Why Heavy Metal?: A Sound of Guitar Study in Dangdut

Catur Surya Permana, Ferry Matias

and Ahmad Hidayat

Music Arts Study Program,Universitas Pasundan, jl.Dr. Setiabudhi no.193,Bandung, Indonesia

Keywords: Dangdut Rock, Heavy Metal, Guitar Sound

Abstract: Rock-dangdut was first known and stretched by dangdut singer and guitar player named Rhoma Irama. He

was carrying the dangdut idea and the nuances of electric guitar distortion in the 1970’s and succeeded in

changing dangdut from Malay dangdut to dangdut rock, also initiated by the arrival of bands and rock music

in the “Orde Baru” era. He was motivated and sparked the idea of Dangdut Rock through his guitar concept

and the distortion he used, namely Heavy Metal. This also made the dangdut rock identity which is judged

by heavy metal guitar sound. This study will help us explore and examine the quality of dangdut guitar sound,

which is up until now still has the same color and cannot be replaced with other sounds (guitar). The aesthetics

of heavy metal sound colors that have been attached through decades from its appearance in the 1970’s until

now 2019, still provide a big mystery, and the sound provides a basic perspective of society in assessing

dangdut rock music. This study uses literature references, newspaper sources, audio sources, videos and

interviews that are mixed into descriptive explanations. It used descriptive qualitative method, with a

musicology approach, music history, and cultural studies. The writer hoped that this research can provide an

overview of the quality of guitar sound on dangdut music, and provide an exposure to the intentions of the

heavy metal sound were used.

1 INTRODUCTION

Music shows cannot be separated from various

aspects related to how the presentation is designed.

Present shows include elements such as kinetic,

visual, theater and sound / music. The elements are

presented based on the need for the purpose of the

work presented. The formation of meanings will

appear to be an artificial representation. Dangdut

itself in the world of entertainment in Indonesia, has

various kinds of artificial elements such as

performance costumes, dance moves in its

presentation, dramaturgy and the meaning of sounds

and themes. The sound of the guitar itself is

recognized as a strong representation, as a means by

which people identify themselves and show this

identity to others (Bennett & Dawe, 2001: 15). One

of the representations is produced by guitar sound.

Sound low, high or middle, can give a philosophical

meaning in it, for example high notes as

representations Emotion, feeling, god or something

noble, and low is a representation of human,

suffering, life, and the tangible. The topic built on the

elements of the show is the guitar sound used in

dangdut music. The sound of the guitar from the

1970s to 2019 is still the same and has not changed.

Why is that?

Is that how hard Rhoma Irama's guitar sound is?

Phenomenon found in the general public and music

players especially electric guitars regarding the

dangdut guitar sound and its play. The intonation

dangdut guitar game is easy to write and follow again,

but there is something missing, namely the taste of the

game. The melody of the dangdut guitar is rarely

found in fingerstyle or progression of fast melodies,

but only responds to the guitar and flute or guitar and

singer. Another difficulty comes from the difficulty

of finding a decent guitar sound for dangdut. The

sound of the guitar is often only found in quality

similar to the idol (Rhoma Irama). There are also

those who think that the sound is similar but still

cannot be like the game Rhoma Irama. In fact, it was

also found in the community of Forsa (Fans of Rhoma

Irama and Sonata) that members in Forsa itself had

many guitar players or dangdut music. The players

who were members of Forsa claimed that they were

intentionally and even drifting away with the

procedure of carrying out the music Rhoma Irama, to

the way the sound was produced. Weird enough? Is

the guitar sound inherited culturally? Or did Rhoma

Irama succeed in producing sound reproduction

through the masses?

264

Permana, C., Matias, F. and Hidayat, A.

Why Heavy Metal?: A Sound of Guitar Study in Dangdut.

