Relevant bibliographies by topics / Popular music Indonesia History and criticism

Academic literature on the topic 'Popular music Indonesia History and criticism'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Popular music Indonesia History and criticism"

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Meilinda, Nurly, Caesar Giovanni, Nunik Triana, and Syanaz Lutfina. "Resistensi Musisi Independen terhadap Komodifikasi dan Industrialisasi Musik di Indonesia." Jurnal Komunikasi 16, no. 1 (October 29, 2021): 77–88. http://dx.doi.org/10.20885/komunikasi.vol16.iss1.art6.

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This paper will review the development of the music industry in Indonesia by holding Theodor Adorno's criticism of the culture industry, especially the music industry. This paper tries to analyse whether Adorno's criticism of the popular music is still relevant to describe the current condition of the Indonesian music industry and explain how the existing political and economic conditions affected it. This paper began with explanatory approach which explained the development of the Indonesian music industry. Data collected from the articles in mass and online media, we also conduct an interview with one group of musician called orchest stamboel. The results showed that Adorno's critics about how music becomes a commodity are still relevant to be used in understanding most of the case in Indonesian music industry, but cannot represent the characteristics of all Indonesian musician. This is because although most music in Indonesia is used as the main tool of capitalism in gaining profit, on the other hand, there is also a variety of music with unique genres performed by the musicians that are not following the logics and characteristics of popular music that presented by Adorno, which is: standardization, interchangeable, and pseudoindividualism. Keywords: Adorno, commodity, critic, popular music, standardization.
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Desler, Anne. "History without royalty? Queen and the strata of the popular music canon." Popular Music 32, no. 3 (September 13, 2013): 385–405. http://dx.doi.org/10.1017/s0261143013000287.

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AbstractAlthough canon formation has been discussed in popular music studies for over a decade, the notion of what constitutes ‘the popular music canon’ is still vague. However, considering that many scholars resent canon formation due to the negative effects canons have exerted on other academic fields, analysis of canon formation processes in popular music studies seems desirable: awareness of these processes can be a valuable tool for scholars’ assessment of how their academic choices contribute to canon formation. Based on an examination of the reception history of Queen in the popular mainstream, music criticism and academia, this article argues that a universally valid popular music canon does not exist and that canon formation in popular music is based on the same criteria as in the ‘high’ arts, i.e. transcendence, historical importance and ‘greatness’, although the latter is replaced by ‘authenticity’ in the popular music context. While canons can be theorised in various ways, a model that distinguishes between canonic strata according to listeners’ relationship to music is particularly useful as it reveals the relative importance of the three canonic criteria within different strata and how they are applied.
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Tukova, Iryna, Valentina Redya, and Iryna Kokhanyk. "Ukrainian Music Criticism of the 2010s: General Situation, Problems, Directions of Development (Based on the Examples From Contemporary Art Music Scene)." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 129–43. http://dx.doi.org/10.24193/subbmusica.2022.2.07.

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"The paper focuses on the 2010s in the history of Ukrainian music criticism. The materials on contemporary art music were chosen to support the authors’ reflections and conclusions. Selection of the time, period and material for the research are conditioned both with the specific social situation of Ukraine and with the recent developments in its music scene. The paper characterizes the main media, most popular critical genres, and methods of critical coverage. It is highlighted that the problems of Ukrainian music criticism during the 2010s were linked to the post-Soviet past and, in general, to the colonial status of Ukrainian culture in the Russian Empire and later in the Soviet Union. Such problems include the absence of independent journals for music criticism, dominance of information genres over reviews, general stable positive evaluation of musical scene activity etc. A few examples illustrate the gradual changing of situation during the 2010s. The authors offer to consider that new period of Ukraine music criticism history began in 2020 when The Claquers, a critical media about art music in Ukraine and abroad aiming to solve the mentioned problems, was established. Keywords: Ukrainian music criticism, contemporary art music, policy of colonialism, review, announcement. "
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Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.

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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.
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Lofton, Kathryn. "Dylan Goes Electric." Journal of Popular Music Studies 33, no. 2 (June 1, 2021): 31–50. http://dx.doi.org/10.1525/jpms.2021.33.2.31.

