Hung, Ning-Hui
Post Graduate Program, Indonesian Institute of the Arts Yogyakarta

ABSTRACT
Indonesian Islamic music has its own performance occasion, musical function, music
characteristic, and the style of musical performance. It has lyrics that represent direct
relationship between Moslems and God in religion ceremonies. However, the musical
structures are changed due to external stimulation coming along with the changes of
Indonesian social structure during its development especially in 1975. Kasidah, a sort of
Indonesian Islamic music, is the best exemplification to manifest the interaction between
social development and music cultural changes, peculiarly performed by the music group
of Qasidah Modern Nasida Ria in Semarang, Indonesia. The reason is that kasidah is more
liberal than other Islamic music genres in Indonesia, especially on musical performance,
usage on instruments, etc. This research sees “music” as a communication system of sound
which passes through social usage and cultural contexts in Ethnomusicological perspective.
The focus of discussion in on this group to explore some topics in order to comprehend
the interaction between social structural development and the innovation of kasidah
musical structure in Indonesia, such as the transmission and development of the group
Qasidah Modern Nasida Ria, innovation of the group Qasidah Modern Nasida Ria and its
music, and the musical function of modern kasidah. By which to understand the current
development of kasidah in Indonesia, explore the concept and the role of the word
„modern‟ plays in the development of modern kasidah, and point out the cultural
syncretism and impact occured in the development of modern kasidah.

Keywords: indonesian islamic mucic, kasidah (Qasidah), innovation, transmission

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INTRODUCTION
Religious music includes two parts of „music‟ and lyrics. Lyrics reflect religious beliefs.
Music reflects the interaction between social development and music structure because
musical structures are changed by their outside stimulation during their development.
Undoubtedly, such a change on music structure is a suitable way for music culture to adapt
itself to the new conditions. Also, this is the way by which they can avoid being eliminated
in such a new environment.

Kasidah (Arab: "يدة ص Qasidah, qasida), a sort of ,"ق Indonesian Islamic music, is the best
exemplification to manifest the interaction between social development and music cultural
changes, especially for the group of Nasida Ria Kasidah Modern in Semarang Indonesia. This
group was the first performing the kasidah with popular music structure in Indonesia. Its
establishment not only affected a great deal of Islamic music tending to be popular but also
encourages plenty of Islamic music groups playing popular music to be built.

Actually, Kasidah that originated from the Arabian and had existed before the coming of
Islam is a kind of Arabic literature poetry in the Arabia Peninsula. However, during the
historical development, its performance formation has had some changes with different
conditions no matter in the period of pre-Islam and Islam, or in the country of Indonesia.
The following will introduce the type and function of kasidah in Islamic transmission from
Arabia to Indonesia, Indonesian kasidah musical formation, and then take Nasida Ria
Kasidah Modern group for instance to explore the interaction between musical structure and
social development.

1. Development and musical formation of kasidah

Culture is the accumulation of people‟s lives and experiences. Music, or one of the parts of
culture, not only shows the way of people‟s lives, but even more be served as a concept and
behavior which has the same function as a culture reality. For many people, music is not
only a concept which people presents, but also a symbolic system of national identification.

It is the differences between people that culture, concepts and customs are different in
each place. However, immigrating is one of the very basic ways to spread culture, by which
cultures start to be learned and imitated from one to another. Also, it makes Qasidah,
originated in Arabia, change into a form of music from a kind of Arabian poetry after
Qasidah coming in Indonesia and combine with the musical concepts of Indonesian
Moslems.

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3

1.1. Historical development of Qaisdah
The historical development of Islam can be divided into two periods, i.e. pre-Islamic and
Islamic period, by the time of 622 A.D. when Islam came. Undoubtedly, the development
of music culture must be influenced by its outside conditions. Qasidah originated in the
Arabian Peninsula and had existed before the coming of Islamic period, but it presented
different features with its different historical background. Hence, the following statement
will separately describe the development of Qasidah in pre-Islamic and Islamic period.

1.1.1. Pre-Islamic period

Historically, this period also be called Jahiliyyah (the literal meaning of Jahiliyyah is

„uncivilized‟, „un-developed‟) period, namely an uncivilized period, which contrasts sharply

with the civilization of Islamic period. Qasidah had been one part of Arabian cultures in

this period. It was a literary style of Arabian poetry. The word of Qasidah originated from

the Arabic root-word „kasada‟ (Arabic قصد, its literal meaning is „to intend to‟, „to aim at‟),

so it was its original purpose that Qasidah was used to engage in some actions or behaviors

in order to reach some goals. Accordingly, Qasidah was a kind of poetry. It was always used

to praise one group and simultaneously defame the other (Tsai Tsung-Te 2006: 181).

