Audible Locality: The Recording Industry in Indonesia and Its Approach to Minangkabau Music and Oral Tradition

List of illustrations and tables
Acknowledgements

Introduction
Theoretical framework
Recording technology and socio-cultural implications of sound replication
Cassette and VCD revolution and reconfiguration of local culture
Research methods
The Minangkabau
Outline of the book

PART I Recording Technologies Encounter Indonesian Local Cultures

1. The early days of recording technology in Indonesia
The first demonstrations of Edison’s tin-foil phonograph in Java
Demonstrations of the new Edison phonograph in Java
‘Press sting’ in the Netherlands East Indies
Archibald’s trip to West Java
A professor with a phonograph from Australia
A famous magician and a female entertainer with a phonograph in Java
Conclusion

2. The disc era: circulation, utilization, acceptance
The ‘talking machine’ in the Indies: from public exhibition to private reception
The ‘talking machine’ comes to West Sumatra
Native responses to the ‘talking machine’
Attraction and irritation of modern sound
Conclusion

3. Post-disc era and the emergence of the West Sumatran recording industry
Arrival of the cassette in Indonesia
Emergence of the West Sumatran recording industry
CD and VCD
The West Sumatran recording industry enters the ‘VCD culture’
Proliferating mediation of local genres
Conclusion

PART II Insight into the West Sumatran Recording Industry

4. Actors and ventures in the West Sumatran recording industry
The products
The producers
The singers
Financial remuneration of singers
The song composers
Marketing and distribution
Surviving the siege of piracy
Conclusion

5. Pop Minang: Its features and sociological aspects
Pop Minang: a cultural definition
Pop Minang: born in rantau, growing in the homeland
Pop Minang as an assortment of genres and subgenres
Aesthetic enrichment: pop Minang standar and pop Minang baru
Pop Minang cassette and VCD covers as cultural texts
Pop Minang and redefining Minangness
Conclusion

6. Traditional verbal arts meet recording industry
Minangkabau oral literature genres
Early recordings of Minangkabau verbal arts
Commercial cassettes and VCDs of Minangkabau verbal arts
Kaba VCD clips: anachronistic images
Effects of recording on oral texts
New ways of reception
Conclusion

7. A media-bound genre: Minangkabau children’s pop music
Minangkabau children’s pop music as a media-bound genre
Advent of Minangkabau children’s pop music
Content of Minangkabau children’s pop music
VCD clips: children in a contestation between tradition and modernity
Regional child singers in the media business
Conclusion

PART III Modes of Reception of Minangkabau Recordings

8. Remediation of Minangkabau commercial recording
Media convergence
Radio
From broadcast radio to Internet radio
Mobile phone
Blogs
YouTube
Facebook
Conclusion

9. Beyond homeland borders: Minangkabau cassettes and VCDs outside West Sumatra
Minangkabau migrants in Malaysia
Production and distribution of pop Minang in Malaysia
Consumption and reception of pop Minang in Malaysia
Music and daily life in Chow Kit
Minangkabau migrants and radio broadcasts in Pekanbaru, Riau
Pirated new pop Minang VCDs in eastern Indonesia
Conclusion

CONCLUSION
The history of (re)production of Indonesian sounds and its effects
Emergence and growth of the West Sumatran recording industry
The West Sumatran recording industry and Minangkabau ethnic sensibility

APPENDICES

Appendix 1. Minangkabau commercial cassette producers

Appendix 2. West Sumatran recording companies with their own recording studios

Appendix 3. Production houses in West Sumatra

Appendix 4. Satayu’s 50 top song compositions

Appendix 5. Rabab Pariaman commercial cassettes and VCDs produced by Tanama Record and Sinar Padang Record

Appendix 6. Rabab Pesisir Selatan cassettes and VCDs

Appendix 7. Minangkabau children’s pop albums

Glossary
Bibliography
Index