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Monuments |
Indonesia is a country with many differenttribes and ethnic groups, and its music is also highly diverse, coming in hundreds of different forms and styles. Every region has its own distinct culture and art, and as a result traditional music from area to area also uniquely differs from one another. For example, each traditional type of music is often accompanied by its very owndance andtheatre. Contemporary music scene has also been heavily shaped by various foreign influences, such as those from America, Britain, Japan, Korea, and India.[1]
The music ofJava,Kalimantan,Sumatra,Bali,Flores (Lesser Sunda Islands) and other islands have been well documented and recorded,and further research by Indonesian and international scholars is also ongoing. The music in Indonesia predates historical records, variousNative Indonesian tribes often incorporate chants and songs accompanied with musical instruments in their rituals. The contemporarymusic of Indonesia today is also popular amongst neighbouring countries, such asMalaysia,Singapore andBrunei.[2]
In general, traditional music and songs of Indonesia comprise a strong beat and harmony with strong influence from Indian, Javanese, Arab, Chinese and Malay classical music. The influence is strongly visible in the popular traditional music genre ofDangdut.[3][4][5]
The musical identity of Indonesia as we know it today began as theBronze Age culture migrated to the Indonesian archipelago in the 2nd-3rd century BC.[6] Traditional musics of Indonesian tribes often uses percussion instruments, especiallygongs andgendang (drums). Some of them developed elaborate and distinctive musical instruments, such assasando string instrument ofRote island,angklung ofSundanese people, and the complex and sophisticatedgamelan orchestra ofJava andBali.
Indonesia is the home ofgong chime, gong chime is a generic term for a set of small, high-pitched bossed pot gongs. The gongs are ordinarily placed in order of pitch, with the boss upward on cords held in a low wooden frame. The frames can be rectangular or circular (the latter are sometimes called "gong circles"), and may have one or two rows of gongs. They are played by one to four musicians, each using two padded sticks to strike them. They are an important instrument in many Indonesian musical ensembles, such asgamelan,kulintang, andtalempong.
Gong is a mainly metallicpercussion instrument family in various sizes originating from Southeast Asia. In Indonesia, it is usually used bygamelan ansambel.
Bonang is an instrument from gong family in the gamelan device. Talempong is a traditional instrument of theMinangkabau ofWest Sumatra with shape almost the same as the bonang. Talempongs can be made of brass, but some are made of wood and stone. Talempongs are played by being hit using a wooden rod or a stick. Talempong is usually used to accompany dance or welcoming performances, such as the typicalTari Piring,Tari Pasambahan, Tari Alang, Tari Suntiang Pangulu and Tari Gelombang. Talempong is usually performed with an accordion accompaniment, a type of organ supported and played with the right hand played by the player. In addition to the accordion, instruments such assaluang,gandang, serunai and other traditional Minangkabau instruments are also commonly played with talempong.
Kolintang or kulintang is abronze and wooden percussion instrument native to eastern Indonesia and also ThePhilippines. In Indonesia it is particularly associated withMinahasa people ofNorth Sulawesi, however it also popular inMaluku andTimor. The instrument consist of a row/set of 5 to 9 graduated pot gongs, horizontally laid upon a frame arranged in order of pitch with the lowest gong found on the players' left.[7] The gongs are laid in the instrument face side up atop two cords/strings running parallel to the entire length of the frame, with bamboo/wooden sticks/bars resting perpendicular across the frame, creating an entire kulintang set called a "pasangan".[8]
The main purpose for kulintang music in the community is to function as social entertainment at a professional, folk level.[9] This music is unique in that it is considered a public music in the sense everyone is allowed to participate.[10] Not only do the players play, but audience members are also expected to participate.[11] These performances are important in that they bring people in the community and adjacent regions together, helping unify communities that otherwise may not have interacted with one another. Traditionally, when performers play kulintang music, their participation is voluntary.[12] Musicians see performances as an opportunity to receive recognition, prestige and respect from the community and nothing more.[13]Kulintang music differs in many aspects from gamelan music, primarily in the way the latter constructs melodies within a framework of skeletal tones and prescribed time interval of entry for each instruments. The framework of kulintang music is more flexible and time intervals are nonexistent, allowing for such things as improvisations to be more prevalent.
