Approaches to Cultural Sustainability through Creating Études/ Studies Based on Malay Children’s Folk Songs Used In Beginner’s Viola Method Book (original) (raw)
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Educational Material using Malay Children's Folk Songs for Viola Beginners
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The researchers created a method book using Malay children's folk songs to encourage the local Malaysian teenagers to learn viola. They hope to improve the knowledge of the teenagers regarding their own music culture and to develop their abilities and playing skills faster. The research focused on compiling the contents for the method book including Malay children's folk songs, études, piano accompaniments and an attached CD. The book comprises a blended learning approach using historical, theoretical, technical and musical teaching materials. 14 students (viola beginners) took part in the research. They were subjects used to evaluate the new method book that was used at the Department of Music and Music Education, Universiti Pendidikan Sultan Idris (UPSI). This article highlights the research process of creating this method book, methodology used for solving problems, design process, trial use of the book and evaluation of the book.
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Viola, a member of the string instrument family (violin, viola, violoncello and double bass), has been used in the 16th century and had undergone some structural changes in the historical process and took its final form today. At this point, it is seen that the violin and viola have similarities in terms of both the posture and grip and the playing techniques. In our country's professional music education institutions, there is a need for written-printed educational materials with different disciplines to be used in the viola education and teaching process as in the education and training of each instrument. However, it is thought that most of these materials used in the education process in many institutions (Fine Arts High Schools, Faculty of Education, etc.) that are used in professional music education are mainly written for violin and adapted to viola. In this study, which is one of the qualitative research methods, literature survey and interview technique is used, information about which written and printed educational materials used by the vocational music education institutions in our country and the viola educators in the departments of music education were taken or not used. It is presented.
Proceedings of the 1st Lombok Edu-Tourism Conference 2017, 2017
Traditional Malay Asli music would typically include melody instruments such as the violin and flute. The viola is an instrument played mostly in solo recitals, orchestral music and chamber works, however, its rich, warm tone is very well suited to performances of Malay Asli music, a syncretic style which fuses Arabic, Western and Malay elements. This paper will introduce three new music arrangements of Malay Asli music which include the viola, rather than the more commonly used instrument, violin. Specific viola techniques, and tone production will be discussed, as well as the way in which ornamentations such as mordents, trills, turns, passing notes, and glissando can be included in the performance of Asli pieces. By including the viola in new Asli arrangements, this traditional folk music of Malaysia can be introduced to viola players internationally. A traditional Asli ensemble, also known as a Ronggeng ensemble, is believed to have appeared on the Malay Peninsula around the 17 th to the 18 th centuries and includes in its performance repertoire all genres of Asli music. The ensemble performs a syncretic type of music that fuses local and foreign elements, with elements from Chinese, Indian, Western and Arabic music. The music was originally performed in Penang and Malacca to entertain visitors at different types of feasts and events. Originally, the ensemble contained instruments such as rebab or biola (violin), rebana and knobbed gong. Later the accordion, flute, oud (gambus), and guitar were added to the ensemble (Matusky & Tan, 2004). In Malaysia, the violin is called biola, but its original name came from Sabah, in Borneo. Biola is a type of lute used with a bow stick, originally from the Iranun community (Matusky & Tan, 2004, p.313). It differs from the Western violin in terms of the number of strings (three instead of four) and bow shape. The biola is played in a seated position with crossed legs, with the instrument placed in a vertical position on top of one of the legs. The violin is held in either a standing position, or while seated on a chair, supported by the left side shoulder and stabilised by the chin. The Western violin appeared in Malaysia around the 14th century, brought by the Portuguese people, along with the guitar. These instruments are played in traditional ensembles which accompany different types of music genres such as songs, dances and theatre performances (Matusky & Tan, 2004). However, the viola seems to have arrived in Malaysia much later in the 19th
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Developing and Validating Malay Instrumental Music Method Book for Novice’s Music Educators
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This study aims to develop a Malay instrumental music method book featuring systematic rehearsal techniques and Malay traditional folk songs. The main objective is to assist novice music teachers in conducting music ensembles such as the wind orchestra with a systematic approach. The early studies revealed that most novice music teachers are not confident in handling the wind orchestra due to a lack of training and experience. Some music teachers used method books for ensemble music teaching but, without systematic rehearsal techniques. Moreover, most of the songs are western folk songs, and there is not a single method book written in Malay. Data from interviews, observations, and documentation of the respondent verify that rehearsal etiquette, rehearsal techniques, singing, and performing musical and technical exercises; warmup exercises are considered fundamentals in teaching instrumental music and introduced in the method book. The engagement of the Malay folk songs manages to capture the interest of students learning music. At the same time, it increases musical understanding, interpretation, and expression of teachers and student musicians. All respondents agree that the Malay method books cover fundamentals instrumental music teaching importantly for novice music teachers. However, the results of the study are from limited respondents. Therefore, it cannot be generalized though, it might be useful for local music teachers in Malaysia and to anyone confronting a similar phenomenon.
