ESTABLISHMENT OF MUSICAL HABITUS COMMUNITY JAZZ JOGJA PLAYERS IN COMPILATION ALBUM

ESTABLISHMENT OF MUSICAL HABITUS

COMMUNITY JAZZ JOGJA PLAYERS IN COMPILATION

ALBUM

Introduction

Jogja Jazz community is a community of musicians and jazz lovers in Yogyakarta. Since the beginning of the formation, this community consistently socializes jazz music to all levels of society, especially in the area of Yogyakarta. The socialization is as an effort to correct the view of the majority of people who view jazz as a genre of music belongs only to the elite and bourgeoisie. The view can be seen from the high price of the ticket and magnificent buildings used in jazz, so not everyone can enjoy it. It makes the identity of jazz music belongs to the upper middle class and high esthetic.

In other words, the presence of Jogja Jazz Community is a form of resistance to the display of the jazz elite. Jogja Jazz community makes jazz simple and populist with the aim that it can be enjoyed by all people, of whom: Jazz Gayeng, Ngayogjazz, Jazz Mben Senen, Etawa Jazz, Jazz on The Street, dan Jazz Sunrise @the Beach. According to Hegel, the main function of art is to present absolute in the form of sensory (Mudji Sutrisno, 2005: 32). This community show art by way of jazz performing and documenting works (songs) from several projects or bands recorded onto CD compilation album.

The compilation album is a result of a combination of several projects and songs in a CD. The first album titled Jazz Basuki Mawa Beya (2009). The concept of this album is that each project is free to create their own works of jazz music (all ganre) or Indonesian-style jazz. The second album titled Jazz-Ing Java Sasarengan (2010). The concept that is carried arranges traditional Javanese song using rhythmic jazz. Third album is tittled Lain Ladang Lain Jazznya (2011). The concept of this album is of rhythmic jazz arranging traditional art of Indonesia (Indonesian style jazz). The fourth album titled Panen Karya (2012). The concept of this album is that each project creates a masterpiece (song) using Indonesia rhythmic. Fifth album is tittle Study-Ing Babad Jazz (2013). The concept of this album is arranging a famous jazz song in every era.

Changes in the concept on each album are symmetrically formed the consciousness of individuals and projects that participated in the album, in terms of the formation of a musical habitus following compilation album. This research focus on individuals and community projects that fill Jogja Jazz compilation album. Individuals and projects are selected based on the amount involved in the compilation album. It aims to see the formation of a musical habitus establishment of compilation jazz album players in Jogja Jazz Community

This study also views the musical characteristics, production processes, and the role of the compilation album of the formation of a musical habitus for players (individual and project). Books, articles, and related theses that have been there, the real problem will be jazz music is nothing new. There are many writers who raised jazz music as an object of study and research with the appointment of different problems.

Theory framework

This thesis discusses musical habitus establishment of compilation jazz album players in Jogja Jazz Community. This study not only focuses on the change of perspective musicology compilation album, but also sees the formation of a musical habitus and the compilation album production process using sociological perspectives. Consequently, the researcher uses Pierre Bourdieu's theory of habitus to see the formation of a musical habitus compilation album players.

Cultural production is produced by an individual in a social sphere. Individuals themselves have created habitus dispositions they started from childhood on a sphere. Habitus formes through education and interaction between individuals who inhabit a social space (Richard Jenkins, 2013: 108-109). In short, habitus is an action or attitude that is accumulated and dynamically follow the social sphere, so the habitus of each individual is different.

Habitus product is specific and is adapted to the realm. Realm of the social system bersifal relational between objective positions (Richard Jenkins, 2013: 124-125). In the sphere there is a struggle to compete for resources or stakes and the access is limited (field of stuggle). The production process of the compilation album Jogja Jazz Community is seen as a realm in which there is a struggle or maneuver. Individuals who are members of a project are striving to produce work that can participate and include in the compilation album.

          The individual who has had a fixed capital must adapt the concept of compilation albums. There are four categories of capital, namely economic capital, social capital (various types of valuable relationships with significant others), cultural capital (knowledge valid one another), and symbolic capital (prestige and social prestige) (Richard Harker, Mahar Cheelen, and Chris Wilkes, 2009: 17). Researcher views at four investment in each individual in order to see the formation of a musical habitus changes and musical characteristics of the production process compilation album.

          Individuals who have a greater symbolic capital (dominant) would imply an explicit or implicit action to individuals who have little symbolic capital (dominated). Dominated individual will follow the orders of an individual action or dominant as it is considered something that is illegitimate. Action or command is often followed by the symbolic violence. Symbolic violence is violence in the form of very fine given to individuals without inviting resistance, but instead inviting conformity because it has been given social legitimation due to its very smooth (Richard Harker, Cheelen Mahar, and Chris Wilkes, 2009: xxi).

