Dangdut

Dangdut is a genre of music that developed in Indonesia. This musical form rooted in the music Melayu in the 1940s. In the evolution towards the contemporary form now in effect elements of Indian music (especially from the use of the tabla) and Arabic (on the twisted and harmonization). Changes in the political currents in Indonesia in the late 1960s opened the influence of a strong western music with the entry and use of electric guitars are also forms of marketing. Since the 1970s virtually dangdut has matured in a contemporary form. In popular music, dangdut is open to the influence of other musical forms, ranging from keroncong, style, gamelan, lute, rock, pop, and even house music.

The mention of the name "dangdut" is an Onomatopoeia of tabla playing sound (in the world of drum called dangdut only) a unique and sometimes dominated by the noise and ndut. This name is actually a cynical title in a magazine article the early 1970s to form melayu music very popular among the working class at that time.
Contents
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* 1 From the music to Dangdut Melayu
* 2 Building songs
* 3 Interactions with other music
* 4 Dangdut Indonesia in contemporary culture
* 5 characters
o 5.1 Pre-1970s
o 5.2 1970s
o 5.3 After 1970
* 6 External links

[edit] From the music to Dangdut Melayu

Contemporary dangdut has been different from its roots, the music Malays, although people can still feel his touch.

Orchestra Melayu (commonly abbreviated as OM, the term is still often used for a dangdut music group) the original use instruments like acoustic guitar, accordion, tambourine, lute, and flute, and even a gong. In the 1950s and 1960s, many developing orchestras Malays in Jakarta who play songs from Sumatra Melayu Deli (around Medan). At this time the experiment began in the entry of Indian elements in the music Malays. Perkembangan dunia sinema pada masa itu dan politik anti-Barat dari Presiden Sukarno menjadi pupuk bagi grup-grup ini. From this period can be recorded the names like P. Ramlee (of Malaya), Said Effendi (with song Seroja), Ellya (in the style of the stage like a dancer India), Husein Bawafie Dolls creator of India, Munif Bahaswan, and M. Mashabi (creator of the film score "Wailing Children Stepfather" is very popular in the 1970s).

This period of musical styles continue to survive until the 1970s, although at that time also a big change in the music scene led by Malays who Sonnet Group leader Rhoma Irama. Some names from the 1970s, which can be called a Mansyur S., Ida Laila, A. Rafiq, and Muchsin Alatas. Popular music can be seen from the Malays out some Malays pop album by the pop music group Koes Plus in its heyday.

Modern dangdut, which developed in the early 1970s in line with Indonesian politics friendly to Western culture, include musical instruments such as the Western modern electric guitar, electric organ, percussion, trumpet, saxophone, oboe, and others to increase the variation and as a land-musicians musical creativity. Mandolin also entered as an important element. The influence of rock (especially on guitar) is very thick felt the music dangdut. In the 1970s become a means of 'battle' for dangdut music and rock music in Indonesia to win the market, never held a concert to 'duel' between Sonnet Group and God Bless. This practical music since the Malays have changed, including the pattern of musical business.

At the end of the decade half of the 1970s also developed variations of "dangdut humor" that was driven by the radiation beam OM Petromaks (PSP). This orchestra, which departs from the style of music melayu deli, helping dangdut dissemination among the students. This subgenre transmitted, for example, by OM Introduction Drinking Poison (PMR) and, in the early 2000s, the Youth Orchestra Harapan Bangsa (PHB).

[edit] Buildings on track
Drum or tabla, one of the main instruments dangdut

While dangdut songs can receive a variety of other musical elements easily, most of the buildings is very conservative dangdut songs, mostly composed of eight units of measure 4 / 4. Rarely found dangdut songs with bars 3 / 4, except on a few songs during the 1960s such as Bird Nuri and Seroja. Dangdut song also poor improvisation, both melody and harmony. As a dance music, dangdut rely heavily on the tabla beats and syncope.

Building form dangdut songs mostly have a sequence like this: Intro - A - B - A - Interlude - Reffrain - A - Interlude - Reffrain - A

Intro can be vocal or form without the accompaniment of flute playing, the rest is play guitar or mandolin. Intro length can reach eight bars.

