah disekitar kompleks  Stasiun Pasar senen lama dan semenjak 1952 menempati tempat yang sekarang(saya tidak menemuinya lagi dis enen tahun 1971-Dr iwan)

RAMAI-LUCU-MENDEBARFKAN-MENGHARUKAN

Mengapa orang asing juga suka denagn pertunjukan Miss Tjitjih, dalam hal ini karena faktor Seni. Terus zterang, orang asing itu tidak akan mengerti baahasa pengantar yang dipergunakan Miss Tjitjih, mungkin mereka dapat menikmati cerita secara keseluruhannya, karena ada jurubahasanya. tetapi orang asing itu akan menemukan sesuatu penilaian lain yang terdapat pada permainan dan pemain Miss Tjitjih dan juga mereka menemukan faktor seni dan budaya yang khas ditempat eprtunjukan tersebut serta juga menemukan sekelumit hiburan rakyat  yang berisikan pendidikan  dalam bidang moral yang tetap mempertahankan nilai-nilai budaya yang khusus pula.Selain itu ditemukan lakon cerita dengan latar belakang sejarah,cerita rakyat yang tetap hidup dan akhirnya ceritanya bersifat ringan,lucu,mengharukan,mendebarkan dan berakhir dengan menyenangkan.Berdasarkan hal tersebut diatas ,pada tahun 1962  Presiden Sukarno menganugerahkan suatu penghargaan kepada rombongan  Miss Tjitjih pada bulan september 1962, selain penghargaan juga diberikan hadiah uang Rp.50.000,(setara us 5000.-) , bersama Miss Tjtjih juga diberikan hadiah kepada Sriwedari solo dan Ngesti Pandowo Semarang.

ORANG YANG MAIN SANDIWARA TUKANG BOHONG

Ketua rombongan Miss Tjitjih bernama S.A. Bafaqih, seorang kelahiran Pasuruan, Jawa timur. Usianya sudah agak lanjut ditahun 1962 ,75 tahun,kelahiran 1888. Teoritis Bapak ini sudah pensiun, menurut istilah sendiri, tapi secara praktisnya masih tetap memimpin secraa langsung. Sebenarnya ia sudah bosan dengan sandiwara, baik sebagai pemain ataupun pemimpin atau menonton sandiwara, tetapi entah bagaimana, kalau mendengar ada sandiwara, ingin saja ikut menonton, apaun yang bakal terjadi, mungkin sudah dibawa sejak lahir. Ia bercerita bahwa , ia tahu betul bahwa orang yang main snadiwara itu adalah tukang bohong,sama saja dengan seorang penjual obat,tidfak seluruhnya benar. Bedanya, sandiwara punya lakon.punya cerita dan pemain berpakaian menarik. Mungkin didunia ini memang perlu orang-orang seperti dia. Orang-orang yang hanya bergerak dilapangan seni danb udaya. Orang berkata tentang dia, orang yang tidak begitu mnormal,ia ditonton orang, tetapi kami juga kadang-kadang jadi tontonan orang  sebab tak jarang hidup iami lebih jelek daripada seorang gembel. tetapi biarlah kami merasa  puas, dan penonton yang memerlukan kami  seba  jika mereka tidak puas, merekan tidak akan datang lagi.

Padahal setiap malam pertunjukan selain penuh ,bahkan lebih dari penuh serta penonton terus memaksa untuk menonton,mereka rela untuk menonton sambil berdiri.Didekat pintu masuk,terbaca tulisan besar Harga karcil Rp.20,-(US$10.) keterangan Bapak Bafaqig pemimpin Rombongan Miss Tjitjih, bahwa  harga keperluan hidup terus meningkat, biaya eksploitasi sebenarnay tidak cocock lagi, selain berat buat dia,lebih-lebih karena mereka memberikan kesempatan kepada anggota Angkatan Bersenjata untuk menonton pada setiap malam Jumaat tanpa memungut bayara( saya masih ingat tahun 1973,dijawa tengah angota ABRI gratis nonton bioskop dan naik kendaran umum di jawa tengah-Dr Iwan)

DARI DUNIA DAGANG KE SANDIWARA

Suka duka pengalaman Pemimpin rombongan sandiwara Muiss Tjitjih  adalahs ebagai berikut,

Sebelum menempati kompleks bagunan tahun 1962, pemain berjumlah 84 orang, beserta seluruh karyawan beerta keluarga berjumlah 120 orang ,seluruhnya menempati kompleks tersebut. sebelum menjadi anak wayang(anak sandiwara) , bapak Bafaqih adalah seorang pedagang keliling dari satu kelain kota, memang keluarganya adalah keluarga pedagang. Kemudian ikut-ikutan dalam oragnisasi sandiwara. Kemudia mewrasa tertarik dilapangan sandiwara, seterusna keenakan dan melepaskan pekerjaan dagangnya masuk sandiwara. dalam sejarah hidunya bapak Bafaqih bertemu dengan sorang pemain sandiwara, seorang dara dari sumedang yang memiliki bakat dengan paras yang cukup rupawan ,yang kemudian menjadi isterinya. Dari Nama isterinyalah bersumber nama Miss Tjitjih, sebelumnya rombongan sandiwaranya diberi nama :D e Nacht Opera”.kemudian “Valencia Opera”, lalu jadi Miss Tjitjih sampai tahun 1962 (siapa yang emiliki ino setealh tahun 1962,harap berkenan menginformasikannya kepada saya,terima kasih-Dr Iwan)

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
 

Salah satu kelompok musik yang dibentuk Ismail Marzuki di bawah naungan RRI Jakarta. Personel inti memang hanya empat orang, yaitu Saleh Soewita (gitar), Ishak (contra-bass), Jachja (biola), dan Ariston da Cruz (piano; pemusik asal Filipina yang berganti nama menjadi Arief Effendi). Contra-bass kadang-kadang dipegang oleh Sarom. Ismail sendiri bertindak sebagai pemimpin sekaligus pengaransemen musik orkes itu. Grup ini dibentuk sesaat setelah proklamasi kemerdekaan, yang ditujukan untuk menurunkan suhu politik yang makin panas dan setiap saat bisa meletus menjadi pertempuran terbuka. Jam main yang diberikan oleh pihak RRI Jakarta kepada orkes Empat Sekawan sekitar 30 menit sampai 1 jam. Jam siaran mereka dua kali dalam satu pekan, biasanya setiap hari Selasa dan Rabu siang. Pada 1946, hari dan jam main Empat Sekawan tidak menentu, kadang-kadang hari Senin, Selasa, atau Rabu. Umumnya orkes ini bermain sekitar 45 menit, dan tiga kali siaran dalam satu hari; siang pukul 13.15, sore pukul 17.15, dan malam pukul 20.00. Acara musik Empat Sekawan di RRI Programa Jakarta diberi tajuk Hiboeran Pahlawan, Hiboeran Oentoek Tentara Angkatan Laoet dan Oedara RI, Hieboeran Malam Minggu, Hiboeran Petang, Penawar Rindoe, dan Alam Ria Indonesia. Selain secara berkala mengisi acara musik di studio radio, Empat Sekawan juga menyempatkan diri turun langsung ke pelbagai front. Mereka menghibur para pejuang dan masyarakat setempat yang menyukai lagu perjuangan, khususnya lagu-lagu yang diciptakan oleh personel orkes kuartet itu, termasuk Ismail Marzuki.

 

Lagu ciptaan karya Ismail Marzuki yang paling populer adalah Rayuan Pulau Kelapa yang digunakan sebagai lagu penutup akhir siaran oleh stasiun TVRI pada masa pemerintahan Orde Baru.

Ismail Marzuki mendapat anugerah penghormatan pada tahun 1968 dengan dibukanya Taman Ismail Marzuki, sebuah taman dan pusat kebudayaan di Salemba, Jakarta Pusat. Pada tahun 2004 dia dinobatkan menjadi salah seorang tokoh pahlawan nasional Indonesia.

Ia sempat mendirikan orkes Empat Sekawan

2. Kroncong Aneka Warna dbp Markasan(Srimpi record Inc)

side 1 dengan lagu :

1)pak sakerah(sueb)2)kuto suroboyo(sukemi),

3)numpak sepur (j,sudarminto dkk),

4) Nyang T.H.R (noerjatian)

Side 2 :

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

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

3)Mimpi dicokot ulo(Soekemi/Achmad),

4)Nanggelo(Sueb)

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

Keroncong M.Sagi Info (google explorations)

irama

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

FRAME FOUR :

THE INDONESIA KRONCONG HISTORY FROM GOOGLE EXPLORATION FOR COMPERATIVE STUDY:

Musik keroncong lahir di Indonesia melalui proses perjalanan sejarahnya yang panjang dan penuh keunikan dilihat dari unsur pembentuknya yang terdiri dari berbagai komponen budaya, etnik, dan bahasa. Apabila kita menarik benang merah tentang asal mula lahirnya musik keroncong di Indonesia, kita akan dihadapkan pada misteri sejarah yang menyangkut sejarah dunia. Sejarah tentang pendudukan Islam di wilayah selatan semenanjung Iberia dari abad kelima hingga abad ketigabelas. Latar belakang sejarah yang menjelaskan mengapa bangsa Eropa pada abad keenambelas begitu gigih mengerahkan segala kemampuan navigasi dan kekuatan militernya untuk memperoleh rempah-rempah dari Timur. Sejarah tentang kedatangan bangsa Portugis dan bangsa Belanda pada abad ketujuhbelas untuk memperebutkan hegemoni di Asia Tenggara melalui monopoli perdagangan di Malaka, Sunda Kelapa, dan kepulauan Maluku. Sejarah tentang perbudakan, dan kehidupan para musisi jalanan selama masa Hindia Belanda. Sejarah pembentukan jatidiri bangsa Indonesia sebagai bangsa yang merdeka dan memiliki warisan budaya yang tidak terhingga banyaknya termasuk musik keroncong. Beruntunglah bahwa pada akhirnya musik keroncong diterima dan menjadi milik bangsa Indonesia, suatu kenyataan yang telah memperoleh pengakuan dunia internasional.

Saat ini ketika kita berbicara tentang keroncong, kita dihadapkan pada sebuah terminologi yang mengandung pengertian yang luas. Secara etimologis, keroncong berasal dari nama sebuah alat musik sejenis gitar berukuran kecil berdawai empat yang lazimnya terbuat dari nylon, sehingga apabila dimainkan menghasilkan bunyi crong, bukan jreng seperti halnya bunyi dawai logam. Istilah keroncong diyakini berasal dari para perajin waditra di kampung Tugu yang mewarisi keahlian seni kriya waditra gitar. Gitar itu dinamakan keroncong sebagai adaptasi dari gitar cavaquinho yang dibawa oleh para pelaut Portugis berlayar mengelilingi dunia. Ketika tiba di kepulauan Madeira gitar itu dinamakan braguinha, karena berasal dari wilayah Braga di Portugal. Di Brazil penduduk menamakannya machete yang digunakan untuk mengiringi tari-tarian. Di kepulauan Karibia gitar itu dinamakan cuatro, karena berdawai empat. Ketika tiba di Polynesia samudera Pasifik, penduduk pribumi menyebutnya sebagai ukelele, atau jari yang melompat, karena cara memainkannya tidak dipetik melainkan digerus. Menarik untuk disimak bahwa gitar itu memperoleh popularitas sebagai ukulele dengan paten Hawaii, sedangkan sebutan ukulele sebagai keroncong telah diakui sebagai paten Indonesia menurut Salwa El-Shawan Castelo-Branco dalam kamus The Grove’s Dictionary of Music and Musicians, “Portugal” (2002:197).

