Quoted material from interviews, detailed analysis of music and song texts, and ethnography of performance illuminate the stylistic nature of the music and its centrality in public debates about Islam, social class relations, and the role of women in post-colonial Indonesia. Throughout the book the voices and experiences of musicians take center stage in shaping the book's narrative. The book shows how dangdut evolved from a debased form of urban popular music to a prominent role in Indonesian cultural politics and the commercial music industry. By taking this approach, I seek to provide a critical understanding of Indonesian media and its construction of popular music audiences within the changing social and historical conditions of modern Indonesia.ĭangdut Stories is a social and musical history of dangdut, Indonesia's most popular music, within a range of broader narratives about social class, gender, ethnicity and nation in post-independence Indonesia (1945-present). While dangdut's audience has certainly grown, dangdut has not been thoroughly incorporated into the national culture of Indonesia, as claimed by government and military officials in popular print media. Formerly associated with the disenfranchised and depoliticized underclass, the music was marketed to appeal to middle class and elite audiences in the 1980s. Using an historical approach, I construct an interpretation of these representational practices, taking into account shifts in the social meaning and function of dangdut's audience. I describe the ways in which popular print media â–˜speaks forâ–™ people, and the relations of power that define those discourses.
In popular print publications, representations of dangdut as the music of â–˜the peopleâ–™ (rakyat)â–”the majority of societyâ–”have been produced with great frequency and in a variety of popular print media. The audience for dangdut has been imagined, represented, and mobilized in various ways to support the ideological interests of commercial, government, and critical institutions. This essay is an ideological critique of popular print media about dangdut, a genre of Indonesian popular music. We achieved the maximum average F-measure of 68.30% and 38.49% for classifying the polarities and moods of the Hindi lyrics, respectively.
We also developed a supervised system to identify the sentiment of the Hindi song lyrics based on the above features. Instead of adopting a traditional approach to music mood classification based solely on audio features, the present study describes a mood classification system from lyrics as well by combining a wide range of semantic and stylistic features extracted from textual lyrics. We also annotated lyrics with positive and negative polarity. In this paper, we proposed mood taxonomy for Hindi songs and prepared a mood annotated lyrics corpus based on this tax-onomy. In fact mood label is considered as an emerging metadata in the digital music libraries and online music repositories. One solution might be developing a music search engine or recommendation system based on different moods.
Increasing work pressure denies the necessary time to listen and evaluate music for a creation of a personal music library. As a results, several word pairs that often was used by Rhoma Irama in writing his song including heart-love (19 lines), heart-longing (13 lines), heart-beloved (12 lines), love-beloved (12 lines), love-longing (11 lines).ĭigitization of music has led to easier access to different forms music across the globe. We successfully applied the most word frequencies in the form of data visualization including bar chart, word cloud, term frequency-inverse document frequency, and network graph. We collected the lyric from web were used as datasets, and then we have done the data extraction to store the component of lyric including the part and line of the song. If each Rhoma Irama’s lyric is identified in text mining field, the lyric text extraction will be an interesting knowledge pattern. In order to prove this, it is necessary to identify the songs through several approaches to explore the selected word and the relationship between word pairs. But interestingly, the song lyrics were written by Rhoma Irama in the 1970s were mostly on the love song themes. The expression of Rhoma Irama’s lyric has themes of the human being, the way of life, love, law and human right, tradition, social equality, and Islamic messages. Dangdut is a new genre of music introduced by Rhoma Irama, Indonesian popular musician who was the Legendary dangdut singer in the 1970s era until now.
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