DOI: 10.5220/0008763202640271

In Proceedings of the 1st International Conference on Interdisciplinary Arts and Humanities (ICONARTIES 2019), pages 264-271

ISBN: 978-989-758-450-3

This problem was raised because of the

assumption of dangdut guitar sound which is still a

mystery among academics, players, and guitar

activists. The guitar playing, taste and sound always

refers to the wealth of Rhoma Irama's guitar playing.

Why should so? The sound of the guitar used by

Rhoma Irama according to the Forza community

includes the distortion effect of Heavy Metal and

Booster. The distortion effect itself is an "amplifier

that was initially developed to take a weak signal and

make it change without changing its character of the

signal changes" (Ross, 1998: 39). Those two effects

are often used by Bang Haji Rhoma. The problem is

the sound guitar character that was delivered by

Rhoma Irama until now has remained the same and

has not changed. How could Rhoma not keep up with

music technology? surely he knew and could have

bought a more modern distortion effect. Then why is

that? Did he keep the guitar sound as a character and

the dangdut rock music identity that he stretched out?

The description is the basis of researchers in

finding answers to issues that exist in phenomena in

society, especially in Indonesia. To what extent can

the mystery of the dangdut guitar sound be described

in the music rules? what is the meaning of sound in

the bandage to the culture in the community? And

whether the frequency calculation is related to the

selection of the sound?

1.1. Dangdut

Dangdut music is indeed known by its drumming

game. Dangdut music itself is a name taken from the

drumming game. Sounds like ‘dang’ and

‘dut’originating from the drum are referred to as the

names of one of the music in Indonesia (Lohanda,

1983: 139-140). The word dangdut has several

assumptions in society and scientists, some say that

dangdut (known in 1972, formerly known as the

Orkes Melayu) as a sound representation

(onomatophoeia) and some argue that the word is an

insulting expression of the upper class towards the

low class (Frederick, 1982: 105).

Dangdut music before the arrival of popular

American music, still has the perception of cheap

music. The music was very clear when dangdut was

faced with fierce competition against rock music (in

the 1970s). The competition was enlivened by debate,

arguments, sarcastic, to arrive at a show, throwing

stones and endangering dangdut players at that time

(Najwa Interview with Rhoma in Mata Najwa's show

on one of the private TV in Indonesia). Dangdut

music can finally be released and reconciled with the

public with the coming of the concept of the band

Soneta with Rhoma Irama singing dangdut with the

feel of rock music (Frederick, 1997: 263). Rhoma

Irama was not only resent as an amicator of the

situation, but also brought a great revolution to

dangdut music which was only underestimated at the

time.

Until now dangdut is growing and expanding.

The emergence of many dangdut singers such as Ayu

Tingting, Gothic Sazkia, Cut Meimei, Siti Badriah,

Via Vallen, Cita Citata, Danang, and others, gave

space to the hearts of the people. Dangdut music with

various versions appeared and was present in the

Indonesian music industry, such as Ayu tingting with

a dangdut style based on Kpop, Siti badriah with

‘Centil’ style, to Via Vallen which appeared with the

style of dangdut music mixed with Reggae, Rap and

Javanese (Permana, 2019 : 201).

The development of technology also

accompanies dangdut music with the presence of

dangdut disco in the 90s (Sitorus, 1994). The

appearance of the disco-style dangdut was initiated by

a karaoke club in Indonesia, and again the singers

who sang the dangdut disco were dismissed as

beginning to eliminate the original cengkok dangdut

in Malay style (allowing dangdut disco singers to no

longer be traditional dangdut singers) (Muttaqin,

2006). This situation continues until now. Dangdut

music develops into dangdut pop that is in the style of

American Pop balads, and Pop dangdut which is

oriented towards crookedness (such as those present

in the dangdut singers talent show on TV). Dangdut

music is no longer said to be low class music, but all

classes. Dangdut music with a variety of luxurious

and elegant performance shows creates a dangdut

image that used to be cheap to level up.

