Today, big cities like Jakarta, Bandung, Yogyakarta, Surabaya, Medan and Batam are no strangers to orchestral music with their own symphonic groups. Jakarta, for example, has its Nusantara Symphony Orchestra, twilite Orchestra and Jakarta Chamber Orchestra. Indonesian pop music of the 1980s and 1980s is commonly referred to as “Indonesian city pop” because of its perceived similarities to the Japanese genre. Japanese urban pop itself gained popularity among young people and amateur musicians via the Internet in the late 2010s. The diverse world of Indonesian musical genres was the result of the musical creativity of its people and subsequent cultural encounters with foreign musical influences in the archipelago. In addition to the incomparable indigenous form of music, several genres can trace their origin to foreign influences; such as Gambus and Qasida of Middle Eastern Islamic music, Keroncong of Portuguese influences and Dangdut with a remarkable Hindi musical influence. Dangdut is a genre of traditional popular music from Indonesia, partly derived from Indian, Arabic and Malay music. It consists of melodic and harmonic music with the main tabbla as the percussion beat, especially in the classical versions of Dangdut. It was originally Indonesian dance music that spread throughout Southeast Asia and became the dominant pop style in the mid-1970s. Famous for its throbbing rhythm and slightly moralistic lyrics that appeal to youth, Dangdut stars dominate the modern pop scene. However, Dangdut – especially by female singers – often offers suggestive dance moves and cheeky lyrics to please the general public. This development was strongly rejected by conservative artists of the older Dangdut generation. In Indonesia, gamelan often accompanies dance, wayang puppet shows or rituals and ceremonies.
Typically, gamelan players are familiar with dance moves and poetry, while dancers can play together. [7] In Wayang, the Dalang (puppeteer) must have a thorough knowledge of gamelan, as he gives the clues for the music. Gamelan can be played alone – in the “Klenengan” style or for radio broadcasts – and concert presentations are common in national art conservatories founded in the mid-20th century. [8] Two control systems prevail. The Slendro tends to have five equally distant but flexible (or variable) pitches in an octave, while the Pelog has a more varied structure with seven equally flexible tones. An agreement with intervals, expressed in cents (140, 143, 275, 127, 116, 204, 222), can be roughly represented by the following notes on a descending scale: C↑, A ♯, G, G ♯ ↓, F↑, D ↓, C ♯ ♯ ↑ and C. (the upward arrows are slightly higher tones than the Western temperate chord [in which a semitone equals 100 cents] and vice versa for the downward arrows.) The melodies of these atmospheres are determined by a modal structure (patet), whose elements are similar to those of Vietnamese and Burmese music. Jaipongan is a very complex rhythmic dance music of the Sundanese in West Java.
The rhythm can change seemingly randomly, making dancing difficult for most listeners. His instruments are completely Sundanese, without any imported instruments. It was invented by artists like Gugum Gumbira after Sukarno banned rock `n` roll and other Western genres in the 1960s. Angklung existed before the Hindu era in Indonesia. At the time of the Sundanese kingdom (12th to 16th century), the angklung became a musical instrument that was always used during various events or celebrations, especially traditional events in agriculture. At that time, Angklung was played as the cult of “Dewi Sri”, namely the goddess of rice or the goddess of fertility, to give blessings to the plants she planted and also to thrive in life. Not only that, during the Sundanese kingdom, Angklung was also used as a trigger for the war spirit. Indonesian music also plays an important role in Indonesian creative pop culture, especially as soundtracks or theme songs of Indonesian cinema and sinetrons (Indonesian TV dramas). The Indonesian film Badai Pasti Berlalu (1977) also produced a successful soundtrack with the same title the same year, the soundtrack was remade in 1999 with Chrisye as lead singer and reproduced by Erwin Gutawa in an orchestral style. In 2007, the film was remade with a new soundtrack that still contains the same songs performed by artists of the younger generation.
Another popular Indonesian teen film, Ada Apa Dengan Cinta (2002), also produced hits of successful soundtrack hits, with most of the songs written and performed by Melly Goeslaw. Tembang Sunda, also called “seni mamaos cianjuran” or simply cianjuran, is a form of sung poetry that has its origin in the colonial period of Cianjur. It was first known as aristocratic art; A composer from Cianjuran was R.A.A. Kusumahningrat (Dalem Pancaniti), ruler of Cianjur (1834-1862). Cianjuran`s instruments are Kacapi Indung, Kacapi Rincik and Suling or Bamboo Flute and Rebab for Salendro compositions. The lyrics are usually sung in free verse, but a more modern version, Panambih, is metric. This is usually the battery. The main purpose of kulintang music in the community is to act as social entertainment on a professional and folkloric level.
[13] This music is unique in that it is considered public music in the sense that everyone is allowed to participate. [14] Not only do the players play, but also the spectators are expected to participate. [15] These performances are important in that they bring people together in the community and adjacent areas and help unite communities that might not otherwise have interacted with each other. .