Qasidah Modern

Qasidah modern emerged in Indonesia in the 1970s as a localized modernization of the Arabic qasidah tradition—rhymed devotional poetry sung to simple, memorable tunes. It drew directly from earlier Indonesian gambus (orkes gambus) ensembles that had popularized Middle Eastern instruments and rhythms since the early 20th century, and it absorbed contemporary pop and dangdut sensibilities to reach broader audiences.

The genre grew rapidly with the rise of low‑cost cassette production and Islamic community media. Female vocal groups and mixed ensembles popularized the sound on radio, in neighborhood pengajian (religious study gatherings), and at public festivals. Arrangements standardized around verse–chorus songs with call‑and‑response refrains, frame‑drum grooves, violin/accordion countermelodies, and, later, electronic keyboards.

While the melodies often evoke maqam colors (e.g., Hijaz‑like inflections), harmony typically remains diatonic and familiar to Indonesian pop listeners. Rhythms borrow from Middle Eastern patterns (malfuf, maksoum, saidi) and Indonesian popular grooves, usually at moderate, danceable tempos. Lyrics emphasize dakwah, ethical living, and social concord, occasionally addressing contemporary issues through a devotional lens.

By the 1980s–1990s, qasidah modern had become a recognizable thread of Indonesia’s Islamic popular culture, shaping how religious music could sound on mass media. It paved the way for later sholawat pop, Islamic pop ballads, and nasyid‑style vocal groups in Indonesia and the Malay world, and it continues to be performed at religious events and recorded for digital platforms.