Based on several assumptions about the

development of dangdut music from the Orkes

Melayu to dangdut that came into contact with

technology. Some of them are dangdut developing in

line with technological progress; dangdut music

develops according to the needs of the music industry

in Indonesia; and dangdut music as a form of

resistance.

2 METHODS

This study uses literature, audio, video, and

interview sources. source of books on sound and

dangdut, as well as various research results from

experts in dangdut and sound topics. The source will

be described in the form of a description. This

research approach uses a musicalology, a history of

development and cultural studies. This multi-

approach is also used for approaches in cultural

studies, including in the field of performing arts, so

qualitative research is an interdisciplinary field,

across disciplines, and sometimes even against

Why Heavy Metal?: A Sound of Guitar Study in Dangdut

265

discipline (compare with Denzim & Lincoln, 1994;

and Salim, 2001 : 9). These three approaches are used

to get the desired results. The approach of musicology

uses music theories such as the science of harmony,

composition, sound balance, and is balanced by the

historical approach to the development of dangdut

music, as well as the approach to cultural studies to

get results regarding the structure created by dangdut

into society. Interpreting and understanding the new

text requires background knowledge about the text

that preceded it (Kristeva in Culler, 1981: 154). The

method used in this research is descriptive qualitative

method. The method was chosen based on the data

source and the results to be achieved, namely in the

form of explanation and descrition of the guitar sound

in dangdut music and the meaning that the sound has.

In the study of culture, the form of culture is

divided into two components including material

culture and non-material culture (Sulasman &

Gumilar, 2013: 47). Material culture is a visible form

of culture, or the result of human creation that is

tangible. Whereas nonmaterial is a form of culture

that is invisible, can be in the form of a human mind.

Appropriate approaches to research cultural artifacts

can use critical theory, culture, and technology. These

three views are used to see the extent to which music

technology is developing and how the socio-cultural

context is in the midst of that era. In the search for

meaning about behavior, it is understood to be three

things, including (1) the meaning of a sign, code or

certain nonverbal text; (2) how to obtain this

meaning; (3) why does he obtain that meaning

(Danesi, 2010: 65)

3 A SOUND OF GUITAR STUDY

IN DANGDUT

Guitar sound is basically built from the quality of

the material. Guitar raw materials starting from the

wood used will affect the sound results. In addition,

those related to the results of the vote include pick-

up, string thickness, and how to play. The guitar used

by Rhoma is a Steinberger type of guitar that has a

humbucker pick-up, without headstock, and has a

thick sound. A guitar with a humbucker character

must have a thicker sound than a single coil guitar

(like the Fender Stratocaster). This guitar with a

humbucker character is often used by guitarists from

metal, rock, underground, hard core, emo, and

modern rock bands. The guitar player usually has a

high level of skill in each game. Then maybe the

Rhoma Irama also has the same high skills as

progressive music.

Some things that distinguish single coil and

humbucker. Guitars such as the Fender Stratocaster

usually have basic characters such as open sound,

tight bass sound with a bright treble, scale neck

length: 25.5 inch, neck and body on the screw

(imperfect unity will produce less resonance) and

sustain. In contrast to guitars such as Gibson, Les

Paul, Flying V, SG, and Steinberger, coil characters

are bigger and bigger than Stratocaster fenders, the

advantages of this type of guitar are that it has smooth

sound, the balance frequency, short scale neck: 24.75

inch, construction of neck united with body, and very

sustain (Sardo, 2011)

In the community both in the dangdut, Forsa, and

general communities, there are often more dangdut

guitar players who use guitars with humbucker

characters, or double coil that has a thicker sound

level. It becomes a big question when guitars with

certain characters that develop in America and the

genres of music they carry, are different from what

happened in Indonesia, especially dangdut music.

