Gambus Music Indonesia
Gambus
had some kind of meaning, namely: first, the music produced by the
orchestra harp among the people of Jakarta and South Sumatra, the
second, stringed stringed instrument known in some areas such as
Jakarta, Lampung, West Nusa Tenggara, Riau, Maluku, South Sulawesi ,
and North Sulawesi; third, a type of folk dance from the region of
Bangka, South Sumatra, brought a group of pairs, with the accompaniment
of instruments consists of a harp, two drums and two maracas.According
to experts, such as Kurt Sachs, Hornbostel, Kunst, Farmer and others,
after holding comparisons in the study etnomusikologis covering the
Middle East, India, Southeast Asia, and Indonesia, have argued that the
instrument is derived from the Arabian lute. In
the shadow of the Europeans, the shape of the harp-like fruit typical
of their country, that is, peer, while in Indonesia can be imagined is
almost the same as the form of cashew butter.The
origin of the entry of lute music and musical instruments to areas in
Indonesia, along with the influence of Islam to the region concerned, so
that the color of his music then adopt the Islamic Arabic poetry. During
its development, harp music is also enriched with Malay and Indian
poetry in addition also brought folk songs with a wide range of
variation in the number of completeness of his instrument. Finally,
it is not rare to find in the outposts, the instrument uses a small
orchestra called the lute, or imitation of the harp with songs in
regional languages.Although it has many variations, but without forgetting gambusnya tools and without removing the color tone of its Middle East. In
addition to music lute Jakarta also include Western instruments, such
as organ, guitar, violin, and so on in every appearance. While the harp music of South Sumatra has its own peculiarities, both appearance and musical accompaniment. Instrument accompaniment of harp, violins, drums, and song form ketipung rhyme with different titles. One song usually consists of six stanzas, with a singer who doubles as a music player and smart berpantun. The instrument also comes from the Arabic lute, is played by plucked (like a guitar). Between
regions with each other almost the same form of lute, made of wood, but
have differences in size and number of strings as well as materials.Syech Albar from Surabaya and SM Alaydrus a famous lute musicians in the 1940s. BC Alaydrus successfully developed a harmonium orchestra in 1950 to Malay orchestra. Syech Albar also maintain the tradition of lute. In the 1940s song Gambus still oriented to the south of Yemen. After Al Hambra Cinemas in Great Wetland many Egyptian movie, harp more oriented to Egypt. Harp
orchestra began to fill the RRI as Al-Wardah Gambus Orchestra leader
Muchtar Lutfiedan Gambus Orchestra leader Hasan al-Wathan Alaydrus.
Music Qasidah
After
the inaugural issue discussed there about rabana, this time the other
arts that have a lot of people played by Island Grill. Art is also a tradition that one could be called art traditions of Islam. Almost similar to a tambourine, art qasida using drums and songs brought a breath of Islam. Although it is now too often seen the songs that speak Indonesian, but he was still thick with the nuances of Islam.Bake on the island itself, the origin of developmental qasida began in the late 1960's. In
addition to participating Mustafa qasida develop, there are other
coaches who are also actively developing the artistic tradition of this
one, the people named Joseph. Together
with Mustafa, Joseph, who previously had learned qasida of land
(Jakarta) divides his ability to hit the drum to the generation of
women's and men's Island Grill. Maman, chairman of Island Grill Nurhasanah qasida group said that he himself learned qasida of Joseph. He
recalled that at that time, there are two groups qasida generations,
each of which consists of a group of men called al-Amin and a group of
women named an-Ni'mah.In terms of the tools used, qasida more varied than the tambourines. Qasidah equipment consists of small drums and big drums up to a dozen total. It is terhantung on the number of personnel who are members of the group itself qasida. That
is, not as tight as tambourines qasida equipment which only consists of
three small drums with a special type of punch as well. How to play the drums qasida assessed more easily than the tambourines.During
the "glory" qasida, traditional art is also often ditanggap by the
public on special occasions or when a community celebration to welcome
important guests. But as time went on and a series of changes that occur in the Island Grill, An-ni'mah qasida group and al-Amin began to fade. Only in the early 2000's, began to appear again qasida. One
of the oldest group today, namely Nurhasanah qasida Group is one of the
group that most exist, although the personnel are not figures that
young anymore because most of them are individual persons who had never
