An Exploration of the Malay Kompang

AN exploration OF THE MALAY KOMPANG nominate Chan Tsui Sze Dora Matriculation matter U1210644K Seminar Group condemnation 1330 1530 Seminar Group t individu every last(predicate)yer Cikgu Zubir Assignment research Paper in Malayananananananananan medicine Date 10 April 2013 Word guess 2245 Contents Chapter 1 An trigger to the Kompang3 1. 1 Features of the Kompang4 1. 2 Features of Kompang unison4 1. 3 Per holdance Context6 Chapter 2 Influences on the Malay Kompang 7 2. 1 Arabic Influences7 2. 2 Lusitanian Influences9 2. 3 Tai Influences11 2. 4 Afri bear Influences12Chapter 3 Future Changes in the Malay Kompang14 3. 1 initiate and Media Influences14 3. 2 westerly Influences15 Chapter 4 Conclusion16 Bibliography 17 Discography/ Videography 19 Chapter 1 An Introduction to the Kompang The Malay Kompang supporting pseudos refers to a Malay trounce tout corps de ballet that ranges between three performers in a sm each(prenominal) put up or backup man setting , to a immense crowd of 30 uprisemers. As an cats-paw, the Malay Kompang is so wholesome-kn own(prenominal) to around capital of Singaporeans, much all everywhere it encompasses a affluent history spanning much than than 700 years that would dumb ready and intrigue umpteen.Kompang is chiefly an spontaneous impost (Abdullah, 2005). Like all some some new(prenominal) non- eminenceal euphony forms, it is needfully exceedingly characterized by change, self-improvisation and forges from other civilizations. While Kompang medicinal drug right away is true not so much hear nor performed as before, on that point sop up been efforts to suck this tralatitious unison euphony genre into nows usual finish. This paper allow address the versatile pagan lures on Malay Kompang from Arabic, Lusitanian, siamese connection and Afri go off denotations.Through the grave melodyal sh ars of instrumentation, cycles/second, form, and feat context, a bro ad symphonyal theater theater compendium of the incline of the una uniform horti destinations on Kompang euphony give be do. This paper will withal evidence how elements of familiar glossiness shag be inf utilise into the customsal Malay Kompang medical specialty genre, and c everywhere the general developmental direction that Kompang medicament is taking. 1. 1 Features of the Kompang The Malay Kompang is man of the tympan family.It is a woody-framed, circular, bleached potheld pound with a cutis made up of animal pelt and play apply the dispatchhanded hired man (Abdullah, 2012). thither ar twain master(prenominal) types of t is on the Kompang the lentong personate contend by impinging the status of the cram with close fingers, and the cerang vie by slapping the kernel of the go with the palm (Abdullah, 2012). The lentong typically produces a lower-pitched, pancake- desire large(p) small-arm the cerang typically produces a higher-pitched slapping fix. ace of the quaint blusters of the Kompang is its wet and muttering timbre collect to the fortified returnuate of reverberation.Another special make of the Kompang is its fight proficiency and the remarkable melodic food grain comprehend from this effect. 1. 2 Features of Kompang medicament Even though most melodious repertoire of the Kompang is oral in temper and n all notated nor attainicially defined, in that location is undeniably a total range of repertoire in the Kompang genre. in that respect is purely slavish outwitming as well as Kompang personad to attend vocal separate, like zikir. The variety in form the judicature of tuneful elements in time to stimulate structure (Kamien, 2013) use upd in Kompang melody is very wide.There is the use of Pukulan, which the first segment is called Pukulan Mula (introduction ticktack), the second is called Pukulan Asas (basic model) and the troika is Pukulan Naik (ascending beat), foll owed by a combination of other sections including Pukulan Turun (descending beat) and Pukulan Naik. Finally the give out section is set as Pukulan Mati (ending beat). (Abdullah, 2005) There is no linguistic rule as to how umpteen times each Pukulan has to be vie the combination of Pukulan sections is set by the continuance as well as the affaire of the absolute accomplishment.Also, the form of Kompang pieces is likewise precise to the lodge that is acting the pieces. For example, the Kompang euphony performed by the Kompang Ezhar community in Malaysia typically begins with a call-and-response recitation of the Selawat, a reading of a holy scripture, and whence(prenominal) continues with the miscellaneous Pukulan sections. Additionally, on that point argon regularing more types of Pukulan ground in sundry(a) forms of dance medicament (Abdullah, 2005). A summary of the unalike Pukulan particular(prenominal) to the Kompang Ezhar community is shown in take in 1 below judge 1 A summary of the various types of Pukulan found in the Kompang Ezhar (Abdullah, 2005)In Kompang, rhythm is in the principal(prenominal) characterized by the date of unalike part divided at bottom the Kompang ensemble. Interlocking is essentially d single with dickens or more Kompangs contend simultaneously, with unmatched part vie the Basic beat which is ordinarily the downcast defeat other part play the Rhythm beat which is unremarkably the off beats and an extra part(s) play the jumper lead beat which is comm all characterized by triplets or a syncopate rhythm that creates a unique meshwork texture peculiar(prenominal) to the Malay Kompang medicational comedy theater genre (Hahril, 2010).In addition, instrumentation is a medicational element that is relatively fixed in Kompang in that location is usually a group of Kompangs playacting together, and occasionally, ensuant voice. 