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Selected Solo Piano Works by Contemporary Malaysian Composers: an Analysis

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Selected Solo Piano Works by Contemporary Malaysian Composers: an Analysis Graduate Theses, Dissertations, and Problem Reports 2014 Selected solo piano works by contemporary Malaysian composers: An analysis Khe Sin Khoo West Virginia University Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Khoo, Khe Sin, "Selected solo piano works by contemporary Malaysian composers: An analysis" (2014). Graduate Theses, Dissertations, and Problem Reports. 504. https://researchrepository.wvu.edu/etd/504 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. SELECTED SOLO PIANO WORKS BY CONTEMPORARY MALAYSIAN COMPOSERS: AN ANALYSIS Khe Sin Khoo A Doctoral Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance Peter Amstutz, D.M.A., Committee Chair Andrew Kohn, Ph.D., Research Advisor Mary Ferer, Ph.D. John Goldwasser, Ph.D. James Miltenberger, D.M.A. School of Music Morgantown, West Virginia 2014 Keywords: Malaysia, piano, contemporary Malaysian composers, Chong Lim Ng, A Distant Voice of the Rain Forest, Adeline Wong, Paces, Kah Hoe Yii, My Spirit is Dancing! Copyright 2014 Khe Sin Khoo ABSTRACT Selected Solo Piano Works by Contemporary Malaysian Composers: An Analysis Khe Sin Khoo Although the influence of Western art music has been present in Malaysia for a little short of two centuries, much of the scholarly research, both locally and globally, has shown more interest in traditional music and popular music. As such, this study serves as an introduction to the art-music scene in Malaysia, particularly through the analyses of selected solo piano works by three contemporary Malaysian composers—namely, Chong Lim Ng’s A Distant Voice of the Rain Forest (Fragments from “Rimba”…), Adeline Wong’s Paces for solo piano and electronics, and Kah Hoe Yii’s My Spirit is Dancing! These works show that Malaysian composers can be traditional and experimental, national and international at the same time. Most importantly, they reflect a common aspiration to incorporate and retain a certain quality or sound that defines these composers’ identities and cultural origins, which is not necessarily determined by ethnicity or nationality. This is achieved by assimilating foreign knowledge and technique with local or regional influences and inspirations. This small but carefully chosen sampling of contemporary art music by Malaysian composers not only symbolizes the country’s diversity in culture, it also represents the essence of the contemporary art music in Southeast Asia. For that reason, it is the author’s hope that this research will promote interest and further studies in the contemporary art music by Malaysian composers and composers from the Southeast Asian region. To My family iii With utmost gratitude to Dr. Andrew Kohn Dr. Peter Amstutz Dr. James Miltenberger Dr. Mary Ferer Dr. John Goldwasser Chong Lim Ng Adeline Wong Kah Hoe Yii Kee Yong Chong Dr. Tazul Izan Tajuddin Dr. Nicholas Ong Sulong Ismail Mohd. Kamrulbahri Hussin and Geng Wak Long iv TABLE OF CONTENTS Illustrations ……………………………………………………………………………………... vi Notes on Text …………………………………………………………………………………… xi CHAPTER ONE: PREFACE I. Introduction Background …………………………………………………………………………….. 1 Overview of the Problem and the Need for the Study ………………………………... 37 II. Statement of Topic Purpose of the Study ………………………………………………………………….. 40 Procedure ……………………………………………………………………………... 41 Scope and Limitations of the Study …………………………………………………... 45 III. Layout of the Study …………………………………………………………………... 47 CHAPTER TWO: REVIEW OF RELATED LITERATURE ……………………… 49 CHAPTER THREE: CHONG LIM NG I. Biography …………………………………………………………………………….. 59 II. Complete List of Works ………………………………………………………………. 63 III. Analysis of Selected Work for Piano …………………………………………………. 64 CHAPTER FOUR: ADELINE WONG I. Biography …………………………………………………………………………… 115 II. Complete List of Works ……………………………………………………………... 119 III. Analysis of Selected Work for Piano ………………………………………………... 121 CHAPTER FIVE: KAH HOE YII I. Biography …………………………………………………………………………… 198 II. Complete List of Works ……………………………………………………………... 200 III. Analysis of Selected Work for Piano ………………………………………………... 203 CHAPTER SIX: SUMMARY …………………………………………………………... 242 CHAPTER SEVEN: CONCLUSION …………………………………………………. 246 Bibliography …………………………………………………………….................................. 