Pub Date : 2020-12-16DOI: 10.37134/MJM.VOL9.10.2020
Cheong Jan Chan, Chiou Yueh Kwan, Sze May Lee, James P. S. Boyle
Our study on Jimmy Boyle (1922-1971) has been one that attempts to unfold the many facets of his creativity against the single-dimensional image of a patriotic songwriter. His sentiments as songwriters of many kind, a jazzman, and a cultural enthusiast have been proven through his different branches of work that are at times seem contrasting with each other in compositional styles. As a result of a long term archiving project, this paper reveals the entire set of handwritten artefact left after his death in 1971 and was recovered in Universiti Putra Malaysia in 2014, namely some 177 items of Boyle’s handwritten manuscript, that contains unpublished, published compositions as well as hand copy of others’ compositions. Main methods employed were that of the construct of taxonomy, and some cross-examination of the items covered within the catalogue mooted by the concept of intertextuality. Through narrating the interlinks between multiple manuscripts surrounding ‘Mutiara Ku’, ‘Pulau Pinang’ and ‘Medhini’, the process of composition was brought to life in displaying the all rounded capacity of Boyle.
我们对吉米·博伊尔(1922-1971)的研究一直试图揭示他的创造力的多个方面，而不是一个爱国歌曲作者的单一维度形象。他作为多种类型的词曲作者、爵士乐手和文化爱好者的情感，在他不同的分支作品中得到了证明，这些分支作品有时似乎在作曲风格上相互对比。通过长期的归档项目，本文揭示了1971年他去世后留下的整套手写文物，并于2014年在马来西亚布特拉大学(Universiti Putra Malaysia)被发现，即大约177件Boyle的手写手稿，其中包括未发表的，已发表的作品以及其他人的手抄本。采用的主要方法是构建分类方法，以及根据互文性的概念对目录所涵盖的项目进行交叉检验。通过叙述围绕“Mutiara Ku”，“Pulau Pinang”和“Medhini”的多个手稿之间的相互联系，将构图过程带到了生活中，展示了博伊尔的全面能力。
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Pub Date : 2020-12-09DOI: 10.37134/MJM.VOL9.9.2020
Jacqueline Pugh-Kitingan
The Kadazan Dusun sundatang from Tambunan, the Rungus sundatang, and the Lotud gagayan are three kinds of boat lutes from Sabah. Each is carved from a single log of jackfruit wood, but vary structurally. Resembling somewhat Philippine boat lutes, they differ from the sape-types of Sarawak and Kalimantan. They are played solo in non-ritual contexts. The gagayan, however, was played in pairs (batangkung) and the Tambunan sundatang was sometimes accompanied by a hand-held gong when accompanying the slow, sedate magarang sundatang dance. Today, there are very few musicians playing the unique Tambunan sundatang, while the Lotud gagayan has recently declined with the demise of older performers. The Rungus sundatang is still extant and continues to be performed in many longhouses. This paper discusses these three types of Dusunic boat lutes, their structures, performance practices and music, and suggests a possible origin for these kinds of instruments found in northern Borneo.