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Within the study of rock music, religion appears as a racial marker or a biographical attribute. The concept of religion, and its co-produced opposite, the secular, needs critical analysis in popular music studies. To inaugurate this work this article returns to the moment in singer-songwriter Bob Dylan’s career that is most unmarked by religion, namely his appearance with an electric guitar at the 1965 Newport Folk Festival. Dylan’s going electric became, through subsequent years of narrative attention, a secularizing event. “Secularizing event” is a phrase coined to capture how certain epochal moments become transforming symbols of divestment; here, a commitment writ into rock criticism as one in which rock emerged by giving up something that had been holding it back. Through a study of this 1965 moment, as well as the history of electrification that preceded it and its subsequent commentarial reception, the unreflective secular of rock criticism is exposed.
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Wallach, Jeremy, and Esther Clinton. "History, Modernity, and Music Genre in Indonesia: Popular Music Genres in the Dutch East Indies and Following Independence." Asian Music 44, no. 2 (2013): 3–23. http://dx.doi.org/10.1353/amu.2013.0020.

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Keppy, Peter. "Southeast Asia in the age of jazz: Locating popular culture in the colonial Philippines and Indonesia." Journal of Southeast Asian Studies 44, no. 3 (October 2013): 444–64. http://dx.doi.org/10.1017/s0022463413000350.

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Referencing insights from Cultural Studies and taking a jazz-age perspective, this essay aims to historicise and ‘locate the popular’ in colonial Indonesia and the Philippines. A new cultural era dawned in the 1920s urban hubs of Southeast Asia, associated with the creation of novel forms of vernacular literature, theatre, music and their consumption via the print press, gramophone, radio broadcasting and cinema. By investigating the complex relationship between the elusive phenomena of modernity, cosmopolitanism and nationalism as articulated by two pioneering artists active in commercial music and theatre, the social significance of popular culture is scrutinised.
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Firdaus, Veby Sabrina. "ACARA PERAGAAN BUSANA "TRUCE: THE TRUE ELUCIDATION OF CYBERBULLYING"." Commed : Jurnal Komunikasi dan Media 3, no. 1 (February 6, 2019): 79. http://dx.doi.org/10.33884/commed.v3i1.609.

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Internet is one of the newest medias that has been commonly used by the public. One of the problems which has been happening very often lately is the misuse of the internet mostly done by teenagers in Indonesia on social media, where social media is often used as a tool of cyberbullying. This fact is the main reason why the creators made an event that is also a campaign to spread awareness and invitation to not do cyberbullying with the social media influencers and teenagers as our main target audience. The event was a fashion show mixed with theatre acting and hip hop music. The main theme shown for this fashion show is Street Style with a touch of hip hop music because lately, hip hop is one of the popular music genres among society, especially the young people. Hip hop is considered to be a popular genre because it is known for its critical lyrics with deep meanings. The creators use theories such as Event Management Theory, Fashion Show Theory, Music Theory, Theatrical Theory, Social Criticism Theory, Social Message Theory, Cyberbullying Theory and Social Media Theory. The main theories that are used are Campaign Theory and K. Berlo's Communication Theory. The creators held this event entitled “TRUCE" which means The True Elucidation of Cyberbullying. The creators hope that this event will have an effect in the eyes of the general public and prevent themselves to not do cyberbullying.
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Mitchell, Gillian A. M. "‘Mod Movement in Quality Street Clothes’: British Popular Music and Pantomime, 1955–75." New Theatre Quarterly 33, no. 3 (July 10, 2017): 254–76. http://dx.doi.org/10.1017/s0266464x17000306.

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From the late 1950s onwards, young rock ‘n’ roll musicians and popular singers were introduced into commercial Christmas pantomime productions. While this practice, which constituted an extension of their involvement in the broader sphere of variety theatre, has been previously noted, it is seldom accorded much sustained attention. In this article Gillian Mitchell explores the impact which such performers made upon pantomime, while observing the ways in which involvement in pantomime productions affected their careers and aspirations. ‘Pop stars’ brought much-needed revenue to struggling theatres, and, while their presence onstage alongside experienced pantomime performers sometimes attracted criticism, they also contributed in many ways to a reinvigoration of the medium, whether by offering fresh scope for topical gags, or by giving ambitious producers the chance to more more experimental types of production. The article also questions the notion that, by the late 1960s, pantomime had become a ‘last refuge’ for those popular musicians who were apparently unable to maintain a foothold in the increasingly ‘serious’ world of rock music. Gillian A.M. Mitchell is a Lecturer in Modern History at the University of St Andrews. This article forms part of a larger project which explores adult reactions to popular music and inter-generational relations in Britain from the 1950s to the 1970s.
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Archer, Rory. "Assessing Turbofolk Controversies: Popular Music between the Nation and the Balkans." Southeastern Europe 36, no. 2 (2012): 178–207. http://dx.doi.org/10.1163/187633312x642103.

