Muticultural Approach in Composing for Malay Gamelan in 21st Century
DOI:
https://doi.org/10.17501/23572744.2020.7103Keywords:
multicultural, music composition, malay gamelan, 21st centuryAbstract
This study was carried out to compose new music for Malay gamelan using combinations of traditional Malay gamelan elements and Malay folk tunes with Western composition techniques (multicultural approach). Three original compositions, Khabar Angin Tenggara (2014), Adiwira dalam Bb (2015) and Jong (2017) highlighting Malay gamelan has been composed for this purpose. They feature the Malay gamelan as an ensemble itself, sape, and four voices orchestrated with Malay gamelan ensemble, and a bonang played with four hands. Elements of aleatoric, unconventional instrumentation in the context of the traditional Malay gamelan setup and Malay folk tunes have been incorporated into these new works. This paper will illustrate the creative process and related issues of these compositions with the aims of attaining the multicultural elements that can be incorporated into future works. These multicultural composition techniques will perhaps encourage the development of captivating aesthetic appeal for a new composition for Malay gamelan and promote the elements of local Malay folk tunes to a wider audience.
Downloads
References
Baumann, M., Stock, J., Ranade, A., Utz, C., Ramnarine, T., & Barz, G. (2003). Traditional Music and Composition For György Ligeti on his 80th Birthday. The World of Music, 45(2), 84–91.
Cornwell, L. (2002). Toru Takemitsu’s November Steps. Journal of New Music Research, 31(3), 211–220.
Hermantoro, D. (2010). Notasi Lagu Muzik Gamelan. Johor Bahru: Penerbit Universiti Teknologi Malaysia.
Jalal, A. F. A. (2008). Joget Pahang, Gamelan Melayu: The Classical Ensemble of the Pahang Royal Court. Pahang State Museum and the National Department for Culture and Arts, Ministry of Unity, Culture, Arts and Heritage Malaysia.
Johnson, H. (2014). Jack Body : Crafting the Asian Soundscape in New Zealand Music. New Zealand Journal of Asian Studies, 2(December 2014).
Lie, L. P. H. (2003). The MPO Forum for Malaysian Composers. Wacana Seni, 2, 167–172.
Lie, L. P. H. (2013). Music of the Malaysian Philharmonic Orchestra (MPO) Forum 2 finalists: Reflections on Malaysian multiculturalism. Wacana Seni, 12, 57–81.
Macy, C. (2002). Tradition and Concert Music in Malaysia, 2002. Macalester International, 12(1), 187–192.
Maestro, E. (2009). Fenomena Multikulturalisme Dalam Musik : Sebuah Telaah Elemen-Elemen Musikal Non Barat dalam Karya Komposer Musik Barat. Jurnal Bahasa Dan Seni, 10(1), 17–24.
Matusky, P. (2002). Rhythm in bronze: New music for the Malaysian gamelan. Wacana Seni, 1, 154–157.
Matusky, P., & Tan, S. B. (Eds.). (2017). The Music of Malaysia. The Classical, Folk and Syncretic Traditions. Moussons : Recherche en Sciences Humaines sur l’Asie du Sud-Est (2nd ed., Vol. 2013). New York: Routledge.
Mueller, R. (1991). Bali, Tabuh-Tabuhan, and Colin McPhee’s Method of Intercultural Composition. Journal of Musicological Research, 11(1–2), 67–92.
Nicholls, D. (1999). Reaching beyond the West: Asian Resonances in American Radicalism. American Music, 17(2), 125–128.
Spiller, H. (2009). Lou Harrison ’ s Music for Western Instruments and Gamelan : Even More Western t ... Asian Music, 40(1), 31.
Downloads
Published
How to Cite
Issue
Section
License
This work is licensed under a Creative Commons Attribution 4.0 International License.
