Dangdut is one of a growing genre of musical arts in Indonesia. This musical formrooted 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 the flow of Indonesian politicsin the late 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'sdangdut 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.
Origin of the term
The mention of "dangdut" is a sound game onomatope of tabla (drum called dangdut in the world of course) Indian music. Putu Wijaya was originally called the issue of Tempomagazine May 27, 1972 that the song Doll from India is a mixture of Malay songs, the rhythm of the desert, and "ding-dang-dut" India. The name is then condensed into a"dangdut" only, and by the magazine used to refer to the form of Malay songs that are affected by the song of India.
From music Malay to Dangdut
Contemporary 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).
Or tabla drum, one of the major musical instrument dangdut.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 Indonesian political culture that is friendly to the West, 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 market seize Indonesian music, concert ever held up to '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 Pancaran Sinar 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 Pengantar Minum Racun (PMR) and, in the early 2000s, the Pemuda Harapan Bangsa Orchestra (PHB).
Building songs
Although dangdut songs can accept a variety of other musical elements easily, buildingmost of the songs dangdut very conservative, mostly composed of eight units ofmeasure 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 andharmony. 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 playguitar 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.
Dangdut standard has no chorus, but has a second part with building a different melodywith the first part. Before entering the second part there are usually two times eight barspause without the lyrics (Interlude). The second part is usually along the eight-bar twicewith 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 ofthe 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 songends on the first repetition. Rarely dangdut song ends with a fade away.
Interaction with other music
Dangdut is very elastic in the face and affect other forms of music. Western songspopular 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 flow of a mixture ofdangdut music & rock unofficially named Rockdut. The same happens with music areassuch as jaipongan, gamelan, Tarling, keroncong, Java style (known as a musical formcalled 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 Rhoma Irama making as a means of preaching, 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 polemic in Indonesia in 2003, due to stage his protest against the style of dangdut singer, among others, Inul, who shake ngebor labeled decadent and "moral damage". Much earlier, dangdut has also been invited debate and ended with a 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 this 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.