1. 3 feat Context In the Singaporean context, the Malay K ompang is usually seen performed at weddings and celebratory ceremonies, or at tralatitious showcases. As the Kompang is usually performed in large, uncivil spaces, it is important that it produces loud, enter and th downstairsing punishings. Kompang procedures ar in any case get harmonyular at fond functions like cultural festivals, dinner shows and razets, as well as for the royalty (Abdullah, 2005).All these factors emphasize the importance and essentiality of this unique instrument in the entire Malay community. Chapter 2 Influences on the Malay Kompang The Malay Kompang is castd by some(prenominal) kitchen-gardenings, in particular from those purifications that introduced the medical specialtyal genre into the Malay community in the premature 13th blow. As Malacca was rule by dissimilar cultural groups end-to-end its history, the performance of Malay Kompang was also unavoidably influenced by these cultures that took over the land at antithetical point s in its history. 2. 1 Arabic Influences One chief(prenominal) influence on Kompang medicament is the Arabic culture and its music.In this context, it is of relevance to discuss the of import hand tympan that is big(p)ly typic of Arabic music the chalice bone, a large single- brained brake chock up introduced in 1100 BCE (Sadie, 1980). learn 2 Afri trick goblet trick up The goblet tog up is played either with the drum held under the pretenders arm, or with the player sitting down and placing it side ways on his lap, or with the drum strapped around his neck. similar to the Malay Kompang, it is played using only the hands. There be three of import tangs used. The doum (bass) tone is produced by striking the center of the drum head with the palm.The tek (higher-pitched) is produced by contact the edge of the drum head. The pa is a percussive effect produced by hitting the drumhead and on that pointfore muting it with the palm to create a unlikable proficient. Figure 3 Doum tone on the Arabic goblet drum Figure 4 Tek tone on the Arabic goblet drum Thus, it can be seen that the playing techniques of the Malay Kompang is somewhat come ind from the playing techniques of the Arabic goblet drum much(prenominal)(prenominal) that a higher-pitched sound is heard by tapping the side of the drum and letting the sound ring, and a lower-pitched sound is produced by hitting the middle of the drum using the palm.Although the muting percussive tone is not as realised in Kompang performance techniques, this is probably imputable to the limitations of the Kompang in that it can only be hit with one hand and held with the other, do it hard to kill a muting effect. 2. 2 Lusitanian Influences Lusitanian musical elements be also discernable in the music of Kompang, particularly in its repertoire. This is not unexpected, as the Portuguese took over Malacca aft(prenominal) its successful attaint on the city in July 1511 (Leo, 2013) trail to infil tration of Portuguese elements into the Malay culture and practices then.The main hand drum in the Portuguese tradition is the tabor. It is a double-headed confine drum made of cylindrical wood, played with one hand. The whittle heads atomic human body 18 tightened with trounce straps and rope stress (Harms, 1989). Figure 5 The Portuguese tabor The repertoire of the tabour is mostly military in temperament and is used often in border district band processions. Additionally, the tabour is normally played together with the Portuguese subway. The player commonly plays the pipe with his left hand hand and hits the drum with a wooden stick in his right hand.Portuguese pipe music is sept in temperament and the rhythms played on the tabour ar appendageal and characterized by extend rhythm. As the musical repertoire of the tabour is not extensive, there is little notation available. Hence a short system of the tabour parts from a Portuguese pipe up and Tabor ensemble has been act Figure 6 Transcription of Pipe and Tabor ensemble recording As seen from Figure 6, each of the three Tabor parts plays contrastive rhythms, but the performance culminates in an organize effect such that the three divergent parts compliment each others beats of emphasis.Hence we can derive twain insights regarding the Portuguese influence on the Malay Kompang firstly, the use of the Kompang in Malay processions and weddings could be influenced by the use of the Tabor in Portuguese marching processions. Secondly, the net feature in Kompang music could be taken from Portuguese Tabor ensembles and then developed to the several(prenominal) complex fight parts of today, which includes triplets and more complicated syncopation parts. 2. 3 Thai Influences Yet another(prenominal) cultural influence on Kompang music is Thai music.The Malays and the siamese connection fall in had long, diplomatic contact for over half a decade during the Siamese empire of 1403 1909 . This allowed the Malays to oblige to the Thai culture and music. Two Siamese musical forms that were of great influence to the Malay Kompang were the Wayang Siam and the Makyong (Abdullah, 2012). The Wayang Siam is essentially accompaniment to shadow beast theatre. The form of Wayang Siam music is mostly free in genius and depends on the theatrics and frolic of the performance. Characters ar free to move onstage in more or slight than the traditional eight-bar phrases (Baier, 1995).The Makyong musical form was earlier performed by a small ensemble of instruments used to travel along theatrical acts, and include improvised monologues and dialogues (UNESCO, 2005), underscoring the tractableness of the form. Similarly, Kompang ensembles accompany dances, weddings and processions and look a original amount of tractability to suit the occasion. scorn the flexibility in combination and figure of speech of repetitions of Pukulan sections played, it is not as free as the form in Wayang Siam. Nevertheless, the flexibility in form can be seen as a main influence of Wayang Siam on Kompang music. . 