51 Tegalan Song: An Expression of Musical Culture Identity of the Coastal Communities of Northern Coast of Java Eka Titi Andaryani, Udi Utomo Universitas Negeri Semarang, Indonesia Submitted: 2023-01-27. Revised: 2023-06-17. Accepted: 2024-06-12 Abstract Songs, regarded as a form of musical expression, consistently mirror societal culture. This re- search aims to unveil and analyze the song tegalan, which serves as a portrayal of Tegal’s cultural identity. The research employs a qualitative descriptive methodology. Data collection for this study involved scrutinizing tegalan songs, particularly their lyrical content, with the purpose of comprehending the themes depicting the unique identity of the Tegal community. In addition to observation, the researcher conducted in-depth interviews with three notable tegalan song artists. A literature review was also undertaken to corroborate the research findings. The collected data was then distilled to extract information pertinent to the research theme, which was subsequently presented based on the interpretation of Tegal’s cultural identity and then conclusively analyzed. The research findings indicate that within the lyrics of tegalan songs, four cultural identities are discernible: (1) the utilization of colloquial Javanese infused with the “ngapak” dialect; (2) the characteristic of spontaneous and sincere communication reflective of the Tegal community’s culture; (3) the identity of coastal communities, which tend to exhibit straightforwardness; and (4) the diverse range of typical Tegal delicacies such as “sega ponggol”, tea with palm sugar (“teh poci gula batu”), among others. Based on these findings, it can be inferred that tegalan songs, in terms of their lyrical content, epitomize the linguistic culture of the Tegal community in both structure and communicative patterns. Moreover, in terms of messaging, these songs convey insights into the identity and distinctive attributes of the Tegal community.. Keywords: identity; tegalan songs; lyrics; community How to Cite: Andaryani, E. T., & Utomo, U. (2024). Tegalan Song: An Expression of Musical Culture Identity of the Coastal Communities of Northern Coast of Java. Harmonia: Journal of Arts Research and Education, 24(1), 51-61 Harmonia: Journal of Arts Research and Education 24 (1) (2024), 51-61 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v24i1.42383 “Keroncong” has been found to have grown and evolved into the identity and personality of the Indonesian nation. Yuli- antari examined cultural identity in Mang- garai Pop songs (Yuliantari, 2018). The study aims to understand how Manggarai Pop songs convey the values and cultural identity of Manggarai. The research identi- fies forms of cultural identity in Manggarai Pop songs and several cultural identities within the selected song lyrics. Relevant to INTRODUCTION Studies have addressed the theme of cultural identity in songs. Within the context of Indonesia, several studies have revealed the types of songs that represent Indonesian identity. Research conducted by Al (2013) reveals “Keroncong” music as Indonesia’s identity. According to this re- search, “Keroncong” was born even before Indonesia’s independence (before 1945). Corresponding author: E-mail: ekatitiandaryani@students.unnes.ac.id p-ISSN 2541-1683|e-ISSN 2541-2426 Harmonia: Journal of Arts Research and Education 24 (1) (2024): 51-6152 these findings, a study examining Sloveni- an Americans and Canadians found that they utilize Slovenian music and lyrics to preserve and express their regional cultu- ral identity (Polka) (Šabec, 2017). Referring to the lyrics of the songs, Šabec discovered motifs and themes in Polka music such as fond memories, home, love and romance, comedy, ethnic history and Polka, pride in ethnic identity, and spirituality. Studies have also connected songs to identity and other elements, such as ide- ology (Michael, 2017) and political identi- ty (Hess, 2019). Batcho et al. (2008) revea- led that the content of original song lyrics could explore the relationship between nostalgia identity and social connected- ness. Other studies link song lyrics to iden- tity as well as representations of specific ideologies. Michael (2017) identifies that FAK’s songs represent protests of the poli- tical, religious, and social realities that de- fine the African socio-cultural and political system in general and the Nigerian space in particular. A study in West Sumatra, In- donesia (Fraser, 2011) found Minangkabau pop songs, as part of the tradition, can rep- resent the customs of weddings, ethnicity, and entrepreneurs in the region. Researchers have explored the mea- nings of regional songs in different con- texts in Indonesia (e.g., Sularso, 2017; De- syandri, 