played in the group An-ni'mah. Although there are several other qasida group of younger, apparently not sepopular qasida group leader Maman Nurhasanah this."Actually, I myself like to be asked by mothers in the west to train them. But the mother of my coachee Nurhasanah sometimes less agree, I fear no longer the focus to them. I
also was asked by the head of Junior School at Scout Island to train
the children, but he said that there was no budget for it. I frankly would not mind because the other teachers are paid aja, I do not cook? Is not in this case we also both teachers? Actually
I did not get your hopes up there paid a lot, enough to transport and
cigarette money, but because there is no certainty so yes my own mind,
"said Maman.Currently, qasida into art tradition that is more than art tradition exists that ever existed on this island. At the time the race qasida at the district level, for example, there are dozens of groups that compete for the title. At
various celebration events in the community is still often ditanggap,
for example to accompany the bridal procession around the island. The
songs are sung not only Arabic poetry as tambourines, but also many
contemporary songs such as newlyweds, peace, the white veil which was
dipopularkan by Ria Nasida group from Semarang Central Java. Unfortunately, development of the arts of Islamic tradition on this one still has many weaknesses. Among others, it is difficult to perform routine exercise consistently. Qasidah personnel consisting of women considered to be factors such inconsistency. The
personnel is often busy with household chores, study, gathering, and so
forth that have contributed to the constraint to hold exercises
regularly.In addition, development is still very minimal equipment. Maman
said that during this time to acquire such equipment must be set aside
from the drums just pay the money they earn from the responses at the
community celebration. Qasidah Nurhasanah own group, for example, was once applied to local governments for help equipment, but never responded. Then
the reasonable thing to do if the group itself must be very clever to
get around how to seek the existence of its own equipment, ranging from
drums to clothing.Unlike
the tambourine is difficult to regenerate, qasida relatively more alive
and still raise interest from today's generation. The existence of several groups qasida that spread from island to island is a manifestation of that interest remains strong. Now, extend qasidah living in the midst of modernity's challenge is trying to create the formulation of survival. Hope that he noticed by the authorities is part of an effort to preserve life. Onslaught
of modern music such as pop, dangdut, and social change marked by the
presence of media information and entertainment media will bring up
another question: whether the qasida will end up like tambourines or
whether he will still be enjoyed by future generations depend on the
willingness of various parties to make qasida as
an articulation of community space or vice versa, he is simply artistry
where his responsibilities handed over to the players who would
gradually fade away in the age
Dangdut is one of a growing genre of musical arts 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 elements of Indian music (especially from the use of the tabla) and Arabic (on crooked and harmonization). Changes in Indonesia's political currents at the end of the 1960s opened the inclusion of the strong influence of western music 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. For 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 "dangdut" is a sound game onomatope of tabla (drum called dangdut in the world of course) are typical and are dominated by the sound of sword and ndut. The name is actually a cynical title of a magazine article in the early 1970s to form the Malay music is very popular among working-class communities at the time.
From music to Malay DangdutContemporary dangdut has been different from its roots, Malay music, though people can still feel his touch.
Malay Orchestra (commonly abbreviated as OM, which is still frequently used term for a group of dangdut music) the original use of musical instruments like acoustic guitar, accordion, tambourine, harp, and flute, even a gong. In the 1950s and 1960s, many developing-orchestra in Jakarta Malay orchestra that plays songs from the Deli Malay Sumatra (around Medan). At this time the experiment began to enter the entry of Indian elements in the Malay music. The development of world cinema at that time and anti-Western politics of President Sukarno becomes fertilizer for these groups. From this period can be noted names such as P. Ramlee (of Malaya), Said Effendi (with the song Seroja), Indoku (the style of the stage like a dancer of India, the creator of the Dolls from India), Husein Bawafie (one of the songwriters Lamentations Stepchildren), Munif Bahaswan (creator Expense Asmara), and M. Mashabi (creator of the film score "Lamentations Stepchildren" is very popular in the 1970's).
