The Application of Self-Regulation In The Process Of Pre-Production: The Production of Disaster News in the Public Broadcasting Institutions (TVRI)

Nerissa Angelina, Nina Mutmainnah


The worldwide growing of popular music has made unpopular music production facing ups and downs. Folk and classical music for instance, are confronting the loss number of audiences that leads to the existential crisisof the musicians. However, in Indonesia folk music is flourishing since the youths show potential interest in developing traditional music elements. As for classical music, this westernidentical music is actually not easily attachable to Indonesian society. It affects the life of classical musician in Indonesia, which many of them prefer to go abroad for better appreciation. A number of classical musicians have exerted their ability to introduce this art music to the mass, but sometimes it does not work well. However, Isyana Sarasvati’s presence in pop music industries has been raising a new hope for classical musicians. Isyana who is previously known as an opera singer and pianist, is trying to keep her identity as classical musician and put her signature into her pop songs. Henceforth, this paper seeks to identify how Isyana’s signature is received by audiences, using Stuart Hall (1980) reception analysis. The results show that classical musicians themselves oppose to Isyana’s identity negotiation because they see it as an accommodation to the dominants, instead of a struggle for introducing classical music. Classical musician audiences see Isyana as a pop musician, while others see as classical, RnB, even explorative musician. We points out that some kind of “Isyana” is categorized as a postmodern musician, borrowing the logic notion of postmodern ethnicity from Ien Ang (2001), which refers to musician with partial, fluid, fractured, and unfixed identities


Pop music; Classical Music; Postmodern; Post- modern Musician; Reception; Isyana Sarasvati

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