2015; Saptawuryandari, 2019). Sularso (2017), for example, studied the meaning of the song “Tembang Pangkur” and found that the song contains teach- ings of moral values that urge humans to restrain themselves from evil deeds. Desyandri’s research (2015), which app- lied hermeneutic analysis, found that in Minangkabau songs, there are nine (9) educational values. Meanwhile, Ulanda- ri et al. (2018), exploring local wisdom in the “Batanghari Sembilan” song identified the song as a means of communication bet- ween parents and the younger generation, as well as among the younger generation. Ambarwati et al. (2019), studying the tra- ditional songs of Madura, found the pre- sence of social values in the community, namely, values of compassion and respon- sibility. Previous research has also linked performances to the identity of a region. In the “Cingcangkeling” performance in West Java, it was found that this perfor- mance represents the Sundanese cultu- ral identity through the characteristics displayed (Gustina et al., 2023). Apart from issues related to values, traditional songs often express things that are sources of pride and distinctive charac- teristics of certain communities in their ly- rics. For example, research Guntari (2016) explored culinary vocabulary in Sun- danese song lyrics. Based on the types of food, culinary vocabulary is divided into fruits, spices, main dishes, heavy meals, snacks, beverages, chili paste, and vege- tables. Within the scope of Tegal, research on the cultural identity of Tegal in songs remains limited. Previous studies have primarily focused on the musical structure and its elements. For example, research on “Terbang Biola Sabdo Rahayu” in Pekirin- gan Village, Talang District, Tegal Regen- cy (Jatmiko, 2015), examines the utilization of the violin in rebana music performances. Meanwhile, research by Pratama & Wafa (2020) focuses on the existence of a music group from Tegal. The tegalan songs studied in this re- search are among the distinctive songs of Central Java centered in the city of Tegal. As a pioneer in the emergence of this music genre, the late Najeeb Bahresy began po- pularizing tegalan songs with his hit single, “Man Droup Tukang Becak” (Mr. Droup, the Pedicab Driver). After being populari- zed by the late Najeeb Bahresy, his collea- gue Tri Widarti composed and sang some songs, including “Ketemu Maning” (Mee- ting Again), “Man Pian Bakul Bakso” (Mr. Pian, the Meatball Vendor), “Jaran Lum- ping” (Horse Dance), and “Teh Poci Gula Batu” (teapot and rock sugar tea). In addition to these two musicians, several other artists also became active in creating tegalan songs in the subsequent stages. Imam Joend, a tegalan musician who is also the Chairman of the Art Coun- cil of Tegal Regency, launched his own Eka Titi Andaryani et al., Tegalan Song: An Expression of Musical Culture Identity of the 53 tegalan song titled “Trasa” (feeling) in ear- ly 2019. Imam remained consistent with songs themed around Tegal, such as “Kali- gung” (the name of a river) and “Kelara-la- ra” (offended) (Fatuban, 2019). During the COVID-19 pandemic, Imam also released a song titled “Cintaku Dilockdown” (My Love Locked Down) (Bentar, 2020). The enduring existence of tegalan songs to the present day is largely attri- buted to the contributions of musicians who continue to create and popularize them. However, a lack of understanding of their cultural identity has also diminished the community’s appreciation for tegalan songs. In relation to this matter, Imam Jo- end in Fatuban (2019) expressed that art- works created with reference to existing local characteristics will make listeners feel more familiar and easily recognizable. Therefore, listening to tegalan songs whi- le understanding their various distinctive features will enable listeners to directly comprehend and appreciate them. In theoretical terms, Tegal possesses coastal cultural elements that are insepa- rable from the geographical reality of In- donesia as an archipelagic nation. In relati- on to coastal culture, there is an intriguing study conducted by Triyanto (2020). In his research, Triyanto attempted to elaborate on the coastal (pesisir) community culture and found that within coastal art lies local wisdom reflecting the culture of coastal communities. Some of these include their renowned religious, open, tolerant, egali- tarian, and spontaneous characteristics. The term “pesisir” refers to an area situated along the coast. For instance, Java Island can be classified into two main areas: the western coastal area, centered around Cirebon and Indramayu, and the eastern coastal area, centered around Ku- dus and Demak. The latter encompasses the coastal communities and culture along the northern