music dangdut

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