| dc.description.abstract | This research aim to analyze of genjring bonyok and tardug continuities, changes,
and performing structure, in Sundanese ethnis cultural in West Java. To analyze of these two
art genres I use continuities and changes theory. In the other hand, to analyze the performing
art structure I use semiotic and weighted scale theories. Then, I use qualitative research in
this study, based on field work method.
The tardug (genjring bonyok) art, exist in 2000-s. Before this art developing in the
Subang society, they have some arts, which parts of continuities and changes of them. This
arts genre are: genjring sholawat, rudat, adem ayem, and genjring bonyok.
When viewed from the aspects of development that include forms of presentation, art
materials, tools, community support, and future growth, arts that seems to have a relationship
historically. Art genjring gederan known since 1960, have similarities in terms of the use of
instruments and techniques of the art rudat wasps. Both types of art does not have pitched
instrument that plays the melody. Then after entering instrument tarompet, around 1969 as a
carrier melodic songs, this artis known as genjring bruised. Not long after kawih elements
come around 1987. Inline with the wishes of the market, the next development, the songs in
the arts genjring bruised dominated by songs dangdut style, But still limited to traditional
dangdutan songs, which can be accompanied by musical instruments that exist as well as the
technical ability kawih vocal interpreter. With the increasing demand of modern dangdut
songs were applying diatonic scales, to accompany the songs needed musical instruments
and singers in diatonic scales that can chant. Then in 2000 the guitars entry into the art
tardug. The structure of the show is to do with the opening stages, content, and closing, The
structure of the melody based on the pentatonic Sundanese system and then developing into
diatonic. | en_US |