Angklung is abamboo musical instrument native toSundanese people ofWest 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. Each angklung only plays one note.[14]This musical instrument made of bamboo is played by shaking it. The sound of the Angklung is generated from the impact of bamboo tubes. It has a distinctive sound that vibrates in a composition of 2, 3, to 4 notes in each size.
Angklung existed before the Hindu era in Indonesia. In the days of theSundanese kingdom (12th to 16th centuries), Angklung became a musical instrument that was always used in various events or celebrations, especially traditional events in farming. At that time, Angklung was played as worship of "Dewi Sri", namely the Goddess of Rice or the Goddess of Fertility to be given blessings to the plants she planted and also to prosper in life. Not only that, during the Sundanese kingdom, Angklung was also used as a trigger for the spirit of war.
The types of bamboo that are commonly used as musical instruments are black bamboo (awi wulung) and ater bamboo (awi temen), which when dry are whitish yellow. Each note (barrel) is produced from the sound of the bamboo tube in the form of a blade (wilahan) for each bamboo segment from small to large. Each bamboo size has a different pitch.UNESCO designated theangklung aMasterpiece of the Oral and Intangible Heritage of Humanity on 18 November 2010.[15]
Suling is theSundanese word for seruling the word ofIndonesian, which means 'flute'. Made from bamboo, Indonesian flutes are always end blown and vary in size. The fingering position changes the wavelength of sound resonance inside the suling's body. Depending on the distance of nearest hole to the suling's head, different notes can be produced. The airflow speed also can modify the tone's frequency. A note with twice frequency can be produced mostly by blowing the air into suling's head's hole with twice speed. Generally, the shorter the suling the higher the pitch. This simple suling produces tunes or melodies that have traditionally been interpreted as the sound of joyful learning. There are many regions in Indonesia that use suling as a traditional instrument and have different local names for it. InJava,Sunda, andBali, this instrument is commonly called suling, in Minang it is calledsaluang, in Toraja, it is called Lembang flute, in Halmahera, it is called bangsil, and in West Nusa Tenggara it is called silu. Suling is an Indonesian bamboo ring flute which is used in various traditional musical ensemble performances, includinggamelan,gambus, anddangdut. This flute is made of a long, thin-walled bamboo tube called tamiang and a thin rattan band encircles the mouthpiece.
Kacapi suling is a type ofinstrumental music that is highly improvisational and popular in parts ofWest Java that employs two instruments,kacapi (zither) andsuling (bamboo flute). It is related totembang sunda. The rhythmic strains of the kecapi are slow in tempo, produced by strings that blend into soft music when combined with the melody of the suling or melismatic vocals. Thekacapi is a traditionalzither ofSundanese musical instrument derived from the Chineseguzheng, and similar to the Japanesekoto, the Mongolianyatga, the Koreangayageum, the Vietnameseđàn tranh and the Kazakhjetigen, andsuling is abamboo flute.
Kendang or Gendang is a two-headed drum used by peoples fromIndonesian archipelago. Among theJavanese,Sundanese, orBalinese peoples, the kendang has one side larger than the other, with the larger, lower-pitched side usually placed to the right, and are usually placed on stands horizontally and hit with the hands on either side while seated on the floor. Amongst groups like the Balinese both sides are of equal size, and are played on either one or both sides using a combination of hands and/or sticks. Among theMakassarese, the Ganrang drums have much more importance, with it considered the most sacred of all musical instruments, comparable to gongs in Java.
One of the best known variations of the Kendang is the Gendang beleq. Gendang beleq is a traditional music fromLombok island,Indonesia. The namegendang beleq is aSasak language term, which means "big drum (biggendang)",[16] as the performance is about a group of musicians playing, dancing and marching with their traditional instruments, centered on two big drum (gendang). The drum is made from a wood frame withgoat skin drum-head. The wood is selected from woods which is hard yet light. In a Gendang beleq performance, the drummers carry and play gendang and dance a dramatic and confrontational duet. The drummers play interlocking tune with their large drums. Aside from able to play their instruments, the players must have the agility and stamina to perform the dance and marching with their instrument.