Dengan demikian ukulele dapat dikatakan menempati posisi kunci dalam setiap permainan musik keroncong, sehingga orkestrasinya harus memiliki warna crong yang berfungsi sebagai rhythmic riff (motif berulang-ulang). Selain itu, ukulele yang tersebar dan digunakan dalam berbagai jenis ensambel memberi petunjuk bahwa warna crong juga turut membahana di manapun ukulele itu dimainkan. Kita di Indonesia juga sepakat bahwa tidak ada musik apapun yang boleh tampil menyandang label keroncong tanpa memiliki keunikan warna crong dari permainan ukulele. Secara universal diyakini bahwa tiada keroncong tanpa crong, dan melalui penyebaran ukulele tidak mustahil musik keroncong dalam berbagai versi juga dapat ditemukan di berbagai pelosok. Saat ini warna crong masih dapat ditemukan antara lain di kepulauan Halmahera dalam ensambel bastidor yang generik, di Malaka dalam ensambel dondang sayang, di Negeri Belanda dalam ensambel toegoenezen, di Hawaii dalam ensambel hawaiian guitar, di Suriname dengan krontjong ensambelnya, selain di Indonesia dalam ensambel orkes keroncong.

Apabila keroncong sebagai waditra telah mendunia, maka keroncong sebagai ensambel musik, keroncong sebagai bentuk lagu, dan keroncong sebagai gaya permainan gitar merupakan ciri khas Indonesia, yang dipengaruhi oleh gagrak gamelan Jawa. Orkestrasi ensambel keroncong lazimnya menampilkan biola atau flute sebagai pembawa alur melodi, gitar sebagai pengiring dan pembawa alur kontra-melodi, ukulele sebagai time-beater, dan cello petik (pizzicato) sebagai rhythm tune-percussion yang terkadang dipertebal dengan bass petik.

Seperti halnya pengendang menjadi pemimpin kelompok gamelan Jawa, maka pemain cello dengan pola gedugannya yang khas menurut Kusbini menjadi conductor dalam orkes keroncong. Gedugan itu memiliki fungsi ganda sebagai bass dan perkusi, yang menyebabkan orkes keroncong tidak membutuhkan dan menghindari penggunaan drum-set dalam orkestrasinya. Dari sini dapat kita saksikan betapa kuatnya dominasi waditra berdawai dalam menampilkan karakter chordophonic sebuah orkes keroncong secara total dari peranannya sebagai pembawa melodi hingga ritme dan harmoni.

Orkestrasi keroncong sebenarnya merupakan iringan tarian Moresco yang terdiri dari gitar dan tambourine perkusi yang berkeping logam sebagai perpaduan musik Arab-Kaukasia. Tambourine juga digunakan dalam orkes keroncong para pemusik Indies di Batavia pada masa Hindia Belanda. Itu sebabnya muncul versi lain tentang istilah keroncong ketika tambourine tersisih dari orkes keroncong akibat pengaruh gamelan Jawa, sehingga warna kerincing logamnya tidak lagi terdengar, dan yang tinggal hanyalah warna keroncong gitarnya. Warna kerincing logam dikembalikan sebagai properti para penari Jawa yang mengenakan gelang pada kaki mereka. Saat ini meski tambourine masih terdengar di kampung Tugu, orkes keroncong di Indonesia tidak lagi menggunakannya.

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

Pada masa Hindia Belanda, keroncong tampil sebagai ars nova, seni baru yang bersifat non-tradisi dan non-klasik Barat, seni yang digemari oleh masyarakat perkotaan. Kota-kota besar di Jawa kemudian tumbuh menjadi sentra keroncong, sejak mencapai popularitas melalui Pasar Malam di Gambir, komunitas Krokodilen di Kemajoran, hingga concours Jaar Markt di Surabaya. Keroncong ketika itu menjadi bagian dari budaya massal yang memiliki nilai komersial, sehingga ensambel keroncong bermunculan di mana-mana. Namun setelah masa kemerdekaan, terjadi revolusi musikal di seluruh dunia dengan lahirnya musik berirama rock yang digemari kaum muda. Musik berirama rock dengan cepat menyebar melalui teknologi rekaman dan menjadi musik masa kini yang menggusur popularitas musik berirama konvensional termasuk keroncong.

Secara musikologis, musik konvensional adalah musik dengan irama yang aksentuasinya jatuh pada ketukan pertama, seperti irama tarian walsa dalam tiga hitungan, atau irama marcia dalam empat hitungan. Sebaliknya irama rock memberikan nafas yang segar ketika aksentuasi itu berpindah dari ketukan pertama yang ditandai dengan hentakan stick snare-drum pada ketukan kedua di antara permainan pola ritmik bass-drum dan hi-hat cymbal. Perpindahan aksentuasi itu melahirkan karakter sinkopatik, ketergantungan yang berkelanjutan, sehingga menimbulkan sensasi psikologis dari tanya yang tidak terjawab. Tidak mengherankan apabila irama rock berhasil menarik perhatian generasi muda, dan dengan cepat menguasai kehidupan musikal secara universal.

Tidak dapat disangkal bahwa drum-set menempati posisi kunci dalam irama rock. Saat ini tidak ada musik populer dari jenis apapun yang tidak menggunakan drum-set, mulai dari kelompok band yang sederhana hingga kelompok symphonic band atau light music orchestra yang canggih. Irama rock melalui permainan drum-set telah mendunia dan menjadi basis dari semua jenis musik populer masa kini. Sejalan dengan itu popularitas musik konvensional menjadi terpinggirkan dan dianggap representasi musik masa lalu yang telah usang, yang hanya diminati oleh kaum tua saja.

Dalam hal ini keberadaan musik keroncong menghadapi dilema, karena di satu fihak popularitasnya akan semakin merosot apabila tetap mempertahankan iramanya yang konvensional, sementara di lain fihak penggunaan drum-set dalam orkestrasi keroncong akan membunuh karakteristik musiknya. Waktu dengan cepat berlalu ketika musik keroncong akhirnya beranjak dari budaya massal musik industri yang bernilai komersial memasuki budaya tradisi yang dikelompokkan sebagai musik etnik. Jenis musik seperti ini selalu rentan menghadapi ancaman kepunahan, sehingga konsep tentang pelestarian dan revitalisasi menjadi agenda utama. Beruntung bahwa modal sosial dari keroncong terletak pada dukungan sebagian masyarakat Indonesia yang menjamin bahwa musik yang telah lahir sejak berabad-abad itu tidak akan punah. Namun upaya revitalisasi perlu terus menerus dilakukan untuk tujuan apapun, termasuk tujuan rekonstruksi, tujuan go-international, atau untuk kepentingan eksperimental dan archiving.

Upaya go-international terhadap musik keroncong pernah dilakukan oleh Rudi Pirngadie melalui penampilan orkes keroncong Tetap Segar yang membawakan gagrak Keroncong-beat dalam New York World’s Fair tahun 1964. Keroncong beat merupakan konsep yang mengetengahkan irama keroncong dalam bentuk gedugan cello, rhythmic riff ukulele, dan banyu mili gitar untuk mengiringi semua jenis lagu termasuk lagu Barat. Tidak kurang penyanyi keroncong seperti M. Rivani, Rita Zahara, dan Sayekti berhasil menarik perhatian masyarakat Amerika dalam membawakan lagu Barat seperti I left my heart in San Francisco yang dikeroncongkan. Eksperimentasi Keroncong beat ternyata tidak membawa hasil disebabkan antara lain karena tidak memiliki akar budayanya yang kuat di Indonesia. Tidak mustahil bahwa kegagalan itu juga diakibatkan karakteristik iramanya yang eksotik, tidak berdaya melawan irama rock yang sensasional. Namun betapapun juga, inovasi Pirngadie telah berhasil menunjukkan posisi dan nilai tawar musik keroncong Indonesia dalam kancah internasional.

Upaya go-international lainnya dapat dilakukan melalui penyusunan kemasan orkestra untuk keroncong seperti yang dilakukan oleh RRI melalui Orkes Studio Jakarta pimpinan Isbandi dalam acara Bintang Radio Televisi jenis Keroncong. Demikian pula eksperimentasi Singgih Sanjaya melalui garapan Light Keroncong dalam format orkestra yang tetap mempertahankan pakem keroncongnya. Upaya ini lebih sesuai bagi pelestarian musik keroncong sebagai musik tradisi yang dikemas secara artistik musikal. Upaya ini lebih akademik dan terhormat dalam mengangkat keroncong sebagai repertoar Indonesia di forum internasional, lebih dari sekedar menawarkan iramanya yang generik.

Upaya go-international juga berarti mempromosikan kepada dunia internasional bahwa keroncong adalah musik Indonesia, melalui hak paten atau hak atas kekayaan intelektual yang diikuti dengan berbagai publikasi tentang keroncong dari para peneliti. Sejauh ini peneliti seperti Surya Brata, Paramita Abdurachman, Harmunah, Budiman BJ, dan Suka Hardjana telah banyak berperan, sementara para peneliti asing seperti Bronia Kornhauser dan Ernst Heins turut memberikan kontribusi mereka. Penelitian Philip Yampolsky menghasilkan rekaman penyanyi keroncong generik tahun 1930-an yang berbeda warna suaranya dengan penyanyi keroncong saat ini, selain selama bertahun-tahun Philip telah menaruh perhatian besar terhadap musik-musik etnik Nusantara.

Upaya go-international juga menuntut kita untuk menghargai para maestro yang telah berhasil menumbuhkembangkan musik keroncong sejak masa Hindia Belanda hingga dapat tampil saat ini sebagai salah satu mainstream musik Indonesia, seperti yang telah dirintis oleh komunitas Tugu dalam Krontjong Toegoe, Kusbini dalam Keroncong Asli, Gesang dalam Langgam Keroncong, Andjar Any dalam Langgam Jawa, serta para penyanyi yang telah turut mendukung kehidupan musik keroncong dari generasi ke generasi. Diharapkan semoga dengan semakin pesatnya pendidikan musik di Indonesia, para pemusik akademik generasi muda secara naluriah akan tergugah kepedulian mereka untuk turut menjaga pusaka yang telah diwariskan leluhur bangsa kita.

Dengan demikian upaya go-international yang sejati terhadap musik keroncong semata-mata tidak terletak pada penyebaran dan popularitas musik keroncong secara internasional, atau pada archiving sosok musiknya dalam bentuk partitur, atau berupa pergelaran orkes keroncong yang immanent, akan tetapi lebih tertuju pada sikap yang mencerminkan keinginan para pencipta, pemusik, dan peneliti keroncong Indonesia untuk berperilaku secara musikal.

Pada akhirnya kita berkewajiban secara moral untuk menjaga dan mendukung kepercayaan dunia internasional bahwa keroncong adalah musik Indonesia, seperti halnya fado dikenal sebagai musik Portugis, blues menjadi identitas musik negro Amerika, flamenco dari Spanyol, dan tango sebagai nyanyian rakyat Argentina, musik nasional yang bersifat kerakyatan dengan lagunya yang tidak sekedar dinyanyikan melainkan juga diekspresikan secara coração, atau dari lubuk hati yang paling dalam.