Application of Ivan Galamian Principles for Violin Learning through Malaysian Folk Tunes
International Journal of Academic Research in Business and Social Sciences, 2017
Early instruction in music is connected with the understanding of one's own culture. Kodaly associates it with a sense of belonging or a so-called 'mother-tongue' language. In the modern world, the influence of media threatens the sustainability of folk music heritage. To counter the influx of foreign culture into Malaysian violin beginners' instruction there must be books based on profound teaching systems using traditional tunes made available. The music preferences and taste acquisition of a violin beginner are formed under the influence of folklore and composed music, which is foreign to the Malaysian violin students whereas popular traditional tunes are not reflected in the violin repertoire of those method books. The product of the research conducted at Universiti Pendidikan Sultan Idris was aimed at meeting the demands of the Malaysian violin teachers in terms of techniques as well as to serve as an agent for the sustainability of Malaysian folk heritage. Galamian's violin method made the biggest impact on modern violin pedagogy. This paper expounds on methods of applying Galamian's approaches through the selection and utilization of Malaysian folk songs as resource materials for the mentioned methodology as well as the interdisciplinary process of creating a violin method book.
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Malaysian music educators are woefully short of teaching materials. Existing KBSR and KBSM books which feature mainly composed songs in the major scale, are not suitable for the application of the Kodaly and Orff pedagogical methods. This paper presents two folk genres of Sarawak which offer a unique solution to this problem. Kenyah long-dance songs, belian dadu have four characteristics of special value to music educators. Firstly, they feature homophonic multi-part singing (a very rare phenomenon). Secondly, they are overwhelmingly pentatonic and thus especially suitable for the Kodaly method. Thirdly, belian dadu are regular metrically, usually in 4/4 rhythms, and are accompanied by attractive dance-movements. The lyrics are also attractive and reflect life in rural Sarawak. This paper also features the Bidayuh peruncung ensemble as a suitable application of the Orff Approach. In the process of playing these bamboo idiophones, students learn rhythmic patterns, coordination and te...
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The violin is proven to be able to build the positive character of a nation. Venezuela's experience with its program, El Sistema, where the violin instrument is learned by the wider community, has had a positive impact in terms of social and economic aspects, including a sense of empathy, cooperation, self-confidence and can help increase awareness of national identity. In Indonesia, the violin is known as a western classical musical instrument. This assumption is supported by the rise of violin course institutions that use eurocentric teaching materials. Learning from Venezuela's experience, an effort is needed to develop violin teaching materials that offer material related to Indonesian National songs, as an effort to build national character. As a first step, a review of beginner level violin books with high credibility will be carried out. The purpose of this study is to determine the characteristics of beginner level violin teaching materials. The research method used ...
Learning Ornament Signs through Transcriptions of Malaysian Folk Songs in an Applied Music Course
Learning Ornament Signs through Transcriptions of Malaysian Folk Songs in an Applied Music Course., 2020
The goal of this study was to investigate intermediate-level viola students’ achievements in learning ornament signs using transcriptions of Malaysian folk songs and accompanied exercises for the intermediate viola level. Six Malay, two Chinese and one Indian-Tamil folk songs with incorporated acciaccatura, mordent, trill, glissando, and tremolo Western ornament signs were transcribed and utilised in an Applied Music course as an equivalent supplement to the international educational repertoire. Twelve viola students from the Applied Music course at the Faculty of Music and Performing Arts of the Sultan Idris Education University participated in the study over the course of one semester. The quantitative research method employed the ADDIE model for data collection. The results obtained from the observations during individual lessons and questionnaires indicated that students preferred to learn ornament signs after an audio-visual demonstration. No significant difference was revealed in the students’ learning achievements regarding ornament signs except for challenges in sight-reading transcriptions. By learning folk songs, students will develop playing and expressive skills faster. Thus, learning ornament signs through the embellishment of folk songs will strengthen students’ skills in reading and executing the ornament signs and help students improve their expressive sense while performing. Keywords: Folk Songs Transcriptions, Viola Intermediate Level, Ornament Signs, Music Education.