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

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Description based upon print version of record.11.3.3 Heroes and Traitors.Intro -- Foreword by James Chin -- Foreword by Margaret Kartomi -- Foreword by Dr. Ninok Leksono -- On Indonesia's Great Genre of Music of Its Time -- Preface -- Acknowledgements -- Contents -- Abbreviations -- Part I The Rise and Fall of Lagu Seriosa -- 1 The Importance of Lagu Seriosa -- 1.1 Overview -- 1.2 Lagu Seriosa Within the Wider Context of the Theory of Production -- 1.3 Impact on the Art World -- 1.4 Terminology -- References -- 2 The Evolution of the Genre -- 2.1 The Pre-Lagu Seriosa Era -- 2.2 Early Lagu Seriosa -- 2.3 Patriotic Music and Lagu Seriosa2.4 A Sacred and Formal Format -- 2.5 The Subtleties of Poetry -- 2.6 Radio Republik Indonesia -- 2.6.1 Bintang Radio -- 2.6.2 The Seriosa Category: Building the Repertoire -- 2.6.3 Changes in the Conventions of Lagu Seriosa -- 2.6.4 The Role of Lokananta -- References -- 3 Gatekeepers, Singers, and Ansambel Gembira -- 3.1 The Gatekeepers -- 3.1.1 The Paramount Role of the Reference Group -- 3.1.2 Internal Differences -- 3.2 Elevation of Singing as a Profession -- 3.2.1 International Exposure -- 3.2.2 Recognition and Stardom -- 3.2.3 Crossovers -- 3.2.4 Noble Career -- 3.3 Ansambel Gembira5.6 Significance -- References -- 6 "Kabut" (1960) -- 6.1 The Composer -- 6.2 Sjukur, Lagu Seriosa, and National Music -- 6.3 The Song -- 6.4 Publication, Popularity, and Performance -- 6.5 Symbolism and Interpretation -- 6.6 Significance -- References -- 7 "Bukit Kemenangan" (Circa 1960) -- 7.1 The Composer -- 7.2 The Song -- 7.3 Symbolism and Interpretation -- 7.3.1 Religion and Revolution -- 7.3.2 Tradition -- 7.4 Relevance and Popularity -- 7.5 Performance and Performers -- 7.6 Significance -- References -- 8 "Puisi Rumah Bambu" (Circa 1962) -- 8.1 The Composer -- 8.2 The Song8.3 Performances, Performers, and Popularity -- 8.4 Symbolism and Significance -- References -- 9 "Lukisan Tanah Air" (1985) -- 9.1 The Composer -- 9.2 The Song -- 9.3 Performers and Performances -- 9.4 Significance -- References -- 10 Reflections -- 10.1 Growth and Decline -- 10.2 The Current State of the Genre -- References -- Part III Lagu Seriosa as the National Genre of Indonesia -- 11 A Reflection of the Nation -- 11.1 The Music -- 11.2 National Music -- 11.3 More Than Musicians -- 11.3.1 Cornel Simandjuntak: Revolutionary Musician -- 11.3.2 Role Models of the Unfinished RevolutionReferences -- 4 The Decline of the Genre -- 4.1 Songs for the Old -- 4.2 The Promotion of Amateurs -- 4.3 The Removal of Role Models -- 4.4 Media Shifts -- 4.5 The Competitions -- 4.6 The Redefining of Lagu Seriosa -- References -- Part II A New Song: Exemplars of the Lagu Seriosa Genre -- 5 "Kisah Mawar Di Malam Hari" (1953) -- 5.1 The Composer -- 5.2 The Song -- 5.3 Symbolism and Interpretation -- 5.4 A Standard of Seriosa -- 5.5 Performers and Performances -- 5.5.1 Andi Mulja -- 5.5.2 Kepadamu Indonesiaku -- 5.5.3 Rose Pandanwangi -- 5.5.4 S. Sudjojono 1913-2013: To Pandanwangi from Sudjojono.Includes bibliographical references and index.This book charts the growth of the Indonesian nationalistic musical genre of lagu seriosa in relation to the archipelago's history in the 1950s and 1960s, examining how folk songs were implemented as a valuable tool for promoting government propaganda. The author reveals how the genre was shaped to fit state ideologies and agendas in the Sukarno and Soeharto eras. It also reveals the very significant role played by Radio Republik Indonesia in the genres development and dissemination. Little research has been done to investigate how Indonesian music contributed to nation-building during Indonesias immediate post-colonial period. Emulating the European art song, the genre was adapted to compose songs with the purpose of promoting a strengthened collective Indonesian identity, fostered by a group of musicians who functioned as gatekeepers, monitoring and devising various mechanisms for songs to conform to the propagandistic needs of the Indonesian government at the time. The result was the development of classical style of singing and the cultivation of a patriotic collection of music during the Guided Democracy period (19591965), which peaked at the height of the Konfrontasi (19631966). Lagu seriosa lost popularity as popular music infiltrated Indonesia in the 1970s, but it remains an iconic yet understudied aspect of the nationalistic agenda in Indonesia. The case studies of selected songs reflected continuity and change in musical style and over time. This book is of interest to scholars studying the intersection between history, politics, identity, arts and cultural studies in Indonesia. It is also of interest to researchers investigating the role of music in identity formation and nation-building more widely.