This period of musical styles continues to survive through the 1970s, although at that time also been major changes in the Malay music scene that was driven by Sonnet Group leader Rhoma Irama. Some names from the 1970s can be called is Mansyur S., Ida Laila, A. Rafiq, and Muchsin Alatas. Malay popular music can be seen from the release of several albums by the group of Malay pop music pop Koes Plus in its heyday.
Modern dangdut, which developed in the early 1970s in line with the politics of Indonesia are 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 creativity as a musician and land-musicians. Mandolin also entered as an important element. The influence of rock (especially the guitar) is very thick felt on dangdut music. The 1970s were the scene of 'battle' for dangdut music and rock music in the music market seize Indonesia, to have held concerts 'duel' between Sonnet Group and God Bless. Practically from the time of this Malay music has changed, including the pattern of musical business.
In the latter half of the 1970s also developed variations of "dangdut humor" that was driven by the Arc of Light petromaks OM (PSP). This orchestra, which departs from the style of music melayu deli, helping dangdut dissemination among students. This subgenre forwarded, for example, by OM Introduction Drinking Poison (PMR) and, in the early 2000s, the Hope Nation Youth Orchestra (PHB).
Building songsAlthough dangdut songs can accept a variety of other musical elements easily, building most of the songs dangdut very conservative, mostly composed of eight units of measure 4 / 4. Rarely found dangdut to measure 3 / 4, except on a few songs during the 1960s such as Nuri Birds and Lotus. Dangdut too poor improvisation, both melody and harmony. As a dance music, dangdut rely heavily syncopated beats and tabla.
Building form dangdut song in general is: A - A - B-A,
but in most applications have a sequence like this:
Intro - A - A - Interlude - B (Reffrain) - A - Interlude - B (Reffrain) - A
Intro can be either vocal or a game without the accompaniment of flute, the rest is play guitar or mandolin. The length can reach eight-bar intro.
The initial part consists of eight bars, with or without repetition. If there is repetition, can be interrupted by a line break game (interlude). This section is usually lyrical introduction to the song, the situation faced by the singer.
Or tabla drum, one of the major musical instrument dangdutLagu standard dangdut has no chorus, but has a second part with building a different melody with the first part. Before entering the second part there are usually two times eight bars pause without the lyrics (Interlude). The second part is usually along the eight-bar twice with one line was interrupted by a pause with no lyrics. At the end of the second part is sometimes found along the four-bar coda. The second part 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 full from beginning to end. Dangdut song ends on the first repetition. Rarely dangdut song ends with a fade away.
Interaction with other musicDangdut is very elastic in the face and affects other forms of music. Western songs popular in the 1960s and 1970s many didangdutkan. Kasidah lute music genre and is slowly drifting in the current way of dangdut music. The same thing happened to the music of Tarling Cirebon, so that still exist at the moment is the form of mixtures: tarlingdut.
Rock, pop, disco, house bersenyawa well in dangdut music. The same happens with music areas such as jaipongan, gamelan, Tarling, keroncong, Java style (known as a musical form called congdut juice mixed, with the character Didi Kempot), or Zapin.
Easily dangdut receiving element 'foreign' make 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.
Dangdut Indonesia in contemporary cultureBy Rhoma Irama, dangdut serve as a means of preaching, which is clearly visible from the lyrics of his songs and his own expressed by them. This has become one of the triggers polemic in the culture of Indonesia in 2003 due to stage his protest against the style of dangdut singer from East Java, Inul, with rocking ngebor labeled decadent and "moral damage".
Dangdut singer Inul previous DaratistaJauh, dangdut has also been invited debate and ending the ban on the stage in celebration Sekaten dangdut in Yogyakarta. The debate appears again due to the style of a stage singer (female) was considered too "open" and bad taste, so it does not fit with the mission Sekaten as a religious celebration.
Dangdut is agreed upon many circles as the music that carries the aspirations of lower class society with all its simplicity and kelugasannya. Characteristic is reflected in the lyrics of the song and buildings. Stage a sensational style is inseparable from the breath.
Stage a campaign of political parties also do not miss exploit the popularity of dangdut to attract the masses. Dangdut issue as a political tool also burst when Basofi Sudirman, then as the Golkar functionaries, singing dangdut.