{"title":"Revisiting the Dusunic Boat Lutes of Sabah: Disappearing Musical Traditions","authors":"Jacqueline Pugh-Kitingan","doi":"10.37134/MJM.VOL9.9.2020","DOIUrl":"https://doi.org/10.37134/MJM.VOL9.9.2020","url":null,"abstract":"The Kadazan Dusun sundatang from Tambunan, the Rungus sundatang, and the Lotud gagayan are three kinds of boat lutes from Sabah. Each is carved from a single log of jackfruit wood, but vary structurally. Resembling somewhat Philippine boat lutes, they differ from the sape-types of Sarawak and Kalimantan. They are played solo in non-ritual contexts. The gagayan, however, was played in pairs (batangkung) and the Tambunan sundatang was sometimes accompanied by a hand-held gong when accompanying the slow, sedate magarang sundatang dance. Today, there are very few musicians playing the unique Tambunan sundatang, while the Lotud gagayan has recently declined with the demise of older performers. The Rungus sundatang is still extant and continues to be performed in many longhouses. This paper discusses these three types of Dusunic boat lutes, their structures, performance practices and music, and suggests a possible origin for these kinds of instruments found in northern Borneo.","PeriodicalId":40090,"journal":{"name":"Malaysian Journal of Music","volume":"39 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87873437","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-27DOI: 10.37134/MJM.VOL9.8.2020
Gretchen Jude
This paper examines the emergence and disappearance of Japan’s geisha kashu recording stars over the course of the 20th century, delving into their extensive body of audio recordings, which includes songs by some of Japan's most important early popular composers. Clarifying the distinction between geisha and the geisha recording stars, this paper traces the relationship between “traditional” Japanese musical forms (specifically, the complex of short shamisen songs long associated with geisha) and the popular genres that also comprised the geisha stars' repertoire. While historical audio media provide a valuable resource for scholars and fans alike, unconscious habits and unexamined discourses of listening may lead to the replication of orientalist and sexist stereotypes—and ultimately a superficial experience of the music. As a corrective to such tendencies in audience reception, this paper gives an overview of the key cultural and historical contexts of the geisha recording stars, including their contributions to the careers of several of well-respected composers. Attending to the sometimes difficult circumstances faced by geisha recording stars (and their geisha sisters) may rectify the image of these critically neglected women artists, ultimately providing a necessary counterpoint to the predominance of male musicians and male-centred musical genres in the Japanese canon.
{"title":"Japan's Nightingale Geisha Singers: Listening to Women Through Audio Media","authors":"Gretchen Jude","doi":"10.37134/MJM.VOL9.8.2020","DOIUrl":"https://doi.org/10.37134/MJM.VOL9.8.2020","url":null,"abstract":"This paper examines the emergence and disappearance of Japan’s geisha kashu recording stars over the course of the 20th century, delving into their extensive body of audio recordings, which includes songs by some of Japan's most important early popular composers. Clarifying the distinction between geisha and the geisha recording stars, this paper traces the relationship between “traditional” Japanese musical forms (specifically, the complex of short shamisen songs long associated with geisha) and the popular genres that also comprised the geisha stars' repertoire. While historical audio media provide a valuable resource for scholars and fans alike, unconscious habits and unexamined discourses of listening may lead to the replication of orientalist and sexist stereotypes—and ultimately a superficial experience of the music. As a corrective to such tendencies in audience reception, this paper gives an overview of the key cultural and historical contexts of the geisha recording stars, including their contributions to the careers of several of well-respected composers. Attending to the sometimes difficult circumstances faced by geisha recording stars (and their geisha sisters) may rectify the image of these critically neglected women artists, ultimately providing a necessary counterpoint to the predominance of male musicians and male-centred musical genres in the Japanese canon.","PeriodicalId":40090,"journal":{"name":"Malaysian Journal of Music","volume":"34 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81655593","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-11-20DOI: 10.37134/MJM.VOL9.7.2020
A. M. Syarif, A. Azhari, S. Suprapto, K. Hastuti
A public database containing representative data of karawitan traditional music is needed as a resource for researchers who study computer music and karawitan. To establish this database, a text-based pitch model for music representation that is both human and computer-based was first investigated. A new model of musical representation that can be read by humans and computers is proposed to support music and computer research on karawitan also known as gamelan music. The model is expected to serve as the initial effort to establish a public database of karawitan music representation data. The proposed model was inspired by Helmholtz Notation and Scientific Pitch Notation and well-established, text-based pitch representation systems. The model was developed not only for pitch number, high or low or middle pitch information (octave information), but for musical elements found in gamelan sheet music pieces that include pitch value and legato signs. The model was named Gendhing Scientific Pitch Notation (GSPN). Ghending is a Javanese word that means “song”. The GSPN model was designed to represent music by formulating musical elements from a sheet music piece. Furthermore, the model can automatically be converted to other music representation formats. In the experiment, data in the GSPN format was implemented to automatically convert sheet music to a binary code with localist representation technique.
