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we must admit that the work of his music in the form of songs created during the three days, namely the Dutch colonization era, Japanese occupation, and the Age of Independence (revolution) is still echoing today. The number of songs produced by Ismail Marzuki during that time were estimated three times the age of only 44 years old.The songs produced nearly represent his era, patriotisnya spirit, love and romantic feelings. Seduction Coconut Island, Indonesia Heritage, Autumn Flowers, A pair of eye balls, Aryati, and Juwita night, are some examples of songs that represent his work.
It is unfortunate that, until now not yet certain how many songs work really composed himself. As mentioned in Chapter 5, there are some songs that are recognized solely by Ismail Marzuki as other people's work, for example Panon Hideung song, which is an adaptation of the Cossacks song composed by Ruskykorsov called Dark Eyes. Likewise, the Als de Orchideen Bloeien, Ole-ole Bandung, and Halo-Halo Bandung, until now still controversial, whom the creator actually.
In fact, Ismail M. remain "silent" when receiving awards, in connection with the controversial songs. He received the Charter Award from the Army Headquarters on March 17, 1971 due to creation of patriotic songs. One song is Auld Lang Syne. In fact the entire music community almost know that the song is a Scottish folk song. The composition of this medunia created in 1799 by Robert Burns (Suara Merdeka, October 16, 2005).
However, according to the author of this book, that's the life of pop music, like pop music today. Ismail M is an expression musician by playing music, because he was the leader of Djakarta Studio Orchestra, which is free to play whatever songs either created themselves or track the results of adaptation. Not his fault if people finally recognize the songs as songs ciptaaanya controversial as a result of the song was often played. However, a number of song creation kedasyatan he himself inspiring patriotic, melodic, and romantic has closed "disability" name. Other awards ever obtained from the Indonesian government, among others, the Charter Widjaja Kusuma of President Sukarno (1961), as well as the Hero of Culture, Satya Badge of Culture I (1964), and most recently earned a National Hero by presidential decree No. 089 / TK / 2004.
Ismail M is self-taught artist who developed his musical talent based solely on instinct feelings that want to express what is felt, seen, and the expected. However, the knowledge (theory), music and basic music skills has he had, which supports his musical talents. He felt a sense of a bubbling musical melodies by generating a simple but very acceptable beautiful ears of society in general. He saw the incident, suffering people in general are oppressed in the colonial era, identified gaps in society, he moved his heart to give contributions that he controlled and had to compose a song that inspires the spirit to fight. Perhaps because of the gentle soul many poets do not prontal fight songs, invite to rebel or resist. Seduction of Palm Island is one example of songs that are considered by music critics do not reflect or encourage people to "move". The contents of the song lyric is simply adore nature, describing the beauty and richness of Indonesia. But, in fact if deepening his verse and melody groove perpaduannya with harmony, its meaning is very deep and more than the spirit of loving the country. In addition, he also anticipates circumstances. If expressed Pulgar then the song would be banned by the authorities at that time, the Japanese colonial.
Overview of the Indian political situation began Berlanda 1930-1942 until the Japanese Occupation 1942-1945 and Ismail M activities described at length in Chapter 3 by Teguh Esha, one of the authors of this book. In this chapter the author also describes the dramatic moment, a time when Ismail M act in the field of music that they do at the time of the revolution in 1949 until his death. Sub-title which reads "After the Revolution Pun: Period End Ismail Marzuki" invites readers to listen.
Chapter 4 highlights some more criticism some music critics like Amir Pasaribu, JA Dungga, Liberty Manik, and Franki Raden. With a journalistic style but scientific, the author of this chapter systematically stringing these criticisms critics drawn from various sources. However, the author of this chapter, also a journalist and also an artist, was criticized by the introduction, Dieter Mack, a prominent educator and researcher German music, which involves the concept of Indonesian-ness and independence.