coast of Central Java, such as Brebes, Tegal, Pemalang, Batang, Kendal, Semarang, Demak, Jepara, Kudus, Pati, and Lasem-Lembang (Triyanto, 2020) The coastal areas of the northern coast of Java were relatively distant from the center of the Mataram Kingdom in the past. The strong influence of Islam led to coastal communities tending to perceive themselves as equal or on par with others. Their straightforward and spontaneous demeanor is also a distinctive characteris- tic of coastal community ethos. Communi- cation is marked by the use of colloquial language, which tends to be ‘rough’ due to the utilization of informal speech forms (ngoko). (Thohir, 2017; Triyanto, 2020; Hi- dayatullah et al., 2022). In the context of language, “ngoko” is one of the language registers found in Javanese. This langu- age is used by someone when speaking to others who are already known, similar in age, familiar, or younger. In problem- solving, the coastal communities of Tegal tend to go straight to the point (without small talk), hence often referred to as a community inclined towards an egalitari- an lifestyle (Thohir, 2017). Related to issues of cultural identity, Ting-Toomey (2005) depicts cultural iden- tity as the emotional significance an indi- vidual attaches to possessing or feeling connected or affiliated with a particular culture. Consequently, individuals enga- ge in cultural identification and perceive themselves as representing a specific cul- ture. Stacks & Salwen (2009) argue that cul- tural identification is a way to determine whether someone belongs to the in-group or out-group. Adding to that explanati- on, Rahardjo (2005) explains that cultural identity is the way someone should be- have in a particular situation and affiliate with a specific culture. Meanwhile, Lustig & Koester (2000) view cultural identity as a sense of belonging someone has towards a particular cultural or ethnic group. The two previous studies explain that cultural identity can also be depicted through mu- sic, rhythm, and poetry (Šabec, 2017; Yuli- antari, 2018). Based on this issue, this rese- arch analyzes the cultural identity present in the tegalan songs as a locally popular music piece that remains relevant today. METHOD Harmonia: Journal of Arts Research and Education 24 (1) (2024): 51-6154 This research applied a qualitati- ve method. Primary data was obtained through in-depth interviews with tegalan song artists. During the interviews, the aut- hor posed open-ended questions to three prominent figures/musicians of tegalan songs. Two of them are early artists of tega- lan songs, while the other is a descendant of a famous tegalan song artist. In addition to interviews, researchers also conducted observations on various secondary data sources that provide information about te- galan songs. The aim was to obtain more comprehensive and in-depth information. (Creswell, 2015; Noor, 2011). Here is the detailed primary source interviewed for Table 1. Table 1. Data of Tegalan Song Research Infor- mants Name and expertise Dhimas Riyanto. A songwriter. He is one of the pioneers of tegalan songwriters, insepa- rable from the history of the birth of tegalan songs. He is a contemporary of the first singer of the Tegalan song, Najeeb B. Dhi- mas, who focuses more on composing songs. Lanang Setiawan. Alongside Dhimas, La- nang is a songwriter and pioneer of tegalan songs. He is also a creator of tegalan songs in newspapers. He is one of the productive tegalan song artists. Firman Haryo Susilo. Haryo is a puppeteer and cultural practitioner of Tegal Regency. As a puppeteer, he always sings his own songs and those composed by his late father, Ki Enthus Susmono, which notably use the Tegal language. Besides, he is also known as someone who supports the development of the Tegal language. The analysis of research data was conducted through the stages of data reduction, data display, and verification or drawing conclusions (Miles & Huber- man, 1994). Data reduction is the process of analysis conducted by sharpening, ca- tegorizing, directing, and discarding un- necessary data. Data presentation is the activity of arranging a set of information for the purpose of drawing conclusions. Forms of data presentation include nar- rative text (field notes), matrices, graphs, networks, and charts. Meanwhile, the veri- fication results or conclusions obtained in the final stage of the research are impor- tant findings related to answering the rese- arch problems. RESULT AND DISCUSSION Like other regional songs, tegalan songs are rich in meaning and reflect their surroundings’ culture and environmen- tal conditions. Therefore, the creators of tegalan songs are individuals who have a cultural background from Tegal or have at least lived