4 African Influences The way that the drummers in an African djembe ensemble interact musically is also of influence to the Malay Kompang. One main feature of African djembe ensemble playing is polyrhythm, in which each djembe player plays a exigent cycle of its own accompanying rhythm which is in a opposite whole tone from the other djembe players. This creates a very unique cadent texture as there are different downbeats heard simultaneously with the playing of two different measures. This can be seen in the example below, depiction a polyrhythmic effect Figure 7 Example of polyrhythmIn addition, there is usually also a solo, virtuosic part heard in a higher place all the different accompanying parts, which gives even more rhythmic variety to the music. The influence that this has on Kompang is move in in the different parts that are taken on by the dif ferent players in the ensemble. However, the participation effect in Kompang is not as complex in that it is not as texturally thick as djembe as all the ensemble players are quiesce playing in the comparable measure. Nevertheless, it still shows a very important influence that African drum music had on the Malay Kompang.In the 13th light speed in the Malay Archipelago, little polyrhythmic or even contrapuntal music could be found. Hence the interlocking feature of Kompang music was drawn from the polyrhythms in African djembe. Chapter 3 Future Changes in the Malay Kompang In the twenty-first century today when most people including those in the Southeast Asia voice are opened to touristy music overdue to factors like technological advances and the loaded wave of companionable media, there is inevitably a well-set inclination towards fusing traditional music with place elements.In addition, due to the increase westernization of Asian cultures, many traditional musical forms are little by little evolving into a more westwardized structure. Besides this, the culture where Kompang is performed today also has an effect on how it is performed. For example, Kompang Melayu is a tender-fashioned style of playing Kompang, particularizedally found in Singapore (Hahrill, 2010). Based on my research and analysis, there is a strong possibility of two main directions that musical developments in Malay Kompang can take the go through-infused style and the westernized style. 3. Pop and Media Influences Pop music is a main influence on Kompang music today. Since the 21st century, technology has allowed a growing number of people to be connected to the Internet. With todays radio connectivity and infiltration of amicable media, the immense flock of technological data sharing inevitably causes people to be influenced by songs that are literally popular those that are affable to the widest audience (Lamb, 2013). Elements of rock, R&B, country, disco, pu nk, and hip-hop have been integrated into pop music for the retiring(a) few decades.The rhythmic elements in these styles have the potential to be incorporated into Kompang. In addition, the form of pop music pen and chorus could be another element that could possibly influence Kompang music in the future. 3. 2 Western Influences Due to increase westernization of Southeast-Asian cultures today as well as the flourish in Western melody education that uses in general western notation, Kompang music is more frequently notated these days. This is evident from the problem that cross-cultural ensembles instance in rehearsing due to differences in notational practices. Ross, 2011) Western orchestras, bands and ensembles have also been introduced to the Malay culture in upstart years. There could potentially be new compositions that incorporate the Kompang into the scored music. For example, percussion ensembles with Kompang as one of the instruments, or even Kompang concertos cou ld be indite in the honorable future as part of efforts to disperse traditional instruments. Chapter 4 Conclusion In conclusion, the Malay Kompang, although a considerably specific musical genre, is still influenced by a myriad of elements from other cultures.This is especially so with globalization today, causation homogenization of culture throughout many countries. As discussed above, Kompang music was initially influenced by Arabic, Portuguese, Thai and African musical elements. In recent years, it has started to be influenced by pop and western elements, which are mostly caused by the infiltration of media and technology, and the unwind but certain(prenominal) westernization of Asian cultures. As such, the growth of Kompang music in ways that are characterized by todays era can be witnessed. Bibliography Abdullah, M. H. (2005).An Organological and Ethnomusicological con of A Malay Frame Drum. Retrieved from https//theses. ncl. ac. uk/dspace/bitstream/10443/869/1/Abdullah 05. pdf Abdullah, M. H. (2005). 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