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Recapitulation of Malay asli music genre transcriptions for a chamber trio employing music score analysis

Yıl 2022, , 559 - 577, 30.12.2022

Vıoletta Ayderova

https://doi.org/10.12975/rastmd.20221046

Öz

Music transcription in notation form is preferred method of preserving traditional music, which is generally transmitted orally. The purpose of this study is to generate educational materials through the collaborative analysis and editing of six transcriptions of Malay asli music for a flute, viola, and piano trio. The central concerns of this research are whether the six transcriptions sufficiently convey the features of this traditional music form whether these features should be imitated from the original sound. The research is practice-led and involves experimental and analytical approaches employed by participants who assume the role of researcher and collect data via self-observation. Following the recapitulation outcomes from the analyses of the transcribed music scores, the six transcriptions were corrected with modified interwoven voices, a range of sound pitches for each musical instrument, and a classification of the rhythmic styles, music structure, and texture. The resulting transcriptions resemble typical Western music scores, which are required to convey traditional music features through the imitation of previously listened-to audio or video recordings of traditional ensemble performances. An advanced understanding of the interpreted transcriptions through music score analysis may have significant practical benefits for music performers, educators, and learners preparing to perform Malay asli music. Additionally, this may provide a future framework for scholarly work on classical ensembles.

Anahtar Kelimeler

asli genre transcriptions chamber trio music score analysis

Destekleyen Kurum

Ministry of Higher Education (MOHE), Malaysia. Faculty of Music and Performing Arts, Universiti Pendidikan Sultan Idris,

Proje Numarası

FRGS/1/2016/ST02/UPSI/02/1, Code: 2016-0089-107-02

Teşekkür

This research was funded by the Fundamental Research Grants Scheme (FRGS/1/2016/ST02/UPSI/02/1, Code: 2016-0089-107-02), which is provided by the Ministry of Higher Education (MOHE), Malaysia. The author expresses her gratitude to the Malaysian Government and Universiti Pendidikan Sultan Idris (UPSI), Tanjong Malim, Perak, for their support in managing the grant. The author wants to specially thank the Vice Chancellor of UPSI, the Deputy Vice Chancellors, and the UPSI Research Management and Innovation Centre (RMIC) for their firm support. The author would also like to express her gratitude to all the experts and students who were involved in the research for their participation and cooperation.