          Symbolic violence is influenced by doxa which tends to regulate social life. Doxa is itself an attachment stability and social order within the individual in tradition, and there is a power that is fully naturalized and not be questioned (Richard Harker, Cheelen Mahar, and Chris Wilkes, 2009: xxi). In short, DOXA is a truth that can not be questioned. Compilation album playerss considers that the Music Director is the person in charge of maintaining a common thread compilation albums and has a good musical ability. Therefore, the compilation album playerss justify the advice given in order to smooth the Music Director compilation album.

          Correlation habitus generate a capital practice in a social sphere. It happens because the whole social life is essentially practical (Richard Jenkins, 2013: 96). This statement which is analogous to that practice does not work on an empty room. There is relation between the capital habitus, practice, doxa, symbolic violence and symbolic power in a sphere. In summary, Bourdieu states generative formula is: (Habitus x Capital) + sphere = Practice (Richard Harker, Cheelen Mahar, and Chris Wilkes, 2009: xxi). In this study, the practice is at Jaran Art Space, Yogyakarta Cultural heralds, and Padepokan Bagong used in the production process of compilation albums.

          Pierre Bourdieu in his work entitled Field of Cultural Production discussing a work that was created because of the existence of objective relations on a sphere. Works of art are not created merely from the artist creations, but from many individuals or groups who participate in it. Bourdieu argues that:

The investigation must be increased to all those who contributed to this result, that is, people who understand the idea of ​​the artwork (the composers or performers); those who carry it out (musician or actor); the people who provide the equipment and materials needed (instrument makers); and those who give the audience an understanding of the work (critics, musicologists, or literary, and so on) (Pierre Bourdieu, 2010: 10).

There are some individuals and groups that assist the production of a compilation album, such as the Music Director (MD), Dagadu, Padepokan Bagong, Jaran Art Space, Yogyakarta Cultural heralds, and Sound Engineer.

New artwork can exist as a symbolic object if it is recognized and identified, that is, if it is socially instituted as works of art and received by the audience who can recognize and admit it as a work of art (Richard Harker, Cheelen Mahar, and Chris Wilkes, 2009: 15). Compilation album already can be called symbolic object as already acknowledged, recognized, and accepted by the jazz music lovers, especially in Yogyakarta since 2009 through 2013. The research observes the formation of a musical habitus of individual and project compilation album players. In the end, the concept of compilation albums (sphere) shapes habitus in individuals and projects. Not only this study focuses on changing musical characteristics (text), but also on the formation of the habitus (context) from the perspective of sociology in which the theory of habitus is used or worked.

Discussion of results

The production process begins with discussing the compilation album concept and determining the Music Director (MD). Selection of Music Director is usually determined by the size of ownership of cultural and social capital. Music Director task is maintaining a common thread concept compilation album by requiring every project to follow the progress report. Music Director is in the dominant position and has great symbolic capital, while individuals in each project are in the dominated position.

         Each project makes or arranges the work (song) and should present the concept album (progress report) to the Music Director. Presentation is made ​​at headquarters and is displayed at the Jazz Mben Senen. Music Director will provide input and advice on the progress of the project that has been played. Inputs to the progress report from the Music Director is something legalimate, so that symbolic violence often arise in the process of production of a compilation album. It is the Music Director’s efforts to maintain the concept of a compilation album, so that suggestions and feedback provided is considered correct (doxa) in the support of  Music Director dominant position.

         Socialization of the first to the fifth compilation album done by face to face, that inviting directly known individual (social capital). Individuals who are already members of the Community of Jogja Jazz are allowed to invite friends who have not joined in Jogja Jazz Community. Compilation album players is not required to have a large economic capital because the album compilation is free of charge. Cashflow from sponsors and cash Jazz Mben Senen Community are used to record the cost of compilation albums.

         Production trajectory of compilation album can be seen that Jogja Jazz Community has meetings to define the concept of a compilation album. The concept of a compilation album constructs each project. In the works the work of each project is recorded in Bagong Padepokan. Dagadu takes part to design the cover of a compilation album, in addition to the distribution of the compilation album Jazz Mben performed on the Monday show, Dagadu, and News Jazz. Doubling the compilation album determines a good place and not burdensome on copyright.

         Differences of opinion regarding the concept, lyrics, and arrangements can find a way out with the discussions held by each project with the Music Director. Discussions that take place is considered as a field of struggle because every project and Music Director struggle to get more capitals and limited. Each individual and Music Director in every project and strive to present arguments, work, input, and suggestions to be accepted by both parties in order to smooth compilation album.

The success of the compilation album is supported by many factors, individuals, and groups. The success of the compilation album is not measured by the number of albums sold, but the ability of each individual and the project follows the concept of a compilation album. The production process of the compilation album unconsciously formes a musical habitus for individual and project compilation album players.