251 Appendix: List of Known Solo Piano Works by Malaysian Composers ……………………… 261 v ILLUSTRATIONS EXAMPLES Chapter 3 Chong Lim Ng: A Distant Voice of the Rain Forest 3.1 Fragments 1–3 ………………………………………………………………………….. 66 3.2 Fragment 4 ………………………………………………………..……………………. 74 3.3 Fragment 5 ………………………………………………………..……………………. 79 3.4 Fragment 6 ………………………………………………………..……………………. 80 3.5 Fragment 7 ………………………………………………………..……………………. 82 3.6 Fragment 8 ………………………………………………………..……………………. 84 3.7 Fragment 9 ………………………………………………………..……………………. 88 3.8 Fragments 9 and 10 …………………………………………………………………….. 91 3.9 Fragment 11, Section 1, mm. 1–15 …………………………………………………….. 95 3.10 Fragment 11, Section 2, mm. 16–19 …………………………….................................. 105 3.11 Fragment 11, Section 3, m. 20 ………………………………………………………... 112 Chapter 4 Adeline Wong: Paces 4.1 Section I, “Construction/Industrial,” mm. 1–33 ……………………………………… 124 4.2 Section II, “Metal Grating,” mm. 34–57 ……………………………………………... 130 4.3 Transition I, mm. 58–59, and Section III, “Piano Solo,” Brief Intro, mm. 60–63 …… 133 4.4 Section III, “Piano Solo,” Part A, mm. 64–87 ………………………………….…….. 133 4.5 Section III, “Piano Solo,” Part B, mm. 88–106 …………………………………......... 134 4.6 Section III, “Piano Solo,” Part A', mm. 107–128 ….…………………………………. 135 4.7 Section III, “Piano Solo,” Part C, mm. 129–149 ……………………………………... 136 4.8 Section III, “Piano Solo,” Coda, mm. 150–159, and Transition II, m. 160 …………... 137 4.9 Section IV, “Gameboy/Digital,” Part A, mm. 161–201 …………………………........ 174 4.10 Section IV, “Gameboy/Digital,” Part B, mm. 202–223 …………………………......... 175 4.11 Section IV, “Gameboy/Digital,” Part C, mm. 224–243 …………………………......... 176 vi FIGURES Chapter 3 Chong Lim Ng: A Distant Voice of the Rain Forest 3.1 Similarity between the final two grace notes in Fragments 1 and 3 ………………........ 67 3.2 Pitch content in Fragments 1–3 …………………………………………………........... 67 3.3 Transpositional relationships between subsets of Fragments 1 and 3 …………………. 68 3.4 Similar intervallic relationships between pitch-classes in Fragments 1–3 ……….......... 69 3.5 Pelog barang …………………………………………………………………………… 70 3.6 Intervallic relationships between grace notes and whole notes in Fragments 1–3 …….. 71 3.7 Recurrences of pitch interval span of a 9th in Fragments 1, 2, 7, and 9 ………………... 72 3.8 Relationship between grace notes in Fragment 2 …………………………...…………. 72 3.9 Relationships between grace notes in Fragments 1–3 …………………………………. 73 3.10 Fragment 4, Part 1 ………................................................................................................ 74 3.11 Pitch content in Fragment 4, Part 1, Segments 1–4 ………………………………......... 75 3.12 Interrelationships between pitch content in Fragment 1, 2, and 4 (Part 1) …………….. 75 3.13 Pitch content in Fragment 4, Part 2, Segment 1 ………………………………………... 77 3.14 Fragment 4, Part 2, Segment 2 ……………………………………………………......... 77 3.15 Pitch content in Fragment 4, Part 2, Segment 3 ………………………………………... 78 3.16 Pitch content in Fragment 6, Segments 1–4 ………………………………………........ 80 3.17 Interrelationships between pitch content in Fragment 6, Segments/Sets 1–4 ………….. 80 3.18 Pitch content in Fragment 7, Part 1 ……………………………………..……………… 82 3.19 Interrelationship between pitch content in Fragments 1, 2, and 7 (Part 1) …………….. 83 3.20 Pitch content in Fragment 8, Parts 1–3 …………………………………………............ 85 3.21 Interrelationships between pitch content in Fragment 8, Parts 1 and 2 …....................... 85 3.22 Relationships between main notes and grace notes in Fragment 8, Parts 1 and 2 ……... 86 3.23 Gaps between tetrachord sets in Fragment 8, Parts 1 and 2 ………………………........ 87 3.24 Fragment 9, Segment 1 …................................................................................................ 89 3.25 Fragment 9, Segment 4 ……………………………………………………………........ 90 3.26 Fragment 9, Segment 2 and Fragment 10, Segment 2 …………………………………. 92 3.27 Pitch content in Fragment 10, Segment 2 and Fragment 6, Segment 3 …....................... 93 3.28 Pitch content relationships Fragment 10, Segment 2 and Fragment 6, Segment 3 …..... 93 3.29 Fragment 11, Section 1, Part 1, mm. 1–6 …………………………………………........ 96 3.30 Pitch content in Fragment 11, Section 1, Part 1, Segment 2 ……………………............ 97 3.31 Interrelationships between sets in Fragment 11, Section 1, Part 1, Segment 2 …........... 97 3.32 Pitch content in Fragment 11, Section 1, Part 1, Segment 4 ……………………............ 98 3.33 Interrelationships between Sets
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