Although dangdut associated with the bottom of society who are poor, it does not mean popular dangdut only the lower classes. In any event entertainment, dangdut certainly participate enliven the situation. Dangdut stage can be easily found in various places. Entertainment venues and special disco play dangdut songs are often found in large cities. Radio stations broadcast that states itself as "radio dangdut" is also easily found in various cities.
FiguresHere are the names of several prominent singer and songwriter of popular dangdut divided into three chronological groups, in accordance with the development of dangdut music.
Pre-1970s
Husein Bawafie
Munif Bahaswan
Indoku
A. Harris
M. Mashabi
Said Effendi
Johana Satar
Hasnah Tahar
1970
A. Rafiq
Rhoma Irama
Elvy Sukaesih
Mansyur S.
Mukhsin Alatas
Herlina Effendi
Reynold Panggabean
Camelia Malik
Ida Laila
After the 1970's
Vera Vetty
Nur Halimah
Hamdan ATT
Meggy Zakaria
Iis Dahlia
Itje Tresnawaty
Evie Tamala
Ikke Nurjanah
Kristina
Cici Paramida
Etc.
History Remix
Dangdut? Jesal Indonesia, n Sonetanya Rhoma Irama, Inul n Ngebornya, Dewi Persik n sensation, may be right or may be not? What is clear is the traditional Indonesian dangdut is the music that the era of the '60s and Elijah Mashabi first artist who sang the wage earner and in those days people called Malay music, the era of the '70s music is increasingly getting heart malay in the country music lover's ear, especially in Java and klimaknya in 1973 with a waving flag Malay Orchestra (OM) sonnet in hatched by Rhoma Irama and this year also the launching of its first album Sonnet, Sonnet appearance seemed so inspiring musicians singers even in Indonesia at that time and certainly until now, then singers emerged as A. Rafik, Nur Halimah, Elvi Sukaisi, Mansoor S, etc.. From year to year growth of music industry increasingly mengila ground water, not to mention dangdut music. At the age of 80-90's dangdut music began to undergo metamorphosis, there Dangdut Pop, Rock Dangdut, Dangdut Disco and ultimately in the era of the 2000s boom in the flow of new dangdut people call Remix. Who and where are the origin musikkoplo? Well .... This is what we will discuss What distinguishes Remix by other dangdut? Nothing difference! But, Remix has a specific characteristic on the tempo and drums game. So if we 'mbahas Remix pertanyakannya is who was first to play the drums? Remix was first played in a small community in an area of the city of Surabaya on pingiran tahun1993 Girilaya precisely in the area. And at that moment that hold the drum is Mas Naryo even when it is called dangdut kotekan (Music patrol to wake residents in the month Romadhon at the time of dawn). Drum game finally disempunakanoleh Naryo Mas Mas Sugeng which eventually became the Remix, in this era began semual many emerging musicians Remix until OM. Avita (Udin who at that time held drum), which introduces an energetic dangdut in Surabaya and its surrounding communities. But ultimately the most influential and an impact on the game orkrs melayu drum today is Slamet New Palapa, arguably the game's drum koplo slamet enjoyed sinfulness, so many people are misinterpreting ngoplo by saying that the first is Slamet although, as the description above, people who deserve respected and proud is Cak Cak Sugeng Naryo later (although aq own 'wero not wonge) but certainly not all due respect and homage to Slamet, slamet drum game can not be underestimated, agility and kecangihan fingers played over a round sikulit emang not Needless to say, not to mention improfisasi and kecerdasanya in processing drum is the one advantage of the slamet, Met Salut! but not performe musicians that we value all musicians Remix cangih smart and savvy in playing drums, indeed from each pemaingendang have their respective characteristics. and that always makes me proud man keoada dangdut is working hard to maintain dangdut music continues to take part in the world of music industi Indonesia. Musicians and singers greeted the Local and National, long life was always music homeland.
Dangdut koplo :
dangdut koplo palapa
koplo inul daratista
dangdut koplo monata
Gamelan is surely not a foreign music. Its popularity has penetrated every continent and has created a new blend of jazz-gamelan music, gave birth to the institution as a learning space and the expression of gamelan music, to produce famous gamelan musicians. Gamelan music instrument can now be enjoyed in many parts of the world, but Yogyakarta is the most appropriate place to enjoy gamelan it since you can enjoy the original version.