Selamatkan Musik Kroncong Kita

Membaca beberapa terbitan buletin ”Tjroeng”, nampak geliat semangat komunitas keroncong Indonesia (KKI), baik penggemar, musisi, penyanyi, dan pemerhati keroncong berkeinginan untuk menggali kembali dan melestarikan seni musik keroncong yang dirasa mulai surut pamornya. Secara jumlah KKI mungkin semakin meningkat sejalan dengan peningkatan jumlah penduduk di Indonesia, tetapi secara prosentase mungkin menurun. Dapatkah dikatakan musik keroncong mulai surut pamorya?

Bila dibandingkan dengan keadaan tahun 70an mungkin ada benarnya. Saat itu event kegiatan musik keroncong yang disponsori oleh pemerintah atau negara dapat dikatakan padat. Diantaranya, yang belum hilang dari ingatan adalah selalu diadakan rutin setiap tahun lomba pemilihan bintang radio dari tingkat daerah (provinsi) sampai dengan tingkat nasional. Pemilihan ini disponsori (diadakan) oleh Departemen Penerangan, dan Radio Republik Indonesia (RRI) yang merupakan lembaga dibawah naungan Departemen Penerangan selalu menyiarkan acara lomba pemilihan bintang radio tsb. Pada saat itu yang dilombakan tidak hanya musik keroncong tetapi juga dari jenis seriosa dan “hiburan”, atau lebih dekenal saat ini sebagai jenis pop.

Antusias masyarakat mengikuti penyelenggaraan pemilihan bintang radio sangat besar. Terbukti acara ini yang disiakan oleh RRI sampai larut malam selalu ditunggu oleh para pendenganya. Dan musik keroncong dikalangan masyarakat pada saat itu menduduki posisi lebih tinggi, lebih populer bila dibandingkan dengan jenis musik seriosa dan hiburan. Perkembangan kondisi di masyarakat mempengaruhi pula perkembangan selera masyarakat terhadap musik yang ada. Secara alami terbentuk polarisasi selera dan apresiasi terhadap musik sekaligus mempengaruhi perkembangan musik itu sendiri. Terjadi pergeseran selera, terutama dikalangan anak usia muda (remaja) yang lebih menyenangi musik jenis hiburan atau pop. Banyak bermunculan group musik pop seperti Koes Plus, Favourit Group, D’lloyd, Pambers, Mercys dll. Selain itu, pelan tapi pasti, mulai merangkak naik popularitas musik dangdut yang pada waktu itu lebih dikenal sebagai musik “Melayu”. Bahkan dedengkot musik dangdut seperti Oma Irama pada awal karier musiknya melalui jalur musik pop, dan beberapa single lagunya sempat populer waktu itu. Keadaan sekarang, popularitas kedua jenis musik ini semakin tinggi (penggemarnya semakin banyak) jauh meninggalkan jenis musik kroncong dan seriosa.

Tidak puas dengan wadah yang disediakan oleh pemerintah sebagai ajang lomba, para musisi musik pop menyelenggarakan sendiri pemilihan bintang pop, baik ditingkat daerah maupun tingkat nasional, yang lebih dikenal dengan pemilih “Pop Singer”. Semakin banyak event musik pop diselenggarakan, sementara event untuk musik keroncong semakin sedikit bahkan tidak ada sama sekali.

Perkembangan selanjutnya, dengan dihapuskannya Departemen Penerangan dari jajaran kabinet, otomatis hilang pula kalender kegiatan lomba pemilihan bintang radio yang menyertakan musik keroncong didalamnya. Berarti hilang pula ajang untuk sosialisasi dan mempopulerkan musik keroncong dikalangan masyarakat luas.

Apakah rentetan kejadian ini pada akhirnya menurunkan pamor musik keroncong secara keseluruhan dan mulai ditinggalkan penggemarnya?

Dimata masyarakat Indonesia secara menyeluruh mungkin pamor musik keroncong turun drastis kalau tolok ukurnya adalah jumlah bilangan pengemar atau penikmat musik keroncong. Tetapi dikalangan KKI sendiri popularitas atau pamor musik keroncong tetap ada dan terjaga, hanya jumlahnya mungkin lebih sedikit dibandingkan dengan penggemar musik pop atau dangdut. Penambahan jumlah penggemar juga tidak terlalu signifikan, mungkin menunggu perubahan selera seiring dengan penambahan umur para penggemar musik bukan keroncong. Kenyataannya, komunitas musik keroncong tetap ada, bahkan tidak hanya di Indonesia tetapi merambah ke negara lain dibawa oleh orang-orang Indonesia yang migrasi ke negara lain, seperti Malaysia, Suriname, Belanda dsbnya. Di negara yang disebutkan tadi, komunitas musik keroncong tetap konsisten menyenangi dan memainkan musik keroncong.

Menyenangi atau membeci suatu jenis musik atau lagu-lagu, berkaitan dengan selera, jadi sifatnya sangat subyektif, tidak dapat dipaksakan. Berjalan secara alami menuruti lingkungan dan kebiasaan yang ada. Lagu musik pop yang dibawakan oleh grop musik Peterpan atau oleh group musik Radja di Indonesia sangat digandrungi dikalangan anak remaja atau anak bau gede (ABG), tetapi mungkin lagu-lagu group tadi tidak dikenal sama sekali oleh masyarakat Suriname. Masyarakat disana boleh jadi lebih mengenal artis Waljinah dengan lagu “Walang Kekeknya”. Kesimpulannya, secara global, mana yang lebih punya pamor atau lebih populer? Musik pop atau musik keroncong? Silahkan pembaca mempersepsikan sendiri untuk menjawab pertanyaan lain yang telah disebutkan diatas.

Permasalahan yang dihadapi komunitas keroncong di Indonesia dan dibelahan dunia lainnya adalah bagaimana menjaga sustainable eksistensi musik keroncong. Hal ini perlu mendapat perhatian mengingat adanya keprihatinan dari beberapa kalangan yang menyangsikan daya tahan musik keroncong terhadap “gempuran” jenis musik lainnya, khususnya musik pop. Sebagaimana berita yang dilansir oleh situs internet antara.co.id, tanggal 19 Oktober 2008, memuat berita tentang harapan besar maestro keroncong Indonesia, ”Gesang”, meminta masyarakat penggemar musik keroncong ikut melestarikan aliran musik asli jawa ini (maksudnya keroncong) agar tetap hidup sepanjang masa. Dibalik harapan beliau menyiratkan adanya kekhawatiran bahwa musik keroncong Indonesia mulai surut pamornya. Lambat laun, jika tidak ada upaya ”nguri-uri” musik keroncong, bukan tidak mungkin nantinya akan punah ditinggalkan penggemarnya. Keadaan ini merupakan tantangan sekaligus peluang seluruh insan komunitas keroncong untuk mengembalikan kemasyhuran musik keroncong agar harapan maestro “Gesang” keroncong dapat diwujudkan.

Bagaimana upaya kita melestarikan budaya seni musik keroncong?

,Terdapat beragam jenis keroncong, ada Keroncong Asli, Langgam Keroncong, Stambul Keroncong, ditambah dengan Krontjong Toegoe. Dari masing-masing jenis tadi memiliki ”rumus” atau ”pakem” sendiri-sendiri [mengenai rumus ini telah dimuat di buletin Croeng sebelumnya]. Melihat rumus atau pakemnya, musik keroncong dapat dikatagorikan sebagai musik yang serius, setara dengan musik klasik karena ada kaidah yang harus dipenuhi agar dapat disebut sebagai musik keroncong. Disinilah letak indah dan ”adiluhungnya” musik keroncong! Jadi kalau ada sebagian warga masyarakat mengatakan bahwa musik keroncong adalah ”kampungan” atau ”jadul” itu syah-syah saja karena berbeda persepsinya, tetapi itu keliru besar! Tidak sembarang orang dan tidak banyak yang dapat mencipta dan memainkan musik “pure” keroncong dengan baik dan benar. Hanya orang-orang yang memiliki talenta khusus. Oleh karena itu, musik keroncong yang dimainkan tanpa mentaati kaidah-kaidah, atau menyimpang yang ada dapat dikatakan sebagai musik keroncong kontemporer atau eksperimental. Biasanya dari kalangan anak muda yang senang melakukan eksperimen sehingga lahirlah musik CongDut (keroncong Dangdut), CongRock (paduan keroncong dan rock), CongLan (paduan keroncong dan gamelan), dll. Bagaimana kita menyikapi terhadap lahirnya jenis musik tersebut.

2.10 th Year Anniversary Asia Africa Confrence memorable in 1965, lokanata national kroncong song record

a) Cover(sampul Depan)

 A.ERA BUNG KARNO 1951-1965
Miss Sunda Music 1a.Grup Tjitjih in Batavia (Jakarta)
Almost everyone in Indonesia is to know where lies the spectacle of Miss Tjitjih. tonil spectacle of Sunda or Plays by using language penagntar language. Each pedicab brother would know, even the bus conductor who has a route out of town or coming from outside the major cities in the bus terminal in Palputih will ask each passenger: “Miss Tjitjih! There are down! (Same thing diterminal kemapung melayu Jatinegara, “Mester Mester down”. Why Miss Tjitjih till so famous? Why he has been able to win the hearts of many people in Jakarta? And perhaps the reader will not pertjaya asingyang that not a few viewers at any given time watching the play. For example, spectators are Russians, Germans, Czechs, of course, the United States and Asia as the Japanese nation and others.

The first factor that will stand forward in answering the questions mentioned above, which certainly is for entertainment, because people need entertainment, healthy and cheap entertainment. The second factor is the history, the group’s ebab miss Tjitjih has long been beroiperasi in Jakarta (Betawi), they had invested something Betawi people hearts. Jakarta people know iss Tjitjih through three times, the Dutch era, the era of Japanese occupation and the era of the Republic of Indonesia to the present (1962). Miss Tjitjih entourage once trod Jakzarta, stay in Jakarta. People familiar with Miss Tjitjih Jakarta since occupying a plot, to a place where people are now known as Market Burrung move around within the complex Senen.Kemudian Senen Market Station complex and time since 1952 that now occupies the place (I did not see him again in 1971 dis-Dr enen iwan)

Busy-FUNNY-MENDEBARFKAN-moving

Why are foreigners also love the show Miss Tjitjih denagn, in this case because of Art. Continue zterang, the stranger would not understand baahasa Miss Tjitjih of instruction, they may be able to enjoy the story as a whole, because there jurubahasanya. but the stranger will find something other assessments contained in the game and players Miss Tjitjih and they also find arts and cultural factors that are typical eprtunjukan place and also find a bit of entertainment that contains people in the field of moral education that maintains the cultural values pula.Selain was found to play a special story with historical background, folklore is alive and finally the story is light, funny, touching, thrilling and ends with menyenangkan.Berdasarkan the above, in 1962 President Sukarno confer an award to the group Miss Tjitjih in September 1962, but the award was also given 50,000 in prize money, (the equivalent of us 5000. -), together with Miss Tjtjih also awarded prizes to Sriwedari Ngesti Pandowo solo and Semarang.

