Malaysian Music Research Papers - Academia.edu (original) (raw)

Nineteenth-century British writers made frequent observations on Malay music, which are preserved in multiple forms of ethnographic writings and travel accounts, as well as diction- aries and linguistic treatises. Although the cultural... more

Nineteenth-century British writers made frequent observations on Malay music, which are preserved in multiple forms of ethnographic writings and travel accounts, as well as diction- aries and linguistic treatises. Although the cultural boundaries of Malay ethnicity remained a subject of debate, British writers distinguished Malay music from Chinese, Indian, and Javanese traditions. The types of musical practices they observed in the urban centres of Penang, Melaka, and Singapore were probably syncretic traditions, incorporating stylistic influences from several cultures. The melodies from some of these genres were considered analogous to European music, and some writers speculated on reasons for this, such as the earlier influence of Portuguese colonialism. Malay music was transcribed in European staff notation; James Low published a collection of 28 ‘Malayan melodies’ in 1837. The perceived affinities between Malay and European musics in melody and harmony led to com- ments on the adaptability of Malay melodies within European genres, and the production of exoticist works for pianoforte and other instruments. The earliest published ‘Malay Tune’ (1807) is discussed here, along with other examples from the 19th century.

Nyanyian Melayu asli merupakan khazanah warisan bangsa yang tidak ternilai harganya. Nyanyian Melayu asli menjadi kebanggaan sejak turun temurun serta menjadi identiti masyarakat Melayu. Irama dan rentak lagunya yang bercirikan lemah... more

Nyanyian Melayu asli merupakan khazanah warisan bangsa yang tidak ternilai harganya. Nyanyian Melayu asli menjadi kebanggaan sejak turun temurun serta menjadi identiti masyarakat Melayu. Irama dan rentak lagunya yang bercirikan lemah lembut, beralun serta melankolik mempunyai kaitan langsung dengan manifestasi atau ekspresi jiwa pendukungnya. Kajian ini memfokuskan kepada enam nyanyian Melayu asli, iaitu nyanyian “Seri Banang”, nyanyian “Damak”, nyanyian “Gunung Panti”, nyanyian “Pancaran Senja”, nyanyian “Seri Serawak” dan nyanyian “Seri Kedah”. Perbincangan kajian ini meliputi bentuk-bentuk nyanyian repetisi, iaitu nyanyian repetisi baris dan nyanyian repetisi frasa. Selain itu, penggunaan partikel ‘lah’ dan ‘nya’, penambahan perkataan ‘dan’, ‘yang’ dan ‘di’ serta pemakaian kata sahutan turut dibincangkan. Kajian ini juga memperjelas berkaitan fungsi struktur larinks dan korda vokal sebagai struktur terpenting dalam penghasilan suara nyanyian Melayu asli. Tidak terkecuali kajian ini juga menyentuh berkaitan aplikasi teknik-teknik dalam nyanyian Melayu asli. Aplikasi teknik nyanyian Melayu asli melibatkan pemahaman seni kata pantun, artikulasi, vokal [a], [ə], [i], [o] dan [u] serta aplikasi modifikasi dan improvisasi dalam nyanyian.

Objektif kajian ini adalah untuk mendapat gambaran bentuk nyanyian masyarakat Melayu Nusantara dari abad keempat belas hingga abad kesembilan belas. Sebanyak dua belas teks klasik telah dipilih iaitu Hikayat Bayan Budiman, Hikayat Amir... more

Objektif kajian ini adalah untuk mendapat gambaran bentuk nyanyian masyarakat Melayu Nusantara dari abad keempat belas hingga abad kesembilan belas. Sebanyak dua belas teks klasik telah dipilih iaitu Hikayat Bayan Budiman, Hikayat Amir Hamzah, Hikayat Raja Pasai, Hikayat Pandawa Lima, Hikayat Indraputra, Sejarah Melayu, Hikayat Aceh, Bustan as-Salatin, Hikayat Hang Tuah, Misa Melayu, Adat Raja Melayu dan Syair Seratus Siti. Hasil penelitian mendapati terdapat tujuh bentuk nyanyian masyarakat ketika itu: syair, pantun, gurindam, seloka, nazam, zikir dan nasyid. Kepentingan setiap bentuk nyanyian dan pengenalan penggunaan alat muzik yang mengiringi persembahan nyanyian waktu itu turut diberi tumpuan dalam kajian ini.