in and studied Tegal culture. Regarding the cultural identity reflected in tegalan songs, this research has identified four important aspects of Tegal’s cultural identity conveyed through the lyrics of the existing songs. These four cultural identi- ties are detailed in Table 2. Table 2. Cultural identities of Tegal and ex- amples of songs Tegal Cultural Identity Sample Songs The use of lan- guage Cintaku Dilockdown (My love is locked down) by Imam Joend Straightforward and spontane- ous Ana Crita Ana Kanda (Story and Talk) by Dhimas Riyanto Identity as a coastal area Tegal Keminclong Moncer Kotane (Tegal is clean with a beautiful city) by Nurn- gudiyono Culinary in Tegal Teh Poci Gula Batu (pot tea with rock sugar) by Najeeb Bahresy Usage of Language in Tegalan Song Lyr- ics Tegalan Songs emerge and exist in the Tegal region as a cultural identity of the community, one of which is because the lyrics are composed using the Tegal language. Tegal songs use the Javanese ‘ngoko’ language with a “ngapak” accent. For example, one of Imam Joend’s songs titled ‘Cintaku Dilockdown’ has the follo- Eka Titi Andaryani et al., Tegalan Song: An Expression of Musical Culture Identity of the 55 wing lyrics: Wis rong wulan Nyong ora nyambut gawe Akhire compete for tipis Tabungane gripis Kangen pacar nyong dolan Nang umahe Biasane nyangking martabak Nggo bapane sing galak Akibat lockdown duite entong Teka apel terpaksa enyong Tangan kosong Laka modal seperak peraka Kanggo nyogok calon mertua Lagi guyunan karo pacarku Ujug ujug bapane teka Nggawa sapu Ngromed, mendelik Lan mucu mucu Nyong kon lunga Nyong gongkon lunga Nyong pamitan ora olih salaman Nyong mlaku gentayangan Mumet belih karuan Duh nelangsa nasib cintane nyong Gara garane corona Cintane nyong di-lockdown In this song, familiar words from the coastal community of Tegal are apparent. “Nyong” (I) “entong” (there is nothing left), “teka” (come), “laka” (nothing), and “nggawa” (to bring). In this text, the words described are unique to the coastal Tegal dialect, known as “ngapak” (Pratama & Wafa, 2020). “Ngapak” is a term the Java- nese community uses to refer to the Java- nese accent spoken by Javanese people in the western part of Central Java province, such as Banyumas, Cilacap, Tegal, and Brebes. The use of “ngoko” style with “nga- pak” accent in Tegal follows the argument Thohir (2017) that coastal communities tend to be straightforward and spontaneo- us. According to one senior tegalan artist, Dhimas Riyanto, around 90 percent of te- galan songs, including his own works, use the “ngoko” language. In Tegal, said Dhi- mas, there were only two out of the three strata of the Javanese language, namely “kromo” and “ngoko”. Tegal has no mid- dle language or “madya”. Dhimas Riyanto elaborates further: In Tegal, the common Javanese lan- guage is indeed “ngoko”, and that is it. There is no reason. The tegalan language is indeed “ngoko”. The main language is “ngoko”. This is because Tegal does not contain three language strata. Remember, it only consists of two strata, “ngoko”, and “kromo”. However, “kromo inggil” (lan- guage for the high strata) is completely ab- sent in Tegal. So, “ngoko” and “kromo”. Ho- wever, if “kromo” Tegal is used in the eastern part (Wetan), it still sounds rough; it is still part of “ngoko” (Riyanto, 2021). Although using “ngoko” in Javanese, tegalan song lyrics are composed while still paying attention to meaning, like poetry. This is as conveyed by Lanang Setiawan, one of the tegalan song artists: Most of my songs have poetic value; I ar- range the lyrics so that I only create songs full of meaning (Setiawan, 2021). Tegalan songs with “ngoko” Java- nese language composition or singing are inseparable from the conditions of the coastal community of Tegal. This is as ex- pressed by Riyanto, As artists, we are responsible for infor- ming the younger generation about our noble culture, and it is a blessing if they are willing to continue it. They must recognize their mot- her tongue (Riyanto, 2021). Therefore, the lyrics of tegalan songs, along with their various characteristics, serve as a means of communication about the identity and distinctive features of the tegalan community. The Characteristics of Communicating Openly and Spontaneously Song lyrics in tegalan, as expressed by Thohir (2017), tend to be straightfor- ward and spontaneous. This means they get straight to the point, often being per- ceived as ‘impolite.’ Therefore, people out- side of Tegal might misunderstand when judging someone from Tegal based on the language they use. When we first listen to someone from Tegal speak, the initial impression is of ‘rough’ speech because it tends to be straightforward, blunt, and frank. Dhimas Riyanto gives an example Harmonia: Journal of Arts Research and Education 24 (1) (2024): 51-6156 of one of his songs titled ‘Ana Crita Ana Kanda,’ which uses short and spontaneous words. The lyrics are: Jarene nang Tegal kuwe Apa bae bisa digawe Paling komplit industrine Ana Crita Ana Kanda Tegal kuwe Jepang Jawa Wesi bekas wesi lawas Dadi barang sing berguna Golet dandang, Ya ning Talang Pompa tangan, Ya Pagongan Engsel grendel, Ora Angel Sikil mesin, Lan Liyane Ana Crita Ana Kanda Jepang jawa nggoleti bapak Melu nyangking melu nyinjing Eben bisa mlayu mlencing Tegal belih tau turu Industrine akeh sing nunggu Melek mata akeh rencana Sederhana tapi nyata Margasari... Gunung gampinge Balapulang,... Mebelane Lebaksiu... Matrabake Nang Bogares... Kacang Asine Adiwerna... Ya Satene Randugunting... Kupat Glabed te Nang Babakan... Pesantrene Pasar Senggol... Sautone Riyanto commented on his song cre- ation as follows: Ana Cerita Ana Kanda... it does not exist in other regions; there is no term like that. Insi- de, it is straightforward and spontaneou (Riy- anto, 2021). Haryo Susilo, a young artist and puppeteer from Tegal, conveyed similar statements. The straightforwardness and spontaneity of people from Tegal when meeting fellow Tegal residents could be a language of romance. However, meeting Javanese people from outside Tegal may sound harsh. Lanang Setiawan, when as- ked if there were tegalan songs with harsh words, initially answered no. He expres- sed the following: As far as I know, the lyrics of the Tega- lan songs never use harsh language (Setia- wan, 2021). However, in the end, Setiawan cor- rected his answer by giving an example of a tegalan song that uses language that could offend others. For example, the song titled “Dasar Kunyuk” by Atik Apriyanti. Dhimas Riyanto also acknowledged this example: There is coarse ngoko, “Dasar Kunyuk” (you monkey!), which means ‘to be beaten up.’ We do have songs like that in Tegal (Riyanto, 2021). The song with the word “kunyuk” (monkey) is a satire of unexpected situa- tions in society. This satire is also straight- forward by using the word ‘kunyuk’. The correction of Lanang Setiawan’s answer, which initially stated that it did not con- tain harsh words, might be due to confusi- on in interpreting the meaning of the word ‘harsh’. In this context, the word ‘harsh’ needs to be redefined. If everyone in a cer- tain place uses words that are considered harsh or sound harsh to outsiders, then that should not be considered harsh. So, harshness should be viewed by whom and where it is used. Moreover, being rough in speech should not be interpreted as having a rough heart or having rough behavior. A similar sentiment was also expressed by te- galan song artist Firman Haryo Susilo (Ha- ryo), who stated that outsiders perceive harsh words as such because they are not accustomed to hearing and saying such words. Haryo’s expression regarding this matter: It is considered rough when tegalan songs are sung in Central Java, and tho- se listening are not from Tegal, making it sound rough (Susilo, 2021). Dhimas Riyanto argues that the straightforward, frank, and blunt langu- age used in tegalan songs should be embra- ced as it is one of Tegal’s distinctive cha- racteristics. He expressed it: The uniqueness of the Tegal commu- nity lies in their honesty and lack of deceit. When I compose tegalan songs, their cha- racter is close to that. This means the issues addressed should not be taken too serious- ly; if they are too severe, no one will listen to them (Riyanto, 2021). Dhimas explained that when com- posing tegalan songs, he avoids making Eka Titi Andaryani et al., Tegalan Song: An Expression of Musical Culture Identity of the 57 sentences or tones that are too serious. For example, the song titled “Sendehan Lawang”. This song aesthetically port- rays the love of the Tegal community with sweet and characterful elements. Unfortu- nately, according to Dhimas, the song was less popular and less accepted by society. Conversely, another song titled “Ngodor Dewek” even went viral. Regarding this phenomenon, Riyanto stated: It means Tegal should be like that... more vulgar (harsh) (Riyanto, 2021) According to Dhimas Riyanto, most of the existing Tegalan songs contain the context of Tegal, such as environmental issues, nature, society, and the culture existing within the community. From the perspective of Tegal residents, the straight- forward language culture of the Tegal community is not considered as rough lan- guage. In fact, if tegalan songs were compo- sed based on the language and perspective used in Javanese songs from the Yogya- karta, Surakarta, and surrounding areas, it would seem strange (Riyanto, 2021). The characteristic of tegalan songs seems to be relevant to