Sasando is a plucked string instrument native ofRote island ofEast Nusa Tenggara. The parts of sasando are abamboo cylinder surrounded by several wedges where the strings are stretched, surrounded by a bag-like fan of driedlontar or palmyra leaves (Borassus flabellifer), functioned as the resonator of the instrument.
Musical performance from Tapanuli area ofNorth Sumatra. Tapanuli ogong is a form ofdance music played with a type oflute,trumpet andflute.
Thesapeʼ (sampek,sampeʼ,sapek) is a traditionallute of theKenyah andKayan community who live in the longhouses that line the rivers ofEast Kalimantan,West Kalimantan andNorth Kalimantan. Sape' are carved from a single bole of wood, with many modern instruments reaching over a metre in length. Technically, the sape is a relatively simple instrument, with one string carrying the melody and the accompanying strings as rhythmic drones. In practice, the music is quite complex, with many ornamentations and thematic variations.
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.
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Indonesian regional folk pop musics reflects the diversity ofIndonesian culture andIndonesian ethnicity, mostly uselocal 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 asPop Daerah (regional pop). These includePop sunda, Pop Minang, Pop Batak,Pop Melayu, Pop Ambon, Pop Minahasa and others. Other than featuring the legacy ofLagu Daerah (regional traditional songs) of each regional cultures, the musician might also create some new compositions in their own native language.
The most popular and famous form of Indonesian music is probablygamelan, an ensemble of tunedpercussion instruments that includemetallophones,drums,gongs andspike fiddles along withbambooflutes. Similar ensembles are prevalent throughout Indonesia, Singapore and Malaysia, however gamelan is originated fromJava,Bali, andLombok.
In the Central Java, gamelan is intricate and meticulously laid out. The central melody is played on a metallophone in the centre 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 theslenthem,demung,saron panerus andbalungan. The soul of the gamelan is believed to reside in the large gong, orgong ageng. Other gongs are tuned to each note of the scale and includeketuk,kenong andkempul. The front section of the orchestra is diverse, and includesrebab,suling,siter,bonang andgambang. Male choruses (gerong) and female (pesindhen)solo vocalists are common. With the arrival of theDutch colonisers, a number system calledkepatihan was developed to record the music. Music and dance at the time were divided into several styles based on the main courts in the area—Surakarta,Yogyakarta,Pakualaman andMangkunegaran.
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, formerlySunda, has several types of gamelan.Gamelan Degung,gamelan salendro andtembang sunda are three primary types. TheOsing Javanese minority in eastern Java are known for social music for weddings and other celebrations calledgandrung, as well asangklung, played by young amateur boys, which is very similar to Balinese gamelan.
In Indonesia, gamelan often accompanies dance,wayang puppet performances, or rituals and ceremonies. Typically players in the gamelan will be familiar with dance moves and poetry, while dancers are able to play in the ensemble.[17] Inwayang, thedalang (puppeteer) must have a thorough knowledge of gamelan, as he gives the cues for the music. Gamelan can be performed by itself – in "klenengan" style, or for radio broadcasts – and concerts presentation are common in national arts conservatories founded in the middle of the 20th century.[18]
Gamelan's role in rituals is so important that there is a Javanese saying, "It is not official until the gong is hung".[19] Some performances are associated with royalty, such as visits by thesultan of Yogyakarta. Certain gamelans are associated with specific rituals, such as theGamelan Sekaten, which is used in celebration of theMawlid (Muhammad's birthday). In Bali, almost all religious rituals include gamelan performance. Gamelan is also used in the ceremonies of theCatholic church in Indonesia.[20] Certain pieces are designated for starting and ending performances or ceremonies. When an "ending" piece (such as "Udan Mas") is begun, the audience will know that the event is nearly finished and will begin to leave. Certain pieces are also believed to possess magic powers, and can be used to ward off evil spirits.[19]
Tembang sunda, also called "seni mamaos cianjuran", or just cianjuran, is a form of sung poetry which arose in the colonial-era ofCianjur. It was first known as an aristocratic art; one cianjuran composer was R.A.A. Kusumahningrat (Dalem Pancaniti), ruler ofCianjur (1834–1862). The instruments of Cianjuran are kacapi indung, kacapi rincik andsuling or bamboo flute, andrebab forsalendro compositions. The lyrics are typically sung in free verse, but a more modern version,panambih, is metrical. It is usually the drums.