Instead, dangdut uses a guitar with a rock band image

for each game. The guitar has a principle of good,

clear sound, comfortable to hear, as Devine (2013:

166) says that loud and clear sounds are difficult for

certain producers and audiences. Here are the guitars

that have been used by Rhoma Irama.

The guitars that have been used by Rhoma Irama

include:

- 1973 Fender Telecaster Deluxe

- Fender Stratocaster Vintage natural finish

- Rickenbacker

- White Fender Stratocaster

- Fender Stratocaster Anniversary ‘79

- Red Fender Stratocaster

- Steinberger GP-2S

- Steinberger GM-2T Trans Tram

- Steinberger GM-2T Trans Trem (white

pickguard)

- Custom Hand Made ala Steinberger

- SR Guitar

- Steinberger Spirit GU Deluxe

- Steinberger GM-2S

ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities

266

Figure 1. Steinberger GM-2S type guitar

From the historical terms the dangdut was used in

1972 which was circulated on radio at that time, and

the ability of the mass media to actualize the word

was termed as the development of new forms of the

Malay Orchestra (before the 1970s). In the era of

bands such as Led Zeppelin, Deep Purple, Gianstep,

to Godbless, Malay music almost lost its existence.

Until Rhoma and his band Soneta came up with a

distorted electric guitar concept and a form of music

made in the style of rock music (Luaylik & Khusyairi,

2012: 35), they were finally able to lift the existence

of dangdut music. The sound of the ‘gahar’ guitar

brought by Rhoma was a form of resistance to rock

music that developed at that time.

The development of a sound system amplifier so

far is still often found Marshall JCM900 amps. Amps

are often used in various music events in Indonesia.

Unlike the construction of dangdut music, more often

using the type of solid state amps, such as Jazz chorus.

Chorus jazz amps are used by Rhoma in each stage.

These amps are combined with the effects of heavy

metal guitars, and Steinberger guitars used by Rhoma.

The result resembles a Ritchie blackmore guitar

sound model.

Figure 2. Setting the guitar (adapted from Ross,

1998: 58)

“My principle is that music has

to be able to shape the people. If we

want them red, they’ll turn red. If

we want t hem white, they’ll turn

white. In order to do that, we need

harmony between the lyrics, the

feeling, and the performance so

that our aims/goals will reach

them. When they go home after one

of our shows, they’ll think back to

what we said. We need music that

can entertain in order to motivate

people and educate people. Drunks

will stop drinking. Rude people will

become pleasant. Non-believers

will become believers. All form

music”. (pers.comm., 14 July

2005; Weintraub, 2010:88)

People who listen to dangdut are often known as

small people; commoners; lower class; marginal

people; fringe people; and the class goes down

(Weintraub, 2010: 82). Therefore dangdut music is

often also referred to as music from the people, for

the people and the people themselves. This statment

is a general description of dangdut construction.

Dangdut is considered as the power of representation

from the community. What was felt by the people,

they wanted and dreamed of being present in the

music and lyrics of dangdut. Lyrics that have the

theme of romance, social criticism, gender, rich and

poor, difficult economy, become representative of the

sense of belonging to the community (Luaylik &

Khusyairi, 2012: 28). The representation of taste is

manifested by the composition of music and the

sound it forms. Therefore guitar sound has its own

color, which is different from other musical genres

that must have meaning related to the social

conditions of the community.

Why Heavy Metal?: A Sound of Guitar Study in Dangdut

267

Figure 3. Setting effects and Roland jazz Chorus

guitar amps that are often used by Rhoma. (google

image source)

When looking at the picture above (figure 3) it

can be seen from the Heavy Metal effect set

consisting of four potentios, including the leftmost

volume, the middle left Low frequency, the middle

right High frequency, and the far right Distortion.

Heavy metal effect construction is designed to be able

to fill Low and High sounds. It feels very tube when

entered in the solid state amp settings (as in figure 3).

