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"Artikel ini mengkaji intervensi pemerintah Indonesia dalam ekspresi budaya melalui studi kasus pelarangan lagu pop “cengeng” di TVRI pada tahun 1988. Di era Orde Baru, kontrol pemerintah tidak hanya terbatas pada bidang ekonomi dan politik, tetapi juga mencakup bidang kebudayaan. Pemerintah berusaha membentuk sikap budaya yang mendukung pembangunan nasional, seperti semangat dan disiplin. Intervensi pun akan dilakukan jika ada unsur budaya yang dianggap tidak sejalan dengan kepentingan pembangunan. Hal pernah terjadi sebagai respon dari meledaknya suatu lagu. Intervensi pun lakukan dengan melarang lagu pop yang dianggap "cengeng" dan melemahkan moral publik. Penelitian ini menghasilkan beberapa temuan penting terkait hubungan antara negara dan budaya. Pertama, penelitian ini menunjukkan bahwa negara bukanlah aktor netral dalam ranah budaya. Kedua, penelitian ini menyoroti peran musik sebagai alat kontrol sosial dan politik. Ketiga, penelitian ini menunjukkan bahwa kebijakan budaya dapat digunakan untuk mempromosikan atau menekan ekspresi budaya tertentu. Berlandaskan dari beberapa penelitian sebelumnya yang menunjukan adanya upaya pemerintah dalam mengintervensi bidang kebudayaan, penelitian ini menganalisis lebih dalam peran pemerintah dalam mempengaruhi selera musik masyarakat. Penelitian ini menggunakan metodologi sejarah yang mencakup penelusuran sumber, kritik sumber, interpretasi sumber, dan historiografi. Data didapatkan melalui dokumen arsip, surat kabar yang memuat wawancara dengan musisi seperti Adie M.S dan Obbie Mesakh, serta buku-buku yang relevan.

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This study examines the Indonesian government's intervention in cultural expression through a case study of the ban on "cengeng" (whiny) pop songs on TVRI in 1988. During the New Order era, government control extended beyond the economic and political realms to encompass the cultural sphere. The government sought to cultivate cultural attitudes that supported national development, such as ‘development spirit’ and discipline. Interventions were also implemented when cultural elements were deemed to be out of line with development interests, as exemplified by the explosion of sentimental songs in 1988. The popularity of these songs was perceived by the government as potentially undermining public morale. The ban highlights the significant role of the government in shaping public cultural preferences and the power of music as a tool for social and political control. This study yields several crucial insights into the relationship between the state and culture. The study yields several key findings regarding the relationship between the state and culture. First, it demonstrates that the state is not a neutral actor in the cultural sphere. Second, it underscores the role of music as a tool for social and political control. Third, it suggests that cultural policy can be used to promote or suppress certain cultural expressions. Building on existing research on government intervention in cultural development, this study delves deeper by analyzing the government's influence on musical preferences. It employs a historical methodology, utilizing source tracing, criticism, interpretation, and historiography. Data was gathered through archival documents, newspaper articles featuring interviews with musicians Adie M.S. and Obbie Mesakh, and relevant books.`"

"ABSTRAKAlih kode dan campur kode bahasa Inggris dalam lirik lagu telah menjadi tren di kalangan pencipta lagu. Meskipun telah cukup banyak penelitian tentang alih kode dan campur kode dalam komunikasi verbal, namun hanya sedikit yang diketahui tentang bagaimana mereka digunakan dalam bentuk tertulis, khususnya dalam lirik lagu. Penelitian ini bertujuan untuk mengisi kesenjangan tersebut dengan meneliti fenomena alih kode dan campur kode bahasa Inggris dalam lagu-lagu Pop Jepang J-Pop . Penelitian ini berfokus untuk menyelidiki sejauh mana kode-kode bahasa Inggris digunakan dalam lirik lagu J-Pop, dan menyelidiki motif di balik penggunaan tersebut. Hasil penelitian ini menyimpulkan bahwa kata, terutama kata benda, adalah kode bahasa Inggris yang paling sering digunakan dalam lagu-lagu J-Pop. Adapun dalam alih kode, kalimat bahasa Inggris yang paling sering digunakan adalah kalimat deklamatif atau kalimat pernyataan. Studi ini juga menemukan bahwa kode bahasa Inggris paling sering digunakan dalam lagu J-Pop sebagai perangkat puitis.

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ABSTRACTEnglish code switching and code mixing in song lyrics have been an increasingly popular trend for songwriters. While there has been quite a number of research on code switching and code mixing in verbal communication, little is known about how they are used in written form, particularly in song lyrics. This study attempts to fill the gap by exploring and describing the recent phenomenon of English code switching and code mixing in J Pop songs. It aims to investigate the extent to which English codes are used in J Pop song lyrics and investigate the motives behind such usage. It was discovered that English words, mainly nouns, were the most frequently used items in J Pop songs. As for code switching, the most frequently used sentences are declamatory sentences. The study also found that English items are most frequently incorporated in J Pop songs as a poetic device."

"Traditionally, ideas about twentieth-century 'modernism' - whether focused on literature, music or the visual arts - have made a distinction between 'high' art and the 'popular' arts of best-selling fiction, jazz and other forms of popular music, and commercial art of one form or another. In Modernism and Popular Music, Ronald Schleifer instead shows how the music of George and Ira Gershwin, Cole Porter, Thomas 'Fats' Waller and Billie Holiday can be considered as artistic expressions equal to those of the traditional high art practices in music and literature. Combining detailed attention to the language and aesthetics of popular music with an examination of its early twentieth-century performance and dissemination through the new technologies of the radio and phonograph, Schleifer explores the 'popularity' of popular music in order to reconsider received and seeming self-evident truths about the differences between high art and popular art and, indeed, about twentieth-century modernism altogether."