Answer:
Not bound by national borders, popular music has been flowing
across the world for over a century. It has been consumed and
produced by many, including Southeast Asians. This book offers
a concise history of popular music and its social meaning in
Southeast Asia. It focuses on the Malay world; that is, present-day
Indonesia, Malaysia, and Singapore, with an occasional sidestep
to other parts of the region, such as the Philippines and Thailand.
The period stretches from popular music’s beginnings in the ‘Jazz
Age’ of the 1920s and 1930s, to the first decade of the twenty-first
century, with phenomena such as modern Muslim boy bands
and digital music sharing.
Popular music matters. Besides offering people leisure, it also
has deeper social meaning, and this deserves to be studied. The
main thread of this book is how locally produced popular music
came into being as a token of modern life, and as a terrain where
people, performers, and audiences enjoyed as well as reflected on
both the blessings and downsides of modern life in the twentieth
century.
Each generation has its stock of cultural heroes and favourite
popular tunes. For example, in the 1920s and 1930s the Java-
nese singer-actress Miss Riboet was one of the most popular
performers in island and peninsular Southeast Asia and the
first trans-local female celebrity in the Malay world. Her fame
reached from Penang to Manila. She performed and recorded on
gramophone an eclectic song repertoire from Javanese folk tunes
to Arabic songs. In more recent times, the popular boy band
Raihan attracted large crowds in Malaysia and Indonesia during
the first decade of this century. Guided by beliefs on Islamic
piety, moral purity, and facilitated by the latest in recording
technologies, and admired by the rising orthodox middle classes
and Muslim activists alike, Raihan merged Western popular
music with Malay and Arabic music styles
Explanation:
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