Jaipongan is a very complex rhythmic dance music from theSundanese 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 likeGugum Gumbira afterSukarno prohibitedrock and roll and other western genres in the 1960s.
Gambus literally meansoud, referring to a type oflute or 12-string pear-shapedguitar, 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 is an ancientArabic 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 fromYemen. 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. One of the oldestqasidah modern musical groups in Indonesia isNasida Ria.[21]
The contemporary form of Islamic Middle Eastern-influenced music in Indonesia is exemplified by the bandDebu, that feature asufism approach on music to spread their message.
In Indonesia, as a predominantly Muslim country, many singers perform tradisional or contemporarynasheed, a genre of Islamic vocal music, either primarily or in addition to their repertoire.
Kroncong (alternative spelling:Keroncong) has been evolving since the arrival of thePortuguese, who broughtEuropean 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 thestruggle for independence.
Perhaps the most famoussong in the kroncong style is "Bengawan Solo", written in 1940 byGesang Martohartono, aSolonese musician. Written during theJapanese Imperial Army occupation of the island inWorld War II, the song (about theBengawan 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 toJapan 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 (likeAnneke 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 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 ofIsmail 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 askroncong perjuangan (struggle kroncong). The kroncong divas; Waldjinah, Sundari Sukoco andHetty Koes Endang, was instrumental in reviving the style in the 1980s.
There is a style of kroncong native toSurakarta (Solo) called langgam jawa, which fuses kroncong with thegamelan seven-note scale.
Early in the 20th century, kroncong was used in a type of theatre calledKomedi Stambul; adapted for this purpose, the music was called gambang kromong.Gambang kromong is quite prevalent inBetawi culture of Jakarta.
Tanjidor is a traditionalBetawimusical ensemble of Jakarta.[22] The instruments used are almost the same as a militarymarching band and/orcorps of drums/drum and bugle corps, usually consists oftuba orsousaphone,trumpet,clarinet,tambourine and drums.[23] The term tanjidor was derived fromPortuguesetanger (playing music) andtangedor (playing music outdoors), subsequently adopted inBetawi language astanji (music).[23] Other than Jakarta, tanjidor musical ensamble is also can be found inPontianak,West Kalimantan.[24]
The contemporary music of Indonesia is diverse and vibrant.[according to whom?] Throughout its history, Indonesian musicians were open to foreign influences of various music genres of the world. American jazz was heavily marketed in Asia, and foxtrots, tangos, rumbas, blues and Hawaiian guitar styles were all imitated by Indonesian musicians.[25] As the result, various genres were developed within Indonesian music frame: Indonesian pop, rock, gospel, jazz, R&B, and hip hop.
Indonesian music also plays a vital role in the Indonesian creative pop culture,[according to whom?] especially as thesoundtracks or theme songs ofIndonesian cinema andsinetrons (Indonesian TV drama). Indonesian filmBadai Pasti Berlalu (1977) were also produced successful soundtrack hit with same title in the same year, the soundtrack was remade in 1999 withChrisye as the main singer and rendered byErwin Gutawa in orchestra style. In 2007 the film was remade again with a new soundtrack that still features same songs performed by younger generation artist. Another popular Indonesian coming of age teen movieAda Apa Dengan Cinta (2002) also produced successful soundtrack hits with most songs written and performed byMelly Goeslaw.
