[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-45535-en":3,"doc-seo-45535-105":29,"detail-sidebar-cat-0-en-105":91},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":13,"seo_description":14,"update_tm":27,"read_time":28},45535,16904993612988,"Olivia Brown","https://ap-avatar.wpscdn.com/davatar_a8503ba1806abce46bf441b54a3ca4cd",8,"Research & Report","Popular Music in Indonesia Since 1998: Fusion, Indie and Islamic Music on Video Compact Discs and the Internet","This article analyzes developments in Indonesian popular music in the late 1990s and the early years of the twenty-first century, focusing on how “popular music” functions in negotiating community identity and shaping dialogues of power across local, national, and global levels. It examines national and regional scenes through the rise of “world music” and fusion, Islamic music, and the Indie scene, and considers how new mass-media forms—especially VCDs and the Internet—represent and reshape these genres. Triggered by Reformasi and the fall of Suharto, the acceleration of these changes is linked to evolving copyright and intellectual property concerns.","Popular Music in Indonesia since 1998,in Particular Fusion,Indie and Islamic Music on  \nVideo Compact Discs and the Internet  \nAuthor(s):Bart Barendregt and Wim van Zanten  \nSource:Yearbook for Traditional Music,Vol.34(2002),pp.67-113  \nStable URL:https://www.jstor.org/stable/3649190  \nAccessed:23-10-201908:02 UTC  \nJSTOR is a not-for-profit service that helps scholars,researchers,and students discover,use,and build upon a widerange of content in a trusted digital archive.We use information technology and tools to increase productivity andfacilitate new forms of scholarship.For more information about JSTOR,please contact support@jstor.org.  \nYour use of the JSTOR archive indicates your acceptance of the Terms &Conditions of Use,available athttps://about.jstor.org/terms  \nis collaborating with JSTOR to digitize,preserve and extend access to Yearbook forTraditional Music  \n# POPULAR MUSIC IN INDONESIA SINCE 1998,INPARTICULAR FUSION,INDIE AND ISLAMIC MUSIC ONVIDEO COMPACT DISCS AND THE INTERNET\n\nBy Bart Barendregt and Wim van Zanten  \n## Abstract\n\nIn this article we analyse some developments in the popular music of Indonesia,especially those that have occurred during the last five years.The concept of“popular music”in present-day Indonesia is discussed briefly along with ananalysis of how it is used in the negotiation of the identity of particularcommunities,playing a vital role in a dialogue of power at local,national andglobal levels.We ask how the different pop scenes comment on and act to changesociety in an age of shifting identities and sensibilities.At the beginning of thetwenty-first century,issues of copyright and intellectual property rights seem tohave become even more important than they were in the 1990s.  \nExamples are taken from both the national and regional pop musics withattention being paid particularly to the emergence of “world music”or “fusion”,Islamic music and the Indie music scene.The question of how these differenttypes of pop music are represented in and shaped by the new forms of massmediation,in particular the video compact discs and the Internet,is raised anddiscussed.With the demand for political change(Reformasi)and fall of PresidentSuharto,the figurehead of the “New Order”regime,in 1998,these developmentsseem to have accelerated more than ever before.  \n## Introduction¹\n\nThe notion of “popular”(rakyat,populer)music is important in Indonesia,although it is defined there in ways that are distinct from the ones familiar toobservers of popular music in,for instance,Europe or the United States.Ourfocus is on dominant and emergent musical forms created by Indonesian artists,mostly within living memory,which are “clearly commercial,rooted in the musicindustry(including production and distribution)and a clientele able and willingto purchase the commodity”(Lockard 1998:19).“Rooted”does not mean entirelyembedded;live concerts,karaoke renditions,popular songs sung in folk dramaand social dance,and impromptu rehearsals while taking a bath are understood to  \n68  2002 YEARBOOK FOR TRADITIONAL MUSIC  \nbe selected moments in a circuit of production and consumption that incorporatesmusic videos,television variety show performances,audiocassettes and (video)compact discs.  \nRelatively little research has focussed on Indonesian popular music.Overviews of Indonesian popular music are presented in Manuel(1988),Yamashita(1988),Hatch(1989),Lockard(1996,1998),and Wong and Lysloff(1998)while some general information on recordings may be found in Broughtonet al.(1994:425-32).Scholars have paid attention to certain aspects of kroncong(Becker 1975;Heins 1975;Abdurachman 1977;Kornhauser 1978;Kartomi1998),dangdut(Frederick 1982;Mona Lohanda 1983;Murray 1991;Pioquinto1995;Browne 2000),and selected other “national”genres(Remy Sylado 1983;Yampolsky 1989;Arps 1996;Sutton 2000),but about regional popular musicmuch less has been written.That of West Java has been studied to a reasonableextent(Manuel and Baier 1986;Wright 1988;Subag","cbCaifuTJ5ZfMcwz","https://ap.wps.com/l/cbCaifuTJ5ZfMcwz","pdf",1896478,1,48,"English","en",105,"# Introduction\n## Concept of popular music in Indonesia\n## Research background and focus\n## National vs regional popular music\n## Media formats and production/consumption circuits","[{\"question\":\"What does the article say “popular music” means in Indonesia?