Indonesian hip hop

Music of Indonesia
Gongs from Java
Timeline • Samples
Genres
Classical • Kecak • Kecapi suling • Tembang sunda • Pop • Dangdut • Hip hop • Kroncong • Gambang kromong • Gambus • Jaipongan • Langgam jawa • Pop Batak • Pop Minang • Pop Sunda • Qasidah modern • Rock • Tapanuli ogong • Tembang jawa
Specific Forms
Gamelan • Angklung Beleganjur • Degung • Gambang • Gong gede • Gong kebyar • Jegog • Joged bumbung • Salendro • Selunding • Semar pegulingan
Regional Music
Bali • Borneo • Java • Moluccan Islands • Papua • Sulawesi • Sumatra • Sunda

Indonesian hip hop is hip hop music performed in Indonesia. Hip hop music began to be produced in Indonesia in the early 1990s, with the first Indonesia artist to release a full-length hip hop album being the emcee Iwa K, who has released five albums to date. Other Indonesian hip hop groups include Boyz Got No Brain and Neo. Many Indonesian hip hop groups rhyme in the Indonesian language, but there are also groups that rhyme in English. Variously, songs often combine formal Indonesian with street slang, youth code, regionally colored pronunciations, and even expressions from regional languages (typically Javanese, Sundanese, or Betawi).^[1]
One key feature of Indonesian hip hop that is different compared with American hip hop is that the language used in Indonesian hip hop is more polite and does not use vulgar language, and does not often make references to sex and violence.^[2] Moreover, American hip hop originated from a group dissatisfied with racial discrimination. Indonesian hip hop arises from a group that is dissatisfied with authoritarian rule. (After the New Order [Orde Baru])
Themes in Indonesian hip hop music mostly pertain to youth culture, such as boredom (Blake "Bosan"), basketball (Iwa K, "Nombok Dong!"), etc. but range to social protest also. Such as themes about the fate of ordinary and poor people, and critiques of middle-class and elite life, as in songs like Sound Da Clan’s ‘‘Anak Gedongan’’ (Rich kid), Black Skin’s "CewekMatre" (Material chick) and "Nyontek Lagi" (Cheating again), or Neo’s "Borju" (Bourgeois). Other themes have also appeared, such as environmental degradation (Iwa-K, ‘‘Bumi Hari Ini’’ [The Earth today]) and condemnations of governmental corruption (Neo,‘‘KKN’’ [Corruption, collusion, nepotism])
Indonesian hip hop music is a youth subculture. It has been seen as a form of protest against the New Order government's state-imposed understanding of the Indonesian cultural identity. It has largely been condemned by key political figures such as former president B.J. Habibie. In January 1995, Habibie raised objections against organising an Indonesian rap festival.^[3] Yudhistira A.N.M. Massardi, reporting for the weekly news magazine Gatra, quoted Habibie as remarking:

"The younger generation shouldn’t want to be enslaved by an aspect of foreign culture [with] which isn’t even liked in its own country. It’s not even appropriate over there, much less in Indonesia. It’s not suitable. . . . I don’t agree with it because it’s of no use whatsoever, especially for the young generation." ^{[4] [5]}

The Pesta Rap Indonesian hip hop compilations were influential in the 1990s.
Krakatau, a jazz-influenced band from Bandung, West Java, integrated hip hop into some of its songs.
Indonesian hip hop is often mixed with heavy metal. This is called hip-metal. Groups such as Iwa-K and Denada have music that is of this style.^[3]

References

1. ^ Bodden, Michael. Rap in Indonesian Youth Music of the 1990s: "Globalization," "Outlaw Genres," and Social Protest Asian Music - Volume 36, Number 2, Summer/Fall 2005, p.14
2. ^ Nico Colombant for the Indonesian Observer, Cinere, Jakarta, 1997, http://www.angelfire.com/dc2/usnico/indonesia-rap.html
3. ^ ^{a b} Bodden, Michael. "Rap in Indonesian Youth Music of the 1990s: Globalization, Outlaw Genres, and Social Protest." Asian Music, Volume 36, Number 2, Summer/Fall 2005, pp. 1–26
4. ^ Massardi, Yudhistira A.N.M. 1995 ‘‘Si Bawel Kena Omel.’’ Gatra 21:106–07.
5. ^ The Indonesian reads as follows: Generasi muda jangan mau diperbudak unsur budaya asing yang di negaranya sendiri tak disukai . . . di sana saja tidak patut, apalagi di Indonesia, tidak cocok . . . Saya tidak setuju karena tidak ada manfaatnya sama sekali, terutama bagi generasi muda. . . .