The first portion is composed of eight bars, with or without repetition. If there is repetition, can be interrupted by a line break game. This section is usually about the contents berlirik introduction song, the situation faced by the singer.

Dangdut song has no chorus standards, but has a second part with a different melodic structure with the first part. Before entering the second part there are usually two eight-bar breaks without lyrics. The second part is usually along the eight-bar twice in a row interrupted by a pause without lyrics. At the end of the second part is sometimes there are koda all four bars. Lirik second part usually contains the consequences of the situation described by the first or the actions taken to respond to the singer's situation.

After the second part, the song is repeated full from beginning to end. Dangdut song ends on the first repetition. Dangdut songs rarely end with a fade away.

[edit] 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. Lute and the music genre Qasida slowly drifting down the stream way dangdut music. The same thing happened to the music of Cirebon tarling so that still exist at this time is the form of the mixture: tarlingdut.

Music rock, pop, disco, house well in bersenyawa dangdut music. Similarly, what happened with the music like Jaipongan, gamelan, tarling, keroncong, Java style (known as a musical form called mixed juice congdut, with Didi Kempot characters), or Zapin.

Dangdut easily receive ingredient 'foreign' make 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.

[edit] Dangdut Indonesia in contemporary culture

By Rhoma Irama, dangdut used as a means of preaching, which is clearly visible from the lyrics of songs by him and declared himself. This has become one of the major triggers cultural polemics in Indonesia in 2003 due to stage his protest against the style of dangdut singer from East Java, Inul Daratista, with his rocking ngebor branded decadent and "moral damage".
Dangdut singer Inul Daratista

Much earlier, dangdut has also been invited debate and ended with the ban dangdut stage in celebration Sekaten in Yogyakarta. The debate comes again from the stage style singer (female) was considered too "open" and bad taste, so not in accordance with Sekaten mission as a religious festival.

Dangdut is widely agreed upon as the music that carries the aspirations of lower class society with all its simplicity and kelugasannya. This characteristic is reflected in the lyrics and song structure. Performances are sensational style does not depart from this breath.

Stage campaigns of political parties also do not miss using the popularity of dangdut to attract the masses. Dangdut issue as a political tool also arose when Basofi Sudirman, at the time as Golkar functionaries, singing dangdut song.

While dangdut associated with a poor grassroots, not that popular dangdut only the lower classes. At each event entertainment, dangdut participate certainly enliven the situation. Dangdut stage can easily be found in various places. Places of entertainment and special disco play dangdut songs are often found in big cities. Radio stations broadcast claiming to be "radio dangdut" is also easily found in various cities.


[edit] Characters

Here are the names of several prominent singer and songwriter of popular dangdut is divided into three chronological groups, in accordance with the development of dangdut music.

[edit] Pre-1970s

* Husein Bawafie
* Munif Bahaswan
* Ellya
* A. Harris
* M. Mashabi
* Said Effendi
* Johana Satar
* Hasnah Tahar

[edit] 1970s

* A. Rafiq
* Rhoma Irama
* Elvy Sukaesih
* Mansyur S.
* Mukhsin Alatas
* Herlina Effendi
* Reynold Panggabean
* Camelia Malik
* Ida Laila

[edit] After 1970

* Vetty Vera
* Nur Halimah
* Hamdan ATT
* Meggy Zakaria
* Iis Dahlia
* Itje Tresnawaty
* Evie Tamala
* Ikke Nurjanah
* Kristina
* Cici Paramida
* Dewi Persik
* Inul Daratista
* Bre

[edit] External links

* Project Pop Makes Dangdut Hip! (from MyIndo.com)
* Krisnadi Yuliawan, Rita Triana Budiarti, and Sujoko Music Dangdut: Tabla Rhythm scrambling Qibla. Gatra Daring. February 18, 2003 edition. Accessed 26 November 2008.
* Denny Sakrie. Is Dangdut Is The Music Of Our Country?. Essays on Multiply.