Note the interview with Rhoma, he was so fanatical

about the Roland Jazz Chorus-120 amps and Boss

HM-2 Heavy Metal Pedals. Here's the words of

Rhoma about the sound and gear she uses:

"I don't like to use effects like that. I

used only the Heavy Metal effect for a

long time and now there is no effect

that has the same character. I do not

find it. In the envelope, I also only use

the chorus and a little reverb. And I

don't intend to explore again.

”(Noviana interview with Rhoma,

August 14, 2017)

Sound guitars that are formed using Heavy Metal

effects have contextual meanings. Metal music itself,

is a music genre that comes from American Popular

Music. The music began in the development of Blues

music at first, which later developed into rock n roll

and rock. Metal music has different characteristics

from rock music. Rock music has strength in musical

and hard accents, while metal music has tempo speed,

greater distortion from rock music, darker nuances,

sometimes lyrics that are out of love, and metal music

has a segmented mass. Metal music can be a place for

self-existence and also actualization. In Indonesia the

development of metal music is more directed at the

lower class, and the periphery, even teenagers often

come in metal shows for expression. Not a few

teenagers use the attributes of their proud metal band.

Rhoma is aware that rock music will emerge.

Sophisticated tools and great sound cover the show.

Rhoma was motivated to be more creative in

combining Malay music with the Rock genre, Rhoma

called it ‘Musik Gila’ (crazy music), especially from

its influences namely deep purple, rolling stones and

Led Zepplin.

“Our music at that time was

melodious (soft). But hard rock was

something foreign and noisy, and it

could make people crazy. That was

“crazy music”…. At that time, our

music was very polite. I was afraid

our music orkes melayu would be

overtaken. So, I changed

everything. Before, our instruments

were acoustic: guitar, drum,

accordion. But I had to complete

with rock” (Rhoma Irama,

pers.comm., 14 July 2005; in

Weintraub, 2010:99)

This situation does not stop at the entry of the rock

genre in dangdut. Rhoma also added that in the

presentation the performance was in the form of a

sound system device that was equivalent to Rock

music performances. The Dangdut show uses a 6,000-

watt sound system which is actually bigger than the

sound system used by rock music at the time ("Dua

raja", 1978: 41). Rhoma imitated the sound of Richie

Blackmore, guitarist for the band Deep Purple: "if

you look at my songs, you’ll see the colors of Deep

Purple. The color of my guitar playing is the color of

Richie melodious hard rock sound ”(pers.comm., 21

August 2006; in Weintraub, 2010: 99). Sound

referred to by Rhoma is felt by musicians and

guitarists in general interpreting it as shrill

(cempreng) or kettles (ceret), which means that the

sound of the guitar is sharp and uncomfortable in the

ears, different from the pop music guitar that uses

overdrive and is more "warm".

The "shrill (cempreng) / kettles (ceret)" sound can

be seen based on the composition of the instruments

used by Soneta including vocal, guitar, bass, drum,

keyboard, flute, mandolin, saxophone and trumpet. If

these instruments are categorized into frequency

regions, they are divided into three regions, namely

Low, High and Middle. High frequency instruments

filled with flutes, trumpets, saxophone, mandolin;

middle-high frequency instruments filled by guitars,

vocals, keyboards; while low frequency instruments

are filled by bass. The composition shows that the

position of the guitar lies between the middle and high

regions. The sound of the Heavy metal guitar tries to

approach sound harmony with trumpet

accompaniment, saxophone, mandolin and flute

instruments. This also needs to pay attention to what

Smith (2008, p. A1) calls 'ear fatigue'. A more

consistent sequence of sounds resulting from

compression can cause the ears to become

uncomfortable (Devine, 2013: 164).

ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities

268

Assessing guitar sound based on a historical view

of Heavy Metal. Heavy metal was called a rock critic

Robert Duncan (1984: 36-37), as an unsophisticated,

anti-intellectual, gloomy, bad, horrible and stupid

music, like death music. A similar opinion was

conveyed by Joe Stuessy, a music professor at the

University of Texas at San Antonio, according to him

heavy metal music is categorically different from

previous popular music forms, and contains elements

of hate (Testimony of Dr. Joe Stuessy , US Congress,

Record Labeling (Senate Monitoring 99-529), 117).

Both of these assumptions explain how hard the

meaning and purpose of heavy metal is. If true, the

concept of sound was made as a symbol of resistance,

then the intended intentions of Rhoma and situational

forces at that time, namely precisely the New Order

era, with fierce competition in the music industry

between pop, rock and Malay genres caused by the

arrival of music popular from the West. Another

symbol of the intent of Heavy Metal is possible as a

representation of marginalized and opposition low-

class people from the government. Dangdut music

with heavy metal nuances becomes very honest

music. A path to individual freedom and equality of

social classes in society can accumulate through the

soundness of heavy metal.

In the view of cultural sociology of heavy metal,

it is clear that in general the sociology of culture can

investigate the creation, appreciation and mediation

of cultural forms, in this case heavy metal. Heavy

metal will involve very many elements that will form

meaning starting from the artist, audience and

mediator itself (Weinstein, 2000: 4). Heavy metal is

also recognized as something more than just a

marketing category, besides having a distinctive

voice, it also has a visual and verbal meaning that is

attached to artists, viewers and mediators who build

it (Green, 1988: 33). The sound is allegedly a mystery

for musicians and guitarists (where they are very

difficult to find sound that feels like dangdut, but this

is not only because of pure sound, but can be from

how the player feels), is a guitar sound already

attached to the cultural order. The sound is inherited

indirectly through the community and the artists

themselves, in dangdut shows everywhere.

The uncomfortable sound is continuously used in

the performance of the show. Is the sound of political

value? Or intentionally and used as a means of

expressing the people? Dangdut itself has never

escaped its involvement with politics. This happened

the first time in 1977 and 1982 when Rhoma Irama

entered to support the PPP party (United

Development Party) (Tempo, 9 April 1977). Dangdut

is present not only to look at the quality of the music,

but because dangdut is able to attract and take

people's hearts, because dangdut is felt to represent

the heart and feelings of the lower class, who live

under pressure (Frederick & Kesumah, 1995: 27). In

2018, dangdut also had a political role, the emergence

of Java, Reggea and Rap dangdut which was brought

by Via Vallen, was also interpreted as a way for

musicians to criticize politics. The end of the year was

dangdut to be a treat that was not separated from

television shows, even the anniversary events of an

online company, the birthday of a television station.

Until entering at the beginning of 2019 dangdut was

still in its political reunion, and did not forget that

Rhoma was also promoted to become a presidential

candidate.

Does dangdut try to create an alienation of its own

people? Is the truth covered with fine music? Lukacs

(in Adian, 2011: 26) once said in his theory about

partial awareness. Awareness which has two separate

views between the bourgeois view and the working

class view. Both parties have different intentions,

where the bourgeoisie continues to make various

interests in maintaining its power (reproductive

domination), on the other hand the working class

continues to seek justification based on its social

totality (Eggleton, 1991, in Adian, 2011: 30). Sound

is produced in heavy metal bandages which have a

negative tendency, but at the same time as a symbol

of the people, in expressing their existence and

expression to the reality of life touched by their

political, economic and social circumstances.

4 CONCLUSIONS

Based on the above explanation the results

obtained in the review of guitar sound in dangdut

music and its relation to the color of metal music on

the guitar sound. So the description of the dangdut

guitar sound was originally possessed and produced

by Rhoma Irama in the 1970s, amid the heat of

popular American music rock genre in Indonesia,

after the Soeharto (New Order) leadership in 1966-

1967. The entry of the music genre created dangdut

colors in rock style with electric guitars at Soneta

band stretchers. Rock music that is present in the

dangdut music is produced by Rhoma Irama's guitar

sound with Steinberger guitar instruments and

combined with the distortion effect of Heavy Metal

and Booster. Sound Guitar produced from the concept

was not only played by Rhoma but also continued by

other dangdut guitar players. The direction of musical

style and the sound character of the guitar are

followed up into the Forsa community (Fans of

Why Heavy Metal?: A Sound of Guitar Study in Dangdut

269

Rhoma and Soneta). In the study in the field, it was

found that they performed like the idol.