 

Gesang Martohartono

Gesang Martohartono (1 October 1917 – 20 May 2010)^[1] was a renowned Indonesian singer-songwriter from central Java, and he is the composer of the song Bengawan Solo, a tune which has become famous throughout Indonesia, Japan, much of Asia, and some other countries in the world. The song is almost synonymous with the kroncong style of Javanese music. Martohartono was most commonly known simply as Gesang.
Gesang was born in the central Javanese city of Surakarta (Solo). His father owned a batik-fabric business, which however went bankrupt when Gesang was still in his teens, plunging the family into poverty. Gesang, a self-taught musician who was however illiterate in musical notation, supported himself and his family by writing songs and singing at local functions such as weddings and other formal occasions.
In 1940, during the Zaman Pendudukan Jepang in World War II, the impoverished 23 year-old musician composed a tune (using a flute) in the popular urban local style known as kroncong, a musical tradition of the region which combined Javanese chord progressions with Westernised vocal stylings, instrumental arrangements, and melodies. The style had its origins in the 17th century Portuguese influence upon the region, and was at the time associated with the urban poor and as such had somewhat of an unsavoury reputation, particularly among traditionalists.
For the lyrics, Gesang turned to the Surakarta's river for inspiration. The Bengawan Solo River is Java's longest river and most important waterway for trade and agriculture, and seemed to Gesang to symbolise the durability of Javanese culture in those troubled times. Gesang himself would later remark "I had dreamt since my childhood about writing a song of praise for the immortal Solo River".^[2]
Gesang added the song, Bengawan Solo, to his repertoire, and it soon became widely popular among the local Javanese community. The song rose to national prominence when recordings of it were aired on local radio stations. It also found an appreciative audience among the Japanese occupation forces, some of whom took to singing it with lyrics translated into Japanese. It was popular also among the non-Javanese prisoners (principally Dutch civilians) of the Japanese internment camps, many of whom also spoke Indonesian. The simple but nostalgic lyrics and popular-sounding melody held equal appeal to the long-standing resident and the homesick soldier.
As World War II drew to a close, the returning soldiers of the Japanese Imperial Army brought the song back to Japan. In the dark period immediately after Japan's defeat, the song caught the public mood, and its fame soon spread throughout the country after best-selling recordings of it were released by popular singers, starting with Toshi Matsuda's 1947 recording. It was to be periodically re-released by various popular artists, and the song soon became almost synonymous in Japan with Indonesian music, with many assuming that it was a centuries-old traditional song.^[3]
Versions of the song were also released in other Asian countries, and it has since been reinterpreted many times by various musical artists worldwide.
Gesang remained in the city of his birth, continuing to compose and sing, his fame spreading through the decades. He came to be regarded as the leading exponent and senior figurehead of the Solonese kroncong style, which is now regarded as a respectable, even somewhat starchy and dated style, well and truly assimilated from its humble and scandalous prior associations.^[4]
In 1991, a group of appreciative Japanese war veterans arranged for a life-sized statue of Gesang to be erected in a Surakarta park, to mark their respects for the composer of the tune that had managed to cross the cultural barriers of wartime.^[5]

Death

From 12 May 2010 Gesang was hospitalized in a state of ill health. He was reported to be unconscious and was sent to Muhammadiyah Hospital's Intensive Care Unit in his hometown of Solo. He was already reported dead previously on 18 May 2010, but his family denied it.^[6][7] Gesang died 8 days later in the hospital, on 20 May 2010 at the age of 92. He left his entire fortune (of some $20 million) to the charity "Music in Youth".^[8]

References

1. ^ Gesang Tutup Usia
2. ^ Asian Economic News, 1999
3. ^ Ibid.
4. ^ Indonesia Music- kroncong
5. ^ Asian Economic News, op. cit.
6. ^ Gesang Sempat Dikabarkan Meninggal (Indonesian)
7. ^ Gesang Ternyata Stabil (Indonesian)
8. ^ Gesang Berpulang