Kaynakça

  • Arshad, S. F., Mazlan, C. A. N., Uyub, A. I., Mohd Yatim, L. S., & Ayderova, V. (2022). Take a Peek! Into Lagu Melayu Asli. Jurnal Seni Musik, 11(1), 32-38. https://doi. org/10.15294/jsm.v11i1.54685
  • Arshad, S. F. (2015). Manual asas permainan lagu Melayu Asli secara instrumental (Basic manual of playing or Malay Asli instrumental songs). (Unpublished master’s thesis).
  • Ayderova, V., Lonsdale, K. A., & Majid, M. P. (2017). Incorporating the viola into performances of new arrangements of Malay Asli music for a Western classical ensemble. In M. K. A. Rahman, S. Maniam, Z. L. Saidon, M. F. T. Saearani, S. Alfarisi, C. Augustine, C., & C. Wong (Eds.), Proceedings of the 1st Lombok International Edu-Tourism Conference (pp.193-202). https://www.researchgate. net/publication/320617348_Incorporating_ the_Viola_into_Performances_of_New_ Arrangements_of_Malay_Asli_Music_for_a_ Western_Classical_Ensemble
  • Casagrande, F. (2019). 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. Malaysian Journal of Music, 8, 19–51. https://doi.org/10.37134/mjm.vol8.2.2019
  • Chopyak, J. (1986). Music in modern Malaysia: A survey of the musics affecting the development of Malaysian popular music. Asian Music, 18(1), 111-138. https:// www.jstor.org/stable/834161
  • Dansby, J. (1989). Guest editorial: Performance and analysis of music. Music Analysis, 8(1–2), 5–20. https://www.jstor. org/stable/8543
  • Ginsborg, J., Chaffin, R., & Demos, A. R. (2012). Different roles for prepared and spontaneous thoughts: A practice-based study of musical performance from memory. Journal of Interdisciplinary Music Studies, 6(2), 201–231.
  • Ginsborg, J., Chaffin, R., & Nicholson, G. (2006). Shared performance cues in singing and conducting: A content analysis of talk during practice. Psychology of Music, 34(2), 167–194. https://doi. org/10.1177/0305735606061851
  • Gritten, A. (2005). Musical performance: A guide to understanding. Music Perception, 23(1), 97–100. https://doi:10.1525/ mp.2005.23.1.97
  • Ho, S. (2004). Dondang sayang. Singapore Infopedia. https://eresources.nlb.gov.sg/ infopedia/articles/SIP_495_2004-12-20.html
  • Irving, D. (2014). Hybridity and harmonity. Indonesia and the Malay World, 42(123),197- 221. https://doi.org/10.1080/13639811.201 4.912408
  • Isyak, F. N. (2018). Oral transmission and stylistic issues in Malay Asli Song in Johor. [Master’s thesis, Universiti Malaya]. Univer- sity of Malaya Students Repository. https:// www.semanticscholar.org/paper/96506be- c6f07f26d683b17e8afb6767c209bc6b0
  • Klein, J. (2017). What is artistic research? Journal of Artistic Research. https://doi. org/10.22501/jarnet.0004
  • Kong-Chiang, J. T. (2009). Kamus seni muzik (Dictionary of musical art). Dewan Bahasa dan Pustaka.
  • Marshall, C., & Rossman, G. B. (2010). Designing qualitative research (5th ed.). Sage.
  • Matusky, P., & Beng, T. S. (2017). The music of Malaysia: The classical, folk and syncretic traditions (2nd ed.). Routledge. https://doi. org/10.4324/9781315223025
  • Mazlan, C. A. N., Abdullah, M. H., Arshad, S. F., Abdul Latif, M. K., Mohd Imam, R., & Daud, I. S. (2020). Satu Tinjauan Muzikologi Lagu Melayu Asli (A Musicological Review of Malay Asli Songs). JuraiSembah, 1(2), 14- 26. https://doi.org/10.37134/juraisembah. vol1.2.2.2020Miller-Kay, E. (2018). Four-hand piano transcriptions and the reception of sympho- nic repertoire in nineteenth-century Europe. Malaysian Journal of Music, 7, 195-207. ht- tps://doi.org/10.37134/mjm.vol7.11.2018
  • Ng Kea Chye, G. (2016). Violin in ensemble for dance: Improvisatory styles in the ‘adop- ted’ Malay dances of Zapin. In G. Jähnichen (Ed.), Studia instrumentorum musicae popu- laris iv (New series), pp. 217–224. MV-Wis- senschaft.
  • Rink, J. (2015). The (f)utility of performance analysis. In M. Doğantan-Dack (Ed.), Artistic practice as research in music: Theory, criti- cism, practice (pp.127-148). Routledge.
  • Rosny, N. S., & Rosly, M. (2018). Kajian or- namentasi dalam muzik melayu asli: Per- mainan violin gaya hamzah dolmat (A study of ornamentation in Native Malay music: Hamzah Dolmat style violin playing). Un- published master’s thesis. University of Ma- laya. http://studentsrepo.um.edu.my/id/ eprint/8607
  • Shaffer, H. (1995). Musical performance as interpretation. Psychology of Music, 23(1), 17–38.
  • Shah, S. M. (2013). Contextualizing the Transmission of Malaysian Traditional Music. Procedia - Social and Behavioral Sciences, 93, 1000-1004. https://doi.org/10.1016/j. sbspro.2013.09.318
  • Sooi Beng, T. (2005). From folk to natio- nal popular music: Recreating Ronggeng in Malaysia. Journal of Musicological Re- search, 24(3-4), 287-307. https://doi. org/10.1080/01411890500234054
  • Thomas, P. (1986). 1. A Brief History of Don- dang Sayang. In P. Thomas (Ed.), Like tigers around a piece of meat: The baba style of Dondang Sayang (pp. 3-10). ISEAS Publishing. https://doi.org/10.1355/9789814377782- 003
  • Williamon, A., Ginsborg, J., Perkins, R., & Waddell, G. (2021). Performing music re- search: Methods in music education, psy- chology, and performance science. Oxford University Press. https://doi.org/10.1093/ oso/9780198714545.001.0001
  • Dansby, Jonathan. 1989. “Guest Editorial: Performance and Analysis of Music.” Music Analysis 8, no. 1/2: 5–20. https://www.jstor. org/stable/854325
  • Web Sites web 1. https://www.youtube.com/watch?v=h9W8V6Xs2CI
  • web 2. https://www.youtube.com/ watch?v=eIFDBPc7krI
  • web 3. https://www.youtube.com/wa tch?v=whdP93nnSBI&list=PLsEwXDuh_- MAKPjRUtCk8GOLOrLp_kC1I&index=3
  • web 4. https://www.youtube.com/wa tch?v=FSCgtFsFuGU&list=PLsEwXDuh_- MAKPjRUtCk8GOLOrLp_kC1I&index=4
  • web 5. https://www.youtube.com/wa tch?v=8F3IZdn5ew4&list=PLsEwXDuh_- MAKPjRUtCk8GOLOrLp_kC1I&index=5
  • web 6. https://www.youtube.com/wa tch?v=5GjXIhxcqX0&list=PLsEwXDuh_- MAKPjRUtCk8GOLOrLp_kC1I&index=6

