DOCSLIB.ORG

RESOUND a QUARTERLY of the Archives of Traditional Music Volume I, Number 4 October, 1982

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
RESOUND a QUARTERLY of the Archives of Traditional Music Volume I, Number 4 October, 1982 RESOUND A QUARTERLY OF THE Archives of Traditional Music Volume I, Number 4 October, 1982 principal contributing puppet masters and their troupes are the Dalang (puppet master) Harnzah bin Awang Amat of I arrived from Rio de Janeiro to take other countries in a variety of ways. Kampung Gerong and the Dalang Yusuf up the Directorship of the Archives of During the next few months I shall Hassan of Kampung Mesira. The Traditional Music just as this issue of be giving considerable thought to ways musical repertoire is as complete as pos­ Resound was going to press. I am still in which the Archives can be further sible a collection of pieces used for the finding my way around the subterran­ improved, building on the great con­ old style of performance of the Wayang ean labyrinth with a bit of difficulty tributions of its previous directors, Siam shadow play in Kelantan today. and have just begun my "applied an­ George Herzog, George List, and The author's field research was en­ thropology" of Indiana University and Frank Gillis, as well as those of Acting riched by two additional years of em­ North American Academe, which Director Ronald Smith. If you have ployment in the Malaysian Ministry of could not seem other than exotic after suggestions about the role of this kind Culture, and it was during this time that seven years at the National Museum in of institution in general, or specific a variety of other traditional Malay Rio de Janeiro. Although new to the ideas for the improvement of this musics were recorded. The additional job, I have long been acquainted with Archives, I would appreciate hearing Kelantanese materials include recordings the Archives, first visiting it in 1968 from you. I may be sought out at the of performances of the berjamu for the and then depositing my field tapes in annual meetings of the American Folk­ Wayang Siam (a special "feasting" of the 1973. I have already encountered lore Society, the Society for Ethno­ spirits ceremony), the Wayang Jawa problems of space, equipment, and musicology, and the American An­ (another type of Malay shadow puppet finances that are quite familiar from thropological' Association. Addition­ theater also known as Wayang Kulit my chairmanship of the Department of ally, I plan to visit some institutions Melayu), the Main Puteri-Mak Yang Anthropology at the National Museum similar to the Archives of Traditional (the shaman exorcism ritual and the where I was ultimately responsible for Music in order to meet with colleagues Malay dance-drama used together for the cataloging and preservation of over and discuss common issues. I also healing purposes), the Dikir Barat 70,000 artifacts in all areas of anthro­ welcome letters, tapes, songs, or other (group singing-call and response style pology. forms of communication from anyone. -of popular texts with the accompani­ The Archives of Traditional Music is Finally, upon my arrival, I learned ment of gong, small rebana drums and an extremely valuable resource for that Resound was started with a small handclapping), the Gendang Silat (music ethnom usicologists, folklorists, grant that ends with this issue. I hope to accompany the Malay art of self­ anthropologists, and other academics, you will respond to the appeal for defense known as bersilat), the Rebana and is also of interest to musicians and support, not only for this publication, Besar (group singing with the accom­ interested non-specialists. I believe it but for our activities in general. paniment of drumming on the very large can serve the state, the nation, and rebana drums), and the Manora-Mak Yang (a mixed theater form utilizing the Southern Thai and Malay dance­ ~..q-.~ From the Field ~~ of Kelantan, Malaysia. Approximately dramas). Other West Malaysian field forty hours of wayang kulit perform­ recordings include three pi~ces from the ances provided the recorded documen­ Jaget Gamelan (court dance) tradition of Music from Malaysia tation for the author's doctoral disserta­ Trengganu and Pahang, and a Wayang tion in musicology which was submitted Siam type of shadow play performed by Some sixty-five hours of musical per­ to the University of Michigan in an "urban" dalang in Kuala Lumpur. formances constitute a collection of January, 1980. The recorded shadow The East Malaysian materials, col­ audio tapes recorded in the field by play performances include several com­ lected in 1978, consist of approximately Patricia Matusky in both West and East plete stories as well as specific portions five hours of music from Sabah on the Malaysia from 1976 through 1978. * This of performances. northeast coast of Kalimantan. Under collection is focused on the music of the The geographical area represented in the sponsorship of the Sabah Cultural Malay shadow puppet theater (known