Kamis, 22 November 2012

Seni Budaya. Dangdut music: popular music and social history appears logical

Seni Budaya

Dangdut music: popular music and social history appears logical

Dangdut is a genre of music that is familiar to the people of Indonesia, as it is very close to the people for the people of Indonesia since the establishment of the state of Indonesia. Dangdut music rooted in the Malay music that began to develop in 1940. Melayu very strong rhythm genre with elements of Indian and combined with the music of the Arabs. Elements drum beat which is the combined elements of Indian music with elements of twisted singers and harmony with the rhythm of music is a characteristic of the beginning Malay rhythm mutation to the rhythm of dangdut melayu.
Dangdut music is contemporary art continues to grow and thrive, in the first rhythm dangdut music synonymous with the art of the lower classes, and indeed flow dangdut music art is a reflection of the aspirations of the lower classes of society which have characteristic directness and kesederhaannya.

In the 1960's began to wither music is influenced by many elements ranging from the harp, gamelan, keroncong, style. And this is the era of the Malay term for turning into a rhythm known as dangdut music. The name dangdut is a term corresponding to the sound of the voice, the sound of a musical instrument or commonly known tabla drum. The sound of the drum is dominated by the sound of "dang" and "dut", since that's what's called a rhythm wilt turn new music genre is more popular with the rhythm of dangdut music.
In the early 1970's era of the famous dangdut artists include: M. Mashabi, Husein Bawafie, HasnahTahar, Munif Bahaswan, Johana Satar, Ellya Kadam. In this era was a time to figure artist dangdut dangdut musicians such as A. Rafiq, Reynold Panggabean, Rhoma Irama, Elvy Sukaesih, Herlina Effendi, Mansyur S., Ida Laila, Mukhsin Alatas, Camelia Malik.
Dangdut era after the 1970's produced many musicians and artists danggdut, who socialized at all among the people of Indonesia as Hamdan ATT, Meggy Z, Vetty Vera, NurHalimah, Iis Dahlia, Ikke Nurjanah, Itje Trisnawati, Evi Tamala, Goddess Peaches, Kristina , Cici Paramida, Inul and others.
Due to the nature of the contemporary in the early 1980s dangdut interact with other musical arts stream, with inflows of Pop music, Rock and Disco or House music. In addition to the inclusion of elements of modern art music dangdut music also began compounding the rhythm of traditional music such as gamelan, Jaranan, Jaipongan and other traditional music.
At the time of 1990 began a new era again that dangdut music is heavily influenced traditional music is the rhythm of the gamelan Javanese cultural arts sli Musika then at this time dangdut music began to assimilate with the gamelan, which gave rise to a new genre of music called dangdut campursari dangdut camputsari or. But the flow of new music does not eliminate the existence of the original dangdut music at that time.
In the era of the 2000s as the original saturation dangdut music, then at the beginning of this era musicians in East Java in the coastal northern coast began to develop a new kind of music called dangdut dangdut music Mix. Mix is
​​a mutation of dangdut music dangdut campursari dangdut after the era of growing thick traditional rhythms coupled with the inclusion of elements of musical art that is art kempul drum music from Banyuwangi in East Java and other traditional rhythms like Jaranan and gamelan.
As the music of the most popular and unique in Indonesia, dangdut experiencing the colorful journey. Dangdut, whose name comes from the distinctive sound of the drum, "dang" and "dut", considered a low form of popular culture in the 1970s, commercialized in the 1980s, re-interpreted as a range of national and global pop music in the 1990s, and localized in the ethnic communities in the era of the 2000s. The book "dangdut stories: a social and musical history of Indonesia's most popular music" by Andrew N. Weintraub is a social and musical history of dangdut genre, in the larger sense of class, gender, ethnicity and nation in post-independence Indonesia (1945 to date). Using an interdisciplinary approach that integrates new ethnomusicology, anthropology, media and cultural studies, professor of music at the University of Pittsburgh, AmerikaSerikat, is to link the various aesthetic properties, the use and effect of dangdut music, the material and social conditions in modern Indonesia. The book contains a wealth of original source material and new musicologist, in the form of interviews with the stars dangdut; update of latent journalistic resources, and a thorough analysis of dangdut standards, combined with a sharp re-reading of the existing literature makes this book not only describe the portrait genre of Indonesian music with fans almost the majority of the population spread to remote corners of the country territory, but also reflects the dynamics of Indonesian society in transition.
In the perspective of Indonesia, Weintraub contributed to raise the debate on national identity, with a focus on popular music dangdut, it introduces the importance of the cultural industry in defining musical identity as the nation's cultural identity. He also stated that dangdut is not only a representation and reflection of politics and culture of Indonesia, but as a practice dangdut economic, political and ideological communities have formed ideas about class, gender and ethnicity in modern Indonesian society.
This book describes the historical changes in musical style, performance and social understanding genre native to Indonesia, because dangdut usually always associated with universal themes. Weintraub dangdut approach as a form of cultural politics that gave rise to symbolic forms of social actors to fight for something that is considered valuable culture.
Through this book, we are invited to get to know the history of dangdut music by most of the people of Indonesia Indonesia is considered as original music. As the study of the history of music in Indonesia are not many books that explore the dangdut music, because it Weintraub's book is an insightful study to examine more in depth about the music native to Indonesia, because it seems there is not a study of dangdut music performed by the Indonesia itself.

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