i love dangdut

Indonesian Dangdut Music History

Dangdut is one of the genres of musical art that developed in Indonesia. This musical form rooted in Malay music in the 1940s. In the evolution towards contemporary forms now in effect elements of Indian music (mainly from the use of tabla) and Arabic (the crooked and harmonization). Changes in political currents Indonesia in the late 1960s opened the entry of a strong influence of western music with the inclusion of the use of electric guitar and is also a form of marketing. Since 1970 dangdut be said to have been cooked in a contemporary form. As popular music, dangdut very open to the influence of other musical forms, ranging from kroncong, style, gamelan, harp, rock, pop, and even house music.
i love dangdut
The mention of the name “dangdut” is onomatopoeic of the sound of tabla game (in the world of dangdut called drum only) distinctive and is dominated by the sound dang and ndut. The name is actually a cynical title in an article in the early 1970s to form melayu music that is very popular among the working class at that time.
Here are the names of several prominent singer and creator of the popular dangdut songs are divided into three chronological groups, in accordance with the development of dangdut music:
– Hussein Bawafie
– Munif Bahaswan
– Ellya
– M. Mashabi
– Johana Satar
– Hasnah Tahar
– A. Rafiq
– Rhoma Irama
– Elvy sukaesih
– Mansour S.
– Mukhsin Alatas
– Herlina Effendi
– Reynold Panggabean
– Camelia Malik
– Ida Laila
After 1970
– Vetty Vera
– Nur Halimah
– Hamdan ATT
– Meggy Zakaria
– Iis Dahlia
– Itje Tresnawaty
– Evi Tamala
– Ikke Nurjanah
– Kristina
– Cici Paramida
– Dewi Persik
– Inul
– Etc.
Dangdut in contemporary culture Indonesia
By Rhoma Irama, dangdut serve as a means of preaching, which is clearly visible from the lyrics of his songs and declared by him. This has become one of the major polemic triggered culture in Indonesia in 2003 due to stage his protest against the style of dangdut singer from East Java, Inul, with his rocking ngebor labeled decadent and “moral damage”.
Much earlier, dangdut also has invited debate and ended with the banning of dangdut stage in celebration Sekaten in Yogyakarta. The debate arises once again due to the style of the stage singer (female) was considered too “open” and a bad taste, so it does not fit with the mission Sekaten as a religious celebration.

Dangdut was agreed many circles as the music that carries the aspirations of lower-class society with all its simplicity and unadorned. This characteristic is reflected in the lyrics and song structure. Stage sensational style is inseparable from this breath.

Stage campaigns of political parties also do not miss utilize the popularity of dangdut 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 is associated with the lower classes were poor, it does not mean dangdut only favored the lower classes. In any event entertainment, dangdut certainly participate enliven the situation. Dangdut stage can easily be found in various places. Entertainment and special disco play dangdut songs found in many large cities. The radio station broadcast that declared itself as “radio dangdut” is also easily found in various cities.
Interaction with other music

Dangdut is very elastic in the face and affects other forms of music. Western songs popular in the 1960s and 1970s many didangdutkan. Kasidah stringed musical genre and slowly drifting in the current way dangdut music. The same thing happens in music Tarling Cirebon so that still exist at the present time is the form of mixtures: tarlingdut.

Rock, pop, disco, house bersenyawa well in dangdut music. Similarly, what happened with the music areas such as jaipongan, gamelan, Tarling, keroncong, Java (known as a musical form called congdut tasters, with characters Didi Kempot), or zapin.
Dangdut easily accept elements of ‘foreign’ making it vulnerable to other forms of piracy, as is the case of the songs of Bollywood-style films and latin songs. Kopi Dangdut, for example, is “pirated” a popular song from Venezuela.

Building tracks
Although dangdut songs can accept a variety of other musical elements easily, building mostly very conservative dangdut songs, mostly composed of units of eight-bar 4/4. Rarely found dangdut songs with a 3/4 time signatures, except the songs of past Melayu Deli (example: Birds Nuri). Dangdut also poor improvisation, both melody and harmony. As a dance music, dangdut rely heavily on tabla beats and syncope.

Intro can be outspoken without accompaniment or a game of flutes, the rest is a guitar or mandolin. Length can reach 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 content of the song introduction, the situation faced by the singer.

Dangdut song has no chorus standards, but has a second part with buildings of different melodies with the first part. Before entering the second part there are usually two eight-bar pause without lyrics. The second part is usually along the eight-bar twice with a pause was interrupted by a single line without lyrics. At the end of the second part is sometimes found along the four-bar coda. The second section usually contains the lyrics of the consequences of the situation described the first part or the singer’s actions taken to address the situation.

After the second part, the song is repeated filled from beginning to end javapackindonesia. Dangdut song ends on a repetition of the first part. Rarely dangdut song ends with a fade away. ‘

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