the Wayang Siam collection is limited to Office and the Sabah Foundation several as Wayang Kulit Siam or Wayang Siam) the Tumpat District of Kelantan, and the types of music were recorded in the northeast coastal and island areas of tape recorder was not a foreign instru­ ments were already growing less and less Kudat and the Kinabatangan Districts. ment. Nearly all the performers repre­ dependent on the traditional trades of They were performed by different ethnic sented in the present collection had some making charcoal, gathering salt hay and groups including Ubian, Suluk, Kadazan knowledge of the tape recorder. Regard­ working the bay for shellfish. Today (Maragam dialect), Brunei and Idaan less of the performers' experience, that wilderness, barely 60 miles from (Orang Sungei) peoples. The types of however, they were always delighted to New York, and 30 miles from Philadel­ music from Sabah include a sampling of hear themselves on tape after a re­ phia, still covers a quarter of the state of kulintangan (gong and drum ensemble), cording session. New Jersey-despite its reduction during kulintangan kayu and gabbang (wood During the past year the author, as the last two decades by developments of xylophones used for solo and ensemble Fulbright Lecturer in Musicology at the suburban subdivisions, shopping malls performance, respectively), gambus and Universiti Sains Malaysia in Penang, has and retirement villages. sundatang (plucked lutes), suling (flute), been able to conduct research projects in Herbert Halpert went to the sparsely sompotan (mouth organ), and bungkau the West Malaysian states of Kedah and populated Pinelands to collect folksongs (jaw's harp) music. Perlis along with the Asian theater from the residents, a varied population of the descendents of American patriots, The musical repertoire is as complete as possible a collection of pieces used for Hessian deserters, Quakers and Tories the old style of performance of the Wayang Siam shadow play in Kelantan to­ seeking refuge in the wilderness. day. Beginning in the summer of 1936 and continuing for several summers there­ Almost all tapes were recorded in scholar Dr. Ghulam Sarwar. As a result after, and many week ends through­ rural areas where no electricity was of these recent projects several hours of out the years, I had criss-crossed the available. Therefore a Uher 4000 L tape both audio and video tape have now Piney country of Southern New Jersey recorder was powered by D cells or by documented important theatrical­ by bus, on foot, hitchhiking, or nickel-cadmium batteries. The perform­ musical genres such as the berjamu for driving cars of ancient vintage, which ances of the various musical events were the Wayang Siam, the Selampit and had the disconcerting habit of coming recorded in their natural environments, A wang Batil (storytelling with music to a dead stop somewhere in the sandy and the placement of performers in rela­ accompaniment), the Gendang T erinai wastes." (Halpert, 1947: 1) tion to the microphone usually could not (music for the T erinai court dance of On his earliest trips, Halpert pains­ be dictated. The author's presence at a Perlis), the Mek Mulong (Malay dance­ takingly transcribed song texts by dicta­ given village location usually generated drama of Kedah), and the Manora tion from forbearing informants, but in much interest, and at recording sessions (Southern Thai dance-drama). The the summer of 1937 he borrowed a many people stopped by to watch the audio recordings of these performances portable disc recorder from Columbia proceedings. It was generally not possi­ will be added to the present collection of Universi!y's Anthropology Department lJle to control the influx of people ~ the Malaysian materials in the Archi;es. and continued the dictation method noise and clatter. Thus, any extraneous This new data as well as the shadow only for interviews and tales. In a car sounds present during the various per­ play and other materials of 1976-78 borrowed from Ruth Benedict, he jour­ formances are also present on the tapes serve as permanent documentation of neyed through the. Pines and recorded including casual conversations, crying the various musical forms and will be several locally composed songs such as babies and clucking hens. With the used as the basis for future research and "Mt. Holly Jail," still popular with Piney widespread distribution of radio, tele­ publication on Malaysian traditional musicians, and "Potatoes They Grow vision and cassette recorder/players in performing arts. Small in Shamong," a bawdy piece, most parts of Malaysia, the author's along with fiddle tunes, sea shanties, * Archives accession number 81-049-F and children's rhymes and game songs. Halpert's greatest interest lay in the old Resound Patricia Matusky, Muang Yala , South­ English ballads known by the Pineys; A Quarterly of the ern Thailand one elderly woman, Lydia Gyderson, Archives of Traditional Music obliged Halpert by singing 25 such songs. In his first published article about Amy E.