Dieter Mack in the introduction highlights the contents of Chapter 4, which is considered interesting but it is considered "funny", especially for Europeans, including his own. Something "funny" how the music is such opinions represent the "Indonesian-ness" and "independence" if the grammar of music that is used instead of the invaders. He is also behind the "condemned" and "laugh" at the music critic who is considered "arrogant" with academic pendidikkan Western music in its possession that considers music Ismail M as music that is not qualified. Music Critics are by the author of this book is considered as a cultural imperialist lackey lackey-for Dieter Mack is not important. In measuring the "level of" artistic person can not be seen from an academic background. Once again, Dieter Mack "wonder" how music can represent the Indonesian identity and independence if the grammar of music that is used is part of the cultural elements of the colonizer? A big question that is often presented to Westerners in the Indonesian people in connection with the music and the struggle.
We do often forget that Indonesia has its own local arts and a variety of high value. Strangely we are always struggling with the "national art search." Gamelan music, for example, whether Gamelan Sunda, Java, and Bali is a type of art of high artistic value that is recognized worldwide. The world has recognized the greatness and beauty of gamelan music and has studied it. Gamelan Festival First held in Vancover Canada in 1986 in participating countries in the world to prove it. Should art-art area in the corners of Indonesia is considered as a wealth of national art. Is not diversity itself is the core of Indonesian-ness and independence. Indonesia is due to the keanekaragamanan culture.
Chapter 5 and Chapter 6 one of the strengths of this book. Analysis of a more intrinsic to discuss the content of lyrics of songs Ismail M is presented in Chapter 5, while the music is discussed in a simple analysis in Chapter 6. Considered simple because only analyze the structure and shape (form) with a few songs that serve as a model.
It is unfortunate that one song model is the song "Halo-halo Bandung", a song that is considered controversial because the question was not created by Ismail M. original. If so whether this will illustrate Ismail M. A work of art such as poetry, songs, and other artistic works usually represent the creator. Ismail M. is a musician but has not been described as being a true artist. An artist usually always looking for "functional irregularities." According to Dieter Mack "deviation functional" refers to the norms for the sake of uniqueness poured expression. In this book proves the above, let alone which only describe the authors writing formal format music Ismail Marzuki aesthetic rather than explanations or interpretations of the authors in a given context.
From some of the title track which was also written his poem in full in Chapter 5 can be concluded that the Ismail Marzuki is a very sensitive and caring with people. Some song lyrics to reflect the spirit of patriotism, although sometimes with a subtle language, unlike C. Simanjuntak who always expressed lyric songs firmly, frontal, for example the song Forward No Trembling. Although each poet has his freedom (licencia poetica) in realizing his ideas, but actual poems Ismail Marzuki songs including "behind the times", like the old lyric poet.
Dieter Mack is always giving "encouragement", at every opportunity, in our nation to look and pay attention to "his own country music" as one of music education materials in schools. If not, one day we will learn our own music in the country.
Ismail M is one example of musicians who wear the "dress Western music" even though it was only quibble shirt as a vehicle for soul of patriotism in defending the introduction negara.Namun Thus, Dieter Mack apparently hopes come true. Look at the current school curricula (SBC). Traditional arts have a place that was quite special.
I can draw the implicit message in this book that Ismail Marzuki is a musician, who tried mekompromikan ideology with his music. The ideology that he embraced the music that is not absolute and he does not need to be "selfish" with the artistic principles that must be "faithful" to the principle of art that is critical, for the purpose he wants. Goal he wants is to music as a medium to express a sense of nationalism. That is why, he must make compromises his music became functional music. Judging from its nature, this indeed can menciderai freedom music itself. Simple music without complicated grammar, but is able to express themselves and menyampaika ideology.
After all, we must appreciate the efforts of writers who have dared to make this paper which is considered quite comprehensive, at least as a comparison with similar writings published in other media. It said the comparison because in fact the source of the data obtained in tapping information in a study could be different, or different delivery style of writing, so as to give a different impression as well. For example, in the daily Suara Merdeka on 8, 15, and February 29, 2004 (made in 3 parts) in his article entitled "Trails Ismail Mazuki", Heru Emka, described Ismail Marzuki in his life all deficiencies. But in this book says otherwise. Remy's other writings Sylado Similarly, entitled "Culture Nyolong in Music Composition", which was also written in three parts and published in the daily Suara Merdeka on 2, 9, and October 16, 2005, which describes the attitude of cynical writer who blamed the government for not necessarily give award at the Ismail Marzuki without the correct data. ~ ozenk Potgieter
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