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History of Indonesian Dangdut music

Selasa, 23 Oktober 2012

Dangdut is one of the musical genre that developed in Indonesia. This musical form rooted in the Malay music in the 1940s. In the evolution to contemporary forms are now entering the influence of Indian music elements (mainly from the use of tabla) and Arabic (on crooked and harmonization).
Changes in Indonesia's political currents at the end of the 1960s the influence of western music opens strong with the inclusion of the use of electric guitars and also a form of marketing. Since the 1970's dangdut be said to have matured in a contemporary form. In popular music, dangdut very open to influences of other musical forms, ranging from keroncong, style, gamelan, harp, rock, pop, and even house music.
The mention of the name "dangdut" is onomatopoeic of the sound of tabla game (in the world of drum called dangdut only) and is dominated by the distinctive sound of sword and ndut. The name is actually a cynical title in an article in the early 1970s to form malay music is very popular among the working class at that time.
Here are the names of several prominent singer and songwriter popular dangdut is divided into three chronological groups, in accordance with the development of dangdut music:
Pre-1970Husein BawafieMunif BahaswanEllyaM. MashabiJohana SatarHasnah TaharThe 1970'sA. RafiqRhoma IramaElvy SukaesihMansyur S.Mukhsin AlatasHerlina EffendiReynold PanggabeanCamelia MalikIda LailaAfter the 1970'sVera VettyNur HalimahHamdan ATTMeggy ZakariaIis DahliaItje TresnawatyEvi TamalaIkke NurjanahKristinaCici ParamidaDewi PersikInul
Indonesian dangdut in contemporary culture
By Rhoma Irama, dangdut used as a preaching tool, which is clearly visible from the lyrics of his songs, and declared by him. This has become one of the major triggers of cultural polemics in Indonesia in 2003 due to stage protest against the style of dangdut singer from East Java, Inul, with rocking ngebor labeled decadent and "moral damage".
Much earlier, dangdut has also been invited debate and ended with a ban on the celebration stage dangdut Sekaten in Yogyakarta. The debate emerged again due to stage style singer (female) was considered too "open" and taste, so it does not fit with the mission Sekaten as a religious celebration.
Dangdut was agreed many people as the music that carries the aspirations of lower-class society with all its simplicity and kelugasannya. Distinctive feature is reflected in the lyrics and song structure. The sensational stage style is inseparable from exhaustion.
Stage political campaigns are also not left behind utilizing dangdut popularity to attract the masses. Dangdut issue as a political tool also burst when Basofi Sudirman, at the time as Golkar functionaries, singing dangdut songs.
Although dangdut associated with a poor lower class people, not just a favored means dangdut underclass. In any event entertainment, dangdut certainly participate enliven the situation. Dangdut stage can easily be found in many places. Entertainment venues and special disco play dangdut songs found in many large cities. Radio stations broadcast claiming to be "radio dangdut" is also easily found in many cities.
Interaction with other music
Dangdut very elastic in the face and affect other forms of music. Western songs popular in the 1960's and 1970's many of the didangdutkan. Harp music genres and kasidah slowly drifting in the current way of dangdut music. The same thing happened to the music of Cirebon Tarling so that still exists today is a form thereof: tarlingdut.
Rock, pop, disco, house bound with both the music dangdut. Similarly, what happened to the music area like jaipongan, gamelan, Tarling, keroncong, Java style (known as a musical form called congdut tasters, with characters Didi Kempot), or Zapin.
Easily dangdut receiving element 'foreign' making it vulnerable to other forms of piracy, as is the case for the songs of Bollywood-style movie and latin songs. Coffee Dangdut, for example, is "pirated" a popular song from Venezuela.
Building songs
Despite dangdut songs can accept a variety of other musical elements easily, building most of the songs dangdut very conservative, mostly composed of units of eight bars 4/4. Rarely found dangdut songs with time signatures 3/4, except for the songs during Melayu Deli (example: Birds Nuri). Dangdut songs also poor improvisation, both melody and harmony. As a dance accompanist music, dangdut rely tabla beats and syncope.
Intro can be vocal without accompaniment or a game flute, the rest is guitar or mandolin. The length can be up to eight-bar intro.
The initial part is composed of eight bars, with or without repetition. If there is a repetition, can be interrupted by a pause the game line. This section is usually lyrical introduction to the song, the situation faced by the singer.
Standard dangdut song has no chorus, but has a second part to building a different melody with the first part. Before entering the second part there are usually two eight-bar breaks without lyrics. The second part is usually all of two times eight bars with interrupted single line breaks without lyrics. At the end of the second part is sometimes found along the four-bar coda. The second part contains the lyrics are usually a consequence of the situation described first part of the singer's actions taken to address the situation.
After the second, repeated full song from beginning to end. Dangdut song ends in a repeat of the first part. Rarely dangdut song ends with a fade away.

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