The meaning of heavy metal in Rhoma stretches

can be judged from the history, technology and

interpretation of the meaning of metal. Judging from

its history, the metal color was not intentionally

formed by Rhoma, but he did emulate the style of

playing Ritchie Blackmore guitarist from Deep

Purple as his reference. The style was followed until

it entered into several musical works. When viewed

from the development of the technology of distortion

effects, the first distortion produced was Fuzz and

was introduced and used by the Rolling Stones and

Jimmy Hendrix bands. The popularity of Rock n Roll

music is enlivened by sound distortion. Likewise, the

one used by Rhoma in the 70s was an effect that led

to Heavy Metal (HM2-BOSS). The color of the sound

known as "kettles" (ceret) by some opinions of the

general guitarist (outside dangdut) is a type of sound

that is uncomfortable to hear. Even for dangdut music

players, if the guitar sound does not lead to the style

and character of Rhoma's guitar sound in dangdut

music, it is felt that the music is unattractive and nice

to play. Unlike modern music that is more 'warm'

using the overdrive effect.

Metal is one of the musical genres resulting from

the development of rock n roll music in America.

Metal music is very segmented, because it is

considered destructive and noisy music. Metal music

in Indonesia has not only noise, but the music has a

deeper market than other music. Music such as metal,

Underground, Grindcore, Hardcore is music whose

market segmentation affects the low class, and people

who have a background of lack of self-existence and

the search for self-identity (formerly), many metal

music enthusiasts are thirsty teenagers. self existence

and its spread is very large. Metal music describes the

marginal class in its sociality. When connected with

the color of the guitar sound on dangdut, the metal

nuances of the dangdut guitar sound give meaning to

the efforts of marginalized people's aspirations and

part of social criticism of the government. Therefore,

perhaps the sound is a communication medium

represented by Rhoma Sound guitar and presented in

social themes, criticism, romance, the rich and poor,

gender, oppressed, sadness, and difficult in life.

ACKNOWLEDGEMENTS

Thank you Iconarties for holding an international

seminar that accommodates themes from the arts. The

event "Changing the World through Arts and

Humanities" is also a means for young researchers to

enter the international scope. I also thanked the

research team from Pasundan University Ferry

Matias, Ahmad Hidayat, and Made Bagus Primadi

Putra for participating in building a smart community.

Thank you to the resource persons of the Forsa

Community, IGC (Indonesian Guitar Community),

musicians, and dangdut connoisseurs who have

provided information about dangdut.

REFERENCES

Adian, Donny Gahral. 2011. Setelah Marxisme Sejumlah

Teori Ideologi Kontemporer. Depok. Penerbit

Koekoesan

Bennett, Andy, & Dawe, Kevin. 2001. Guitar Cultures.

Oxford New York. Berg

Danesi, Marcel. 2010. Pesan, Tanda dan Makna.

(terjemahan).Yogjakarta:Jalasutra

Denzim, N., & Lincoln, Y. 1994. Entering The Field of

Qualitative Research. In Denzim, N., & Lincoln, Y

(Eds). Handbook of Qualitative Research. Thousand

Oaks, CA: Sage Publications.

Devine, Kyle. 2013. Imperfect sound forever: loudness

wars, listening formations and the history of sound

reproduction, in Popular Music Journal vol.32 no.2.