{"title":"Human and Computation-based Music Representation for Gamelan Music","authors":"A. M. Syarif, A. Azhari, S. Suprapto, K. Hastuti","doi":"10.37134/MJM.VOL9.7.2020","DOIUrl":"https://doi.org/10.37134/MJM.VOL9.7.2020","url":null,"abstract":"A public database containing representative data of karawitan traditional music is needed as a resource for researchers who study computer music and karawitan. To establish this database, a text-based pitch model for music representation that is both human and computer-based was first investigated. A new model of musical representation that can be read by humans and computers is proposed to support music and computer research on karawitan also known as gamelan music. The model is expected to serve as the initial effort to establish a public database of karawitan music representation data. The proposed model was inspired by Helmholtz Notation and Scientific Pitch Notation and well-established, text-based pitch representation systems. The model was developed not only for pitch number, high or low or middle pitch information (octave information), but for musical elements found in gamelan sheet music pieces that include pitch value and legato signs. The model was named Gendhing Scientific Pitch Notation (GSPN). Ghending is a Javanese word that means “song”. The GSPN model was designed to represent music by formulating musical elements from a sheet music piece. Furthermore, the model can automatically be converted to other music representation formats. In the experiment, data in the GSPN format was implemented to automatically convert sheet music to a binary code with localist representation technique.","PeriodicalId":40090,"journal":{"name":"Malaysian Journal of Music","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83784452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-09-10DOI: 10.37134/MJM.VOL9.4.2020
I. K. Sudirga
This article addresses newly developed approaches to gamelan composition among Balinese composers by focusing on changes and innovations within tradition. Balinese composers today represent a cross-section of arts communities who collectively have produced some of the most innovative gamelan compositions in nearly half a century. Subjected to increasingly cosmopolitan reviews from both conservative and progressive audiences, these composers encapsulate the shifting ideals of a generation who value new aesthetic paradigms that increasingly diverge from the history, tradition and legacy of their traditional Balinese predecessors. In the fiercely competitive world of gamelan group rivalry, struggles and triumphs between contemporary composers have always seen creative boundaries pushed to their limits. I examine some of these triumphs and limitations by examining the creative output of six representative Balinese composers who contend with innovation and its reception in local contexts. I argue that innovations in gamelan serve as benchmarks that demarcate creative spaces and approaches while simultaneously testing the real-world confines of changing traditions.
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Pub Date : 2020-08-26DOI: 10.37134/10.37134/MJM.VOL9.2.2020
Chooi Wee Lau
This survey research aims to assess the collegiate instrumental teachers’ ability to estimate students’ practice habits in the practice room based on the students’ performance during the instrumental lesson and to collect collegiate instrumental teachers’ suggestions on estimating students’ practice habits in the practice room. A questionnaire in two forms was designed for 15 collegiate instrumental teachers and 30 music performance undergraduate students who were selected through a convenience sampling approach. The percent agreement (PA) and Cohen’s kappa (𝜿) were utilised to examine the inter-rater reliability between the results of both participants on the practice habits that focus on the practice time, practice sessions, goal setting, focused attention, mental practice, technique practice, metronome practice, practise with an electronic tuner, and practise with other practice strategies. The low average results, 31.50% on the percent agreement and .0437 on the Cohen’s kappa revealed that collegiate instrumental teachers cannot effectively estimate their students’ practice habits in the practice room based on the students’ performance during the instrumental lesson. However, an interesting observation was made from the suggestions given by the teachers, that is, the importance of communication of practice habits as well as observation of them in the private lesson studio. To improve, a system that teaches the key indicators of estimating students’ practice habits or a training package or method to observe students’ use of practice habits in the practice room is recommended to develop for future teachers.
