Music of Malaysia
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Music of Malaysia is the generic term for music that has been created in various genres in Malaysia. A great variety of genres in Malaysian music reflects the specific cultural groups within multiethnic Malaysian society:
and others.In general, music of Malaysia may be categorised as classical,
Both Malaysian popular music and contemporary art music are essentially Western-based music combined with some local elements. In 1950s, the musician P. Ramlee helped in creating a Malaysian music that combined folks songs with Western dance rhythms and western Asian music.[2]
Ethnic traditions
Besides Malay music, Chinese and Indian Malaysians have their own forms of music, and the indigenous tribes of Peninsular and East Malaysia have unique traditional instruments.[3]
Malay music
Traditional Malay music spans from music for various theatrical forms such as
The ancient royal court music of Malaysia is called the Nobat, and this music is still performed at formal royal events in Kuala Lampur's Istana Negara (and Brunei's Lapau).[6]
In East Malaysia, gong-based musical ensemble such as agung and kulintang are commonly used in ceremonies such as funerals and weddings.[7] These ensembles are also common in neighbouring regions such as in the southern Philippines, Kalimantan in Indonesia and Brunei.[7]
The Malays of
The natives of the Malay Peninsula played in small ensembles called kertok, which performed swift and rhythmic xylophone music. This may have led to the development of dikir barat. In recent years, the Malaysian government has promoted this Kelantanese music form as a national cultural icon.[12]
Johor art performances such as Zapin and Hamdolok as well as musical instruments including Gambus and Samrah have apparent Arab and Persian influences.[13]
Chinese music
The Hua Yue Tuan (华乐团), or "
There is no lack of virtuoso performers in the Chinese classical tradition in Malaysia. Advanced training is however not presently available with most Malaysian virtuoso musicians obtaining their advanced training either in China or Singapore. Various professional and semi-professional Chinese orchestras are in existence. Malaysian western trained classical conductors are employed full-time. Much of the music played is imported from China. There are however some accomplished Malaysian composers for this medium such as Saw Boon Kiat and Chew Hee Chiat.
There has been a local Malaysian Chinese recording industries since the 1960s with generations of Chinese singers involved in
Indian music
Traditional Indian music may be associated with religious tradition and faith. As its origins in
Indian classical music as it is performed in Malaysia has remained true to its origin. There is practically no other cultural influence. Other than reflecting Indian life, the purpose of Indian classical music is to refine the soul.
The fundamental elements of Carnatic music are the raga and the tala. A raga is a scale of notes, while the tala is the time-measure. A Carnatic music concert usually starts with a composition with lyrical and passages in a particular raga. This will be followed by a few major and subsequently some minor compositions.
In Malaysia, traditional and classical Indian music are studied and performed by Malaysians of Indian ethnic origin with material that still comes from India. Musical productions are mainly in the form of dance dramas incorporating instrumental ensemble, vocal music and dance. Musical instruments used in the performances are imported from India.
Over the years,
Indigenous tribal music
The Orang Asli groups of West Malaysia, Semang, Senoi, and Orang Melayu Asli, have their own musical traditions. The Semang people are nomadic and their musical instruments are disposable and created when needed, and instruments used include nose flute (salet, nabad), Jew's harp and tube zither (kərɑtuŋ) which are also used by the Senoi. Instruments used by the Senoi are more long-lasting and include kərəb (a two-string chordophone). The Orang Melayu Asli however have closer contact with Malay and Chinese populations and used a wider range of musical instruments ranging from thigh xylophone (kongkong) to violin. The instruments may be used for shamanistic purposes such as singing and trance-dancing ceremonies, and healing rituals.[16]
A number of ethnic groups such as the various
World music
Ethnic music has also found a new and vigorous following, with world music festivals like the Rainforest World Music Festival, held annually since 1998 in a scenic open-air setting in Sarawak. The first Malaysian "ethnic fusion" group to play on this international platform was Akar Umbi - comprising Temuan ceremonial singer Minah Angong (1930–1999), Antares and Rafique Rashid. Unfortunately, the charismatic Minah Angong (better known as Mak Minah) died just three weeks after winning over the hearts of a whole new audience at the RWMF 1999. This left Akar Umbi with only one posthumously released CD to its name ('Songs of the Dragon,' Magick River, 2002).
Private companies like Trident Entertainment have begun to invest in the production, distribution and promotion of the "ethnic fringe" in Malaysian music.
Classical music
Within Malaysia, the largest performing arts venue is the
Fusion music
In the field of Malaysian contemporary music a number of composers have gained international recognition, for example composers Chong Kee Yong, Dr Tazul Izan Tajuddin, Yii Kah Hoe, Saidah Rastam, Adeline Wong and others, encompassing a diverse range of styles and aesthetics.