Gamelan developing in Yogyakarta is Javanese gamelan, a form of gamelan is different from Balinese gamelan or Sundanese gamelan. Javanese gamelan has a softer tone and slow, in contrast to the dynamic Balinese gamelan and Sundanese gamelan highly dominated lilting voice and flute. The difference is reasonable, since Java has a view of life that is expressed in the rhythm of gamelan music.
Javanese philosophy of life expressed in gamelan music is the harmony of physical and spiritual life, harmony in speaking and acting so as not to create an explosive expression and create tolerance among fellow. Real form of music is the pull string fiddle that is, a balanced blend of sound kenong, saron drums and xylophone and gong sounds on every cover of rhythm.
There is no definite history of gamelan. The development is expected since the emergence of gamelan music gong, fiddle, clapping to the mouth, the friction on a thin rope or bamboo to familiar musical instruments from metal. Further development after named gamelan, the music was used to accompany wayang performance, and dance. Later it became independent as the music itself and equipped with the voice of sinden.
A set of gamelan consist of several instruments, including a set of similar musical instrument drum called a drum, fiddle and zither, xylophone, gongs and bamboo flutes. The main components that make up the gamelan music instruments are bamboo, metal, and wood. Each instrument has its own function in gamelan music show, for example gong music played to close a long and give the balance after the previous music rhythm decorated by gising.
- Kendang (Drum), is a leader instrumen. Pengendang is the conductor of thegamelan music. There are 5 drum size of 20 cm - 45 cm.
- Saron, percussion instruments of bronze with wood refuted. There are 3 kinds ofSaron; Barung Saron, Saron Peking, Saron demung.
- Bonang Barung, equipment consists of 2 rows of bronze is played with 2 tools at.
- Gambang (Xylophone), wooden slab placed on wooden frames.
- Gender, almost the same as slentem with more bronze plate.
- Gong slendro and pelog, each set comes with 3 gongs. Two major Gong (GongAgeng) and one gong suwukan about 90 cm, made of bronze, Gong signal the end ofthe song lyrics long.
- Kempul, small gong, to indicate which parts rhythmic songs short. Each set slendro andpelog consists of 6 or 10 kempul.
- Siter, each set slendro and pelog require 1 siter.
- Ketug, also called small kenong, indicating a pause between songs.
- Kenong, something like a small gong above placemat, a set can complete a good set of 10 kenong slendro or pelog.
- Slentem, bronze plate were placed on bamboo for resonance.
- Seruling (flute), each set slendro and pelog require a flute.
- Clempung, string instruments, each set slendro and pelog require one clempung.
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- example:-------------> gamelan music bali
- gamelan music java
Angklung
Angklung is a musical instrument from West Java. Angklung Jasinga born in the village, Bogor, is one that is still alive since more than 400 years ago. Rite begins its emergence from rice. Angklung created and played to lure Dewi Sri down to Earth so that the people of rice plants to flourish. Known by the Sundanese society since the time of the Sunda kingdom, among them a pep in battle. Angklung function as pumping continues to feel the spirit of the people until the colonial period, which is why the Dutch Government had banned the use Angklung, the ban could make angklung popularity declined and only played by children at that time. The origin of the creation of bamboo music, such as angklung based view of Sundanese people who live agrarian with the lifeblood of rice (pare) as a staple food. This gave rise to the myth of trust against Sri Nyai Pohaci as a symbol of life-giving Goddess of Rice (breathe-hurip). Reflection Sundanese people formerly in agricultural processing (tatanen) mainly in the fields and field for dry rice cultivation has spawned the creation of poetry and song as a tribute and an offering to Sri Pohaci Nyai, as well as efforts nyinglar (starting reinforcements) to fit their crops did not invite disaster, both pests and disasters other nature. Song lyric Buhun to honor Nyi Sri Pohaci such as: Furthermore, the songs offerings to Dewi Sri, is accompanied by the sound of percussion accompaniment made of bamboo poles which are then born a simple packed structures bamboo musical instrument we know today called