The Sundanese Pop Music of Nano Suratno: Between Tradition and Adaptation adaptation, and local identity (original) (raw)
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Popular Music in Asia: Cultural Perspectives; Theme Change & Continuity
The author is an Indian classical and light music vocalist and earned his doctorate in 2008 in the area of Indian classical music from the Centre for Performing Arts, University of Pune and now is a post-doctoral fellow at the Centre for Advanced Studies in Sanskrit, University of Pune. He belongs to the ancient Sama Vēdic oral-aural tradition. His area of interest is cultural musicology with reference to all forms of Indian music.
Asian Music, 2013
This introductory essay discusses genre as an organizing principle in Indonesian popular music. It suggests that the wildly creative hybridizations produced by Indonesian popular musicians occur against the backdrop of a relatively stable tripartite macro-genre system, consisting of dangdut/daerah, pop, and underground/indie. The articles in this special issue, which tackle such diverse genres as dangdut koplo, campursari, indie, kroncong, and jazz/ethnic fusion, take a variety of historical, musicological, and ethnographic approaches to the problem of music genre in Indonesia, from the colonial period to the present. Taken together, they reveal music's fundamental importance in Indonesia's complex, ongoing encounters with modernity. Esai pengantar ini membahas genre sebagai akar dari musik populer Indonesia. Hal ini menyarankan bahwa keberadaan beberapa hibridisasi kreatif liar yang dibuat oleh para musisi populer Indonesia ternyata dilatarbelakangi oleh sistem genre tripartit yang makro, yang terdiri dari musik dangdut/daerah, pop, serta underground/indie. Artikel-artikel dalam edisi khusus ini, yang menangani beragam jenis musik seperti dangdut koplo, campursari, indie, keroncong, dan jazz/etnik fusion, memakai berbagai pendekatan sejarah, musikologi, maupun etnografi pada genre musik di Indonesia dari jaman penjajahan sampai dengan jaman sekarang. Jika dibaca secara keseluruhan, artikel-artikel itu mengungkapkan kepentingan yang mendasar dalam musik Indonesia yang rumit dan secara berkelanjutan berhadapan dengan modernitas. To understand the complex work of genre, we need more than a systematic account of individual dimensions. We need explanations of fundamental connections and moments in the trajectory of a genre.. .. To understand the changing horizons of popular music, we need to engage critically in musical life and conduct case studies from which new theories can emerge.. .. (Holt 2007, 20, 29) The National Context Indonesia is the world's fourth most populous country, third largest democracy, and largest Muslim-majority nation. Indonesia is also the sixteenth largest economy in the world, having recently surpassed The Netherlands, its former colonizer.1 American music students who learn only about Central Javanese and Balinese gamelan as decontextualized art-music traditions and
Introduction: Special Issue – East Asian popular music and its (dis)contents
Popular Music, 2013
Special Issue-East Asian popular music and its (dis)contents When one of the guest editors of this issue convened a workshop at the International Institute of Asian Studies (IIAS) in Leiden on 26 November 2008, it was titled 'East Asian Popular Music, Small Sounds from Big Places?'. Was it out of 'East Asian modesty' for the European audience who were not expected to know much about the subject? One is reminded of the book from popular music studies scholarship, Big Sounds from Small Peoples (Wallis and Malm 1984). In this book, which includes case studies of the music industries of 12 small nations, there is not one chapter about an East Asian nation. Is this because East Asians are never small peoples or because their sound is never big in the world of popular music around the globe? It cannot be denied that East Asia has been an almost forgotten area in the academic study of the popular music of the English language sphere. Even if you look at the edited anthology, The Popular Music Studies Reader, which collects together 43 'classic texts and essential new writings on popular music' (Bennett et al. 2006), you cannot find any single article that touches on, let alone discusses, East Asian popular music. Even in the journal Popular Music, apart from the special issue featuring Japanese popular music in 1991, there have been surprisingly few articles concerning East Asian popular music. 1 Considering that the region has a huge popular music market (Japan is the second largest in the world), and that distinctive and rich musical cultures have developed in China (as well as Hong Kong and Taiwan), Japan and Korea, it is unfortunate that East Asian popular music has been almost invisible outside the region. But it is not our intention to complain here that 'our' music is disregarded in international popular music studies. We are only discussing the specific conditions of this underrepresentation. A couple of years ago, one of the guest editors of this issue suggested that this regional limitation is firstly 'because most studies about popular music in Asia had been written in local or national languages', and secondly, 'because studies written in English and other lingua franca were predominantly produced by Western-based scholars and remained outside of the inter-Asian network of knowledge production' (Shin 2009, p. 495). It is no accident that two recently published special journal issues on Asian popular music (Shin 2009; Brunt 2011) have connections with the inter-Asia network. In this special issue, we would add a third point. It has been regarded as common sense that East Asian popular music, unlike popular music in other areas such as Africa or South America, is merely an imitation of Euro-American music, and that East Asia is considered as an area of consumption rather than creative production.
Yearbook for traditional music, 2002
In this article we analyse some developments in the popular music of Indonesia, especially those that have occurred during the last five years. The concept of "popular music" in present-day Indonesia is discussed briefly along with an analysis of how it is used in the negotiation of the identity of particular communities, playing a vital role in a dialogue of power at local, national and global levels. We ask how the different pop scenes comment on and act to change society in an age of shifting identities and sensibilities. At the beginning of the twenty-first century, issues of copyright and intellectual property rights seem to have become even more important than they were in the 1990s.
