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Salah satu rekan terdekat mengatakan bahwa musik Keroncong adalah musik daerah yang tentu saja mewakili hanya sebagian daerah saja, dan hal tersebut yang membuat tidak semua rakyat Indonesia tidak tahu dan ‘mungkin’ tidak perlu tahu apa itu musik Keroncong.
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The power of economic capital, the superiority of technological innovation, as well as sophistication of marketing ground down classic music. This paper tries to investigate the “keroncong” music in Indonesia that could continue to be maintained or popularized by a variety of approaches and by making a suitable media of marketing which include as a result of tv and radio in order that Culture are acquainted to “keroncong” music.
Sampai saat ini, musik Keroncong masih terus diperjuangkan oleh beberapa musisi agar eksistensinya tidak kalah tertimpa oleh jenis-jenis musik lainnya.
the exact same exertion was accomplished by Didi Kempot and Koko Thole who has offered new colour to “keroncong” music. They designed efforts to distribute “keroncong” music to a wide range of Modern society in addition to develop the music by itself.
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Selain adaptasi dari musik Fado yang dibawa bangsa Portugis di abad ke-sixteen, musik Keroncong sendiri baru secara resmi dikenal di Indonesia pada tahun 1880. Perubahan yang terjadi dari pertama kali musik Fado masuk ke Indonesia adalah nada-nada yang digunakan.
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Salah satu alasannya adalah karena alat musik yang digunakannya adalah alat musik yang kental kaitannya dengan budaya Indonesia, seperti rebab, suling bambu dan juga set gamelan.
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Pengaruh lainnya datang dari musik Hawai yang kental dengan nada mayor, dan masuk ke Indonesia hampir bersamaan dengan munculnya musik Keroncong.
The emergence of “campursari” while in the 1990s, pioneered by Manthous, brought a power of interest and became a magnet for fans and activists of “keroncong” and standard music so that they appreciate the music and a lot of teams of “campursari” music which happens to be rooted from “keroncong” grew.
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