angklung. Subsequent developments in the game Angklung tradition accompanied by elements of motion and ibing (dance) rhythmic (air-wirahma) with the patterns and rules = rules in accordance with the needs of the memorial parade paddy rice at the barn (ngampih pare, nginebkeun), also at times mitembeyan, began planting rice in some places in West Java called ngaseuk. Similarly, at the time of harvest festival and New Year's dedicated game angklung. Especially in the presentation ceremony Angklung related to rice, it becomes a performance art that are the parade or helaran, even in some places into the convoy Rengkong and Dongdang and Jampana (stretcher food) and so on. During its development, angklung evolved and spread throughout Java and Borneo and Sumatra. In 1908 recorded a cultural mission from Indonesia to Thailand, among others, characterized the submission Angklung and bamboo music of this game also had spread there. In fact, since 1966, figures Udjo Ngalagena angklung who developed a technique Calung so rapid development of the arts in West Java, to the addition of several musical instruments in calung, for example kosrek, DAMAS, piul (violin) and some even complete with keyboard and guitar. Vocal element to be very dominant, so many pop vocalists calung famous, such as Cengos Adang, and Hendarso.based on barrel-barrel game pelog, salendro, and madenda-began to teach how to play Angklung many people from various communities.
Calung sense other than as a musical instrument is also attached as performance art. There are two forms of Sundanese calung known, namely calung calung rantay and portable.
Calung rantay blades arranged tube with leather strap hibiscus (lulub) from largest to smallest, in number 7 wilahan (7 bamboo) or more. The composition of the tools there is one row and there are also two rows (calung ovaries and calung child / calung rincik). How to play calung rantay hit with two hands while sitting bersilah, usually calung is tied to a tree or a cubicle house (calung rantay Banjaran-Bandung), have also made shelf "holder" of a special bamboo / wood, for example calung tarawangsa in Cibalong and Cipatujah , Tasikmalaya, calung rantay in Banjaran and Kanekes / Bedouin.
The rows of bamboo-shaped tote calung pitched a united it with a small bamboo (paniir). Calung tote consists of four or five pieces, such as calung kingking (consisting of 12 bamboo tubes), calung panepas (5 / 3 and 2 bamboo tubes), calung jongjrong (5 / 3 and 2 bamboo tubes), and calung bark (2 tubes bamboo). Calung completeness in its development, today there are only using calung kingking one, two and calung panempas barking one, without using calung jongjrong How to play it struck with the right hand using the paddle, and the left hand carrying / holding the instrument. Meanwhile, among other techniques dimelodi menabuhnya, dikeleter, dikemprang, dikempyung, diraeh, dirincik, dirangkep (diracek), salancar, Corkscrew and solorok.
DEVELOPMENTS
Calung types are now grown and known in general that is calung tote. Calung tote is a type of musical instrument that has been long known by the Sundanese people, such as the Sundanese people in the area Sindang Heula - Brebes, Central Java, and could be the development of form calung rantay. But in West Java, this art form was pioneered in popularity as students Padjadjaran University (ubuntu) is incorporated in the Department of Arts Student Council (Institute for ubuntu art) developed this calung form through his creativity in 1961. According to one of the pioneering, Ekik Barkah, that pengkemasan calung tote with her show was inspired by the shape of the game on reog show that combines elements of percussion, movement and song combined. Then in 1963 the form of games and percussion calung more developed again by friends of Studiklub Teater Bandung (STB; Koswara Sumaamijaya et al), and between the years 1964 to 1965 calung further promoted again by the comrades in ubuntu as a performance art that is entertainment and information (extension (Oman Suparman, he Ruchiyat, Eppi K., Enip Sukanda, Edi, Zahir, et al), and group calung SMAN 4 Bandung (Abdurohman et al). Then pop groups in the community calung Bandung, for example Layung Sari, Ria Buana, and Glamour (1970) and others, up to today's pop idol names of players, among others Tajudin calung Nirwan, Odo, Uko Hendarto, Adang Cengos, and Hendarso
music calung jogjakarta midle java
Example-----------------------> music calung west java sundaness