Recapitulation of Malay asli music genre transcriptions for a chamber trio employing music score analysis

Yıl 2022, , 559 - 577, 30.12.2022

Vıoletta Ayderova

https://doi.org/10.12975/rastmd.20221046

Öz

Music transcription in notation form is preferred method of preserving traditional music, which is generally transmitted orally. The purpose of this study is to generate educational materials through the collaborative analysis and editing of six transcriptions of Malay asli music for a flute, viola, and piano trio. The central concerns of this research are whether the six transcriptions sufficiently convey the features of this traditional music form whether these features should be imitated from the original sound. The research is practice-led and involves experimental and analytical approaches employed by participants who assume the role of researcher and collect data via self-observation. Following the recapitulation outcomes from the analyses of the transcribed music scores, the six transcriptions were corrected with modified interwoven voices, a range of sound pitches for each musical instrument, and a classification of the rhythmic styles, music structure, and texture. The resulting transcriptions resemble typical Western music scores, which are required to convey traditional music features through the imitation of previously listened-to audio or video recordings of traditional ensemble performances. An advanced understanding of the interpreted transcriptions through music score analysis may have significant practical benefits for music performers, educators, and learners preparing to perform Malay asli music. Additionally, this may provide a future framework for scholarly work on classical ensembles.

Anahtar Kelimeler

asli genre transcriptions chamber trio music score analysis

Proje Numarası

FRGS/1/2016/ST02/UPSI/02/1, Code: 2016-0089-107-02

Kaynakça

  • Arshad, S. F., Mazlan, C. A. N., Uyub, A. I., Mohd Yatim, L. S., & Ayderova, V. (2022). Take a Peek! Into Lagu Melayu Asli. Jurnal Seni Musik, 11(1), 32-38. https://doi. org/10.15294/jsm.v11i1.54685
  • Arshad, S. F. (2015). Manual asas permainan lagu Melayu Asli secara instrumental (Basic manual of playing or Malay Asli instrumental songs). (Unpublished master’s thesis).
  • Ayderova, V., Lonsdale, K. A., & Majid, M. P. (2017). Incorporating the viola into performances of new arrangements of Malay Asli music for a Western classical ensemble. In M. K. A. Rahman, S. Maniam, Z. L. Saidon, M. F. T. Saearani, S. Alfarisi, C. Augustine, C., & C. Wong (Eds.), Proceedings of the 1st Lombok International Edu-Tourism Conference (pp.193-202). https://www.researchgate. net/publication/320617348_Incorporating_ the_Viola_into_Performances_of_New_ Arrangements_of_Malay_Asli_Music_for_a_ Western_Classical_Ensemble
  • Casagrande, F. (2019). 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. Malaysian Journal of Music, 8, 19–51. https://doi.org/10.37134/mjm.vol8.2.2019
  • Chopyak, J. (1986). Music in modern Malaysia: A survey of the musics affecting the development of Malaysian popular music. Asian Music, 18(1), 111-138. https:// www.jstor.org/stable/834161
  • Dansby, J. (1989). Guest editorial: Performance and analysis of music. Music Analysis, 8(1–2), 5–20. https://www.jstor. org/stable/8543
  • Ginsborg, J., Chaffin, R., & Demos, A. R. (2012). Different roles for prepared and spontaneous thoughts: A practice-based study of musical performance from memory. Journal of Interdisciplinary Music Studies, 6(2), 201–231.
  • Ginsborg, J., Chaffin, R., & Nicholson, G. (2006). Shared performance cues in singing and conducting: A content analysis of talk during practice. Psychology of Music, 34(2), 167–194. https://doi. org/10.1177/0305735606061851
  • Gritten, A. (2005). Musical performance: A guide to understanding. Music Perception, 23(1), 97–100. https://doi:10.1525/ mp.2005.23.1.97
  • Ho, S. (2004). Dondang sayang. Singapore Infopedia. https://eresources.nlb.gov.sg/ infopedia/articles/SIP_495_2004-12-20.html
  • Irving, D. (2014). Hybridity and harmonity. Indonesia and the Malay World, 42(123),197- 221. https://doi.org/10.1080/13639811.201 4.912408