Triyanto’s argument (2020) that Tegal community is open, tolerant, straightforward, and spontaneous. Cultural Identity of Coastal Areas Re- flected in the Lyrics of Tegalan Songs The songs of Tegal depict the identi- ty of Tegal as a coastal region. For instance, this is evident in the song ‘Tegal Kemin- clong Moncer Kotane’ (The Beauty of Te- gal) by Nurngudiono. The description of the coastal environment of the city area is portrayed through the lyrics: Pan balik ya mana los pan balik ya mana los Enyong ora bakal ngganduli Ana sate ana auto Aja nggajog aja mlongo Keminclong segarane keminclong segarane Kinclong kinclong bening kaya kaca Resik resik sawise didis Ora sisik ora busik kabeh kalis Ora nyana ora ngira kota Tegal saiki kemin- clong Angger awan sedep disawang Angger bengi padang njimbrang Moncer moncer moncer kotane In addition to depicting the beauty of the city of Tegal, this song text mentions the beauty of Tegal’s position located in the coastal area. For example, the phra- se “keminclong segarane” reflects Tegal being situated in a coastal area with clear and beautiful sea. The values conveyed in this song include the notion that the beau- ty and cleanliness of Tegal should be pre- served and conserved. Another example is illustrated by Setiawan (2021) through the song “Wulan Bunder Nduwur Laut Mua- rareja” by Nurngudiono narrate the beau- ty of the Tegal Sea and the conditions of its fishermen. Other songs themed around the beauty of Tegal beaches can also be found in the works of Dhimas Riyanto, such as in the song titled “Tembang Pesisir” (Coastal Song), “Sing Nalar” (Understanding), and “Kang Daroji” (Mr. Daroji), as well as in the works of Imam Joend (Riyanto, 2021). The Variety of Typical Foods and Bever- ages of Tegal as Part of the Concept of Composing Tegalan Song Lyrics In the lyrics of tegalan songs, there are numerous mentions of typical dishes that are the pride of the Tegal communi- ty. Some of these include “Teh Poci Gula Batu”, “Tahu Plethok”, “Ndog Asin Bre- bes”, “Sate Tegal”, and “Rujak Kluban”. For example, “Teh Poci Gula Batu” is not just the title of a song, but its lyrics contain descriptions of the tradition of tea drinking in the Tegal community. The arrangement of the lyrics of “Teh Poci Gula Batu” in the form of a poem language model: Teh poci mas manis gulo Jowo Mampir mriki bakule mbak ayu Kerso ngunjuk teh poci biso kagem jampi Jampi wuyung sing lagi gandrung E sajake mas ono sing dikarepke Milih mriki nopo milik kae Pripun mas pie yen arep naksir bloko wae Akeh liyane malah milik bakule Pripun badhe manut wae Teh poci dik manis gulo jowo Pados jampi malah nemu rondo Rondo soko brang wetan duwite segudang Ngajak dolan pados hiburan E sajake ono sing dikarepke Pingin disko opo karaqoke Harmonia: Journal of Arts Research and Education 24 (1) (2024): 51-6158 E pripun, e piye yen kesel ayo bali wae Mumpung isih sore penake diteruske Pripun aku manut wae “Teh Poci Gula Batu”, as acknow- ledged by Dhimas Riyanto, is one of the activities of the Tegal community. This is included as an element of the identity of the coastal community of Tegal, known in Tegal as the Moci Culture. Setiawan (2021) also acknowledges the presence of Tegalan songs within Tegal’s typical foods and be- verages: For example, the song ‘Jajanan Tegal’ by Dhimas Riyanto. Its lyrics utilize the names of typical snacks from Tegal (Setia- wan, 2021). Regarding his created songs themed around unique culinary delights found exclusively in Tegal, such as “Sega Pong- gol” (wrapped rice with tempeh and spicy fried sauce), and “Jajanan Pantura” (North coast snacks), Dhimas Riyanto stated: ‘Sega Ponggol’ and ‘Jajanan Pantura’ are also my songs. The song ‘Jajanan Pan- tura’ made it to the top three in Central Java Province, indicating that Central Java recognizes Tegal’s cuisine (Riyanto, 2021). In summary, tegalan song lyrics, alt- hough not all explicitly convey the iden- tity of the Tegal community, are believed to represent the emotional structure of the Tegal community. The values held by the people of Tegal serve as differentiators from other communities. Songs with lyrics about typical Tegal foods depict culinary specialties and reflect popular foods among the Tegal communi- ty. For instance, the song “Ana Sate Ana Sauto” portrays the unique and popular foods among the people of Tegal. Similar- ly, the song “Tempe Mendoan” highlights a specific type of processed food made from tempeh, with a distinct process and form compared to other regions in Central Java. Cultural identity in Tegalan songs can be understood as a cultural identity in- volving one’s emotions. Ting-Toomey sug- gests that when someone identifies with something through a song, they affiliate themselves with the