Dangdut The Music Country of Indonesia

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Dangdut is a genre of Indonesian popular music that is partly derived from Malay, Arabic and Hindustani music. It developed in the 1970s among working class Muslim youth, but beginning in the late 1990s reached a broader following in Indonesia, Malaysia and the southern Philippines. A dangdut group usually consists of a singer, backed by a group of four to eight musicians. The term was extended from the desert-like style of music, now expanded to include other musical styles. Dangdut integrates modern influences of Latin, house music, hip-hop, R & B, reggae, and even the Western classical music. Though songs dangdut can accept various other music element easy toly, building most songs dangdut very conservative, mostly lapped over from set of eight birama 4/4. Very rare found by theX the song dangdut with birama 3/4, except to songs a period of/to Melayu Deli . Song dangdut impecunious also improvisasi, harmony and melody good. As music attendant of dance, dangdut very rely on knock tabla and sinkop. Intro can be in the form of the vowel without accompaniment or in the form of game of flute, rest is game of mandolin or guitar. Long intro can reach eight birama. Shares early lapped over from eight birama, with or without repetition. If there are repetition, can be interrupted with a[n line game of interval. This shares lyrical usually deliverer concerning song content, situation that faced by the singer. Song dangdut standard don't have refrain, but have the second shares with different melody building with first shares. Before entering the second shares usually there are twice eight birama interval without lyric. Second shares usually as long as from twice eight birama with interrupted a line interval without lyric. In final of second shares sometime there are koda as long as four birama. Peep at the second shares usually contain consequence of situation that depicted by theX the first shares or pisaller the singer to answer that situation. After shares both, re- song full of from early till end of. Song dangdut terminated in repetition of first shares. Very rare of song dangdut terminated with fade away.

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Music of Indonesia

From Wikipedia the, free encyclopedia

Music of Indonesia
Gongs from Java
Timeline • Samples
Genres
Classical • Kecak • Kecapi suling • Tembang sunda • Pop • Dangdut • Hip hop • Kroncong • Gambang kromong • Gambus • Jaipongan • Langgam jawa • Pop Batak • Pop Minang • Pop Sunda • Qasidah modern • Rock • Tapanuli ogong • Tembang jawa
Specific Forms
Gamelan • Angklung Beleganjur • Degung • Gambang • Gong gede • Gong kebyar • Jegog • Joged bumbung • Salendro • Selunding • Semar pegulingan
Regional Music
Bali • Borneo • Java • Moluccan Islands • Papua • Sulawesi • Sumatra • Sunda

The music of Indonesia demonstrates its cultural diversity, nearly every one of the 17,508 islands having its own cultural and artistic history and character^[1]. This results in hundreds of different forms of music, which often accompanies dance and theater. The musics of Java, Sumatra, Bali, Flores and other islands have been documented and recorded, and research by Indonesian and international scholars is ongoing.

Tembang sunda

Tembang sunda, also called seni mamaos cianjuran, or just cianjuran, is a form of sung poetry which arose in the colonial-era kabupaten of Cianjur. It was first known as an aristocratic art; one cianjuran composer was R.A.A. Kusumahningrat (Dalem Pancaniti), ruler of Cianjur (1834 - 1862). The instruments of Cianjuran are kacapi Indung, kacapi rincik and suling or bamboo flute, and rebab for salendro compositions. The lyrics are typically sung in free verse, but a more modern version, panambih, is metrical. It is usually the drums.

Kecapi suling

Kecapi suling is a type of instrumental music that is highly improvisational and popular in parts of Java. It is related to tembang sunda.

Gamelan

The most popular and famous form of Indonesian music is gamelan, an ensemble of tuned percussion instruments that include metallophone drums, gongs and spike fiddles along with bamboo flutes. Similar ensembles are prevalent throughout Indonesia and Malaysia, but gamelan is from Java, Bali, India and Lombok. There are rivalries between different regions' variations of gamelan, especially Java and Bali.

Central Java

Gamelan is intricate and meticulously laid out. The central melody is played on a metallophone in the center of the orchestra, while the front elaboration and ornamentation on the melody, and, at the back, the gongs slowly punctuate the music. There are two tuning systems. Each Gamelan is tuned to itself, and the intervals between notes on the scale vary between ensembles.
The metallophones cover four octaves, and include types like the slenthem, demung, saron panerus and balungan. The soul of the gamelan is believed to reside in the large gong, or gong ageng. Other gongs are tuned to each note of the scale and include ketuk, kenong and kempul. The front section of the orchestra is diverse, and includes rebab, suling, siter, bonang and gambang. Male choruses (gerong) and female (pesindhen) solo vocalists are common.

History

Gamelan is rooted in Hinduism and Buddhism, though the island of Java is almost entirely Muslim today. Islam arrived in the 15th century, filtered through Hindustani Indians. With the arrival of the Dutch colonizers, a number system called kepatihan was developed to record the music. Music and dance at the time was divided into several styles based on the main courts in the area -- Surakarta, Yogyakarta, Pakualaman and Mangkunagaran. It is a universal acknowledgment that gamelans are highly honoured citizens.