Furthermore, the content of Qasidah was non-Islamic sources (it was Arabian mythology

rather than Islam be found everywhere in Arab at that time), namely it could be involved in

any matters except for Islamic, including problems on any aspects, praises to pretty girls,

discussions on important matters, or commendations for great persons, nations,

motherland, etc.

1.1.2 Islamic period
Historically, the period of the coming of Islam (622 A.D.) also is called Islamic period.
Islamic knowledge became the chief direction of all aspects of people‟s lives, like on
architectures, literatures, educations and economies. Also, people started to completely
practice Islam in their lives. Thus, Islamic period was the beginning of Islamic civilization.
A lot of Islamic cultures which came from the areas adjacent to Arab were not eliminated
but got a very well development in this so-called Islamic civilized period. However, all
matters were guided to „the right way‟ with the coming of Islam. In other words, Islamic
principles started to become the main direction on all matters in Moslems‟ lives, including
the development of Qasidah. Firstly, the content of Qasidah was guided to any aspect

related to Islam, i.e. Islamic sources. In other words, any topic which was criticized, stated
or expressed on Islamic viewpoint could be involved in the content of Qasidah, like
political issues, praises of God, Qasidah was emphasized to be a medium to praise the
Prophet in Mamalik Dynasty (685-705 A.D.) of Umayyads period (661-750 A.D.) crimes or
personal problems, etc. Secondly, Qasidah became a facility which was used to reach a
purpose or goal, especially to propagate Islamic doctrines, and to praise Allah and the
Prophet. Accordingly, Qasidah, one style of Arabian poetry, became a medium used to
propagate Islam and praise God in Islamic period.

1.2 Kasidah in Indonesia
The time about the spreading of Qasidah to Indonesia can be concluded that Qasidah
originated in Arab might directly or indirectly be introduced to Indonesia through Malaysia
in the 1960s. However, it will cause cultural changes when a tradition, or a language pattern,
religious belief or literature which has a long historical development, comes in a new
cultural context and constantly contacts with the other one over there.

Thus, a series of cultural contacts and influences would take place on the development of
Qasidah after Qasidah came to Indonesia. Also, some cultural changes would take place on
Qasidah after Qasidah was integrated into Indonesian cultural context. Today, Qasidah has
been one part of Indonesian culture. There are four points gathered in the following
statement, for readers to comprehend the development situation of Qasidah being
integrated in Indonesian music cultural context.

Firstly, the Arabic word of Qasidah is absorbed by Indonesian language system, namely it is
replaced by the Indonesian vocabulary of kasidah. That is the first cultural change
happening to Qasidah after Qasidah came to this country. Even though many documents
related to such a music culture are written in the word of kasidah, there are a few papers
still be written in Qasidah in Indonesia. Secondly, kasidah is transformed into a music genre
expressed by singing from a literature of Arabian poetry in order to accommodate itself to
Indonesians‟ common practice on music. It is performed mainly by an ensemble which
consists of several female Moslems dressing formally with scarf (jilbab) and simultaneously
accompanied by the percussion instruments of rebana. The main purpose performing
kasidah is to amuse the audience and simultaneously to propagate Islamic doctrines.

Thirdly, kasidah provides a very wide range for people to create its content, namely either
topic related to Islamic or praise of God can be involved in. Its content can either be
created by Moslems themselves or be selected from religious books written by Islamic

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scholars (ulama). Fourthly, kasidah can be created in any language, either in Arabic,
Indonesian or each local language. For most part Indonesian, kasidah lyrics written in
Arabic are a little bit difficult for them to comprehend except they have got experiences in
learning Arabic (a lot of Islamic education institutes (pesantren) set up kasidah groups
chanting in Arabic inside of institute to promote students‟ Arabic language ability in
Indonesia). Thus, kasidah always be created in Indonesian or local language in Indonesia in
order to let people really comprehend the meaning of chanting lyrics and easily propagate
Islamic doctrines. Accordingly, it is because of its creation style that kasidah (or Qasidah)
should not to follow Arabic poetry meters when creating.

1.3 Musical structure
Kasidah performance mainly consists of different sizes of rebana-s (sometimes called
terbang in Javanese) and singers. Its instrumental ensemble mainly consists of several
rebana-s with small, middle and big size (a). That is the basic organization of kasidah
instrumental ensemble, and also an instrumental organization of a small kasidah group.
Certainly, the number of instrument will be increased with the degree of ensemble
organization be expanded.