culture conveyed in that song (Ting-Toomey, 2005). Those who listen to these songs engage in cultural identification, considering themselves as representing the culture contained within the song. In their natural state, a singer of Te- galan songs undoubtedly has emotions to- wards the songs they perform. Therefore, when these songs are listened to by some- one or the Tegal community, the listeners feel themselves to be a part of the song. In this context, the values and distinctive characteristics of the Tegal community serving as their identity, as conveyed by Thohir (2017), can be effectively conveyed through Tegalan songs as a medium. The themes that Šabec (2017) offered in their research on Slovenian diaspora communities are partly found in Tegalan songs. Similar themes in both Tegalan and Polka songs are nostalgic memories, fami- ly life, love and romance, humor, and spi- rituality. However, some culinary-themed songs found in Tegalan music are not pre- sent within the themes of Polka music. The interpretation of each theme is influenced by the cultural activities of each respecti- ve community. For example, the theme of “nostalgic memories” in Polka music is manifested in the form of communal tea- drinking events, as expressed in the song “Teh Poci Gula Batu” within the Tegal community. Whereas in Slovenian Ameri- can and Canadian communities, it may be expressed through different activities. There are several cues to identi- fy these values. Firstly, tegalan songs are preserved and archived, easily accessible through digital tools since the song “Man Draup Tukang Becak” was released. The- refore, anyone seeking to understand will never forget the context depicted in tegalan songs. “Man Draup” is a fictional character in tegalan songs by Najeeb Bahresy, which remains popular from past to present. Se- condly, tegalan songs depict what exists in Tegal, which may eventually disappear over time. Thus, the moral value of tegalan songs lies in reminiscing about what once existed in Tegal, whether it be activities, arts, or cuisine. Hence, tegalan songs carry Eka Titi Andaryani et al., Tegalan Song: An Expression of Musical Culture Identity of the 59 a message of remembering Tegal’s past as part of its history. It is interesting to incorporate what Chingiz Aitmatev wrote, stating that life, death, love, passion, and inspiration are all narrated through music because we achie- ve the highest freedom through music. He believes that the struggle throughout his- tory can only be achieved through music (Abdukhalimovna, 2020). Therefore, tegalan songs can inspire the present and future generations about what Tegal’s artists have created throug- hout history. Thirdly, several artists in Tegal con- sistently create them. This indicates that this songs are recognized, exist, and hold values that deserve high esteem. These three aspects demonstrate the presence of cognitive and behavioral identity dimen- sions, as proposed by Hecht et al. (2005), and their behavior shows that they are af- filiated with the Tegal community, as sug- gested Rahardjo (2005). The sense of be- longing to a particular culture or ethnicity (Lustig & Koester, 2000), as expressed by the people of Tegal through tegalan songs, demonstrates that they are part of the com- munity. CONCLUSION The tegalan songs reflect the charac- teristics that constitute the identity of the community, social status, and several as- pects related to the culture and potential of the Tegal community. Firstly, like other regional songs that utilize their respecti- ve local languages in Indonesia, the songs also employ the Tegal Javanese language as their distinctive feature. Interestingly, people outside Tegal often misunderstand the use of the “ngoko” Javanese language as ‘coarse’. Therefore, this research finding reveals and paves the way for a better un- derstanding and redefining the meaning of “ngoko”. Secondly, the spontaneous and straightforward lyrics of tegalan songs are characteristic of the Tegal communi- ty. This characteristic is not arbitrary but has historical arguments. Thirdly, Tegal is a coastal area whose community charac- teristics are often expressed in this songs as an egalitarian society. Fourthly, tegalan songs often express themes of identity and distinctive characteristics present in Tegal as an expression of their love for the Tegal community. In summary, tegalan songs are not just entertaining songs but also serve as the identity of the Tegal community. This identity is not only due to the use of the Te- gal language but also because of the con- tent of the lyrics, which possess the cha- racteristic of the Tegal community being straightforward and spontaneous. 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