In the late 1990s, within Indonesianpopular music, contemporary Islamic songs were emerged, their performers made music as a tool for preaching. The main genres arenasheed (Aa Gym), Islamic rock (Ahmad Dhani andDewa 19), and fusion style (Cak Nun andKiai Kanjeng).[26]
Today, the Indonesian music industry enjoys nationwide popularity. Thanks to common culture and intelligible languages betweenIndonesian andMalay, Indonesian music enjoyed regional popularity in neighbouring countries such asMalaysia,Singapore andBrunei. However, the overwhelming popularity of Indonesian music in Malaysia had alarmed the Malaysian music industry. In 2008 Malaysian music industry demanded the restriction of Indonesian songs on Malaysian radio broadcasts.[27]
Westernclassical music reached Indonesia in the era ofDutch East Indies as early as the 18th century, but it was enjoyed only by a handful of wealthy Dutch plantation owners and officers in elite social clubs and ballrooms such asSocieteit Harmonie inBatavia andSocieteit Concordia inBandung. De Schouwburg van Batavia (today Gedung Kesenian Jakarta) was designed as a concert hall in the 19th century. Classical music has been restricted to the refined, wealthy and educated high-class citizen, and never penetrated the rest of the population during the East Indies colonial era.[citation needed] The type of western-derived music that transcended the social barrier at that time was Kroncong, known as lower-class music.
An amateur group calledBataviasche Philharmonic Orchestra was established in Dutch colonial times. It became theNIROM orchestra when the radio broadcasting station Nederlandsch-Indische Radio Omroep Maatschappij was born in 1912. Today it is known as Jakarta Symphony Orchestra that has existed in the country's musical world for almost a century through its changing formats to suit prevailing trends and needs. In 1950, a merger of the Cosmopolitan Orchestra under Joel Cleber and the Jakarta Studio Orchestra under Sutedjo and Iskandar appeared as the Djakarta Radio Orchestra under Henkie Strake for classical repertoires, and the Jakarta Studio Orchestra led by Syaiful Bachri specialised in Indonesian pieces. In 2010 Jakarta Symphony Orchestra staged a comeback after a fairly long absence.[28]The Jakarta Symphony was emerged in '70s.
In the 1960s to 1980s classical music in Indonesia aired mainly by the national radio broadcasting service Radio Republik Indonesia (RRI) and the national TV station Televisi Republik Indonesia (TVRI) through their programs. During these decades, the classical orchestra mainly developed in universities as an extracurricular activity for students which includedchoir. In the 1990s the group of professional symphony orchestra start to take form, notably The Twilite Orchestra led byAddie MS, was founded in June 1991, initially an ensemble with 20 musicians. The ensemble has developed since then into a full symphonic orchestra with 70 musicians, a 63-member Twilite Chorus, and a repertoire that ranges fromBeethoven toThe Beatles.[29] The orchestra has played a role in promoting Indonesian music, especially in the preservation of national songs by Indonesian composers and traditional songs. Aided by theVictorian Philharmonic Orchestra with the Twilite Chorus,Addie MS re-recorded the Indonesian national anthem,Indonesia Raya, byWR Supratman in its original orchestral arrangement byJos Cleber, as well as other Indonesian popular national songs in the albumSimfoni Negeriku.
The Indonesian composer who is considered most prominent and well known worldwide in the classical / contemporary music isAnanda Sukarlan (born 1968), with many orchestral works, chamber and instrumental. His most celebrated works are a series of virtuosic Rapsodia Nusantara for piano solo, with musical motifs based on Indonesian folktunes. He has written works for musicians such as from theBoston Symphony Orchestra, violinistMidori Goto etc., and his works are widely performed worldwide
Today, major cities likeJakarta,Bandung,Yogyakarta,Surabaya,Medan andBatam are no strangers to orchestral music, with their own symphony groups. Jakarta, for instance, has its Nusantara Symphony Orchestra, the Twilite Orchestra and the Jakarta Chamber Orchestra.
Indonesia also has many patriotic songs that are used, played, and memorized by the population, some of these national songs are used during the colonial era of theDutch East Indies,Japanese Occupation, and today Indonesia. Many of these songs have been recorded using orchestral recordings on different albums such as 'Simfoni Negeriku' conducted byAddie MS.