PEOPLE WHO PLAY plays liar

The group leader named Miss Tjitjih S.A. Bafaqih, a birth Pasuruan, East Java. He was already quite advanced in the year 1962, 75 years old, born in 1888. Theoretically this man retired, according to its own terms, but in practical secraa still lead straight. Actually he was bored with the drama, both as a player or a leader or watch a play, but somehow, when you hear there is a play, to just come to watch, apaun that would happen, maybe it’s inborn. He told me that he knew very well that the people who play it are snadiwara liar, just the same as a drug seller, tidfak entirely true. The difference, plays and players got dressed lakon.punya interesting story. This world may indeed need people like him. People are just moving the field of art danb cultural fabric. People said of him, people who are not so mnormal, he watched people, but we also sometimes be a spectacle for the people living IAMI often worse than a hobo. but let us feel satisfied, and the audience that we need if they are not satisfied Seba, recording will not come again.

Though each night in addition to full performances, even more than full and the audience continued to insist on watching, they are willing to watch while berdiri.Didekat entrances, legible writing karcil Rp.20 great price – (U.S. $ 10.) Group leader statement Bafaqig Mr Miss Tjitjih, that the prices of necessities continue to rise, the cost of exploitation sebenarnay cocock no longer, in addition to heavy for him, the more so because they provide an opportunity for members of the Armed Forces to watch on Friday nights without charging bayara (I still remember the year 1973, the middle menjawa Armed Forces members free ride to the movies and public vehicles in central java-Dr Iwan)

FROM THE WORLD TRADE plays

Experience ups and downs of theatrical troupe leader Muiss Tjitjih adalahs sa follows,

Before the buildings complex occupies 1962, the players numbered 84 people, employees and all family beerta totaling 120 people, occupies the whole complex. before becoming a puppet child (boy plays), Bafaqih father was a traveling salesman from a disorder of the city, indeed the family is a family of merchants. Then went along with the charade oragnisasi. Mewrasa interested in the field plays later, seterusna easement and release the theatrical work of trade entry. in the history hidunya Bafaqih father met with a lady performer, a virgin of Sumedang who has enough talent to look beautiful, which later became his wife. The name comes from the name of Miss Tjitjih isterinyalah, before the group is named hammy theatrics e Nacht Opera “. Then” Valencia Opera “, and so Miss Tjitjih until the year 1962 (which features a ino who setealh 1962, please deign to inform me, thank you, Dr. Iwan)

Space orchestra sound dibp R Sutedjo

song: Call terumi godly creation

2) Gang of Four New York orchestra leader S.Jahja
side one: songs to convey my greetings (nn)

1) High track in the cloud (pious)

2) Say hello (nn)

Gang of Four
One of the musical group formed under the auspices of Ismail Marzuki RRI Jakarta. Key personnel are only four, namely Soewita Saleh (guitar), Isaac (contra-bass), Jachja (violin), and Ariston da Cruz (piano; musician from the Philippines, renamed Arief Effendi). Contra-bass is sometimes held by Sarom. Ismail himself acting as a leader and arranger of music that the orchestra. This group was formed shortly after the proclamation of independence, which is intended to lower the political temperature is getting hot and could explode at any moment become an 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 a week, usually every Tuesday and Wednesday afternoon. In 1946, the days and hours playing Gang of Four erratic, sometimes on Monday, Tuesday, or Wednesday. Generally, the orchestra is playing about 45 minutes, and broadcast three times a day; afternoon at 13:15, 17:15 o’clock in the afternoon and evening at 20.00. Gang of Four music show on RRI Jakarta Programa Hiboeran entitled Heroes, Hiboeran Oentoek Army and Navy Laoet Oedara RI, Hieboeran Saturday night, Hiboeran evening, Rindoe bidder, and Alam Ria Indonesia. In addition to regularly fill the musical events in the radio studio, Gang of Four also took time to come down directly to the various fronts. They cheer the fighters and the local community who love the fight song, especially songs that were created by the quartet orchestra personnel, including Ismail Marzuki.
   

The creation of works of Ismail Marzuki song is the most popular Flirt Coconut Island is used as a cover song by the end of the broadcast station TVRI in the New Order government.

Ismail Marzuki got grace tribute in 1968 with the opening of the Taman Ismail Marzuki, a park and cultural center in Salemba, Central Jakarta. In 2004 he was hailed as one of Indonesia’s national heroes.

He had founded the band Gang of Four

2. Assorted Colors Markasan Kroncong DBP (srimpi record Inc)
one side with a song:

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

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

4) Nyang T.H.R (noerjatian)

Side 2:

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

2) The Pansy (Juwariyah T.M.),

3) Dream dicokot ulo (Soekemi / Achmad),

4) Nanggelo (Sueb)

3. Kroncong orchestra Tjendrawasih S.Padimin DBP (Lokananta record Inc)
Song side 1:

1) Nandur maize (M wise),

2) Birds Pigeons (S.Padimin)

song side 2:

1) the edge of the river solo (s.Padimin-kustiati),

 2). Kroncong Mesra (Sunarno-Supardi achijat)

:

3.Orkes Kroncong Kemayoran DBP M.Sagi
(Tune record Inc)
1) Cadence India with song production

side one: Djali Djali (NN) singer Oje

 

side two: Remembering the fate of ciptaaan Sukamto-St.P.Bustamil

Keroncong M.Sagi Info (google Explorations)

1) Keroncong
At this time the Indo known musicians, and the legendary violinist M. Sagi Lief Java … Listen to the Orchestra, Orchestra Keroncong Cafrino Monument, George de Fretes, and orchestra …

2) Moh. Sjah & Orchestra Kerontjong M. Sagi – Kr. Rhythm
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 piece from the Indonesian krontjong mid-20th century, on the local Rhythm label. “Cadence” actually means “rhythm” in English – Thus Spake the title of the piece as well as the name of the record labels are explained.

I posted a krontjong tune of the same vintage, and on another Indonesian independent label (Dendang). This one is similar – it’s the style of krontjong That I quite enjoy, featuring the guitar and fiddle player walking trading runs in Between smooth vocals. Relatively Krontjong Itself is a new type of urban folk music, developing in Indonesian urban areas a little over 100 years ago, with Batavian, Portuguese, Malay, and even African influences. Dramatically Krontjong had changed 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 Stamboel That sounds influenced by 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) Service violinist M.Sagi

Initially with the name and Kroncong Kroncong Betawi Jakarta “in Jakarta at the time … … The composition of this instrument is thanks to a violinist keroncong M.Sagi

also in Indonesia (Indonesian rhythm music co ltd) look below compare with above:

1) Dimin, Remembering the fate with M.Sagi Keroncong Orchestra, Rhythm productions Record

FRAME FOUR:

INDONESIA THE HISTORY FROM GOOGLE kroncong Exploration COMPERATIVE FOR STUDY:

Keroncong music was born in Indonesia through the course of its long history and full of unique views of its constituent elements are composed of various components of cultural, ethnic, and language. If we draw a red thread on the origin of the birth of keroncong music in Indonesia, we will be faced with the mystery concerning the history of the world’s history. History of the Islamic occupation of the Iberian peninsula in the southern region of the fifth century until the thirteenth century. Historical background that explains why the Europeans in the sixteenth century is so determined to mobilize all its military forces the ability to navigate and to get the spices from the East. History of the arrival of the Portuguese and the Dutch in the seventeenth century to compete for hegemony in East Asia through trade monopoly in the Malacca, Sunda Kelapa, and the Moluccas. 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 including the infinite number keroncong music. Fortunately that eventually accepted keroncong music and Indonesia belong to the nation, a fact which has gained international recognition.

Today when we talk about keroncong, we are faced with a term containing a broad sense. Etymologically, keroncong derived from the name of a musical instrument similar four-stringed small guitar that is typically made of nylon, so that when played crong produce sound, not like the sound of stringed jreng metal. Keroncong term believed to derive from the craftsmen in the village monument waditra who inherited craft arts skills waditra guitar. Keroncong guitar called cavaquinho guitar as an adaptation of which was taken by Portuguese sailors sailed around the world. When he arrived in Madeira archipelago was named braguinha guitar, because it comes from the region of Braga in Portugal. In Brazil resident named machete is used to accompany dances. Caribbean guitar called Cuatro, for four strings. When he arrived in Polynesia, the Pacific, the natives call it a ukelele, a jump or a finger, because it learned how to play but not crushed. Interesting to note that the guitar is gaining popularity as a ukulele with Hawaii patents, while the ukulele as the title has been recognized as a patent keroncong Indonesia according to 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 riff (repeated motif). In addition, the ukulele spread and used in various types of ensemble indicate that the color crong also blaring wherever it is played ukulele. We in Indonesia have also agreed that there is no any kind of music that may appear bearing the label has a unique color keroncong without crong of play 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 bastidor a generic ensemble, the ensemble dondang Malacca unfortunately, in the Netherlands in the ensemble toegoenezen, in Hawaii in 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 ensemble music, keroncong as a form of song, and keroncong as guitar playing style is the hallmark of Indonesia, which is influenced by Javanese gamelan gagrak. Keroncong usual ensemble orchestration featuring violin or flute as a carrier flow of melody, accompaniment and guitar as 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.

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

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

At the time of the Dutch East Indies, keroncong appeared as ars nova, a new art that is non-traditional and non-classical Western art favored by the urban community. Big cities in Java and then grow into the center of keroncong, since its popularity through the Night Market in Gambier, in Kemajoran Krokodilen community, to the 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 in the whole world with the birth of rock is a popular rhythmic music of youth. Rhythmic rock music quickly spread through recording technology and a contemporary musical 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 in three counts, or in a four-count rhythm marcia. Conversely rock rhythms provide a fresh breath as it moves from the accentuation of the first beat is marked by the beat of snare-drum stick on the second beat of rhythmic patterns play bass-drum and hi-hat cymbal. Accentuation of character displacement gave birth sinkopatik, continuous dependence, giving rise to the psychological sensation of the question is not answered. Not surprisingly, when the rhythm of rock caught the attention of the younger generation, and quickly master the musical life of the universal.

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 do not use drum-set, ranging from a simple band to the symphonic band or orchestra sophisticated light music. Rock rhythms through drum-set game has worldwide and became the basis of all kinds of popular music today. In line with the popularity of conventional music to be marginalized and regarded musical representation of the past that have been outdated, the only attractive to the elderly only.

In this case the existence of music keroncong face a dilemma, because on the one hand its popularity will further decline if a conventional retaining the rhythm, while on the other hand the use of drum-set orchestration keroncong will kill the characteristics of his music. Time passes quickly when music keroncong finally moved from the mass culture of the music industry into the commercial value of 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 most of the people of Indonesia to ensure that the music has been born since centuries will not become extinct. But revitalization efforts should continue to be done for any purpose, including the purpose of reconstruction, international go-purpose, or for the benefit of experimental and archiving.

Go-international efforts against keroncong music ever undertaken by Rudi Pirngadie orchestra through performances that bring keroncong Stay Fresh gagrak Keroncong-beat the New York World’s Fair in 1964. Keroncong beat that explores the concept of rhythm is in the form gedugan keroncong cello, rhythmic riffs ukulele, and guitar to accompany mili banyu all kinds of songs, including western song. No less keroncong singer like M. Rivani, Rita Zahara, and Sayekti successfully attracted the attention of American society in the Western rendition as I left my heart in San Francisco who dikeroncongkan. Keroncong beat experimentation was to no avail due to, among others because it does not have a strong cultural roots in Indonesia. Not impossible that the failure was also due to the characteristics of the exotic rhythm, helpless against the sensational rock rhythms. But after all, innovation Pirngadie have successfully demonstrated the position and value of fresh music keroncong Indonesia in the international arena.