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This article explores controversies provoked by the Serbian pop-folk musical style “turbofolk” which emerged in the 1990s. Turbofolk has been accused of being a lever of the Milošević regime – an inherently nationalist cultural phenomenon which developed due to the specific socio-political conditions of Serbia in the 1990s. In addition to criticism of turbofolk on the basis of nationalism and war-mongering, it is commonly claimed to be “trash,” “banal,” “pornographic,” “(semi-)rural,” “oriental” and “Balkan.” In order to better understand the socio-political dimensions of this phenomenon, I consider other Yugoslav musical styles which predate turbofolk and make reference to pop-folk musical controversies in other Balkan states to help inform upon the issues at stake with regard to turbofolk. I argue that rather than being understood as a singular phenomena specific to Serbia under Milošević, turbofolk can be understood as a Serbian manifestation of a Balkan-wide post-socialist trend. Balkan pop-folk styles can be understood as occupying a liminal space – an Ottoman cultural legacy – located between (and often in conflict with) the imagined political poles of liberal pro-European and conservative nationalist orientations. Understanding turbofolk as a value category imbued with symbolic meaning rather than a clear cut musical genre, I link discussions of it to the wider discourse of Balkanism. Turbofolk and other pop-folk styles are commonly imagined and articulated in terms of violence, eroticism, barbarity and otherness the Balkan stereotype promises. These pop-folk styles form a frame of reference often used as a discursive means of marginalisation or exclusion. An eastern “other” is represented locally by pop-folk performers due to oriental stylistics in their music and/or ethnic minority origins. For detractors, pop-folk styles pose a danger to the autochthonous national culture as well as the possibility of a “European” and cosmopolitan future. Correspondingly I demonstrate that such Balkan stereotypes are invoked and subverted by many turbofolk performers who positively mark alleged Balkan characteristics and negotiate and invert the meaning of “Balkan” in lyrical texts.
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Dissertations / Theses on the topic "Popular music Indonesia History and criticism"

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Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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Lau, Man-chun, and 劉文俊. "A study of Hong Kong popular music industry (1930-2000)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B4389608X.

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Ross, Gordon. "Popular music analysis." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ65051.pdf.

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Linekin, Kim. "The modern popular song as a literary art form." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37216.pdf.

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West, Aaron J. "Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9722.

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Powell, Steven. "Dread rites : an account of Rastafarian music and ritual process in popular culture." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55647.

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Keightley, Keir. "The history and exegesis of pop : reading "All summer long"." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22458.

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The study of popular music has experienced an astonishing growth in the past two and a half decades; however, the detailed analysis of musical texts has lagged far behind other areas, such as the sociology of the youth audience and analysis of the visual components of music video. This thesis undertakes a survey of recent approaches to popular music at the textual level, before examining the construction of an individual song, the Beach Boys' 1964 recording of "All Summer Long". While many parameters affecting the creation of the cultural significance of the text in question are discussed, ultimately the exegesis serves to problematize larger issues in scholarly work on popular music, particularly the dominance of the paradigms of rupture, rebellion, and authenticity in relation to the historiography and criticism of the formation known as "rock".
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Ng, Pong-wai Brenda, and 吳邦瑋. "The development in Hong Kong of commercial popular songs in Cantonese." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31213522.

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胡又天. "華語流行歌詞的演變= The development of Chinese popular song lyrics (1970-2013) /胡又天." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/343.