Among contemporary Indonesian musicians who associated with classical music are: the composersAnanda Sukarlan andSinta Wullur; the pianistsHendry Wijaya,Eduardus Halim,Esther Budiardjo, andVictoria Audrey Sarasvathi; the flautistEmbong Rahardjo; thesoprano singersPranawengrum Katamsi,Aning Katamsi, andIsyana Sarasvati (she is also successful popsentimental ballad vocalist).
Indonesian pop music today, known simply as I-pop orIndo pop ("pop Indonesia") sometimes influenced by trends and recordings from West music,.[25] Although influences ranging fromAmerican pop,British pop, and also AsianJ-pop are obvious, the Indonesian pop phenomenon is not completely derivative; it expresses the sentiments and styles of contemporary Indonesian life.
Koes Bersaudara later formed asKoes Plus is considered one of the pioneers of Indonesian pop and rock and roll music in the 1960s and 1970s. The American and British music influences were obvious in the music of Koes Bersaudara,The Beatles were known to be the main influences of this band. Several Indonesian musician were survived through decades and become Indonesian music legends, such as pop and ballad singersIwan Fals andChrisye, as well as pop anddangdut maestroRhoma Irama. One of the most influential Indonesian singers in pop music scene, especially during early 2000, is Agnes Monica, who had later known asAgnez Mo.
In late 90s through 2000s, the popular pop/poprock bands includeSlank,Dewa 19,Peterpan,Gigi,Sheila on 7,Jamrud,Padi,Ungu,Radja,Letto,D'Masiv andNidji, all of which tour regularly in Indonesia, Singapore and Malaysia and was featured onMTV Asia.
Indonesian pop or Indo pop music emerged from the 1980s until the 90s', known asPop kreatif, are commonly referred to as "Indonesiancity pop", due to their perceived similarities to the Japanese genre. The Japanese city pop andPop Kreatif genre themselves gained popularity among youngsters and amateur musicians in the late 2010s via theInternet.
The most recent foreign influences on Indonesian pop music are influenced fromJ-pop andK-pop. Several bands such asJ-Rocks emulate Japanese pop culture.Girl groups are also spreading among boy bands, such as7icons andCherrybelle, as well asJKT48 which is an offshoot of the JapaneseAKB48.
Just like pop music, Indonesian rock scene also was heavily influenced by the development of rock music in America. The most influential Indonesian rock bands were probablyPanbers,God Bless andD'Lloyd that was popular in the 1970s and 1980s. In the late 1980s to mid-1990s several female rock singers popularly known as "Lady Rockers" were famous in Indonesia, such asNicky Astria,Poppy Mercury,Nike Ardilla, andAnggun who started her career in as apoprock singer in Indonesia before moving to France and pursue her international career. Other notablehard and poprock bands includeSlank,Jamrud,Dewa 19, andPeterpan.
Some of Indonesian poprock bands are rekindled with theirMalay roots and revived a genre called "Pop melayu" (Malay pop) and popular in the late 2000s. The pop Malay bands includeKangen Band,Wali,Hijau Daun,Armada,Angkasa, andST 12.
Metal bands also exist, such as themetalcore bandKilling Me Inside,Death Metal /Grindcore bandJasad and theGroove Metal /Metalcore bandBurgerkill. Punk music scene also had steady underground success, with band likePee Wee Gaskins,Superman Is Dead, andNetral rose to mainstream. Notable act from ska music isTipe-X.
Dangdut is a popular semitraditional music genre of Indonesia which is partly derived of Indian, Arabic, and Malay music in the late 1960s in Jakarta city. It consists of melodious and harmonical music with the maintabla as the percussion beat especially in the classical dangdut versions. It 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 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 includeRhoma Irama andElvy Sukaesih (the King and Queen of Dangdut),Mansyur S.,A. Rafiq,Camelia Malik andFahmy Shahab; along withCici Paramida,Evie Tamala,Inul Daratista,Julia Perez andDewi Perssik from younger generation.
A musical fusion style of traditional Javanese music anddangdut that prevalent inJavanese cultural sphere, mainlyCentral Java,Yogyakarta andEast Java, Perhaps its greatest current artist isDidi Kempot. In the western part of Java, theSundanese Dangdut or Campursari version of the Sundanese was born and developed from traditionalJaipong music with a distinctivedrum beat.