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

Go-international effort is also meant to promote the international world of music that is keroncong Indonesia, through patents or other intellectual property rights, followed by numerous publications about keroncong of the researchers. So far researchers like Surya Brata, Paramita Abdurachman, Harmunah, Budiman BJ, and Love Hardjana has a lot to do, while foreign researchers like Bronia Kornhauser and Ernst Heins contributed to them. Philip Yampolsky research generates a generic recording keroncong singer of the 1930s a different color to the singer keroncong voice today, but over the years Philip has been paying 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 from the time 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 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 musical life of keroncong from generation to generation. May be expected with the rapid music education in Indonesia, the young academic musicians will instinctively aroused their concern for the heritage that has helped keep our nation’s ancestors bequeathed.

Thus the efforts of true international go-to keroncong music does not lie solely on the spread and popularity internationally keroncong music, or musical figure on archiving in the form of scores, or in the form of an immanent keroncong orchestra performances, but rather focused on the 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 became the identity of African-American music, Spanish flamenco and Argentine tango as a folk song, a national music that is popular the song is not just sung but also expressed Coração, or from the deepest depths.

Save the Music Kroncong We

Read some publications bulletin “Tjroeng”, appears twisted sense of community keroncong Indonesia (KKI), both fans, musicians, singers, and observer keroncong willing to dig up and preserve the art of music keroncong perceived prominence began to wane. In the KKI may further increase with the increasing number of people in Indonesia, but the percentage may be reduced. 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 events sponsored by the government or state can be said to be solid. Among them, the loss of memory is not always held regularly every year election race radio stars of the regions (provinces) to national level. The selection was sponsored (held) by the Ministry of Information, and Radio Republik Indonesia (RRI) which is an agency under the auspices of the Ministry of Information has always broadcast the race radio star selection page. At that point is contested not only music but also of the type keroncong Seriosa and “entertainment”, or more current dekenal as type pop.

Enthusiastic people to follow the holding of a huge radio star. This event proved that disiakan by RRI out late always awaited by 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 for the music. Naturally formed polarization taste and appreciation of music as well as influence the development of the music itself. A shift in tastes, especially among young children (teenagers) are more like the type of entertainment or pop music. A lot of pop music group pop like Shania Twain, 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 as Oma dedengkot dangdut rhythm at the beginning of his musical career through pop music, and some single song was popular at that time. The situation now, the popularity of these two types of music the higher (more fans) far left and the type of music kroncong Seriosa.

Not satisfied with the container provided by the government as an arena of competition, the musicians pop music pop star held his own elections, both at regional and national level, better known to voters “Pop Singer”. More and more pop music event was held, temporary keroncong music event for 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 a radio star music keroncong therein. Meaning is lost is also a place to socialize and popularize keroncong music among the general public.

Is this series of events ultimately reduce the overall prestige of keroncong music and fans began to be abandoned?

Indonesia in the eyes of society as a whole may fall dramatically keroncong music fame if the criterion is the amount or number Pengemar keroncong music lovers. But among his own popularity or prestige KKI keroncong music remain and be maintained, only the number is likely much less than the pop or dangdut music fans. Increasing the number of fans are also not very significant, perhaps waiting in line with the addition of changing tastes age music fans not keroncong. In fact, there remains keroncong music community, and not only in Indonesia but expanded into other countries brought about by the Indonesian people who migrate to other countries, like Malaysia, Suriname, the Netherlands etc.. In countries mentioned above, the music community keroncong consistent keroncong loved and played music.

Enjoys or hates a type of music or songs, with regard to taste, so it is highly subjective, can not be forced. Walk naturally follow the existing environment and habits. Pop songs sung by Shakira music Grop or by Radja music group in Indonesia very loved among adolescent or child big bad (ABG), but maybe the songs the group was not recognized at all by the people of Suriname. People there may be more familiar with the artist Waljinah song “Walang Kekeknya”. To sum up, 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 keroncong across the globe and the other is how to maintain sustainable existence keroncong music. This needs attention in light of concerns from some quarters who doubted the durability of music keroncong against “the onslaught of” other kinds of music, especially pop music. As the news reported by the website antara.co.id, dated October 19, 2008, carried stories about the great expectations maestro keroncong Indonesia, “Gesang”, asking people keroncong music fans to help preserve the original music flow this Java (meaning keroncong) to stay alive all time. Behind hope he implies the concerns that the music began to recede fallen keroncong Indonesia. Eventually, if nothing is done “nguri-uri” keroncong music, it is not likely to go extinct eventually abandoned his fans. 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 arts keroncong music?

, There are various types of keroncong, there Keroncong Original, Idioms Keroncong, Stambul Keroncong, coupled with Krontjong Toegoe. Of each type had had a “formula” or “grip” on their own [on this formula has been published 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 is some community residents said that keroncong music is “tacky” or “old school” was legitimate, valid only because of different perceptions, but it’s a big mistake! Not just anyone and there is not much that 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 distorted that there can be regarded as contemporary or experimental music keroncong. Usually of young people who likes to experiment so that the music was born CongDut (keroncong dangdut), CongRock (keroncong alloy and rock), CongLan (alloy keroncong and gamelan), etc.. How we respond to the birth of the musical kind.

 
 
 

 

A. ERA Bung Karno 1951-1965(Era Bung Karno)

 

Netty Bintang Kesayangan zsepanjang Masa
 
 
 
 
 

Netty

Karya Vol. 1

Karya Vol. 2
 

Kroncong

1.Lagu Betawi Era 1950-1960
1) orchestra sound dibp R Sutedjo Space
song: Call terumi godly creation

2) Four Gang Djakarta Orchestra leader  S.Jahja
Side one: The song to convey my compliments (nn)

1) High in the clouds song (pious)

2) Say hello (nn)

Four Gang
One of the musical group that was formed under the auspices of Ismail Marzuki Jakarta RRI. Core personnel are only four people, namely Saleh Soewita (guitar), Isaac (contra-bass), Jachja (violin), and Ariston da Cruz (piano; musician from the Philippines which changed its name to Arief Effendi). Contra-bass is sometimes held by Sarom. Ismail himself acting as a leader and that orchestra music arranger. This group was formed shortly after the proclamation of independence, which is intended to lower the political temperature of the hot and could explode at any time into open battle. Curtain time is given by the RRI Jakarta to the orchestra Four Sekawan about 30 minutes to 1 hour. Hours of their broadcast twice in one week, usually every Tuesday and Wednesday afternoon. In 1946, days and hours of play Four Gang erratic, sometimes on Monday, Tuesday, or Wednesday. Generally, this orchestra is playing about 45 minutes, and broadcast three times in one day, lunch at 13:15, 17:15 o’clock in the afternoon, and evening at 20.00. Four Gang music event in Jakarta RRI Programa Hiboeran entitled Heroes, Hiboeran Oentoek Armed Forces sea and is difficult to determine RI, Hieboeran Saturday night, Hiboeran evening, Bidder Rindoe, and Alam Ria Indonesia. In addition to regularly fill the musical events in the radio studio, Four Gang also took down directly to the various fronts. They cheer the fighters and the local community who love the song of struggle, especially the songs that were created by the quartet orchestra personnel, including Ismail Marzuki.
   

Ismail Marzuki song creation work of the most popular is the seduction of Palm Island are used as final cover songs broadcast by TVRI station on the reign of the New Order.

Ismail Marzuki blessed honor 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 Four Gang

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

1) pack sakerah (Sueb) 2) Kuto Suroboyo (Sukemi)

3) numpak railroad (j, Sudarminto et al),

4) Nyang T.H.R (noerjatian)

Side 2:

1) Motor Uduk (Ahmad & J.sudarminto)

2) The pansy (Juwariyah T.M.)

3) Dream dicokot Ulo (Soekemi / Achmad),

4) Nanggelo (Sueb)

3. Kroncong orchestra Tjendrawasih DBP S. Padimin (Lokananta record Inc.)
Song Side 1:

1) Nandur Djagung (M wise),

2) Pigeon (S. Padimin)

song side 2:

1) alongside the river solo (s.Padimin-kustiati)

 2). Kroncong Mesra (Sunarno-Supardi achijat)

:

3.Orkes Kroncong Kemayoran DBP M. Sagi
(Rhythm record Inc.)
1) The rhythm of song production with India

side one: Djali Djali (NN) singer Oje

Side two: Remembering the fate of ciptaaan Sukamto-St.P.Bustamil

Keroncong M. Sagi Info (google Explorations)

1) Keroncong
At this time Indo known musicians, and legendary violinist is M. Sagi … Listen Orkest Lief Java, Tugu Cafrino Keroncong Orchestra, George de Fretes, and Orchestra …

2) Moh. Sjah & Orchestra Kerontjong M. Sagi – Kr. Rhythm
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 piece Indonesian krontjong from the mid-20th century, on the local Rhythm label. “Rhythm” Actually means “rhythm” in Bahasa Indonesia – thus the title of the piece as well as the name of the record labels are explained.

I posted a krontjong tune of the Same vintage, and on another independent label Indonesian (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 influences. Had Krontjong changed dramatically since it was first Recorded ca. 1904, and Pls 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 That sounds krontjong 1920s 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. Mostly I am sure That “Moh.” Stands for Mohammed, and “Cr.” Stands for krontjong, but at the risk of being incorrect, I will from the original label let stand as the official record

3) Service violinist M. Sagi

Initially under the name Kroncong ago Kroncong Jakarta Betawi “… In Jakarta at that time … The composition of instruments like this is thanks to M. Sagi a violinist keroncong

Also in Indonesia (Indonesian Rhythm music co ltd) look below compare with above:

1) Dimin, Remembering the fate of M. Sagi Keroncong with Orchestra, Rhythm productions Record

Four FRAME:

HISTORY FROM THE INDONESIA Kroncong GOOGLE Exploration COMPERATIVE FOR STUDY:

Music keroncong born in Indonesia through the course of its history is long and full of unique views of its constituent elements consisting of various components of culture, ethnicity, and language. If we draw a red thread about the origin of the birth of music keroncong in Indonesia, we will be faced with the mystery of history concerning the history of the world. History of Islamic occupation in the south 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 persistent and navigation capability to mobilize all its military power to obtain the spices from the East. The history of the arrival of the Portuguese and the Dutch in the seventeenth century to compete for hegemony in Southeast Asia through trade monopoly in the Malacca, Sunda Kelapa, and the Maluku islands. The history of slavery, and the lives of street musicians during the Dutch East Indies. History of the Indonesian people’s identity formation as an independent nation and has a cultural heritage that is not infinite number including music keroncong. Fortunately for music that eventually keroncong accepted and become the property of Indonesia, a fact which has gained international recognition.

Today when we talk about keroncong, we are faced with a terminology that contains the broad sense. Etymologically, keroncong derived from the name of a musical instrument similar four-stringed small guitar that is typically made of nylon, so that when played produce sounds crong, jreng not like the sound of metal strings. Keroncong term believed to derive from the crafters waditra in Tugu village who had inherited the art of craft skills waditra guitar. Guitar is named as an adaptation of the guitar keroncong cavaquinho brought by Portuguese sailors sailed around the world. When she arrived in the archipelago of Madeira is called braguinha guitar, because it comes from the region of Braga in Portugal. In Brazil the people named Machete used to accompany dances. In the Caribbean islands were named Cuatro guitar, because the four-stringed. When he arrived at the Polynesian Pacific, the natives call it a ukelele, or fingers that jump, because it learned how to play it but not crushed. It is interesting to note that the guitar that gained popularity as a ukulele with Hawaiian patent, 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 orkestrasinya must have crong color that serves as a rhythmic riffs (repeated patterns). In addition, the ukulele is spread and used in various types of ensembles gave instructions that the color also crong formations wherever it is played ukulele. We in Indonesia have also agreed that there is any music that may appear keroncong without bearing the label has a unique color of the game crong ukulele. It was universally believed that there is no keroncong without crong, and through the spread of ukulele music keroncong not impossible in many versions can also be found in various corners. Currently crong color can still be found among others on the island of Halmahera in the ensemble bastidor 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 ensemble music, keroncong as a form of song, and keroncong as guitar playing style is a hallmark of Indonesia, which is influenced by Javanese gamelan gagrak. Orchestration keroncong usual ensemble featuring violin or flute as a bearer of a melody line, 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.