The fifth compilation album has a different concept tittle. It can be seen from the musical characteristics. Characteristics of jazz music itself are the improvised part, swinging, and is influenced by a blue tonality (John F. Szwed, 2000: 15). Improvisation is the art of composing while playing, without notation, the musical creativity, and spontaneous (John F. Szwed, 2000: 34) Swinging is a rhythmic swing, the musical can be seen in beat triplet or triplets. Bluetonality or blue note is used as a color tone melody outside of the main note.

At first album it can be freedom in music and in makeing a masterpiece of jazz. In the second through fourth album, it may be indicated that the community wants to collaborate Jogja Jazz music with traditional Indonesian art. In the fifth album, Jogja Jazz Community wants to re-learn jazz music from the beginning. Jogja Jazz Community Transition is a process of learning and exploring jazz music. The third and fourth albums can be regarded as the world of jazz music because jazz music combining the traditional arts. 

characteristics Jazz	Album 1	Album 2	Album 3	Album 4	Album 5
Improvisation	+	+	+	+	+
Blue Note	+	+	+	+	+
Swinging (Ritme: triol dan sincope)	+	+	-	-	+

Figure 1: The fifth characteristic tabulation Jazz Compilation Album

Legend: (+) = jazz; (-) World jazz

There are many critics in the third and fourth album because it is less in swinging which cause little lost even lost the rhythmic. Swinging in a song is determined from the swing feel of each player. Jogja Jazz community, in particular playerss of compilation album, consists mostly of university students from outside Yogyakarta. Some of the playerss are university students these students when they finish their education, most of them leave Yogyakarta. This causes a compilation album players becomes not-permanent. Individuals in each change. Therefore the swing feel of each individual in the team is not the same. The longer the individual stays, the greater jazz swing feel she/he has, so that the work of compilation albums considered jazz or not will vary from each individual.

The effect for of the individual and album playerss in the project can be indicated that the compilation album not only provide musical learning but also social learning. Learning compilation album musically means providing insight and education about jazz and traditional Indonesian music. Social learning in the form of social interaction, where relations with the increasing individual and the creation of kinship systems. Can be seen when the community holds reguler events such as Jazz Mben Senen and Etawa Jazz. In those events, they jointly work together to raise and develop the tools used in the event. Jogja Jazz Community members, in addition to music together, they are also often perform other activities, such as futsal and swimming.

The formation of a musical habitus visible on the compilation album, where there is a process of musical learning and social interaction between members of the Jogja Jazz Community. Music Director who provides instruction and feedback through interaction generates symbolic violence followed by DOXA. The initial capital owned by individual stake in the realm (compilation album), it aims to obtain greater capital and appropriate concept of a compilation album. Social interaction shapes musical habitus for the compilation album players. Musical habitus that is obtained from compilation albums is musicality habitus formation of players strong jazz compilation album without forgetting the traditional Indonesian art.

Conclusion

          Jogja Jazz community is a gathering place to learn and play jazz music together regardless of their academic background. Jogja Jazz Community frequently held jamming activities and holds a jazz festival in Yogyakarta. One of the products of Jogja Jazz Community is a compilation album made ​​one time each year. Jogja Jazz community already has five compilation albums from 2009 through 2013.

The concept of the five compilation album are different on every album. It is seen from the musical characteristics. On the first album, second, and fifth characteristic of jazz can be seen from every song. Each song still has an element of blue notes, improvisation, and strong swinging. The third and fourth album are still visible on the characteristics of jazz and improvisation blue note but not in swinging. It feels different it causes the third and fourth albums using Indonesian traditional rhythmic art. Rhythmic jazz and traditional Indonesian art are different, so the third and fourth albums reaping a lot of criticism. Jazz music can be collaborated with all forms of music to create a new genre of jazz music. The third and fourth albums can be regarded as the world jazz music because jazz music collaborate with local Indonesian art. The fifve compilations album Jogja Jazz Community has a core value, that is playing jazz without forgetting Indonesian traditional arts.

The production process of compilation albums to firstly is to define the concepts and Music Director. Changes in the concept of the five compilations album lead the individuals and projects that fill the album follow the existing pattern. In short, every individual is incorporated in a project constructed by the concept of compilation albums. Music Director role is vital in the production process of the compilation album because they tries to harmonize the work of each project with the concept of a compilation album. Music Director is in the dominant position. Music Director has great symbolic capital so that the input and advice given becomes illegitimate.

The effect of compilation albums for individuals and projects add to the experience of art and social relations. Each individual interacts to create and arrangen a work that will be performed prior to the Music Director. It is called a progress report. It is intended that the work of each project can not be separated from the concept of mutually agreed compilation album.

The initial capital possessed by each individual is melted in a project. Each project owned capital fight to get more capital that can engage in the work of compilation albums (sphere). They interact with each other to gain knowledge in accordance with the compilation album. The formation of a musical habitus in Jogja Jazz Community players compilation album occurs when individuals in a project interact and share knowledge according to the compilation album Music Director.

Bibliography

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