The beat of rebana is the basic musical element of kasidah. Not only does the music
structure become varied but the plays and singers also are informed how to perform the
song by varying the beats. Rebana-s controls the performance of song, especially for rebana
sedang (b), and accompanies it with steady tempo when performing.

Undoubtedly, each instrument has a notation which conforms to the range and structure
of instrument to record the musical sounds in order to make players easily to read and

(a) rebana-s percussion instruments.

(b) rebana sedang.

perform. Accordingly, the notation of rebana percussion instrument mainly consists of
several symbols originated in the sounds when rebana be beat, such as p (or b), t, br, etc.
Also, the symbol ● means a rest in notation.

Those above-mentioned symbols not only comprise the rhythm pattern of a basic kasidah
ensemble (c), but also become the basic musical elements of kasidah notation. Also, this
rhythm pattern playing with different speeds and different formations becomes kasidah
accompaniment music.

rebana kecil:

rebana sedang:

or:

rebana besar:

2. Nasida Ria Kasidah Modern group and the development of
Indonesian society

2.1 Modernized development and stimulations on Indonesian society

Western has become not only a powerful country but also a powerful culture in the world
because of the rise of Western Industrial Revolution, Capitalism and Colonialism in the
late 19th and early 20th centuries. Also, it has been a chain of changes in which no matter
Africa, Asia or Europe joins because it not only influences the development of social
structure, political and cultural system in each place, but also provides opportunities for
each traditional music culture to imitate and contact with Western music culture. Actually,
this chain is an evolution changing from traditional to modernized, that is, all the traditions
in people‟s lives are more or less, sooner or later, willingly or forcedly leave from the inside
of tradition. No countries or nations can completely resist this temptation of
modernization although people still strongly feel attachment to tradition. The power of
modernization is unknowingly changing and influencing people‟s value systems and cultural
orientation (Yeo- Chi King 1992:125).

Nevertheless, a non-Western society can be led to either a Western model or a non-Western
model. Also, each society has different traditional characteristics and different starting
points of being modernized. Hence, it is impossible that a society will totally be

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westernized under the leading of modernized development. Accordingly, it can be said that
what exists between each society is parts of similar characteristics, or modernity, i.e. the
distinctive color of Western-style society and nation, under the leading of modernized
development. Thus, the word modernization is more appropriate and significant than
westernization although the definition is very similar between the two.

Actually, the first time Indonesia suffering the influences of Western powers can be dated
back to the sixteenth-century when the Dutch and Portuguese came to Indonesia for
managing local amazing diversity of spice resources. From this moment, Western powers
have been spreading throughout Indonesia and influencing the development of Indonesian
social and economic structures; in other words, it can be said that this moment is the
beginning time Indonesia moving towards the metamorphosis process of modernized
development. Although the Western successively entered into Indonesia for nothing but
the management for spices, they focused on trade developments and the circulation of
commodities in early days. With the coming of the Western starting that moment, so far,
the development of Indonesian political affairs, economics, science and technology, and
culture has greatly influenced by Western; especially after declaring their independence in
1945, modernization and westernization has moved like wildfire.

On music cultural development, however, so far, diversified western popular music
elements coming with modernization and westernization have been not only influencing
the development of Indonesian traditional music culture but also bringing them some
degree of threats. Such being the case, culture change is the best way for traditional music
culture to seek the value of survival in the times of modernization and westernization.

2.2 The development of Nasida Ria Kasidah Modern group
The impact of Western modernization and westernization on Indonesian traditional music
culture also reflects on the development of Islamic music culture. As far as the group
Nasida Ria Kasidah Modern is concerned (d), it was established by H.M. Zain in 1975 in
Kauman Semarang in Indonesia. It is the first kasidah group in Indonesia practicing
modernity and popularization in the development of ensemble and music structure by
culture change. In such a modernized society flooding with western popular music
elements, this cultural metamorphosis process, i.e. culture change, not only closes the
distance between traditional music culture and western popular music but also gives such a
renewed musical culture a new life and significance in this modern society.

Under the development of music industry, Indonesian society in the year of 1975 had
already flooded with various popular music elements where H.M. Zain hit upon an idea of
setting up a religious group corresponding with contemporary popular music
characteristics.

In a literal sense, the title Nasida Ria combining Arabic Nasida, „songs‟, with Indonesian
Ria, „cheerful or pleasant‟ means „songs be used to try to please someone‟, which just
corresponds with the main musical feature of kasidah. For creating so-called modern
kasidah corresponding with contemporary popular music characteristics, the composers of
Nasida Ria Kasidah Modern combine popular music cultural elements with basic elements of
kasidah in order to make this group present modernity no matter on formation or on music
structure, which is also the main development guiding principle of this group.