\",\"answer\":\"“Popular music” in Indonesia is defined through dominant and emergent commercial forms rooted in the music industry, with audiences able and willing to buy the products. It also includes performance and consumption circuits that can involve videos, TV variety shows, cassettes, and (video) compact discs.\"},{\"question\":\"Which pop scenes does the article highlight as examples?\",\"answer\":\"The article pays attention to fusion and “world music,” Islamic music, and the Indie music scene, using examples from both national and regional pop musics.\"},{\"question\":\"How do VCDs and the Internet relate to the changes discussed?\",\"answer\":\"The article raises how new mass mediation—particularly video compact discs and the Internet—represents and helps shape the different types of pop music, which ties into shifting identities and sensibilities around the 1998 Reformasi period.\"}]",1783461047,121,{"code":4,"msg":30,"data":31},"ok",{"site_id":24,"language":23,"slug":32,"title":13,"keywords":33,"description":14,"schema_data":34,"social_meta":86,"head_meta":88,"extra_data":90,"updated_unix":27},"popular-music-in-indonesia-since-1998-fusion-indie-and-islamic-music-on-video-compact-discs-and-the-internet","",{"@graph":35,"@context":85},[36,53,68],{"@type":37,"itemListElement":38},"BreadcrumbList",[39,43,47,50],{"item":40,"name":41,"@type":42,"position":20},"https://docshare.wps.com","Home","ListItem",{"item":44,"name":45,"@type":42,"position":46},"https://docshare.wps.com/document/","Document",2,{"item":48,"name":12,"@type":42,"position":49},"https://docshare.wps.com/document/research-report/",3,{"item":51,"name":13,"@type":42,"position":52},"https://docshare.wps.com/document/popular-music-in-indonesia-since-1998-fusion-indie-and-islamic-music-on-video-compact-discs-and-the-internet/45535/",4,{"url":51,"name":13,"@type":54,"author":55,"headline":13,"publisher":57,"fileFormat":60,"inLanguage":23,"description":14,"dateModified":61,"datePublished":62,"encodingFormat":60,"isAccessibleForFree":63,"interactionStatistic":64},"DigitalDocument",{"name":9,"@type":56},"Person",{"url":40,"name":58,"@type":59},"DocShare","Organization","application/pdf","2026-07-10","2026-07-07",true,{"@type":65,"interactionType":66,"userInteractionCount":20},"InteractionCounter",{"@type":67},"ViewAction",{"@type":69,"mainEntity":70},"FAQPage",[71,77,81],{"name":72,"@type":73,"acceptedAnswer":74},"What does the article say “popular music” means in Indonesia?","Question",{"text":75,"@type":76},"“Popular music” in Indonesia is defined through dominant and emergent commercial forms rooted in the music industry, with audiences able and willing to buy the products. It also includes performance and consumption circuits that can involve videos, TV variety shows, cassettes, and (video) compact discs.","Answer",{"name":78,"@type":73,"acceptedAnswer":79},"Which pop scenes does the article highlight as examples?",{"text":80,"@type":76},"The article pays attention to fusion and “world music,” Islamic music, and the Indie music scene, using examples from both national and regional pop musics.",{"name":82,"@type":73,"acceptedAnswer":83},"How do VCDs and the Internet relate to the changes discussed?",{"text":84,"@type":76},"The article raises how new mass mediation—particularly video compact discs and the Internet—represents and helps shape the different types of pop music, which ties into shifting identities and sensibilities around the 1998 Reformasi period.","https://schema.org",{"og:url":51,"og:type":87,"og:title":13,"og:site_name":58,"og:description":14},"article",{"robots":89,"canonical":51},"index,follow",{"doc_id":7,"site_id":24},{"code":4,"msg":5,"data":92},[93,97,101,105,110,115,120,123,128,131,135],{"id":20,"doc_module":4,"doc_module_name":45,"category_name":94,"show_sort_weight":95,"slug":96},"Story & Novel",90,"story-novel",{"id":46,"doc_module":4,"doc_module_name":45,"category_name":98,"show_sort_weight":99,"slug":100},"Literature",80,"literature",{"id":52,"doc_module":4,"doc_module_name":45,"category_name":102,"show_sort_weight":103,"slug":104},"Exam",70,"exam",{"id":106,"doc_module":4,"doc_module_name":45,"category_name":107,"show_sort_weight":108,"slug":109},5,"Comic",60,"comic",{"id":111,"doc_module":4,"doc_module_name":45,"category_name":112,"show_sort_weight":113,"slug":114},6,"Technology",50,"technology",{"id":116,"doc_module":4,"doc_module_name":45,"category_name":117,"show_sort_weight":118,"slug":119},7,"Healthcare",40,"healthcare",{"id":11,"doc_module":4,"doc_module_name":45,"category_name":12,"show_sort_weight":121,"slug":122},30,"research-report",{"id":124,"doc_module":4,"doc_module_name":45,"category_name":125,"show_sort_weight":126,"slug":127},9,"Religion & Spirituality",20,"religion-spirituality",{"id":126,"doc_module":4,"doc_module_name":45,"category_name":129,"show_sort_weight":126,"slug":130},"World Cup","world-cup",{"id":132,"doc_module":4,"doc_module_name":45,"category_name":133,"show_sort_weight":132,"slug":134},10,"Lifestyle","lifestyle",{"id":136,"doc_module":4,"doc_module_name":45,"category_name":137,"show_sort_weight":106,"slug":138},19,"General","general"]