This article looks into the evolution of the diasporic Chinese lion dance in Malaysia. More importantly, it examines how this traditional art genre stands out among the many other genres that have withstood extinction. Although once... more

This article looks into the evolution of the diasporic Chinese lion dance in Malaysia. More importantly, it examines how this traditional art genre stands out among the many other genres that have withstood extinction. Although once regarded as foreign to the national culture in Malaysia due to its identity as a Chinese folk art, it was first threatened, but not abandoned. Malaysia eventually responded by merging the northern and southern lion styles and developing a World Lion Dance Championship. This paper will elaborate on the origin of the lion dance, and examine its changes that may be factors in its sustainability. More importantly, the article examines the political concept of 1Malaysia introduced by Prime Minister Dato' Sri Haji Mohammad Najib Tun Haji Abdul Razak in 2008 that has brought a paradigm shift to the lion dance in aiming for national unity. Kun Seng Keng Dragon and Lion Dance Troupe's practice exemplifies this phenomenon. Loo Fung Ying, a senior lecturer at Cultural Centre, University of Malaya, is a composer and music arranger in Malaysia. Her research interest includes Chinese musical theatre, Chinese music, and the application of tai chi to the physicality of music performance. Loo Fung Chiat, a senior lecturer at the Department of Music, Universiti Putra Malay sia, is a composer and music arranger in Malaysia. Her publications focus on audience study, music analysis, and performance practice.

The Hikayat Patani (Story of Patani), is a Malay court chronicle that was written between the 17th and the 18th centuries but relates to events much earlier. Generally regarded as a historical chronicle, the hikayat not only narrates the... more

The Hikayat Patani (Story of Patani), is a Malay court chronicle that was written between the 17th and the 18th centuries but relates to events much earlier. Generally regarded as a historical chronicle, the hikayat not only narrates the genealogy of the royal house but also attempts to establish the Patani sultanate as a proud, sovereign Malay polity with its own distinct identity. It is also the only work of Malay literature that details the musical instruments of the regalia in the royal inventory, a complete repertoire of pieces and instructions on how to perform them. In short, it can be argued that the Hikayat Patani is the only available classical Malay work on music. This article discusses the hikayat in relation to the history and development of the nobat (royal ensemble), to discern the ensemble’s function and role in the political culture and manoeuvrings of a thriving Malay polity under Siamese influence.

This article examines the evolution of hip-hop culture in Southeast Asia. Although it has been relatively slow in coming, young Muslims in Indonesia, Malaysia and Singapore have embraced the music genre with much enthusiasm since the... more

This article examines the evolution of hip-hop culture in Southeast Asia. Although it has been relatively slow in coming, young Muslims in Indonesia, Malaysia and Singapore have embraced the music genre with much enthusiasm since the 1990s. Generally, Malay youth involvement in hip-hop comes as a challenge to both religious authorities—who do not see the elements present in hip-hop culture as in line with Islamic values —and the state which deems the genre as incompatible with conservative Asian values. This explosion in the popularity of hip-hop has invited high profile statements from political elites from all three countries, professing their concerns about the future of the young. This study demonstrates the embedded socio-cultural complexities of the region, the sophisticated ways in which millennials manoeuvre around these social sanctions and how hip-hop has developed from a stigmatised art form to one that has been coopted at all levels from grassroots Muslim organisations to government ministries.

In 1996, John Duarte composed the first internationally recognised Malaysian National concert work for solo classical guitar entitled Getaran Jiwa, Variations on a Malaysian Song, Op. 125. As a classically structured work on a Malaysian... more