{"title":"Assessing Practice Habits: A Study of Collegiate Instrumental Teachers’ Estimation of Students’ Practice Habits Versus Students’ Self-Report","authors":"Chooi Wee Lau","doi":"10.37134/10.37134/MJM.VOL9.2.2020","DOIUrl":"https://doi.org/10.37134/10.37134/MJM.VOL9.2.2020","url":null,"abstract":"This survey research aims to assess the collegiate instrumental teachers’ ability to estimate students’ practice habits in the practice room based on the students’ performance during the instrumental lesson and to collect collegiate instrumental teachers’ suggestions on estimating students’ practice habits in the practice room. A questionnaire in two forms was designed for 15 collegiate instrumental teachers and 30 music performance undergraduate students who were selected through a convenience sampling approach. The percent agreement (PA) and Cohen’s kappa (𝜿) were utilised to examine the inter-rater reliability between the results of both participants on the practice habits that focus on the practice time, practice sessions, goal setting, focused attention, mental practice, technique practice, metronome practice, practise with an electronic tuner, and practise with other practice strategies. The low average results, 31.50% on the percent agreement and .0437 on the Cohen’s kappa revealed that collegiate instrumental teachers cannot effectively estimate their students’ practice habits in the practice room based on the students’ performance during the instrumental lesson. However, an interesting observation was made from the suggestions given by the teachers, that is, the importance of communication of practice habits as well as observation of them in the private lesson studio. To improve, a system that teaches the key indicators of estimating students’ practice habits or a training package or method to observe students’ use of practice habits in the practice room is recommended to develop for future teachers.","PeriodicalId":40090,"journal":{"name":"Malaysian Journal of Music","volume":"52 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2020-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86551308","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-15DOI: 10.37134/MJM.VOL8.3.2019
Kathryn Ang, C. Panebianco, Albi Odendaal
It is important for music teachers to reflect on the influence of their role during lessons. However, the roles of teachers, and expectations from both teachers and parents are often unclear, resulting in role confusion on both sides. The purpose of this collective case study is to describe and understand the expectations of both parents and teachers of the teacher’s role in group music lessons for pre-school children in the Klang Valley1of West Malaysia. Two semi-structured interviews were conducted with ten parents and three teachers of three group music classes for pre-school children. This study situates role theory as a conceptual framework to explore the perspectives of parents and teachers on the expected roles of teachers in group music lessons. Five broad categories of themes emerged, namely parent-teacher perspectives on teachers’ roles asmulti-faceted professionals, authorities on music, entrepreneurs, mentors and communicators. A novel finding showed that teachers in West Malaysia play the role of entrepreneurs. Teachers are expected to be customer service providers, even babysitters, and are also expected to be generous with their time, which influences their entrepreneurship. The paper argues that role theory is a helpful tool in order to help teachers to understand how their roles play out in West Malaysia and how an understanding of their roles can help teachers to clarify the many expectations placed on them.
{"title":"Exploring the Role of the Music Teacher from the Perspectives of Parents and Teachers in West Malaysia","authors":"Kathryn Ang, C. Panebianco, Albi Odendaal","doi":"10.37134/MJM.VOL8.3.2019","DOIUrl":"https://doi.org/10.37134/MJM.VOL8.3.2019","url":null,"abstract":"It is important for music teachers to reflect on the influence of their role during lessons. However, the roles of teachers, and expectations from both teachers and parents are often unclear, resulting in role confusion on both sides. The purpose of this collective case study is to describe and understand the expectations of both parents and teachers of the teacher’s role in group music lessons for pre-school children in the Klang Valley1of West Malaysia. Two semi-structured interviews were conducted with ten parents and three teachers of three group music classes for pre-school children. This study situates role theory as a conceptual framework to explore the perspectives of parents and teachers on the expected roles of teachers in group music lessons. Five broad categories of themes emerged, namely parent-teacher perspectives on teachers’ roles asmulti-faceted professionals, authorities on music, entrepreneurs, mentors and communicators. A novel finding showed that teachers in West Malaysia play the role of entrepreneurs. Teachers are expected to be customer service providers, even babysitters, and are also expected to be generous with their time, which influences their entrepreneurship. The paper argues that role theory is a helpful tool in order to help teachers to understand how their roles play out in West Malaysia and how an understanding of their roles can help teachers to clarify the many expectations placed on them.","PeriodicalId":40090,"journal":{"name":"Malaysian Journal of Music","volume":"9 1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76054589","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-08-01DOI: 10.37134/MJM.VOL8.2.2019
F. Casagrande
In a letter to the publisher Ricordi dated 6 February 1821, the Italian guitarist and composer Mauro Giuliani wrote that, after getting acquainted with Gioachino Rossini in Rome, Rossini lent him many autographs of his operas so that the guitarist could transcribe whatever he liked from them. From this loan were born Le Rossiniane Opp. 119–124, six potpourris for solo guitar which are considered Giuliani’s greatest musical accomplishment. Although it is likely that most of the sources of Le Rossiniane were Rossini’s originals, there is also epistolary evidence that Giuliani also transcribed themes from scores provided to him by his publishers. This fact is the point of departure from which this article explores the possible sources for two opera themes transcribed in Le Rossiniane No. 2, Op. 120, and No. 3, Op. 121. The data presented here, coming from opera and music publishing history, conveys that such themes may have been transcribed from two specific vocal scores issued by Vienna-based publishing houses – ‘Cappi and Diabelli’ and ‘Artaria’. Additionally, the exploration of the context of the opera themes at issue has also brought to light some interesting unpublished facts.