Modern music
Pop
Malaysia's pop music scene developed from traditional social dance and entertainment music such as asli, inang,
One of the earliest modern Malay pop songs was "Tudung Periok", sung by Momo Latif, who recorded it in 1930. In the 1950s, P. Ramlee became the most popular Malay singer and composer with a range of slow ballads such as "Azizah", "Dendang Perantau" and the evergreen "Di Mana Kan Ku Cari Ganti".
In the 1960s, a genre of pop music influenced by The Beatles and other British rock and roll bands called 'Pop Yeh-yeh' appeared in Malaysia. The term "pop yeh-yeh" was taken from a line from the popular Beatles song, "She Loves You" ("she loves you, yeah-yeah-yeah").[23] In the 1960s and 1970s, a modified rock combo called kugiran (an abbreviation of "kumpulan gitar rancak", meaning rhythmic guitar bands) was also common, and was often used to accompany singers.[24]
In the mid-1990s, Dangdut experienced a resurgence after lying dormant since the early 1980s with the debut of Amelina. Her least successful album sold in the 100,000s, a feat that is yet to be repeated in the 2010s. Composer Ruslan Mamat [1], who pioneered the modern Dangdut, credited Ace of Base for the tempo reference.[25]
Contemporary pop music exchanges between Malaysia, Indonesia, Singapore and Brunei are normal since the Malay language is widely spoken in all four countries.
Hip Hop
SonaOne is a Malaysian rapper with notable songs like "I don't care" and "No More"
Rock
Malaysian rock reached its peak in the 80s and early 90s with the local adaptation of a fusion of blues rock, hard rock and ballad. The popularity even reached the neighbouring country of Indonesia.
Awie is a Malaysian rock singer and was extremely popular in 1990s.
Other music genres represented in Malaysia
- Indie rock
- Modern rock
- Punk rock
- Pop punk
- Ska punk
- Ska
- Metal
- Nu metal
- Death metal
- Experimental
- Emo
- Electronica
- Power pop
- Hardcore punk
- Alternative
- Gothic Metal
- Reggae
- Funk
- Industrial
See also
- Anugerah Industri Muzik
- Anugerah Juara Lagu
- List Of Malaysian rock bands
- Recording Industry Association of Malaysia
References
- ISBN 978-0754608318.
- ^ World and Its Peoples: Malaysia, Philippines, Singapore, and Brunei. New York: Marshall Cavendish Corporation. 2008. p. 1220.
- ^ ISBN 9780761476429.
- ^ ISBN 978-0-203-93144-8.
- ^ ISBN 981-229-326-4.
- ISBN 9781666900880
- ^ ISBN 9780754608318, retrieved 1 November 2010
- ^ Thesis: Seni Silat Melayu by Abd Rahman Ismail (USM 2005 matter 188)
- ISBN 1-86011-309-5.
- ISBN 978-983-62-9934-5.
- ^ "Black Belt". Rainbow Publications. October 1994: 73.
{{cite journal}}
: Cite journal requires|journal=
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ignored (help) - ^ Malaysian Ministry of Information Portal. "National Dikir Barat Competition To Be Expanded Next Year" Archived 6 February 2009 at archive.today, 2006. Retrieved on 30 January 2009.
- ^ Folk dance with religious origin, 14 April 2005, Peggy Loh, Travel Times, New Straits Times
- ISBN 978-0824819187.
- ISBN 978-0-8248-1918-7.
- ISBN 978-0-203-93144-8.
- ISBN 978-0-203-93144-8.
- ^ "Meet the MPO". Malaysian Philharmonic Orchestra. Archived from the original on 28 August 2007. Retrieved 11 December 2007.
- ^ "Mahathir raps rap". BBC News. 19 February 2001. Retrieved 8 November 2010.
- ^ a b "Malaysia curbs heavy metal music". BBC News. 4 August 2001. Retrieved 8 November 2010.
- ^ "Malaysia's foreign band crack down". BBC News. 30 July 2001. Retrieved 8 November 2010.
- ISBN 978-0754608318.
- ^ Tom Schnabel (26 March 2013). "Pop Yeh Yeh, 1960s Music from Singapore and Malaysia". PRI's The World.
- ISBN 978-0415960755.
- ^ Nielsen Business Media, Inc (18 April 1998). "Dangdut Thrives in SE Asia". Billboard.
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has generic name (help)
- Munan, Heidi. "Music at the Crossroads". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp 175–182. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0.