Komodifikasi musik melayu di Indonesia = Malay music commodification in Indonesia / Muhammad Danu Winata
Muhammad Danu Winata;
Aloysius Gonzaga Eka Wenats Wuryanta, supervisor
(Fakultas Ilmu Sosial dan Ilmu Politik Universitas Indonesia, 2014)
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[ ABSTRAK Klasifikasi genre musik memiliki peran yang penting di masyarakat. Musik populerdiasumsikan sebagai bentuk yang berbeda dari musik serius atau musik seni, hingga padaakhirnya memonopoli perhalian diskusi filosofis mengenai musik, Dalam studi ini kamimembandingkan dikotomi populer yang digagas oleh Adorno mengenai perbedaan antaramusik populer dan musik serius yang sering diketahui dan dipahami secara superfisial olehpendengar dan kritikus musik. Kami menilai dari segi aspek pralctis dan filosofis dari musikmelayu otentik dan musik melayu modern - dalam studi ini diwakilkan oleh ST 12 - yangberkembang di' Indonesia berdasarkan gagasan Adorno dalam teori estetika. Hasilnyamenunjukan meskipun memiliki perbedaan secara konseptual, elemen musik tradisional tetapmelekat pada musik populer secara sengaja atau pun tidak sengaja sekalipun esensi musikotentik telah ditiadakan karena permintaan pasar. Selain itu, berdasarkan definisi Adornomengenai 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
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Penerbitan : | [Place of publication not identified]: Fakultas Ilmu Sosial dan Ilmu Politik Universitas Indonesia, 2014 |
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