West Java

West Java, formerly Sunda, has a diverse brand of gamelan. Gamelan Degung, gamelan salendro and tembang sunda are three primary types.

East Java

Gamelan from eastern Java is less well-known than central or western parts of the island. Perhaps most distinctive of the area is the extremely large gamyak drum.

Osinger

The Osinger minority in Java are known for social music for weddings and other celebrations, called gandrung, as well as angklung, played by young amateur boylets , which is very similar to Balinese gamelan.

Folk music

Indonesianand folk is quite diverse, embracing rock, house, Indonesian hip hop and other genres, as well as distinctly Indonesian forms. There are several kinds of "ethnic" pop music, generally grouped together as Pop Daerah (regional pop). These include Pop Sunda, Pop Minang, Pop Batak, and others. The regional pop musics mostly use local languages and a mix of western and regional style music and instruments. Indonesian Pop music is extremely popular in neighbouring countries, especially Malaysia.

Kroncong

Kroncong (alternative spelling: Keroncong) has been evolving since the arrival of the Portuguese, who brought with them European instruments. By the early 1900s, it was considered a low-class urban music. This changed in the 1930s, when the rising Indonesian film industry began incorporating kroncong, and then even more so in the mid- to late 1940s, when it became associated with the struggle for independence.
Perhaps the most famous song in the kroncong style is Bengawan Solo, written in 1940 by Gesang Martohartono, a Solonese musician. Written during the Japanese Imperial Army occupation of the island in World War II, the song (about the Bengawan Solo River, Java's longest and most important river) became widely popular among the Javanese, and then later nationally when recordings were broadcast over the local radio stations. The song also became quite popular with the Japanese soldiers, and when they returned to Japan at the end of the war re-recordings of it (by Japanese artists) became best-sellers. Over the years it has been re-released many times by notable artists, mainly within Asia but also beyond (like Anneke Grönloh), and in some places it is seen as typifying Indonesian music.
Gesang himself remains the most renowned exponent of the style, which although it is seen now as a somewhat starchy and "dated" form is still popular among large segments of the population, particularly the older generation.

Langgam Jawa

There is a style of kroncong native to Surakarta (Solo) called langgam jawa, which fuses kroncong with the gamelan seven-note scale.

Tembang Jawa

Similar in style is tembang jawa. Perhaps its greatest current star is Didi Kempot.

Gambang Kromong

Early in the 20th century, kroncong was used in a type of theater called komedi stanbul; adapted for this purpose, the music was called gambang kromong.

Campursari

A musical fusion style of Traditional Indonesian music & Dangdut that prevalent in Java.

Dangdut

Dangdut is a form of dance music that has been popular since the mid-1970s. Dangdut is based around the singers, and stars include Rhoma Irama and Elvy Sukaesih (the King and Queen of Dangdut), along with Inul Daratista, Evie Tamala, Mansyur S., A. Rafiq, and Fahmy Shahab. It is also popular in Malaysia as the symbol of Malay race (not Malay ethnic).

Jaipongan

Jaipongan is a very complex rhythmic dance music from the Sundanese people of western Java. The rhythm is liable to change seemingly randomly, making dancing difficult for most listeners. Its instruments are entirely Sundanese, completely without imported instruments from the West, China, Japan or elsewhere. It was invented by artists like Gugum Gumbira after Sukarno prohibited rock and roll and other western genres.

Qasidah modern

Qasidah is an ancient Arabic word for religious poetry accompanied by chanting and percussion. Qasidah modern adapts this for pop audiences.

Gambus

Gambus literally means oud, referring to a type of lute. It is used to denote a type of orchestra and the music it plays, believed to be introduced by Muslim settlers from Yemen. Though popular among Arabs in Indonesia, it has gained little popularity elsewhere.

Tapanuli ogong

From Tapanuli, tapanuli ogong is a form of dance music played with a type of lute, trumpet and flute.

Indonesian music legends

From Gesang, Koes Bersaudara/Koes Plus (Indonesian #1 Legend), Dara Puspita, Alfian, Titiek Puspa, Guruh Gypsi, Gombloh and Lemontrees, Bing Slamet, Benyamin S, Godbless, Chrisye, DARSO (Calung X), Harry Roesli (50's-70's) till Fariz RM, Iwan Fals,and many more. There is also The Tielman Brothers who originally from Indonesia but they gained popularity in Europe, especially Netherlands

References

1. ^ Indonesian Geography http://countrystudies.us/indonesia/28.htm

• Bass, Colin. "No Risk -- No Fun!"". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp 131-142. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0
• Heaton, Jenny and Steptoe, Simon. "A Storm of Bronze". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp 117-130. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0