Just as pengendang become leader of a group of 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 dominance in the display character string waditra chordophonic an orchestra keroncong in total from its role as the bearer of a 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 that is left 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, although the tambourine was heard in the village of Monument, 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 appear 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 its popularity through the Night Market in Gambir, Krokodilen community in Kemajoran, until 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 a popular rhythmic music rock youth. Rhythmic rock music quickly spread through recording technology and the music of today that displace the popularity of conventional rhythmic music including keroncong.

The musicologist, conventional music is music with rhythms that aksentuasinya falls on the first beat, like the rhythm of the dance walsa in three counts, or Marcia in a four-count rhythm. Conversely rock rhythms provide a fresh breath while accentuating it moves from the first beat which was marked by the beat of snare-drum stick on the second beat of the rhythmic pattern of the game bass-drum and hi-hat cymbal. The move gave birth to characters sinkopatik accentuation, continuous dependence, giving rise to the psychological sensation of questions unanswered. Not surprisingly, when the rhythm of rock managed to attract 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 which does not use a drum-set, ranging from a simple band to the symphonic band or a sophisticated light music orchestra. Rock rhythm through drumming sets worldwide and became the basis of all kinds of popular music today. Along with the popularity of conventional music become marginalized and is considered the representation of music past that have been deprecated, which is only interested by the elderly only.

In this case the existence of music keroncong facing a dilemma, because on the one hand its popularity will further decline if it retains a conventional rhythm, while on the other hand the use of drum-set in the orchestration keroncong will kill characteristics of the music. Time quickly passed when the music finally keroncong music moved from the mass culture industry into the commercial value of cultural traditions that are classified as ethnic music. Type of music such as this are always vulnerable to the threat of extinction, so the concept of preservation and revitalization agenda. Fortunate that the social capital of keroncong lies in the support part of Indonesian society that ensures that the music that 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 experimental purposes and archiving.

Go-international effort against keroncong music ever made by Rudi Pirngadie through keroncong Stay Fresh orchestra performances that bring the gagrak 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 music including Western songs. No fewer singers like M. keroncong Rivani, Rita Zahara, and Sayed managed to attract the attention of American society in the West like the song I left my heart in San Francisco that dikeroncongkan. Experimentation Keroncong beat did not bring results caused partly because they do not have strong cultural roots in Indonesia. It’s possible 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 value of bargaining position and keroncong music of Indonesia in the international arena.

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

Go-international effort is also meant to promote to the international world that keroncong is music of Indonesia, through patents or intellectual property rights, followed by various publications about keroncong of the researchers. So far, researchers such as Surya Brata, Paramita Abdurachman, Harmunah, Budiman BJ, and Like Hardjana has many roles, while foreign researchers such as Ernst Heins Bronia Kornhauser and contribute to them. Research Philip Yampolsky producing generic recording keroncong singer of the 1930s a different color of her voice with singer keroncong today, in addition to over the years Philip has been paying 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 until today to appear as one of mainstream music of Indonesia, as has been pioneered by the community of Monument in Krontjong Toegoe, Kusbini in Keroncong Original, Gesang in Langgam Keroncong, Andjar Langgam Any in Java, and the singers who have contributed to musical life keroncong from generation to generation. It is expected that hopefully with the rapid music education in Indonesia, the musicians academic younger generation would instinctively moved them to participate in maintaining awareness that has been inherited ancestral heritage of our nation.

Thus the efforts of true international go-to music keroncong not solely lie in the spread and popularity internationally keroncong music, or at archiving the figure of his music in the form of scores, or in the form of an immanent keroncong orchestra performances, but more focused on the 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, the blues became the identity of the American Negro music, flamenco from Spain, and Argentine tango as a folk song, music that is popular national with songs that are not just sung but also expressed coração, or from my heart most deeply.

Save the Music Kroncong We

Reading several publications bulletin “Tjroeng”, appears twisted keroncong community spirit Indonesia (KKI), both fans, musicians, singers, and observer keroncong willing to dig back and preserve the art of music began to recede keroncong perceived prestige. The number of KKI probably increasing in line with the increase of population in Indonesia, but the percentage may decrease. 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 events sponsored by the government or state can be said solid. Among them, who have not lost from memory is always held regularly every year the radio star contest election from the local level (provincial) to the national level. Selection was sponsored (held) by the Ministry of Information, and Radio Republik Indonesia (RRI), which is an institution under the auspices of the Ministry of Information always contest election broadcast radio star tsb. At that point is contested not only music but also of a kind 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 music keroncong among the community at that time occupied a higher position, more popular when compared with other types seriosa music and entertainment. The development of conditions in society may also influence the development of public taste for music that exists. Naturally formed polarization taste and appreciation of music as well as influence the development of music itself. Shifting tastes, especially among young children (teenagers) who preferred type of entertainment or pop music. Many emerging pop music groups such as Shania Twain, Favourit Group, D’lloyd, Pambers, Mercys etc. Also, 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 some 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 kind of music.

Not satisfied with the container provided by the government as a race, the musicians of the pop music pop star held his own elections, at both regional and national level, better known by the voters “Pop Singer”. More pop music events were held, while the event to 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 that include music radio star keroncong therein. Means also lost a place to socialize and popularize music keroncong among the community at large.

Is this the series of events ultimately lowering overall prestige keroncong music and fans began to be abandoned?

Indonesia in the eyes of society as a whole may prestige keroncong music dropped dramatically when its criterion is the amount of numbers keroncong Pengemar or music lovers. But among his own popularity or prestige KKI keroncong music still exists and is maintained, only the numbers might be smaller than the pop music fan or dangdut. The addition of the number of fans are also not very significant, perhaps waiting for changes in appetite along with the addition of age are not music fans keroncong. In fact, keroncong music community still exists, even not only in Indonesia but expanded to other countries brought 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.

Membeci favor or a type of music or songs, related to the taste, so its very subjective, can not be forced. Walk naturally obey the existing environment and habits. Pop songs sung by Shakira music grop or by the music group King in Indonesia very loved among teens or children smell gede (ABG), but maybe the songs the group had not known at all by the people of Suriname. The villagers may be more familiar with the artist Waljinah with the song “stinky 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.

The problem faced by communities in Indonesia and dibelahan keroncong other world is how to maintain sustainable existence keroncong music. This needs to get attention in light of concerns from some quarters who doubted the durability of music keroncong against the “onslaught” other kinds of music, especially pop music. As quoted by news websites antara.co.id, October 19, 2008, carried stories about the great hope maestro keroncong Indonesia, “Gesang”, asking people keroncong music fan to help preserve the flow of original music this Java (meaning keroncong) to stay alive all time. Behind the hope he implies there is concern that Indonesia began to recede keroncong music prominence. Gradually, if no effort “nguri-uri” keroncong music, it is not impossible will be extinct abandoned fans. This situation is a challenge and an opportunity entire human community to restore the luster keroncong keroncong music maestro hopes for “Gesang” keroncong can be realized.

How do we attempt to preserve the artistic culture keroncong music?

, There are various types of keroncong, there Keroncong Original, Langgam Keroncong, Stambul Keroncong, coupled with Krontjong Toegoe. Of each type had a “formula” or “grip” on their own [regarding this formula has been published 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 fulfilled to be called as music keroncong. Therein lies the beautiful and “adiluhungnya” keroncong music! So if there are some residents say that the music keroncong is “tacky” or “old school” Shah-Shah was only because of different perceptions, but it was 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 obey the rules, or that there can be said to deviate as keroncong contemporary or experimental music. Usually the young people who like to experiment so that music was born CongDut (keroncong Dangdut), CongRock (alloy keroncong and rock), CongLan (alloy keroncong and gamelan), etc.. How do we respond to the birth of the type music.

look more Keroncong record

 
1920年代
 
Early 1930-40
 
 
 
age 1950 to 1960

Netty

Karya Vol. 1

Karya Vol. 2
 

Orkes Kroncong Cenderawasih
 
 
1970~1980

Kroncong Beat Instrumentalia

Mus Mulyadi

O.K. Bintang Jakarta

Pasir Putih

Ismail Marzuki

Ismanto

O.K. Suara Kencana

Gesang
1990~2000年代

Keroncong Asli /
Hetty Koes Endang

Honocoroko

Titiek Puspa / Ronce Ronce

Koko Thole / / Relutan Warisan


The Golden Music of Indonesia
Kroncong


Keroncong Asli / Gesang

Keroncong Asli /
Sundari Soekotjo

Komedi Putar /
Sinten Remen
 
日本で発売された主なクロンチョンのCD
instrumentalia keroncong realeased in  Japan

A Guide To Kroncong

Kroncong Vocal
Kroncong Moritsuko

Kroncong Instrumental
Bengawan Solo

Lagu-Lagu Kroncong Karya Gesang
日本で発売されたワルジナのクロンチョンCD
 
Warujina Klong Chong was released in Japan
keroncong Waljinal produksi Japan
 

Walang Keke

Ratu Jawa

Kroncong Heart of Indonesia

Sings Gesang
Keroncong  Hetty Koes endang CD
produksi Japan

Keroncong Pilihan

Hati Yang Luka

Kroncong Collection

the end @ copyright 2012

The Earliest Music Record And Phonograph Found In Indonesia

 

DMRC

Showroom

Driwan Music record Cybermuseum

 

 

The Earliest Album Record And Phonograph Found In Indonesia  

Frame One : Introduction

1. I have starting build the collections of  Gramophone plate and phonograph since study in hish school at Padang city West Sumatra in 1960.

2. Until this day in 2011 I cannot found the complete informations about the Indonesian’s  gramophone plate History, that is why I have made reasech about this topic in order to give the young generations about the development of music gramophone technology in the world since found by Mr Thomas Alfa Edison and when first arrived in Indonesia during The Dutch East colionial Era.

3. I will show my collections with information from that very rare and amizing historic collections, very lucky I had found vintage book of gramophone and also many info fram google explorations,especially from wikipedia ,for that info thanks very much.

4. This exhibtion will divide into two parts, first before World War I and second Between WWI and WWII. all during Indonesia under Dutch east Indie Colonial time.

5.The earliest Gramophone’s Plate in 19Th Century produced by Addison inc with very thick plate almost 4 times then now circa 1 cm,then became half centimer and latest 0,2 cm more thin,please look the comperative picture below:

First the mechanic gramophone look the promotion picture of His Mater Voice company below:

and later electric gramophone, still used gramophone needle look the needle promotion label below :

6.In Indonesia during Colonial time , the gramophone’s plate sold by the chinese marchant ,many at Pasar Baru Market and  Pasar Senen  Batavia (Jakarta) please look the trader mark below :

7.The Edisson first Gramophone Info from google exploration,this earliest pho0nograph still not found in Indonesia until now, I stiil hunting.