{"title":"Investigating Nineteenth-Century Transcriptions through History of Opera and Music Publishing: Mauro Giuliani’s Sources for Two Themes in Le Rossiniane No. 2, Op. 120, and No. 3, Op. 121","authors":"F. Casagrande","doi":"10.37134/MJM.VOL8.2.2019","DOIUrl":"https://doi.org/10.37134/MJM.VOL8.2.2019","url":null,"abstract":"In a letter to the publisher Ricordi dated 6 February 1821, the Italian guitarist and composer Mauro Giuliani wrote that, after getting acquainted with Gioachino Rossini in Rome, Rossini lent him many autographs of his operas so that the guitarist could transcribe whatever he liked from them. From this loan were born Le Rossiniane Opp. 119–124, six potpourris for solo guitar which are considered Giuliani’s greatest musical accomplishment. Although it is likely that most of the sources of Le Rossiniane were Rossini’s originals, there is also epistolary evidence that Giuliani also transcribed themes from scores provided to him by his publishers. This fact is the point of departure from which this article explores the possible sources for two opera themes transcribed in Le Rossiniane No. 2, Op. 120, and No. 3, Op. 121. The data presented here, coming from opera and music publishing history, conveys that such themes may have been transcribed from two specific vocal scores issued by Vienna-based publishing houses – ‘Cappi and Diabelli’ and ‘Artaria’. Additionally, the exploration of the context of the opera themes at issue has also brought to light some interesting unpublished facts.","PeriodicalId":40090,"journal":{"name":"Malaysian Journal of Music","volume":"46 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77988049","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-04-01DOI: 10.37134/MJM.VOL8.1.2019
Chayuti Tassanawongwara, H. Hussin
The klong yao performance in the Siamese communities of Perlis was adopted from the Thai community in Central Thailand. Before this adoption, the ethnic consciousness of the Siamese communities was oriented towards a local variation of Thai-ness with similarities to southern Thai people in terms of linguistic and geopolitical references. After the klong yao was actively included in their cultural practices, the Siamese communities began to develop a representative identity that reinforced Central Thai cultural expressions. In this respect, the performance of klong yao reconstructs the identity of the Siamese communities in Perlis, Malaysia toward a Central Thai identity. The shift from a local and marginalised type of Siamese identity to a hegemonic and centralised Thai identity is observed with the choice to use klong yao as a representation of their identity during Malaysia’s various occasions for showcasing cultural performances.
{"title":"Klong yao and the Performance of Minority Identity in the Siamese Community of Perlis, Malaysia","authors":"Chayuti Tassanawongwara, H. Hussin","doi":"10.37134/MJM.VOL8.1.2019","DOIUrl":"https://doi.org/10.37134/MJM.VOL8.1.2019","url":null,"abstract":"The klong yao performance in the Siamese communities of Perlis was adopted from the Thai community in Central Thailand. Before this adoption, the ethnic consciousness of the Siamese communities was oriented towards a local variation of Thai-ness with similarities to southern Thai people in terms of linguistic and geopolitical references. After the klong yao was actively included in their cultural practices, the Siamese communities began to develop a representative identity that reinforced Central Thai cultural expressions. In this respect, the performance of klong yao reconstructs the identity of the Siamese communities in Perlis, Malaysia toward a Central Thai identity. The shift from a local and marginalised type of Siamese identity to a hegemonic and centralised Thai identity is observed with the choice to use klong yao as a representation of their identity during Malaysia’s various occasions for showcasing cultural performances.","PeriodicalId":40090,"journal":{"name":"Malaysian Journal of Music","volume":"22 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82421874","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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