Hearing Your Music

The music of Indonesia demonstrates its cultural diversity, the local musical creativity, as well as subsequent foreign musical influences that shaped contemporary music scenes of Indonesia. Nearly thousands of Indonesian islands having its own cultural and artistic history and character. This results in hundreds of different forms of music, which often accompanies dance and theater. The musics of Java, Sumatra, Bali, Flores and other islands have been documented and recorded, and research by Indonesian and international scholars is ongoing. The music in Indonesia predates historical records, various Native Indonesian tribes often incorporate chants and songs accompanied with musics instruments in their rituals. Today the contemporary music of Indonesia is popular in the region, including neighboring countries; Malaysia, Singapore and Brunei.

Musical Instrument

The musical identity of Indonesia as we know it today began as the Bronze Age culture migrated to the Indonesian archipelago in the 2nd-3rd century BC.[3] Traditional musics of Indonesian tribes often uses percussion instruments, especially gendang (drums) and gongs. Some of them developed elaborate and distinctive musical instruments, such as sasando string instrument of Rote island, angklung of Sundanese people, and the complex and sophisticated gamelan orchestra of Java and Bali.

Gamelan
The most popular and famous form of Indonesian music probably is gamelan, an ensemble of tuned percussion instruments that include metallophones, drums, gongs and spike fiddles along with bamboo flutes. Similar ensembles are prevalent throughout Indonesia and Malaysia, however gamelan is originated from Java, Bali, and Lombok.

In Central Java, gamelan is intricate and meticulously laid out. The central melody is played on a metallophone in the center of the orchestra, while the front elaboration and ornamentation on the melody, and, at the back, the gongs slowly punctuate the music. There are two tuning systems. Each Gamelan is tuned to itself, and the intervals between notes on the scale vary between ensembles. The metallophones cover four octaves, and include types like the slenthem, demung, saron panerus and balungan. The soul of the gamelan is believed to reside in the large gong, or gong ageng. Other gongs are tuned to each note of the scale and include ketuk, kenong and kempul. The front section of the orchestra is diverse, and includes rebab, suling, siter, bonang and gambang. Male choruses (gerong) and female (pesindhen) solo vocalists are common.

With the arrival of the Dutch colonizers, a number system called kepatihan was developed to record the music. Music and dance at the time was divided into several styles based on the main courts in the area — Surakarta, Yogyakarta, Pakualaman and Mangkunegaran.

Gamelan from eastern Java is less well-known than central or western parts of the island. Perhaps most distinctive of the area is the extremely large gamyak drum. In West Java, formerly Sunda, has several type of gamelan. Gamelan Degung, gamelan salendro and tembang sunda are three primary types. The Osing Javanese minority in eastern Java are known for social music for weddings and other celebrations, called gandrung, as well as angklung, played by young amateur boys, which is very similar to Balinese gamelan.

Kecapi suling
Kecapi suling is a type of instrumental music that is highly improvisational and popular in parts of West Java that employs two instruments, kecapi (zither) and suling (bamboo flute). It is related to tembang sunda.

Angklung
Angklung is a bamboo musical instrument native to Sundanese people of West Java. It is made out of bamboo tubes attached to a bamboo frame. The tubes are carved so that they have a distinctive resonant pitch when being vibrated.

Kolintang
Kolintang or kulintang is a bronze and wooden percussion instrument native to eastern Indonesia and also The Philippines. In Indonesia it is particularly associated with Minahasa people of North Sulawesi, however it also popular in Maluku and Timor.

Sasando
Sasando is a plucked string instrument native of Rote island of East Nusa Tenggara. The parts of sasando are a bamboo cylinder surrounded by several wedges where the strings are stretched, surrounded by a bag-like fan of dried lontar or palmyra leafs (Borassus flabellifer), functioned as the resonator of the instrument.

Tapanuli ogong
Musical performance from Tapanuli area of Batak of North Sumatra. Tapanuli ogong is a form of dance music played with a type of lute, trumpet and flute.

Genres
The diverse world of Indonesian music genres was the result of the musical creativity of its people, and also the subsequent cultural encounters with foreign musical influences into the archipelago. Next to distinctive native form of musics, several genres can traces its origin to foreign influences; such as gambus and qasidah from Middle Eastern Islamic music, keroncong from Portuguese influences, and dangdut with notable Hindi music influence.

Folk musics
Indonesian regional folk pop musics reflects the diversity of Indonesian culture and Indonesian ethicity, mostly use local languages and a mix of western and regional style music and instruments. Indonesian folk music is quite diverse, and today embraces pop, rock, house, hip hop and other genres, as well as distinct Indonesian forms. There are several kinds of “ethnic” pop music, generally grouped together as Pop Daerah (regional pop). These include Pop sunda, Pop Minang, Pop Batak, Pop Melayu, Pop Ambon, Pop Minahasa and others. Other than featuring the legacy of Lagu Daerah (regional traditional songs) of each regional cultures, the musician might also create some new compositions in their own native language.