 

 Replica of original phonograph

An ad for the phonograph

The Gramophone’s Plate procduction company whic found in Indonesia were

1) 19th century

(1) Addison Record

(2) Hias Master Voice

2)Early 20th century

(1a)BEKA RECORDS

(1b) HOMOKORD RECORDS

(1c)parlopone

(2) Odeon

(3)Earlieast Polydor records

(4)Imperial records

(5)Columbia China records

(6)Brunswick

 3)Pre Wolrd war II

(1)RCA-His Master Voice Shanghai China

(2) Decca records

(3) Irama India records  with song Djali Djali

8.I hope the collectors of all over the world ,especially Indonesian Collectors plaes honor my copyright with donnot copy or tag this exhibitons without my permisssion,thanks.

Jakarta January 2011

Dr Iwan suwandy @ copyright 2011

Frame two :

The Earliest International Album Record Production Historic Collections Found In Indonesia

7.The Gramophone’s Plate procduction company whic found in Indonesia were

1) 19th century

(1) Edison Record

Edison Records

Edison Records was the one of the earliest record labels which pioneered recorded sound and was an important player in the early recording industry.
Edison Records
Parent company Thomas A. Edison, Inc.
Founded June 28, 1888
Defunct October, 1929
Revived c. 1990s
Founder Thomas Edison
Jesse H. Lippincott
Status Defunct
Distributor(s) (independent, mostly through dealers, jobbers, and mail order)
Genre Variety (classical, popular, etc.)
Country of origin United States, some major European countries
Location West Orange, New Jersey
1903 advertisement for Edison Records

Contents

 

Early phonographs before commercial mass produced records

Thomas A. Edison invented the phonograph, the first device for recording and playing back sound, in 1877. After inventing and patenting the phonograph, Edison and his laboratory turned their attention to the commercial development of (electric lighting), playing no further role in the development of the phonograph for a decade.

The earliest phonograph was something of a crude curiosity, although it was one that fascinated much of the public. Early machines were sold to entrepreneurs who made a living out of traveling around the country giving “phonograph concerts” and demonstrating the device for a fee at fairs. “Talking dolls” and “Talking clocks” were manufactured as expensive novelties using the early phonograph.

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The start of the commercial record industry

In 1887 Edison Labs turned their attention back to improving the phonograph and the phonograph cylinder.

In 1888 the Edison company debuted the Perfected Phonograph, Edison produced wax cylinders 4 inches (10 cm) long, 2<pi> inches in diameter, playing some 2 minutes of music or entertainment, which became the industry standard. Experimental music records were made around this time. The “brown wax” cylinder made its debut in March/April 1889. “Electric Light Quadrille” by Issler’s Orchestra (external link) is an example of an 1889 brown wax cylinder (Superbatone #734–“The Real Sound of Ragtime”).

Blank records were an important part of the business early on. Most phonographs had or could be fitted with attachments for the users to make their own recordings. One important early use, in line with the original term for a phonograph as a “talking machine”, was in business for recording dictation. Attachments were added to facilitate starting, stopping, and skipping back the recording for dictation and playback by stenographers. The business phonograph eventually evolved into a separate device from the home entertainment phonograph. Edison Record’s brand of business phonograph was called The Ediphone; see Phonograph cylinder and Dictaphone. Edison also holds the achievement of being one of the first companies to record the first African-American quartet to record: The Unique Quartette.

Mass produced cylinders

Whistle and I’ll Wait for You
Performed by Ada Jones for Edison Records in 1909.

 

A notable technological triumph of the Edison Laboratories was devising a method to mass produce pre-recorded phonograph cylinders in molds. This was done by using very slightly tapered cylinders and molding in a material that contracted as it set. To Edison’s disappointment the commercial potential of this process was not realized for some years. Most of the regional Edison distributors were able to fill the small early market for recordings by mechanical duplication of a few dozen cylinders at a time. Molded cylinders did not become a significant force in the marketplace until the end of the 1890s, which was when molding was slow and was used only to create pantograph masters.

Mass producing cylinders at the Edison recording studio in New Jersey largely ended the local Edison retailers early practice of producing recordings in small numbers for regional markets, and helped concentrate the USA recording industry in the New York City – New Jersey area, already the headquarters of the nation’s Tin Pan Alley printed music industry.

In 1902, Edison Records introduced Edison Gold Moulded Records, cylinder records of improved hard black wax, capable of being played hundreds of times before wearing out. These new records were under the working title of “Edison Hi-Speed Extra Loud Moulded Records”, running at the speed of 160 RPM instead of the usual (ca. 1898–1902) speed of 144 RPM or (ca. 1889–1897) 120 RPM. Until ca. 1898, Edison’s speed was 125 RPM.

In 1908, Edison introduced a new line of cylinders (called “Amberols”) playing 4 rather than 2 minutes of music on the same sized record, achieved by shrinking the grooves and spacing them twice as close together. New machines were sold to play these records, as were attachments for modifying existing Edison phonographs.

In November 1912, the new Blue Amberol Records, made out of a type of plastic similar to celluloid invented by Edison labs, were introduced for public sale. The first release was number 1501, a performance of the Rossini’s overture to his opera Semiramide, performed by the American Standard Orchestra. The Blue Amberol records were much more durable than wax cylinders. The Edison lab claimed a 3000+ playback quota for the Blue Amberol. In that same year, the Edison Disc Record came out.

In 1910, artists’ names began to be added to the records; previously, Edison’s policy was to promote his cylinders (and up until 1915, discs) based on the recognition of composers and the works recorded theron in lieu of the performers themselves.

Edison Records continued selling cylinders until they went out of business in 1929. However, from January 1915 onwards the first of the that were Blue Amberols dubbed from Edison’s Diamond Disc matrices, appeared on the market. By 1919, the last decade of production, these were simply dubs of their commercial disc records intended for customers who still used cylinder phonographs purchased years before.

Edison Records was eventually run by Thomas Edison’s son, Charles Edison.

Edison Records logo from 1910s sleeve

 Materials and process used to manufacture cylinder records

Cylinders that are mentioned from 1888 are sometimes called “yellow paraffin” cylinders, but these cylinders are not paraffin, which is a soft oily wax and does not hold up under many plays. They could be a number of formulas tested by Jonas Aylsworth, Thomas Edison‘s chemist. Most of the surviving 1888 recordings would be formulated from a combination of 60% ceresin wax, 20% stearic acid, and 20% beeswax. A record of this kind has a cigar-like smell, and is physically very soft when first molded. In a year’s time, the record would harden quite considerably.[1]

In late 1888, metallic soaps were tried. At first a lead stearate was used, but in the summer months, these records started to sweat and decompose. In 1889, Aylsworth developed an aluminum wax, using acetate of alumina and stearic acid with sodium hydroxide added as a saponifying agent. It was found these records were much more durable. Problems arose, however, since there was no tempering agent and hot weather caused these records to decompose. Two problems contributed to this, stearic quality varied from different makers; Aylsworth purchased some from P&G and found it had too much olaic acid in it. The next cause of the problem is that all stearic acid without a tempering agent takes on moisture, and after many experiments it was found that Ceresine was ideal. To make the wax hard, sodium carbonate was added. Even so, a few batches of records still had some problems and became fogged. The fog problem arose from acetic acid left in the wax, this problem was solved when higher temperatures were used to make sure all the acetic acid was boiled out of the wax. As such, the records from 1889 to 1894 are a reddish brown color due to the long cooking time. By 1896, Edison started using hydrated alumina in place of acetate of alumina. The use of hydrated alumina (sheet aluminum dissolved in a mixture of sodium carbonate, sodium hydroxide, and distilled water) made better records, and the wax could be manufactured in a shorter period of time. Using the hydrated aluminum resulted in more desirable blanks, with fewer defects and shorter production time.

The Columbia Phonograph Company used Edison recording blanks until 1894. The North American Phonograph Company was dissolved in the fall of 1894, and Edison quit supplying blanks to Columbia, who had purchased 70,000 blanks from 1889 to 1894. Columbia was frantic to find a solution to make cylinder blanks in house, and the recipe for making Edison’s wax was a well kept secret. Thomas McDonald started doing experiments with wax alloys with poor results: the records fogged or decomposed in the summer, just like the early Edison blanks. The Columbia company had a deadline to either supply recordings, or have their contracts cancelled and be sued for loss of records. Columbia resorted to attempt to steal secrets from Edison company by hiring old Edison Phonograph Works employees, such as Mr. Storms. Unfortunately for Columbia, the names of the components used by Edison were not labeled with ingredients but were instead indicated by number (i.e. 1,2,3 keeping the identities of these components a secret.) Paraffin, Ceresine, and Ozokerite all look similar, making the tempering agent even more difficult to be identified by the wax mixer. Wax mixers were given instructions on how much of the numbered components to put in the mixture, and how to process it, but no idea as to what the ingredients actually were. It took over a year for Columbia to come up with the formula for cylinders. Columbia placed an ad in the Soap Makers’ Journal for a practical man to work with metallic soaps. Adolph Melzer, a soap manufacturer from Evansville, Indiana took the job. Melzer came up with a formula comparable to Edison’s with the exception of the tempering agent (using cocinic acid, derived from coconut oil.)

In 1901 The Gold Molded (originally spelled Moulded) process was perfected for commercial use by Thomas Edison and Jonas Aylsworth (Edison’s Chemist) with input from Walter Miller, the Recording Manager of Edison Records.[2]

[3] This discussion was gleaned from testimonials Walter Miller, Jonas Aylsworth, Thomas Edison, Adolphe Melzer, and Charles Wurth.

At first, no method of mass production was available for cylinder records. Copies were made by having the artist play over and over or by hooking two machines together with rubber tubing (one with a master cylinder and the other a blank) or copying the sound mechanically. By the late 1890s, an improved mechanical duplicator, the pantograph, was developed which used mechanical linkage. One mandrel had a playback stylus and the other a recording one, while weights and springs were used to adjust the tension between the styli to control recording volume and tracking.

The Edison team had experimented with Vacuum Deposited Gold masters as early as 1888, and it has been reported that some brown wax records certainly were molded,although it seems nobody has found these, in recent years, or can identify them. Frank Albert Wurth. The Edison Record, “Fisher Maiden”, was an early record that was experimented with for the process. The 1888 experiments were not very successful due to the fact the grooves of the cylinders were square, and the sound waves were saw-tooth-shaped and deep. The records came out scratched and it was very time consuming. Many failures and very few that come out. (See The Edison Papers Project, Record Experiments by Jonas Aylsworth 1888–1889)[4]

 
 

This is an example of a wax cylinder mold. Note the grooves on the inside and machined backup shell.

The Gold Molded process involved taking a wax master and putting it in a vacuum chamber. The master record was put on a spinning mandrel, the pump sucked all the air out of a glass bell jar, and 2 pieces of gold leaf were hooked to an induction coil. The current was turned on, a magnet was spun around the outside to turn the mandrel, and the gold vaporized a very thin coating on the master. This master was put on a motor in a plating tank and copper was used to back the gold up. The master record was melted, then taken out of the mold to reveal a negative of the grooves in the metal. The master cylinder had to have wider feed as the grooves shrink in length through each process. The master mold is used to create “mothers” and these are then further processed to make working molds.

