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ABSTRAKKlasifikasi genre musik memiliki peran yang penting di masyarakat. Musik populer
diasumsikan sebagai bentuk yang berbeda dari musik serius atau musik seni, hingga pada
akhirnya memonopoli perhalian diskusi filosofis mengenai musik, Dalam studi ini kami
membandingkan dikotomi populer yang digagas oleh Adorno mengenai perbedaan antara
musik populer dan musik serius yang sering diketahui dan dipahami secara superfisial oleh
pendengar dan kritikus musik. Kami menilai dari segi aspek pralctis dan filosofis dari musik
melayu otentik dan musik melayu modern - dalam studi ini diwakilkan oleh ST 12 - yang
berkembang di' Indonesia berdasarkan gagasan Adorno dalam teori estetika. Hasilnya
menunjukan meskipun memiliki perbedaan secara konseptual, elemen musik tradisional tetap
melekat pada musik populer secara sengaja atau pun tidak sengaja sekalipun esensi musik
otentik telah ditiadakan karena permintaan pasar. Selain itu, berdasarkan definisi Adorno
mengenai musik populer, keberadaannya akan tetap ada terus bertahan.
ABSTRACTMusic geflre classification has a great important role in soeiety. Popular music is widelyassumed to be dffirent in kind from serious music or art music, until very recentlymonopolized attention in philosophical discussion af music. In this study we eompare apopular dichotomy addressed by Adorno about tlze dffirence between "popular" and"serious" music which is often superficially aeknowledge by music listeners and critics alike.Ll/'e evaluate practical and philosophical aspects af authentic of malay music and modernmalay music * represented by ST 12* that growing in Indonesia based on Adorno's notionson aesthetics theory. Resuhs show that in spite of being conceptually dffirent, traditionalmusie elements embedded in popular music are in some sense being transmitted intentionallyor unintentionally although some authentic essence has not been kept, because of marketdemand. Besides, it is pretty clear that by Adorno definition of popular, very view moderngenres are immune., Music geflre classification has a great important role in soeiety. Popular music is widelyassumed to be dffirent in kind from serious music or art music, until very recentlymonopolized attention in philosophical discussion af music. In this study we eompare apopular dichotomy addressed by Adorno about tlze dffirence between "popular" and"serious" music which is often superficially aeknowledge by music listeners and critics alike.Ll/'e evaluate practical and philosophical aspects af authentic of malay music and modernmalay music * represented by ST 12* that growing in Indonesia based on Adorno's notionson aesthetics theory. Resuhs show that in spite of being conceptually dffirent, traditionalmusie elements embedded in popular music are in some sense being transmitted intentionallyor unintentionally although some authentic essence has not been kept, because of marketdemand. Besides, it is pretty clear that by Adorno definition of popular, very view moderngenres are immune.]
MK-Muhammad Danu Winata.pdf :: Unduh