A significantexperimental music scene has developed in Indonesia, with many acts combining traditional Indonesian vocal techniques and instrumentation withmetal andelectronic genres such asgabber andambient. The experimental bandSenyawa has achieved international success with these fusions. Labels such as Yes No Wave inYogyakarta have been at the forefront of promoting the Indonesian experimental scene.
Gospel music also has a big influence in Indonesia. Gospel music began to enter Indonesia in the 1980s when it was brought in by AmericanEvangelical figures. Gospel music itself experienced its peak of popularity in Indonesia in the 1990s, at which timeFranky Sihombing created manyChristian spiritual songs. The entry of gospel music into Indonesia was not much sought after by music lovers in Indonesia, but it brought many changes tochurch music. Currently, many churches in Indonesia use gospel music as a means of their worship. Apart from that, there are also many famous Indonesian gospel musicians who release songs for Indonesian congregations as a means ofevangelism and discipleship. Apart from that, there are also many well-known Indonesian gospel musicians such asJoy Tobing,Sidney Mohede,Sari Simorangkir andFranky Sihombing as well as church praise and worship team musicians such asJPCC Worship. Gospel music in Indonesia has now expanded into a whole genre of Christian spiritual music.
In recent years, gospel music has also become increasingly popular among Indonesian people, especially Christians. Gospel music concerts held in Indonesia are always packed with gospel music fans from various circles, especiallyChristian revival meetings. Apart from that, Indonesian gospel music is also popular in churches in neighboring countries, such asMalaysia, which is common becauseMalaysian is used in that country as an official language and as a language of instruction for worship, which has similar languages such asIndonesian so it is closely related and in part mutually understandable.
Some of Indonesian musicians and bands were exploring thejazz music. Notable Indonesian jazz musicians include Jack Lesmana, Benny Likumahuwa, Benny Mustafa, Maryono, Bubi ChenMaliq & D'Essentials. Various other groups fuse contemporary westernisedjazz fusion music with the traditionalethnic music traditions of their hometown. In the case of Krakatau andSambaSunda, the bands from West Java, the traditional Sundanese kacapi suling and gamelan orchestra is performed alongside drum set, keyboard and guitars. TheJakarta International Java Jazz Festival is performed annually. The latest development ofJazz in Indonesia reflected with many Jazz Festivals being held every year.
Since the 1970s,reggae is one of the most influential music in Indonesia, including a phenomenon of its fusion withdangdut, regional pop and other popular genres. It involves such bands as Steven & Coconut Treez, Shaggydog, and Souljah, and singersMbah Surip, Amtenar, Dhyo Haw, Imanez, Nonk'Q Nongkray, and Tony Q Rastafara.
Currently,contemporary R&B is one of the most popular music genres developed by musicians in Indonesia. Both musicians who already have big reputations and newcomers present their own musical colors which are enough to help introduce R&B more widely so that it can be accepted by various groups of Indonesian society.
In Indonesia, hip-hop music was generally first introduced byBenyamin Sueb andFarid Hardja. Then, other hip-hop musicians also introduced hip-hop music to the public, such as Iwa-K and other hip-hop musicians.
In the 80s, when young people still loved rock music, Iwa-K started to get involved with rap music, a music genre that places more emphasis on chattering techniques than using musical instruments.
Funkot is anelectronic dance music genre of Indonesian origin that emerged in the 1990s.
By the end of the 2000s decade, several indie bands such asMocca,Float,White Shoes & the Couples Company, andEfek Rumah Kaca emerged into the mainstream, providing soundtracks for film and subsequent tours in overseas territories. Upon entering the new decade (2010s), indie music broke into mainstream culture with its far greater appeal amongst adolescents due to its minimalist, melancholic sounds and age-related lyrics. The commercial breakthrough for its genre was led byPayung Teduh,Fourtwenty,Stars and Rabbit,Sore,Danilla,Reality Club,Banda Neira,Barasuara, andFiersa Besari.
Angklung has become a veritable symbol of Sundanese culture
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