The Gold molded record used an aluminum-based wax, like the post-1896 Edison brown wax. However, carnauba wax was added, as well as pine tar and lampblack resulting in a black, shiny, durable record. The molds with mandrels placed in the center were heated and dipped in a tank of the molten wax. These were removed and trimmed while still hot, and put on a table from where the molds were put in lukewarm water. The water caused the records to shrink in diameter so that they could be removed. The records were then trimmed, dried and cleaned, then later put on warm mandrels for 2 hours where they shrank evenly. Jonas Aylsworth developed this formula.

In 1908, Edison introduced Amberol Records which had a playing time of just over 4 minutes. The process of making the finished record was the same as the Gold Molded records, however a harder wax compound was used. In 1912, celluloid was used in place of wax, and the name was changed to Blue Amberol, as the dye was a blue color. The master was recorded and then the process of making the mold was the same as the Gold Molded process. What is different is that a steam jacketed mold with an air bladder in the center was used. Celluloid tubing was put in the mold and the end gate was closed. The rubber bladder expanded the celluloid to the side of the heated mold, and printed the negative record in positive on the celluloid. The bladder was then deflated, and cold air was used to shrink the tubing so the celluloid print could be removed. The printed tubing was put in a plaster filler. When the plaster was hard the cylinders were then baked in an oven, then the ribs made on the inside of the plaster with knives. The records were cleaned and then packaged.[5][citation needed]

Ediphone Wax Formula and Procedure for making Ediphone Cylinders

Noted C.H. 11/21/1946

1. 1,200 lbs of double pressed stearic acid (130 degree F. Titer) and 4 lbs of nigrosine base B dye are placed in a 200 gallon cast iron cauldron. The cauldron is directly heated by an oil burner of the household type. (Our Present ones are Eisler, the manufacture of which has been discontinued.) Heat is applied until the stearic acid has been melted and the temperature has reach 360 degrees F. 2. 2,000 grams of metallic aluminum are placed in a 75 gallon steam-jacketed open kettle. To this are added 7,000 grams of NaOH and 10 gallons of water. When the reaction has subsided, 92 lbs of anhydrous sodium carbonate are added and finally 50 gallons of water. Note: The aluminum scrap is usually obtained from the Storage Battery Division in the form of punched strips. It is important that the size and thickness of this material be such as to insure a fairly rapid rate of solution. All of this reaction takes place under a hood. An alternative method consists of dissolving 8,900 grams of sodium aluminate in about 10 gallons of water and adding 5,000 grams of NaOH pellets. When complete solution has taken place, 92 lbs of anhydrous sodium carbonate are added and the necessary amount of water to bring the bulk up to 60 gallons.

In both cases solution is affected by means of pressure steam in the jacketed portion of the kettle. When the solution is substantially clear it is slowly added, a pail at a time (3 gallons) by means of a 2 quart dipper, to the heated stearic acid as prepared in 1. The oil burner is kept on during this operation in order to keep the temperature of the mixture fairly constant at 360 degrees F. Care must be exercised in adding this “Saponifying” solution so that excess foaming is prevented. After all the solution has been added the resulting “formula wax” is heated to 400 degrees F. and maintained at this temperature for four hours, at which time a sample is removed, a congealing point determined, (see under “tests”), and any addition made of stearic acid or sodium carbonate solution for correction, and the mixture held without additional heat for 10 hours. It is then heated again to bring the temperature up to 400 degrees F and allowed to cool gradually, usually overnight. When the temperature has again been reduced to 350 degrees F the was is pumped by means of a Kinney pump into 10 gallon pails from which the wax is poured into shallow pans containing approximately 50 lbs of the wax per pan. After the material has cooled to room temperature it is removed from the pans and stacked.

3. Into a 200 gallon cast iron cauldron heated by and oil burner of the household type, (or as required at present by war conditions, heated by bituminous coal) are placed 500 to 900 labs of “formula wax”. Note: The amount of “formula wax” to make up a batch various according to the amount of scrap wax which is to be added to the cauldron. Scrap wax represents commercial wax of which “formula wax” is a part. To the amount of “formula wax placed in the cauldron are added 19½% Paraffin (133 degrees-135 degrees F., usual source Standard Oil of New Jersey) and 2% stearine pitch (M. P. 40 Degrees Centigrade). This mixture, consisting of “formula wax”, paraffin and stearine pitch, represents commercial wax. Finally, commercial scrap wax of the composition given above in added until the total weight of the mixture is approximately 1,600 lbs. This mixture is usually heated beginning at 12 midnight and carried through until the temperature is 410-415 degrees F. at 8 a.m. Note; This may be regarded as standard procedure, although at the present time (Dec., 1943) this has been modified so that only Sunday nights is this done. On other days of the week except Saturday the kettles are started at 6 A.M. This method was adopted due to man shortages which necessitated starting the molding operation later in the day.) At this time a congealing point is taken and the necessary adjustments made (see under “tests”) after which the mixture is transferred to a closed agitating tank by means of a Kinney pump, the latter forced the hot material through a 2″ pipe.

4. To the mixture in the agitation tank there is added 3/10 percent Johns-Manville # 503 Filter Aid. The temperature is maintained at 375 degrees F. by means of a ring gas burner, at the bottom of the tank. At this temperature the wax is supplied by a Worthington pump at 30 lbs to a one square foot Shriver press whose head and follower are steam jacketed and which has 7 sections. The effluent from this press passes through a second Shriver press which has 2 sections of one square foot each. The mixture from the outlet here finally passes though a 1″ pipe which has a 100 × 150 mesh Monel ,metal screen held in its cross sections by means of a union, into one of four 75 gallon aluminum kettles. . These kettles are protected by conical hoods to prevent dust particles being carried into the body of the wax. After allowing the wax to remain at 330 degrees F. for three hours it is ready to be poured into the blank moulds. The temperature is maintained by gas burners beneath the kettles and controlled automatically by Partlow Corp. thermostatic controls.

5. By means of a pot with 2 spouts the moulds are filled with molten wax. The pot has a capacity of about five pounds (slightly less than 2 quarts and is specially designed of aluminum and made by Theodore Walter, Newark N.J… The molding table revolves at the rate of 6 blanks per minute, approximately, and the size of the pouring pot spout is only sufficient to permit the hot wax to flow into the molds at a rate slightly faster than the speed of the molds which rotate past a given point around the table.

The blanks are extracted at a temperature of 200-205 degrees F. and place on boards which hold 30 blanks. These boards when filled move by gravity down a conveyor. The length of time on the conveyor is about two hours after which time they are sufficiently cool and hard to be put into production boxes holding 63 blanks. The boxes are placed in racks for the following day’s production. Into each production box there is placed a semi-finished cylinder, which has been edged and reamed and which conforms to a standard internal diameter at 70 degrees F of 1.826 ” at the thin end. The purpose of this is to permit the edging operation to take place on the un-finished blank at any temperature by adjusting the machine to conform to the standard. Thus, in each production box, there is a total of 63 unfinished cylinders. One day’s production is held at least 34 hours before further processing.

6. The blanks are first reamed. The reamer consists of a twisted tapered and eight fluted tool. The blanks are forced on the reamer by hand to a stop. The position of the stop is adjusted so that sufficient material will be removed from both ends of the blanks when the blank is edged in the next operation. The reamer revolves at approximately 300 RPM

7. The edging operation consists in placing a reamed blank on a tapered mandrel and by means of two special cutters working in unison the ends of the blank are formed to conform in couture to a standard template. A second gauge is used to insure proper length (6⅛”). IN each case the edged blank must rest on a tapered mandrel gauge in exactly the same position as the standard blank which is in the production box. The usual procedure is to make the necessary adjustments of the knives of the first blank which is edged so that is conforms to the standard, and then continue the operation on the rest of the blanks in the production box at the identical position of the first blank. Note; since there are 63 blanks for each standard blank it will be observed that every 63rd cylinder is checked mandrel gauge. The accuracy of the method and the facility with which it is done depend on the care and skill of the operator. This is probably, is the most critical of all the operations. The edging machine revolves at 2,200 RPM

8. Following the edging operation is the stamping. This consists in applying a hot printing die to the thick end of the cylinder as it is placed accurately in a vertical position under the die. The heating of the die is done by means of a resistance wire coiled within a hollow torus near the under edge of the circular die. The coiled wire is connected to a source of current and the latter is adjusted by means of a rheostat. The heated died has raised lettering and makes and impression on the end surface of the wax cylinder. The depressed positive lettering on the cylinder is filled with a thick paste of zinc carbonate, the excess of which is brushed or wiped off after drying.

9. The cylinders are next shaved on a ganged shaving machine consisting of a rough shaving knife free from “blinds” and “lines”, accurate concentricity and a minimum of taper. These factors depend on the tension of the driving belt, tension upon the rotating mandrel between centers and the position and sharpness of the knives. Speed of the mandrel 2,200 RPM

10. The finished cylinders are placed in boxes which contain 16 pegs and run down a conveyor. At a point on this conveyor the cylinders are held and brushed on the inside to remove wax shavings and dust.

11. Cylinders are inspected, packed and placed in the stock room for a minimum of thirty days before shipping.

12. The reinforcing liners are made as follows: Crinoline cloth of specifications given under “Tests”, are cut into a trapezoid (Paper Products Dept.) base length 6¼, altitude 5⅝” top length 5¾”. A pack of these are placed in a vise edgewise and thinned glue, one part Le Pages Glue, one part water, brushed onto one slant edge. A liner is then wrapped a tapered mandrel of such size as to fit no too snuggly on the molding core. The liner is held on the mandrel by means of two jaws actuated by a foot lever and the lapped edges of the liner glued by means of a gas iron held for an instant along the line of the lap.

(2a) Homokord records

 
 

Rare Homokord 2 Labels Glockenspiel & Xylophone Solos

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Rare Homokord 2 Labels Glockenspiel & Xylophone Solos Homokord Record
10″ and 78 speed
First Side:
Grand Galopp de Gouvert
(R. Poltmann)
Xylophone Solo
mit Orchesterbegleitung
11174
Matrix #: A5120 and 11174
Second Side:
Grillenbanner-Marsch
von Komzak
Glockenspiel-Solo
Albert Muller
Xylophon-u. Glockenspeilvirtuos
mit Orchesterbegleitung
11175
Matrix #: 22614A and 11175
Notes: 2 labels! N o visual cracks, chips or repairs to the record. Couple small scratches on each side.
The word “about” in our descriptions is used with all measurements to indicate readily relatable sizes. If you need precise measurements, pleas

(2b)His Master Voice records

His Master’s Voice

His Master’s Voice
His Master's Voice.jpg
Parent company EMI (British Commonwealth except Canada)
RCA (western hemisphere)
JVC (Japan)
Founded 1908
Status defunct (fate: trade mark sold to HMV Group)
Genre Various
Country of origin United Kingdom

His Master’s Voice is a famous trademark in the music business, and for many years was the name of a large record label. The name was coined in 1899 as the title of a painting of the dog Nipper listening to a wind-up gramophone. In the photograph on which the painting was based, the dog was listening to a cylinder phonograph.

the end @copyright dr Iwan suwandy 2011

Protected: The The Vintage Sunda Legend singer Titim Fatimah and Mang Koko Music Record

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Protected: The Identified Vintage Chinese Music Record Found In Indonesia

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The Legend George De Fretes Music Record

 

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

Fontana Record,Krontjong Nusantara,

by

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.

 
the end @ copyright Dr Iwan suwandy 2011