Tembang sunda
Tembang sunda, also called seni mamaos cianjuran, or just cianjuran, is a form of sung poetry which arose in the colonial-era of Cianjur. It was first known as an aristocratic art; one cianjuran composer was R.A.A. Kusumahningrat (Dalem Pancaniti), ruler of Cianjur (1834–1862). The instruments of Cianjuran are kacapi indung, kacapi rincik and suling or bamboo flute, and rebab for salendro compositions. The lyrics are typically sung in free verse, but a more modern version, panambih, is metrical. It is usually the drums.

Jaipongan
Jaipongan is a very complex rhythmic dance music from the Sundanese people of western Java. The rhythm is liable to change seemingly randomly, making dancing difficult for most listeners. Its instruments are entirely Sundanese, completely without imported instruments. It was invented by artists like Gugum Gumbira after Sukarno prohibited rock and roll and other western genres in the ’60s.

Gambus
Gambus literally means oud, referring to a type of lute or 12-string pear-shaped guitar, is the Middle-Eastern-derived Islamic vocal and instrumental music. These traditions began to be incorporated throughout many areas of Indonesia by the 16th century.

Qasidah modern
Qasidah is an ancient Arabic word for religious poetry accompanied by chanting and percussion. Qasidah modern adapts this for pop audiences. It is used to denote a type of orchestra and the music it plays, believed to be introduced by Muslim settlers from Yemen. Qasidah modern were derived from Islamic pop, adding local dialects and lyrics that address Indonesian contemporary issues. Though popular among Arabs in Indonesia, it has gained little popularity elsewhere.

The contemporary form of Islamic Middle eastern influenced musics in Indonesia is Debu, that featuring sufism approach on music to spread their message.

Kroncong
Kroncong (alternative spelling: Keroncong) has been evolving since the arrival of the Portuguese, who brought with them European instruments. By the early 1900s, it was considered a low-class urban music. This changed in the 1930s, when the rising Indonesian film industry began incorporating kroncong. And then even more so in the mid- to late 1940s, it became associated with the struggle for independence.

Perhaps the most famous song in the kroncong style is Bengawan Solo, written in 1940 by Gesang Martohartono, a Solonese musician. Written during the Japanese Imperial Army occupation of the island in World War II, the song (about the Bengawan Solo River, Java’s longest and most important river) became widely popular among the Javanese, and then later nationally when recordings were broadcast over the local radio stations. The song also became quite popular with the Japanese soldiers, and when they returned to Japan at the end of the war re-recordings of it (by Japanese artists) became best-sellers. Over the years it has been re-released many times by notable artists, mainly within Asia but also beyond (like Anneke Grönloh), and in some places it is seen as typifying Indonesian music. Gesang himself remains the most renowned exponent of the style, which although it is seen now as a somewhat starchy and “dated” form is still popular among large segments of the population, particularly the older generation.

After the World War II and during Indonesian National Revolution (1945—1949) and afterwards, kroncong was associated with patriotism, since many of Indonesian poets and patriotic songs authors uses kroncong and somewhat jazz fusion as the genre of their works. The patriotic theme and romantic wartime romance was obvious in the works of Ismail Marzuki, such as Rayuan Pulau Kelapa, Indonesia Pusaka, Sepasang Mata Bola, Keroncong Serenata and Juwita Malam. These patriotic songs can be sung in hymn or even in orchestra, but most often was sung in kroncong style known as kroncong perjuangan (struggle kroncong). The kroncong divas; Waldjinah, Sundari Sukoco and Hetty Koes Endang, was instrumental in reviving the style in the 1980s.

Langgam Jawa or Tembang Jawa
There is a style of kroncong native to Surakarta (Solo) called langgam jawa, which fuses kroncong with the gamelan seven-note scale.

Gambang Kromong
Early in the 20th century, kroncong was used in a type of theater called komedi stanbul; adapted for this purpose, the music was called gambang kromong. Gambang kromong is quite prevalent in Betawi culture of Jakarta.

Dangdut
A dangdut music performance
Dangdut was originally an Indonesian dance music that has spread throughout Southeast Asia, became the dominant pop style in the mid-1970s. Famous for its throbbing beat and the slightly moralistic lyrics that appeal to Muslim youth, dangdut stars dominate the modern pop scene. However dangdut — especially performed by female singers — also often featuring suggestive dance movements and naughty lyrics to appeal the larger audience. This development was strongly opposed by the conservative older generation dangdut artist.

Dangdut is based around the singers, and stars include Rhoma Irama and Elvy Sukaesih (the King and Queen of Dangdut), Mansyur S., A. Rafiq, Camelia Malik and Fahmy Shahab; along with Cici Paramida, Evie Tamala, Inul Daratista, Julia Perez and Dewi Perssik from younger generation.

Campursari
A musical fusion style of traditional Javanese music and dangdut that prevalent in Javanese cultural sphere, mainly Central Java, Yogyakarta and East Java. There is also Sundanese version of campursari prevalent in Bandung region of West Java. Perhaps its greatest current artist is Didi Kempot.