In 1996, John Duarte composed the first internationally recognised Malaysian National concert work for solo classical guitar entitled Getaran Jiwa, Variations on a Malaysian Song, Op. 125. As a classically structured work on a Malaysian popular theme Duarte's work provides a source for stylistic interpretation of Western art music influenced by Malaysian popular music. This paper investigates elements found in the original motion picture soundtrack of Antara Dua Darjat, and the transference from P. Ramlee's song to Duarte's setting of the theme in Op. 125. The paper will also explore the possibility of enhancing the theme's form through adaptation of primary source material. Research focuses on the methodology of: (i) score analysis, (ii) technical analysis, (iii) transcription, and (iv) review of documents. The ensuing discussion will centre on the application of ethno and popular music elements familiar to Malaysians and the possibility to inspire influence in a classical work. A voice that is sweet, soft, and melodious is reflected in the performance of Getaran Jiwa, Variations on a Malaysian Song, Op. 125. In English, the title translates to 'vibrations of the soul'. P. Ramlee, the composer of this famous 1960s song is one of most revered Malaysian popular singers. But more than that, his music is a source of national pride for the Malaysian people. It is for this reason that this song can be found in multiple versions and in diverse stylistic practices. This paper will investigate P. Ramlee's film soundtrack and other primary sources to investigate performance practices that can be applied to John Duarte's classical guitar arrangement. This research will look at how P. Ramlee's vocal music provides fundamentals that apply

The John Cage Variations provide a useful snapshot of a range of score writing techniques employed by Cage throughout this career. From very complex preparations and realisation of parts required in Variations I and II, to the almost... more

The John Cage Variations provide a useful snapshot of a range of score writing techniques employed by Cage throughout this career. From very complex preparations and realisation of parts required in Variations I and II, to the almost non-existent scores of VII and VIII, the complete Variations provide a range of opportunities and challenges. In 2011, Western Australian new music ensemble Decibel developed a software-based score maker and player for the works and presented a series of concerts of the Complete Eight Variations. The performances have led to the development of the John Cage Complete Variations App for the iPad tablet computer, developed in conjunction with Peters Edition. Drawing on the ensemble’s experiments with realtime and scrolling computer score generation and performance, and their unique make up of performers, composers, sound artists and programmers, the group has made the realisation of these works more accurate and possible in real-time for the first time. Th...

Arabesque IV Tenunan VII (2003 r. 2007) is the first Avant-Garde work composed in large-scale form by a Malaysian composer for the solo classical guitar. The work reflects the complicated merging of SE Asian culture and Islamic art found... more

Arabesque IV Tenunan VII (2003 r. 2007) is the first Avant-Garde work composed in large-scale form by a Malaysian composer for the solo classical guitar. The work reflects the complicated merging of SE Asian culture and Islamic art found in or linked to Malaysian society. The ideas of culture and art are used to inspire the technical approach and patterns in the theoretical design of the work and are communicated through Western composition. For application, this is significant because both the technique and design influence the aesthetic of sound. It is the sound this piece evokes that is unique to this composer and to Malaysia. Tazul Izan Tajuddin (b. 1969) created a new paradigm for Malaysian composition and a monumental work for classical guitar that is separated from the standard contemporary literature in concept, design, and practice. This paper will present a traditional analysis that reveals the concept of weaving Malaysian culture and Islamic art with composition and technical elements to reveal originality within the composition and performance practice of Arabesque IV-Tenunan VII (2003 r. 2007). Research will reflect the following methodologies: (i) score analysis, (ii) semi-structured interviews, (iii) review of documents, (iv) performance practice.

This paper examines learning approaches that are used by Javanese practitioners of traditional performing arts, including gamelan musicians, dhalang (puppet masters of wayang) and dancers. Based on fieldwork interviews and participant... more

This paper examines learning approaches that are used by Javanese practitioners of traditional performing arts, including gamelan musicians, dhalang (puppet masters of wayang) and dancers. Based on fieldwork interviews and participant observation in and around Surakarta (Solo), Central Java, I describe five learning approaches that have in common a direct encounter with live performing arts, which triggers an immediate learning process. These are learning by ear, simultaneous imitation, rehearsing and performing, exposure and absorption, and learning by association. Each learning approach is described based on the artists’ own accounts of teaching and learning, and supported by pre-existing literature in cognition studies and ethnomusicology. I show that most practitioners have engaged in multiple learning approaches, and also that knowledge of one art form often enables or aids learning in other art forms. Javanese performing arts continue to be popular and sustainable. The learnin...

Traditional Malay dance music styles such as Asli, Inang, Joget, Zapin, and Masri, are normally played in a traditional Malay music ensemble including instruments such as violin, gong, accordion and rebana (Malay hand drum). Yet, as many... more

Understanding the development of experimental music in Kuala Lumpur via the projects of the Experimental Musicians and Artists Co-Operative Malaysia (EMACM) and its many offshoots.