3. Kasidah musical cultural change

3.1 Changes in instrumental organization

Modern instruments

Cultural change is caused by either its social structural change or the connection between
different nations. Anthropologist asserts that cultural change is a condition where culture
can avoid being discarded forever; namely, only by where, culture will not become obsolete.

Kasidah consisting of religious and musical elements has been one of Indonesian traditional
musical culture. In order to adapt to the present condition, the group Nasida Ria Kasidah
Modern makes some innovations to kasidah, by which not only changes its original musical
formation but also gives it new vitality in such a modern environment.

What be called electronic instrument is a musical instrument which produces its sounds
using electronics, like the electronic guitar, electronic piano, music synthesizer, etc.
However, in Indonesia, those instruments are chiefly used in modern popular music and

(d) Nasida Ria Kasidah Modern group.

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played by the young. They are deeply attracting the young, and bring people a feeling of
modern.

This group adds several electronic instruments for showing strong modern characteristics
on instrumental organization and presenting the melodies and sound effects being similar
to popular music on music. Those electronic instruments were widely used in popular
music and known by people very much at that time, by which not only can successfully
achieve the purpose of instrumental change but also can make people easily accept such an
instrumental change.

Those electronic instruments, indeed, change the original instrumental organization of
kasidah group and greatly improve melody of songs. However, on the other hand, they also
influence not only kasidah musical notation but also the dominance of rebana sedang in
kasidah ensemble.

3.1.1. Cords musical notation
Undoubtedly, music notation is a general form to describe the writing down of music for
players to read in performances. It records music, and also reflects musical structure.
Accordingly, when composing music, composer uses cords musical notation to write down
the melodies played by those electronic instruments instead of the original kasidah notation
consisting of varied rebana beats (e).

3.1.2. Electronic piano dominates ensembles
Electronic piano replaces the leading role of rebana sedang in kasidah ensemble and controls
the whole ensemble because it not only can completely play musical melodies and chords
but also is the main backbone of musical chords of all melodic instruments. Thus, the role
of rebana sedang is changed from original function of controlling rebana beats to a specific
sign in group, which represents both a relationship relating with Islam and an existence of

(e) Cords musical
notation.

the essence of kasidah musical culture. Nevertheless, such a change on rebana is a necessary
phenomenon during the process of cultural acculturation.

3.2 The source and characteristics of lyrics
Kasidah‟s lyric creativity and language usage are liberal. On the creativity and development
of lyrics, firstly, Nasida Ria Kasidah Modern group emphasizes the source of their lyrics is
diversified. In other words, their lyrics can not only originate from any Islamic religious
books, but also be newly-created from Islamic religious viewpoint. Secondly, on the use of
language, they make Indonesian become the main language in performing.

Accordingly, for audiences, the lyric of modern kasidah is easy to understand, easy to
memorize, and easy to sing. Also, it has some characteristics being similar to common
popular music: lyric is easy to understand, and song is easy to sing and memorize.

CONCLUSION
Cultural change is a necessary process for a traditional culture to adapt itself to a new
condition. Thus, there are some changes taking place on Qasidah in Islamic transmission
from Arabia to Indonesia. The Arabic word of Qasidah is absorbed by Indonesian language
system, i.e. kasidah. Also, it becomes a music genre expressed by singing from Arabic
literature and simultaneously accompanies with rebana-s percussion instruments.

Under the impact of modernization and westernization, many kasidah music followers
gradually turn to the arms of common popular music due to they are not strong enough to
hold back its glamour, and then make many kasidah groups become decline and decay
gradually. Such being the situation, Nasidah Ria Kasidah Modern group makes their music
structure become popularized in order to give kasidah a new life-force and meaning in
present society, that is so-called modern kasidah.

Modern kasidah is the result of Indonesian kasidah musical culture change. In other words,
kasidah takes some changes on its development on the basis of its traditional music
elements and by the way of innovation in order to accommodate itself to this modern
society. By which, modern kasidah not only has the characteristic being similar to common
popular music, but also remains the cultural essence of kasidah, i.e. the beats and
instrument of rebana.

Undoubtedly, innovation is a way, by which modern kasidah looks like common popular
music no matter on its language or music practice. In spite of that, for Indonesian Moslems,

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kasidah music is a medium being used to propagate Islamic beliefs. Accordingly, the
popularized music structure of modern kasidah can be said that it is a medium fitting in
with contemporary cultural value and being used to propagate Islamic beliefs.

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