Load more

Recommended publications
  • Letter Openers
    Letter Openers Date: 2010 Material: Nyireh batu wood, a species of mangrove tree Maker: Samri and Lijah (Mah Meri) Region: Kg. Sg. Bumbun, Pulau Carey, Selangor Traditional Mah Meri masks inspired the design of these carved sculptural letter-openers. These well-crafted, authentic carvings are popular among tourist-collectors often shopping for light- weight gifts for friends and families on return travel to their homes. MALAYSIA INDIGENOUS COMMUNITIES APPLIED ARTS EXHIBITION Betel Boxes Kampil /pati kzau, Betel Boxes Date: 2009 Materials: Wood, lampblack-didu and leaf sap binder-vandahan Maker: Jaitin Motangon, (Rungus) Region: Kudat, Sabah The light natural coloured surfaces of the wooden boxes are first dyed with lampblack and leaf sap. These traditionally inspired designs are hand carved into the wood. In recent years these boxes have been scaled down from the traditional large box format to create smaller boxes. These boxes are used to store jewellery and other items or used as a gift box. MALAYSIA INDIGENOUS COMMUNITIES APPLIED ARTS EXHIBITION Pandanus 1 6 pouch 5 2 7 4 3 1 Bujam Sepit, pandanus pouch Date: 2011 3 Materials: Hake, processed, dyed pandanus strips Maker: Gandoi Peah (Mah Meri) 5 1 Region: Kg. Sg. Bumbun, Pulau Carey, Selangor 2 Bujam Lipo’ Halus, curlwork pouch Date: 2011 Material: Hake, processed, dyed pandanus strips Maker: Isam@Ramlan’n Layok Pandanus strips (hake) are prepared by the weavers from pandanus (Mah Meri) Region: Kg. Sg. Bumbun, Pulau plant leaves gathered from garden plantings or purchased from Carey, Selangor local markets. The pouches were originally used to contain tobacco, betel quid or money.
    [Show full text]
  • INDIGENOUS GROUPS of SABAH: an Annotated Bibliography of Linguistic and Anthropological Sources
    INDIGENOUS GROUPS OF SABAH: An Annotated Bibliography of Linguistic and Anthropological Sources Part 1: Authors Compiled by Hans J. B. Combrink, Craig Soderberg, Michael E. Boutin, and Alanna Y. Boutin SIL International SIL e-Books 7 ©2008 SIL International Library of Congress Catalog Number: 2008932444 ISBN: 978-155671-218-0 Fair Use Policy Books published in the SIL e-Books series are intended for scholarly research and educational use. You may make copies of these publications for research or instructional purposes (under fair use guidelines) free of charge and without further permission. Republication or commercial use of SILEB or the documents contained therein is expressly prohibited without the written consent of the copyright holder(s). Series Editor Mary Ruth Wise Volume Editor Mae Zook Compositor Mae Zook The 1st edition was published in 1984 as the Sabah Museum Monograph, No. 1. nd The 2 edition was published in 1986 as the Sabah Museum Monograph, No. 1, Part 2. The revised and updated edition was published in 2006 in two volumes by the Malaysia Branch of SIL International in cooperation with the Govt. of the State of Sabah, Malaysia. This 2008 edition is published by SIL International in single column format that preserves the pagination of the 2006 print edition as much as possible. Printed copies of Indigenous groups of Sabah: An annotated bibliography of linguistic and anthropological sources ©2006, ISSN 1511-6964 may be obtained from The Sabah Museum Handicraft Shop Main Building Sabah Museum Complex, Kota Kinabalu, Sabah,
    [Show full text]
  • Does the Possession of a Kadazandusun Traditional
    Athens Journal of Social Sciences - Volume 6, Issue 3 – Pages 251-262 Does the Possession of a Kadazandusun Traditional Costume and the Capability to Play a Traditional Musical Instrument Differentiate an Individual’s Identity Orientation? By Getrude Cosmas, Agnis Sombuling†, Ben Anderson AK Melai‡ & Andrew Poninting The aim of this study was to examine the differences between Kadazandusun participants who possessed and who do not possess a traditional Kadazandusun costume in regard to the four types of identity orientation (i.e. personal, relational, social & collective). These differences were also assessed between participants who were and were not able to play a traditional musical instrument. A total of 242 Kadazandusun participants were enrolled, and the study used a survey questionnaire with two sections. Section A included questions about the demographic profile (age, gender, ethnicity, possession of a traditional costume, ability to play a traditional musical instrument, and education level), while Section B measured the four types of identity orientation (i.e. personal, relational, social & collective). We hypothesized that participants who possessed a