  • Isyak, F. N. (2018). Oral transmission and stylistic issues in Malay Asli Song in Johor. [Master’s thesis, Universiti Malaya]. Univer- sity of Malaya Students Repository. https:// www.semanticscholar.org/paper/96506be- c6f07f26d683b17e8afb6767c209bc6b0
  • Klein, J. (2017). What is artistic research? Journal of Artistic Research. https://doi. org/10.22501/jarnet.0004
  • Kong-Chiang, J. T. (2009). Kamus seni muzik (Dictionary of musical art). Dewan Bahasa dan Pustaka.
  • Marshall, C., & Rossman, G. B. (2010). Designing qualitative research (5th ed.). Sage.
  • Matusky, P., & Beng, T. S. (2017). The music of Malaysia: The classical, folk and syncretic traditions (2nd ed.). Routledge. https://doi. org/10.4324/9781315223025
  • Mazlan, C. A. N., Abdullah, M. H., Arshad, S. F., Abdul Latif, M. K., Mohd Imam, R., & Daud, I. S. (2020). Satu Tinjauan Muzikologi Lagu Melayu Asli (A Musicological Review of Malay Asli Songs). JuraiSembah, 1(2), 14- 26. https://doi.org/10.37134/juraisembah. vol1.2.2.2020Miller-Kay, E. (2018). Four-hand piano transcriptions and the reception of sympho- nic repertoire in nineteenth-century Europe. Malaysian Journal of Music, 7, 195-207. ht- tps://doi.org/10.37134/mjm.vol7.11.2018
  • Ng Kea Chye, G. (2016). Violin in ensemble for dance: Improvisatory styles in the ‘adop- ted’ Malay dances of Zapin. In G. Jähnichen (Ed.), Studia instrumentorum musicae popu- laris iv (New series), pp. 217–224. MV-Wis- senschaft.
  • Rink, J. (2015). The (f)utility of performance analysis. In M. Doğantan-Dack (Ed.), Artistic practice as research in music: Theory, criti- cism, practice (pp.127-148). Routledge.
  • Rosny, N. S., & Rosly, M. (2018). Kajian or- namentasi dalam muzik melayu asli: Per- mainan violin gaya hamzah dolmat (A study of ornamentation in Native Malay music: Hamzah Dolmat style violin playing). Un- published master’s thesis. University of Ma- laya. http://studentsrepo.um.edu.my/id/ eprint/8607
  • Shaffer, H. (1995). Musical performance as interpretation. Psychology of Music, 23(1), 17–38.
  • Shah, S. M. (2013). Contextualizing the Transmission of Malaysian Traditional Music. Procedia - Social and Behavioral Sciences, 93, 1000-1004. https://doi.org/10.1016/j. sbspro.2013.09.318
  • Sooi Beng, T. (2005). From folk to natio- nal popular music: Recreating Ronggeng in Malaysia. Journal of Musicological Re- search, 24(3-4), 287-307. https://doi. org/10.1080/01411890500234054
  • Thomas, P. (1986). 1. A Brief History of Don- dang Sayang. In P. Thomas (Ed.), Like tigers around a piece of meat: The baba style of Dondang Sayang (pp. 3-10). ISEAS Publishing. https://doi.org/10.1355/9789814377782- 003
  • Williamon, A., Ginsborg, J., Perkins, R., & Waddell, G. (2021). Performing music re- search: Methods in music education, psy- chology, and performance science. Oxford University Press. https://doi.org/10.1093/ oso/9780198714545.001.0001
  • Dansby, Jonathan. 1989. “Guest Editorial: Performance and Analysis of Music.” Music Analysis 8, no. 1/2: 5–20. https://www.jstor. org/stable/854325
  • Web Sites web 1. https://www.youtube.com/watch?v=h9W8V6Xs2CI
  • web 2. https://www.youtube.com/ watch?v=eIFDBPc7krI
  • web 3. https://www.youtube.com/wa tch?v=whdP93nnSBI&list=PLsEwXDuh_- MAKPjRUtCk8GOLOrLp_kC1I&index=3
  • web 4. https://www.youtube.com/wa tch?v=FSCgtFsFuGU&list=PLsEwXDuh_- MAKPjRUtCk8GOLOrLp_kC1I&index=4
  • web 5. https://www.youtube.com/wa tch?v=8F3IZdn5ew4&list=PLsEwXDuh_- MAKPjRUtCk8GOLOrLp_kC1I&index=5
  • web 6. https://www.youtube.com/wa tch?v=5GjXIhxcqX0&list=PLsEwXDuh_- MAKPjRUtCk8GOLOrLp_kC1I&index=6
Toplam 32 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Müzik
Bölüm Orijinal araştırma
Yazarlar

Vıoletta Ayderova 0000-0002-1150-3768

Proje Numarası FRGS/1/2016/ST02/UPSI/02/1, Code: 2016-0089-107-02
Yayımlanma Tarihi 30 Aralık 2022
Yayımlandığı Sayı Yıl 2022

Kaynak Göster

APA Ayderova, V. (2022). Recapitulation of Malay asli music genre transcriptions for a chamber trio employing music score analysis. Rast Musicology Journal, 10(4), 559-577. https://doi.org/10.12975/rastmd.20221046

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