Cambridge University Press

Duncan, Robert. The Noise: Notes fiom a Rock 'n' Roll Era

New York Ticknor and Fields, 1984

Eagleton, Terry. 1991. Ideology: An Introduction. London:

Thetford Press

Frederick, William H. in Dloyana Kesumah dkk. 1995.

Pesan-pesan budaya lagu-lagu Pop Dangdut dan

Pengaruhnya Terhadap Perilaku Sosial Remaja Kota .

Jakarta: Departemen Pendidikan dan Kebudayaan

Republik Indonesia

Frederick, William H. 1982. Rhoma Irama and the Dangdut

Style: Aspects of Contemporary Indonesian Popular

Culture, dalam Indonesia no.34

Frederick, William. H. 1997. Goyang Dangdut Rhoma

Irama: Aspek-Aspek Kebudayaan Pop Indonesia

Kontemporer, in Ectasy Gaya Hidup. Bandung. Mizan.

Green, Lucy. 1988. Music on Deaf Ears: Musical Meaning,

Ideology, and Education Manchester, England:

Manchester University Press

Lohanda, Mona. 1983. Dangdut: sebuah Pencarian

Identitas (Tinjauan Kecil dari Segi Perkembangan

Historis) dalam Sedyawati, Edi dan Sapardi Djoko

Damono (ed.)1983, Seni dalam Maysrakat Indonesia,

Bunga Rampai. Jakarta. PT. Gramedia.

Luaylik, Fathin & Jhony A. Khusyairi. Perkembangan

Musik Dangdut Indonesia 1960-1990an.

(Journal.unair.ac.id/download-fullpaper-3-fatin.pdf)

Muttaqin, Moh. 2006. Harmonia Jurnal Pengetahuan dan

Pemikiran Seni, Vol. VII. No.2/Mei-Agustus

ICONARTIES 2019 - 1st International Conference on Interdisciplinary Arts and Humanities

270

Noviana, Ricky. Rhoma Irama Simbol Revolusi dan

Pemberontakan, in Majalah GitarPlus ed. 125.

(trickynoteviana.wordpress.com/2017/08/14/rhoma-

irama-simbol-revolusi-dan-pemberontakan/)

Permana, Catur Surya. 2019. Dangdut:Java, Reggea and

Rap A Collaborative Concept of Via Vallen. Advances

in Social Science, Education and Humanities Research,

volume 255 on 1

International Conference on Arts and

Design Education (ICADE 2018). Atlantis Press

Ross, Michael. 1998. Getting Great Guitar Sounds, A Non-

Technical Approach to Shaping Your Personal Sound.

Hal Leonard Corporation

Salim, Agus (Ed). 2001. Teori dan Paradigma Penelitian

Sosial: Pemikiran Norman K. Denzim dan Egon Guba,

dan Penerapannya. Yojakarta: Tiara Wacana

Sardo, Ki Joko. 2011. Dasar-dasar Tone Gitar. 25 Agustus

2011 (in dogiefx.wordpress.com/2016/09/11/dasar-

dasar-tone –gitar/)

Sitorus, Susanti HS. 1994. Dangdut Masuk Gedongan, in

Femina no.26/xii tanggal 7-13 Juli

Sulasman & Setia Gumelar. 2013. Teori-teori Kebudayaan

Dari Teori Hingga Aplikasi. Bandung. Pustaka Setia.

Smith, E. 2008. Even Heavy Metal Fans Complain That

Today’s Music is too Loud!!!, in The Wall Street

Journal, 26 September, p.A1

Tempo, “Dan Oma Serta Upit Ikut Kampanye,” in-press, 9

April 1977, pp. 54.

Weinstein, Deena. 2000. Heavy Metal The Music and Its

Culture.Da Capo Press

Weintraub, Andrew N. 2010. Dangdut Histories: A Social

and Musical History of Indonesia’s Most Popular

Music. New York: Oxford University Press

Why Heavy Metal?: A Sound of Guitar Study in Dangdut

271