Kadazandusun traditional costume and those who could play a traditional musical instrument had higher relational and collective identity orientation. The study revealed that those who possessed a Kadazandusun traditional costume had higher relational, social, and collective self- identity compared to those who did not own a costume. Further, those who could play a traditional musical instrument only showed higher on social identity orientation than those who could not play any traditional musical instrument. These findings showed that people’s identity orientation may differ based such cultural elements (e.g., possession of a Kadazandusun traditional costume and ability to play a traditional musical instrument).
    [Show full text]
  • Sources, Sounds and Meanings of Turali (Noseflute) Music in Dusunic Cultures of Sabah1
    Jacqueline Pugh-Kitingan 1 Sources, Sounds and Meanings of Turali (Noseflute) Music in Dusunic Cultures of Sabah1 Jacqueline Pugh-Kitingan Borneo Heritage Research Unit, and Faculty of Humanities, Arts and Heritage Universiti Malaysia Sabah e-mail: [email protected] Published online: 30 December 2017 Cite this article (APA): Pugh Kitingan, J. (2017). Sources, sounds and meanings of turali (noseflute) music in Dusunic cultures of Sabah. Malaysian Music Journal, 6(2), 1-28. Abstract The turali noseflute (also known as turahi among some of the Kadazan Dusun of Tambunan) is traditionally played solo as a form of personal entertainment and expression among most of the indigenous Dusunic societies of Sabah, the east Malaysian state of Northern Borneo. This instrument has the same basic structure and performance technique in all Dusunic communities where it is played, but can vary in length. In most cases, as among the Lotud Dusun and some of the Kadazan Dusun, its music expresses happiness and imitates the melodies of traditional songs. Among the Rungus, it can also be played by a novice priestess (bobolizan) to help her memorise the melodies of ritual chants (rinait) when practising alone outside of the ritual context. Its soft sound is also considered soothing when played at night in the longhouse. For the Kadazan Dusun in the central part of Tambunan District, however, turali music expresses melancholy and usually copies patterns in the stylised crying of female mourners during a wake. It is not played during mourning, but months or years later to express sorrow for a deceased relative. Drawing upon more than thirty-five years of research by the author, this article compares and contrasts different examples of turali music, discussing the sources, sounds and meanings of the music, and showing the transformation of vocal motifs and emotive patterns into melodies played with the instrument.
    [Show full text]
  • Creative Method
    Creative Method The U9 Xylophone: An Innovation in Music Classroom Teaching Jinky Jane C. Simeon Borneo Heritage Research Unit, Faculty of Humanities, Arts and Heritage, Universiti Malaysia Sabah, MALAYSIA Email: [email protected] ABSTRACT The native cultures of Sabah are rich in traditional musical instruments. However, through a recent survey of a few primary and private schools around Kota Kinabalu in Sabah, the author noticed that the musical instruments used to teach music are mostly Western. This observation raises an important question: Is it possible for local musical instruments to be modified for teaching music in the classroom? A careful observation of the kulintangan (set of small kettle gongs) and gabang (wooden xylophone) from the Kinabatangan area of Sabah allowed the author to create a modified bamboo xylophone, which she named the U9 Xylophone, since its target users are children under nine years of age. The U9 Xylophone set was specifically modified and tuned for three different ranges: soprano, alto and bass. This paper describes the physical structure, tuning system, mallets and performance technique of the U9 Xylophone set. In addition, it offers some suggestions for the use of the U9 Xylophone in teaching, including two music arrangements. The author thus hopes to promote the nationwide utilisation of local innovative products for the teaching of music to children under nine years of age. © Penerbit Universiti Sains Malaysia, 2015 148 Wacana Seni Journal of Arts Discourse. Jil./Vol.14. 2015 Keywords: musical instrument, bamboo xylophone, music arrangements, local innovative products, teaching of music INTRODUCTION Recent years have seen increasing interests in incorporating instruments and music from different cultures into musical instruction (Beegle 2012; Dontsa 2008; Greenberg 1992; Han 2002; Schmid 1992; Simeon et al.
