This article charts the development of three Indonesian popular music genres from the nineteenth to the twenty-first centuries: kroncong, stambul songs, and gambang kromong.
What is the Keroncong genre of music?
Although attempts have been made since the 1960s to modernise the genre by adding electric guitars, keyboards, and drums, most notably in the so-called Pop Keroncong sung by Hetty Koes Endang, Kroncong (currently spelled Keroncong in Indonesian) is now regarded as outdated folk music by the majority of Indonesian youth. Krontjong Poesaka Moresco Toegoe Jakarta-based in Tugu, who have performed at the renowned Indo festival "Pasar Malam Besar" in The Hague, has recorded the melancholy spirit of traditional acoustic Kroncong (similar to Portuguese Fado music). Every year at the Tong Tong Fair, Kroncong, which is regarded as a kind of Eurasian art, is widely displayed. The Netherlands' Indo artists are likewise advancing the genre in fresh ways.
Before World War II, each was important in commercial recording and radio; however, after that, they retreated to the outskirts of media activity. Additionally, each experienced significant changes in social context and audience makeup over time. The article explores what was known about these genres before mass media, how they performed in the media, and what happened to them as the media's focus switched to other topics.
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