Musical nationalism in Indonesia : the rise and fall of Lagu Seriosa

목차 (Table of Contents)

• CONTENTS
• Part I The Rise and Fall of Lagu Seriosa
• 1 The Importance of Lagu Seriosa 3
• 1.1 Overview = 3
• 1.2 Lagu Seriosa Within the Wider Context of the Theory of Production = 8
• 1.3 Impact on the Art World = 9
• 1.4 Terminology = 12
• References = 17
• 2 The Evolution of the Genre = 21
• 2.1 The Pre-Lagu Seriosa Era = 21
• 2.2 Early Lagu Seriosa = 22
• 2.3 Patriotic Music and Lagu Seriosa = 23
• 2.4 A Sacred and Formal Format = 24
• 2.5 The Subtleties of Poetry = 25
• 2.6 Radio Republik Indonesia = 27
• 2.6.1 Bintang Radio = 27
• 2.6.2 The Seriosa Category : Building the Repertoire = 29
• 2.6.3 Changes in the Conventions of Lagu Seriosa = 33
• 2.6.4 The Role of Lokananta = 38
• References = 38
• 3 Gatekeepers, Singers, and Ansambel Gembira = 41
• 3.1 The Gatekeepers = 41
• 3.1.1 The Paramount Role of the Reference Group = 44
• 3.1.2 Internal Differences = 44
• 3.2 Elevation of Singing as a Profession = 45
• 3.2.1 International Exposure = 46
• 3.2.2 Recognition and Stardom = 47
• 3.2.3 Crossovers = 48
• 3.2.4 Noble Career = 50
• 3.3 Ansambel Gembira = 50
• References = 53
• 4 The Decline of the Genre = 57
• 4.1 Songs for the Old = 57
• 4.2 The Promotion of Amateurs = 58
• 4.3 The Removal of Role Models = 59
• 4.4 Media Shifts = 60
• 4.5 The Competitions = 61
• 4.6 The Redefining of Lagu Seriosa = 62
• References = 64
• Part II A New Song : Exemplars of the Lagu Seriosa Genre
• 5 “Kisah Mawar Di Malam Hari” (1953) = 69
• 5.1 The Composer = 69
• 5.2 The Song = 70
• 5.3 Symbolism and Interpretation = 73
• 5.4 A Standard of Seriosa = 74
• 5.5 Performers and Performances = 76
• 5.5.1 Andi Mulja = 76
• 5.5.2 Kepadamu Indonesiaku = 77
• 5.5.3 Rose Pandanwangi = 77
• 5.5.4 S Sudjojono 1913–2013 : To Pandanwangi from Sudjojono = 79
• 5.6 Significance = 79
• References = 81
• 6 “Kabut” (1960) = 83
• 6.1 The Composer = 83
• 6.2 Sjukur, Lagu Seriosa, and National Music = 85
• 6.3 The Song = 86
• 6.4 Publication, Popularity, and Performance = 91
• 6.5 Symbolism and Interpretation = 92
• 6.6 Significance = 93
• References = 94
• 7 “Bukit Kemenangan” (Circa 1960) = 97
• 7.1 The Composer = 97
• 7.2 The Song = 99
• 7.3 Symbolism and Interpretation = 106
• 7.3.1 Religion and Revolution = 106
• 7.3.2 Tradition = 107
• 7.4 Relevance and Popularity = 108
• 7.5 Performance and Performers = 108
• 7.6 Significance = 110
• References = 110
• 8 “Puisi Rumah Bambu” (Circa 1962) = 113
• 8.1 The Composer = 113
• 8.2 The Song = 116
• 8.3 Performances, Performers, and Popularity = 121
• 8.4 Symbolism and Significance = 122
• References = 122
• 9 “Lukisan Tanah Air” (1985) = 125
• 9.1 The Composer = 125
• 9.2 The Song = 127
• 9.3 Performers and Performances = 132
• 9.4 Significance = 132
• References = 134
• 10 Reflections = 135
• 10.1 Growth and Decline = 135
• 10.2 The Current State of the Genre = 139
• References = 141
• Part III Lagu Seriosa as the National Genre of Indonesia
• 11 A Reflection of the Nation = 147
• 11.1 The Music = 147
• 11.2 National Music = 148
• 11.3 More Than Musicians = 153
• 11.3.1 Cornel Simandjuntak : Revolutionary Musician = 154
• 11.3.2 Role Models of the Unfinished Revolution = 155
• 11.3.3 Heroes and Traitors = 155
• 11.3.4 The Conscious Musician = 157
• References = 157
• 12 Choirs and the Revolution = 159
• 12.1 The Growth of Choirs = 159
• 12.2 Challenges for Gembira = 161
• 12.3 Choirs and International Socialist Links = 162
• 12.4 Choirs and Konfrontasi = 163
• 12.5 Reversal = 164
• References = 165
• 13 The Role of Music in the Revolution = 167
• 13.1 Romantic-Revolutionary Music = 167
• 13.1.1 “Di Kaki-Kaki Tangkuban Perahu” = 168
• 13.1.2 Karatem and Sukanta = 171
• 13.1.3 Effects of the New Order = 172
• 13.2 Folk Music = 173
• 13.2.1 Turba = 176
• 13.2.2 Infusion in Seriosa Songs = 177
• 13.2.3 Preference for the Revolution = 177
• 13.3 The Creation and Promotion of National Songs = 178
• 13.3.1 The Importance of the Reference Group = 179
• 13.3.2 Initiatives for Growth = 180
• References = 181
• 14 Threats to the Art World = 183
• 14.1 Songs of Longing and Dejection = 183
• 14.2 A Representation of the Western Art Form = 184
• 14.3 Priorities of the Indonesian Government = 186
• 14.4 Imperialist Music, Revolutionary Music, and Lagu Seriosa = 186
• 14.5 Summation = 189
• References = 190
• 15 Conclusion = 193
• 15.1 The Historical Development of Lagu Seriosa = 193
• 15.2 The Reference Group = 195
• 15.3 Variants, Scripts, and Vocabularies = 196
• 15.4 Musical Style and Textual Analysis = 199
• 15.5 The Importance of Bintang Radio and BRTV = 200
• 15.6 The Growth and Decline of Lagu Seriosa = 201
• 15.7 Summation = 203
• References = 204
• Appendix A = 205
• Appendix B = 211
• Appendix C = 215
• Appendix D = 221
• Index = 227