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19世紀下半葉，留聲機的發明與唱片產業的崛起，大幅催化了世界各地音樂與文化的交流，隨之而興的流行歌曲也自然成為了無數歷史信息、群體情感與個人記憶的載體；雖或因族群、階級、學派中的各種歧見而初未能得到公正評價，但到多元思想起而與商業邏輯拮抗的1990年代以降，從大眾、文壇到學界，已有愈來愈多人肯認了流行歌曲在文學、音樂與社會等各方面的研究意義與價值，有關華語流行歌曲的研究，亦形成了一個新興的學術領域，本論文即為其中一環。本文緒論首先針對既有論著，提出以「文學、音樂、社會」三面與「知識、技能、情感」三向為之分類，述評其方法成果。其次，採取文學面、技能向的立場，在研究方法上，提出「以作品所預設之目的來評判作品」及「以『合樂』的考量探討辭章、聲韻」的原則，並且說明了華語歌曲所固有的聲韻問題，提出裨益實際創作的研究主張，而不僅將流行歌曲作為某學科議題的資料。正文則以傳統文學「知人閱世」的進路，採詞話形式，在1970-2013年台灣的國語流行歌詞之中，選錄特別流行、創新，或能代表時勢演變之作，介紹其背景、主旨與流傳情形，分析其觀念、技法與影響，以貢獻於當代中文世界「流行詞學」典律的建立，俾讀者從中建起一個大概的演變圖景 = The invention of gramophone records and the rise of music industry in late 19th century have greatly catalyzed the global interaction of cultures, and subsequently contributed to the emergence of pop songs. However, owing to various ethnical, class and academic differences in various cultures, the importance of pop songs as carriers of historical data, collective sentiments and personal memories has not been adequately appreciated. Only in recent years have the musical, sociological, and cultural significance of critical research in pop songs and lyrics gained wider recognition among academics, intelligentsia, and mass consumers.Born in the confluence of political intervention, social stereotypes and commercial interests in the Shanghai International Settlement since 1927, Chinese Pop songs had produced lasting classics and fading stars with ebbs and flows of historical personages and political dynasties. More studies were made amid the antagonism between commercial logic and cultural pluralism during the 1990s. A new academic field was thus brought into being. This dissertation is meant to provide a critical link in this field. The dissertation introduces a framework to analyze Chinese Pop songs in three dimensions: literary, musical, and social, as well as the involved three aspects : knowledge, skills, and emotions. Relevant writings and discourses are categorized, with their methods described and their achievements commented upon. It then considers the aspect of skills within the literary dimension by following the methodology of traditional lyrics studies, and expands beyond its pure academic critique of creative writings to the principles of generating creative writings. This framework is then used as a basis to analyze the evolution of concepts and techniques in the creation of Chinese Pop songs. This dissertation aims at providing researchers and writers a set of flexible methods to comprehend and utilize the creative enterprise from an objective vantage point.
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DiGiallonardo, Richard L. (Richard Lee). "Musical Borrowing: Referential Treatment in American Popular Music." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277911/.

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This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advancements in technology, have challenged copyright law. How these treatments and technologies affect copyright legislators and musicians will be discussed.
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Books on the topic "Popular music Indonesia History and criticism"

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Hardjo, Seno M. Sepuluh tokoh showbiz musik Indonesia. Jakarta: Gramedia Pustaka Utama, 1991.

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Modern noise, fluid genres: Popular music in Indonesia, 1997-2001. Madison, Wis: University of Wisconsin Press, 2008.

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Dangdut stories: A social and musical history of Indonesia's most popular music. New York: Oxford University Press, 2010.

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Meka, Robby Regenald. Preedicting the trend of Indonesian progressive music idioms from 2005 to 2015. [Sleman, Yogyakarta: Graduate School, Gadjah Mada University, 2009.

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Wijayadi, Agus Sri. Mendayung di antara tradisi dan modernitas: Sebuah penjelajahan ekspresi budaya terhadap musik keroncong. Yogyakarta: Hanggar Kreator, 2007.

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Abdurachman. Keroncong Tugu. [Jakarta]: Dinas Kebudayaan DKI Jakarta, 1992.

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H, Soeharto A. Serba-serbi keroncong. Jakarta: [s.n.], 1995.

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Popular music. New York: Marshall Cavendish Benchmark, 2013.

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1963-, Hesmondhalgh David, and Negus Keith, eds. Popular music studies. London: Arnold, 2002.

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Thai popular music. Bangkok: White Lotus Press, 2012.

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Book chapters on the topic "Popular music Indonesia History and criticism"

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Frith, Simon. "Writing about Popular Music." In The Cambridge History of Music Criticism, 502–26. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.027.

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"Telling the Truth and Commenting Reality: “Harsh Criticism” in Guinea-Bissau’s Intervention Music." In The Routledge History of Social Protest in Popular Music, 349–63. Routledge, 2013. http://dx.doi.org/10.4324/9780203124888-33.

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"The Music’s Not All That Matters, After All: British Progressive Rock as Social Criticism." In The Routledge History of Social Protest in Popular Music, 141–59. Routledge, 2013. http://dx.doi.org/10.4324/9780203124888-18.

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Harold, Claudrena N. "Introduction." In When Sunday Comes, 1–16. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043574.003.0001.

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The introduction combines autobiographical reflection with cultural criticism to outline the book’s unique contribution to gospel music history. It recounts the major debates that consumed gospel music insiders as the genre assumed a larger place within mainstream popular culture: Were contemporary gospel artists who experimented with the rhythms of R&B and hip-hop more concerned with selling records than saving souls, and if so, was gospel music on the same path of decline as its secular sibling R&B, which some critics insisted had lost its soul? Did acts like Andraé Crouch, the Winans, and Kirk Franklin really depart from the gospel tradition? Or were they simply following in the steps of their predecessors who had also employed new sounds and technologies to fulfill their evangelical mission?
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