Dangdut

Dangdut
Dangdut is one of a growing genre of art music in Indonesia. This musical form rooted in the Malay music in the 1940s. In the evolution to a contemporary form now makes the influence of Indian music elements (mainly from the use of tabla) and Arabic (the twisted and harmonization). Changes in Indonesia at the end of the political currents of the 1960s opened the entry of a strong influence of western music with the inclusion of the use of electric guitar and also a form of marketing. Since the 1970's dangdut be said to have been cooked in a contemporary form. As popular music, dangdut very open to influences of other musical forms, ranging from keroncong, style, gamelan, harp, rock, pop, and even house music.

Origin of The Term

The mention of the name "dangdut" is a sound game onomatope of tabla (drum called dangdut in the world of course) the music of India. Putu Wijaya was originally called the Tempo magazine issue of May 27, 1972 that the song Puppet from India is a mixture of Malay songs, rhythm of the desert, and the "ding-dang-dut" India. [2] The name is then condensed into a "dangdut" only, and by the magazine used to call a form of Malay songs that are affected by the song of India.

Gambus Arab music

Lute is one of the Arab musical instruments like guitar, but memounyai low voice. Lute instrument is estimated to enter the archipelago since the religion of Islam came in, around VII century. Arab musicians often sang Arabic songs to the accompaniment of harps.

In the early twentieth century around the 1920's, Sych Albar (father of Ahmad Albar) established in Surabaya orchestral stringed instruments. He also made recordings with the Columbia LPs of the 1930s 

Rhythm of Latin America 1950

In 1950, Latin American music into Indonesia by Xavier Cugat and Emund du Ros and Perez Prado. Latin rhythms are then attached to the people of Indonesia. Then a variety of songs Minang also appeared with Zainal Combo and Gumarang.

Contemporary dangdut has been different from its roots, the Malay music, although people can still feel his touch. In the 1950s and the 1960s many developing Malay orchestras in Jakarta that plays songs from Sumatra Deli Malay (around Medan).

From Malay to Dangdut Music

Malay orchestra (commonly abbreviated OM, which is still commonly used term for a group of dangdut music) the original use of musical instruments like acoustic guitar, accordion, tambourine, harp, and flute, and even a gong. Deli Malay music in the 1940s was originally born in Medan Deli, then music melayu deli is also growing in other areas, including Jakarta.
At this time the experiment began to enter the entry of Indian elements in the Malay music. Development of world cinema at the time and anti-Western politics of President Sukarno into fertilizer for these groups. It can be noted from the names of P. Ramlee (from Malaya), Said Effendi (the song Lotus), Indoku (the style of the stage as dancers of India, the creator of the dolls from India), Husein Bawafie (co-author of the song Wailing Stepchildren), Munif Bahaswan (creator of Asmara expenses), and M. Mashabi (creator of the film score "Wailing Stepchildren" is very popular in the 1970s).
Musical style of this period still survive until the 1970s, although at that time major changes occurred in the Malay music scene that was driven by Sonnet Group leader Rhoma Irama. Some names from the 1970's that can be called is Mansyur S., Ida Laila, A. Rafiq, and Muchsin Alatas. Malay popular music can be seen from the exit of some Malay pop album by pop group Koes Plus in his prime.
Modern dangdut, which flourished in the early 1970's in line with Indonesia's political culture that is friendly to the West, include musical instruments such Western modern electric guitar, electric organ, percussion, trumpet, saxophone, oboe, and others to increase the variation creativity as a musician and land-musicians. Mandolin is also entered as an important element. Effect of rock (especially the guitar) is very thick felt on the dangdut music. The 1970s were the scene of 'battle' for dangdut music and rock music in the music market took 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.
At the end of the decade half of the 1970's is also developing variations "dangdut humor" that was driven by OM petromaks Arc of Light (PSP). This orchestra, which departs from the style of music melayu deli, helping disseminate dangdut among students. This subgenre forwarded, for example, by OM Introduction to Supply Poisons (PMR) and, in the early 2000's, the Nation of Hope Youth Orchestra (PHB).

Building Songs
Although dangdut songs can accept a variety of other musical elements are easy, most buildings are very conservative dangdut songs, mostly composed of units of eight bars 4/4. Rarely found dangdut songs with time signatures 3/4, except on a few songs during the 1960s such as Nuri Bird and Lotus. Dangdut songs too poor improvisation, both melody and harmony. As a dance music, dangdut rely heavily on tabla and syncopated beats.

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

Can be a vocal intro without the accompaniment of a flute or a game, 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.

Standard dangdut song has no chorus, but has a second part with a different melody building with the first part. Before entering the second section there are usually two times eight bars without pause song (interlude). The second part is usually all of two times eight bars with no pause was interrupted by a single line of lyrics. At the end of the second part is sometimes found along the four-bar coda. The second part contains the lyrics are usually a consequence of the situation described the first part or the singer's actions taken to address the situation.

After the second, repeated the song full from beginning to end. Dangdut song ends on the first repetition. Rarely dangdut song ends with a fade away. 




Dangdut in The Contemporary Culture of Indonesia

Rhythm makes dangdut rhoma berdakwahnya tool, which is visible from the lyrics of his songs as well as the issuance of the statement itself. This has become one of the triggers debate in Indonesia in 2003, due to stage his protest against the style of dangdut singers, among others, Inul, who shake ngebor labeled decadent and "moral damage".

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

Dangdut was agreed upon many circles as the music that carries the aspirations of lower class society with all its simplicity and kelugasannya. This characteristic is reflected in his song lyrics as well as buildings. Stage the sensational style is inseparable from this breath.

Stage a campaign of political parties also do not take advantage of the popularity of dangdut up to attract the masses. Dangdut issue as a political tool also burst when Basofi Sudirman, at the time as Golkar functionaries, singing dangdut songs.

Although dangdut associated with the poor people, not that popular dangdut only the lower classes. In any event entertainment, dangdut certainly helped enliven the situation. Dangdut stage can be easily found in various places. Entertainment venues and special disco dangdut play the songs found in many large cities. Radio station broadcast that declared itself as "radio dangdut" is also easily found in various cities.

Reference :
http://id.wikipedia.org/wiki/Dangdut