    [Show full text]
  • An. EVOLUTION of SAPE
    EVOLUTION OF SAPE: FROM LONGHOUSE TO THE INTERNATIONAL STAGE Connie Lim Keh Nie* Faculty of Applied and Creative Arts, Universiti Malaysia Sarawak Kot Samarahan, Malaysia Mohd. Fadzil Abdul Rahman Faculty of Applied and Creative Arts, Universiti Malaysia Sarawak Kot Samarahan, Malaysia *Corresponding author E-mail: [email protected] ABSTRACT Sape, a boat lute shape, plucked stringed musical instrument played among the Kayan and Kenyah people in Central Borneo and the Dayak in Kalimantan Indonesia. This musical instrument is often used as the symbol in promoting Malaysia in the areas of arts, culture and tourism. It is also the symbol of the state of Sarawak. In Sarawak, sape is the traditional instrument of the Kenyah, Kayan, Kelabit, Penan and other ethnic tribes of Orang Ulu community living in Kapit, Bintulu, Miri, Limbang district. Over the past 40 years, the instrument is brought to travel and perform in different parts of the world by different sape players. This shows that the sape music which is traditionally played to accompany dances during festivals and as a form of entertainment in the longhouses and villages is now performing at musical festivals such as the arts, cultural and tourism pro- motions in various countries. Hence, this paper aims to trace the development of sape in terms of its physical structure and the evolution of sape from the perspective of its performance practice and repertoire. Keywords: Sape, Musical Instrument, Evolution, Performance Practice INTRODUCTION Once the name of the musical instrument ‘sape’ is uttered, what came across the majority’s mind is the image of a guitar like instrument played by plucking the strings.
    [Show full text]
  • Jberinai Thesis.Pdf
    Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Berinai, Judy (2014) Liturgical inculturation in Anglican worship in light of the spirituality of the indigenous people of Sabah, Malaysia. PhD thesis, Middlesex University. [Thesis] Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/13667/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. Works, including theses and research projects, may not be reproduced in any format or medium, or extensive quotations taken from them, or their content changed in any way, without first obtaining permission in writing from the copyright holder(s). They may not be sold or exploited commercially in any format or medium without the prior written permission of the copyright holder(s). Full bibliographic details must be given when referring to, or quoting from full items including the author’s name, the title of the work, publication details where relevant (place, publisher, date), pag- ination, and for theses or dissertations the awarding institution, the degree type awarded, and the date of the award. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Middlesex University via the following email address: [email protected] The item will be removed from the repository while any claim is being investigated.
    [Show full text]
  • RESOUND a QUARTERLY of the Archives of Traditional Music Volume I, Number 4 October, 1982
    RESOUND A QUARTERLY OF THE Archives of Traditional Music Volume I, Number 4 October, 1982 principal contributing puppet masters and their troupes are the Dalang (puppet master) Harnzah bin Awang Amat of I arrived from Rio de Janeiro to take other countries in a variety of ways. Kampung Gerong and the Dalang Yusuf up the Directorship of the Archives of During the next few months I shall Hassan of Kampung Mesira. The Traditional Music just as this issue of be giving considerable thought to ways musical repertoire is as complete as pos­ Resound was going to press. I am still in which the Archives can be further sible a collection of pieces used for the finding my way around the subterran­ improved, building on the great con­ old style of performance of the Wayang ean labyrinth with a bit of difficulty tributions of its previous directors, Siam shadow play in Kelantan today. and have just begun my "applied an­ George Herzog, George List, and The author's field research was en­ thropology" of Indiana University and Frank Gillis, as well as those of Acting riched by two additional years of em­ North American Academe, which Director Ronald Smith. If you have ployment in the Malaysian Ministry of could not seem other than exotic after suggestions about the role of this kind Culture, and it was during this time that seven years at the National Museum in of institution in general, or specific a variety of other traditional Malay Rio de Janeiro. Although new to the ideas for the improvement of this musics were recorded.
