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Author Question: Rhoma: the king of dangdut from the 1970s through the 1990s What will be an ideal ... (Read 28 times)

mmm

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on: Jul 25, 2018
Rhoma: the king of dangdut from the 1970s through the 1990s
 
  What will be an ideal response?

Question 2

How does the author of this chapter define popular music?
 
  What will be an ideal response?

Question 3

In spite of obvious theoretical resemblances between the Batak example and gamelan music in general, how do the respective groups feel about each others music? Cite examples to support your contention.
 
  What will be an ideal response?


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momo1250

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Reply #1 on: Jul 25, 2018
Answer to Question 1

 His dangdut music enjoys wide popularity throughout the entire nation
 Imitation of the sound formerly made on hand drums, now on trap (drum) set and guitar; wants to satisfy the craving of Indonesian youth for a modern' (pop/rock) musical style that would also sound Indonesian (or at least Eastern/non-Western)
 Commercially successful with song lyrics about love and social protest; at the same time Rhoma uses his music to promote his Islam religion
 Example of dance/social protest lyrics: Those of us who have no money just dance here by the road.
 Rhoma comes from humble roots and speaks to the disenfranchised masses.

Answer to Question 2

 Music that is characterized by some use of Western instruments/Western harmony, is commercial and disseminated through mass-media, and is performed by recognized stars

Answer to Question 3

 They do not care for each other's music. Both feel that the other's music does not possess the proper aesthetic quality. For example, the Javanese feel the Batak music is too simplistic and sparse; the Batak feel the thick-textured, powerful-sounding Javanese gamelan lacks personal intimacy and does not allow for the necessary spontaneity.


mmm

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Reply #2 on: Jul 25, 2018
Both answers were spot on, thank you once again


momo1250

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Reply #3 on: Jul 25, 2018
Great! Please up vote :D


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