2020
One of the varieties of popular music of Indonesia is the so-called Nyanyian Populer Daerah (regional pop songs) which usually employs areal dialect, as well as characteristic melodic styles and expression. The number of these genres in Sumatra and the Malay Peninsula is countless, since there exist so many local dialects, and musical expression can be found in all of these regions. This research focuses only on three areal pop songs, two found on the Sumatra Islands and one found in North Sulawesi. The two genres found on the Sumatra islands (Deli and Minang) are exceptional as being the chief genres which received its influences from the characteristics of the original Malay songs, while the other one comes from Minahasa, the music of which has possesses its own peculiar different melodic styles, but provides the same type of expression in singing. This research employed fieldwork, as well as study of the selected recordings available on various types of social media, including Yo...
Expression of Music Culture in Malaysia and Indonesia: Analysis of Musical Aspects
2021
Music is one of the cultures that has ever created by humans. It is one of the rhythms of interest and received a warm welcome among artistes and listeners in the entertainment world in Malaysia and Indonesia. This can be seen from the number of views of the song via Youtube link and the response to the production of rhythmic music in various digital music channels such as Joox, Spootify, Tik Tok and many more. However, there are perceptions and issues arisen by the public such as “why do dangdut song lyrics, although expressing about events of sadness or social problems, still encourage its connoisseurs to dance and sway?' Nevertheless, there is a confusion among the public when they began to question ‘I don’t understand why should belly dance and dangdut be promoted to children?’ Therefore, this study was conducted using qualitative content analysis method obtained from the list of songs found in Malaysia and Indonesia starting in the 60s (Indonesia), 70s (Malaysia) and the cu...
PROMEDIA (PUBLIC RELATION DAN MEDIA KOMUNIKASI), 2020
This study analyzes the process of acculturation of hybrid culture in the performing arts of Mount Bromo Jazz with the local culture of the Tengger tribe. The acculturation of hybrid culture as a global identity in increasing local tourism potential is the culture of the Tengger tribe, Bromo. By using a discourse analysis research methodology, researchers analyze and describe the dialectics to the discourse that occurs in the process of acculturation of hybrid culture at the Bromo mountain jazz performance. The development of Jazz music spread throughout the world, including in Indonesia. Jazz music is quite popular and is loved by many people, especially young people. At present, there are enough jazz shows that are often held in Indonesia. It is interesting to study and analyze that in this Bromo Jazz music performance the concept of performance and music is a combination of local culture and western culture. Performances by local Indonesian musicians together with global musicians around the world. Some new music works were created through a collaborative process between local musicians and foreign
2021
This chapter provides a critical overview of the birth and development of Iban popular music in Sarawak from the 1950s to the 1970s. It examines the potential of popular music historiography to uncover paradoxes of modernity in the socio-cultural meanings of song lyrics of the Iban who are the largest indigenous ethnic group in Sarawak. During this pivotal period in Malaysian history, the Iban experienced modernity in fux through the agents of change from Brooke’s rule to British colonialism to the Federation of Malaysia. Inspired by Barendregt’s (2014) “alternative conceptions of modernity” in Southeast Asian popular music, this chapter traces the historical introductions of Western music in Sarawak from the Brooke Dynasty, the establishment of Iban Radio under Radio Sarawak during the British colonial era, and the development of the Iban recording industry in the late 1960s during the formation of the Malaysian nation-state. Tese introductions reveal that Iban popular music did not just imitate pop culture but commandeered it as a platform for pre-modern warrior identity, nation-state promotion, and proclaiming pride in regional Sarawakian identity.
Introduction - Made in Nusantara: Studies in Popular Music
Made in Nusantara: Studies in Popular Music, 2021
Made in Nusantara serves as a comprehensive introduction to the history, sociology, ethnography, and musicology of historical and contemporary popular music in maritime Southeast Asia. Each essay covers major fgures, styles, and social contexts of genres of a popular nature in the Nusantara region including Malaysia, Indonesia, Brunei, Singapore, and the Philippines. Trough a critical investigation of specifc genres and their spaces of performance, production, and consumption, the volume is organised into four thematic areas: 1) issues in Nusantara popular music; 2) history; 3) artists and genres; and 4) national vs. local industries. Written by scholars working in the region, Made in Nusantara brings local perspectives to the history and analysis of popular music and critically considers conceptualisations developed in the West, rendering it an intriguing read for students and scholars of popular and global music.
Archipelago Musical Elements in Ananda Sukarlan's Work as Part of Building Indonesian Identity
Journal of Tourism, Hospitality and Environment Management, 2021
This study aims to examine the contribution of Ananda Sukarlan as a composer who is serious about building an Indonesian identity through the use of various Indonesian musical elements as material in composing piano and vocal works. How composers arrange various musical aspects that can work in a composition is the focus of this research. The study of musicology is used as an approach to dissect various aspects of the musical used, such as; melody, harmony, texture, tonality, scale, rhythm, timbre. Archipelago musical elements are a fundamental aspect in composing works that have 'new values' and 'different tastes' because they have uniqueness or characteristics. The complexity of the compositional techniques used in the preparation of the work shows a high level of creativity in producing vistuosic works. His works have become a repertoire for recitals, competitions, and music concerts for Indonesian and foreign pianists and soloist singers. Studying the works of An...