    [Show full text]
  • The Athens Journal of Social Sciences ISSN NUMBER: 2241-7737- DOI: 10.30958/Ajss Volume 6, Issue 3, July 2019 Download the Entire Issue (PDF)
    The Athens Journal of (ATINER) (ATINER) Social Sciences Volume 6, Issue 3, July 2019 Articles Front Pages GUY BÄCKMAN The Nordic Welfare Model in the Wake of Post-WWII Transformations and Algorithms of Changing Social Policy AVDI AVDIJA The Psychosocial Ecology of Gun Ownership in the United States: Examining Factors that Affect People’s Willingness to Buy or Own Firearms JUSTIN S. LEE & SUZIE WENG Building Bridges: Strategies to Overcome Challenges in Social Work with Immigrants and Refugees ANGELA DELLI PAOLI & FELICE ADDEO Assessing SDGs: A Methodology to Measure Sustainability GETRUDE COSMAS, AGNIS SOMBULING, BEN ANDERSON AK MELAI &ANDREW PONINTING Does the Possession of a Kadazandusun Traditional Costume and the Capability to Play a Traditional Musical Instrument Differentiate an Individual’s Identity Orientation? i ATHENS INSTITUTE FOR EDUCATION AND RESEARCH A World Association of Academics and Researchers 8 Valaoritou Str., Kolonaki, 10671 Athens, Greece. Tel.: 210-36.34.210 Fax: 210-36.34.209 Email: [email protected] URL: www.atiner.gr (ATINER) Established in 1995 (ATINER) Mission ATINER is a World Non-Profit Association of Academics and Researchers based in Athens. ATINER is an independent Association with a Mission to become a forum where Academics and Researchers from all over the world can meet in Athens, exchange ideas on their research and discuss future developments in their disciplines, as well as engage with professionals from other fields. Athens was chosen because of its long history of academic gatherings, which go back thousands of years to Plato’s Academy and Aristotle’s Lyceum. Both these historic places are within walking distance from ATINER‟s downtown offices.
    [Show full text]
  • ATINER's Conference Paper Series PSY2018-2553
    ATINER CONFERENCE PAPER SERIES No: LNG2014-1176 Athens Institute for Education and Research ATINER ATINER's Conference Paper Series PSY2018-2553 Does the Possession of a Kadazandusun Traditional Costume and the Capability to Play a Traditional Musical Instrument Differentiate an Individual’s Identity Orientation? Getrude Cosmas Lecturer University of Malaysia Sabah Malaysia Agnis Sombuling Senior Lecturer University of Malaysia Sabah Malaysia Ben Anderson AK Melai Tutor University of Malaysia Sabah Malaysia Andrew Poninting Lecturer University of Malaysia Sabah Malaysia 1 ATINER CONFERENCE PAPER SERIES No: PSY2018-2553 An Introduction to ATINER's Conference Paper Series Conference papers are research/policy papers written and presented by academics at one of ATINER’s academic events. ATINER’s association started to publish this conference paper series in 2012. All published conference papers go through an initial peer review aiming at disseminating and improving the ideas expressed in each work. Authors welcome comments Dr. Gregory T. Papanikos President Athens Institute for Education and Research This paper should be cited as follows: Cosmas, G., Sombuling, A., Melai, B.A.A.K. (2018). “Does the Possession of a Kadazandusun Traditional Costume and the Capability to Play a Traditional Musical Instrument Differentiate an Individual’s Identity Orientation?” Athens: ATINER'S Conference Paper Series, No: PSY2018-2553. Athens Institute for Education and Research 8 Valaoritou Street, Kolonaki, 10671 Athens, Greece Tel: + 30 210 3634210 Fax: + 30 210 3634209 Email: [email protected] URL: www.atiner.gr URL Conference Papers Series: www.atiner.gr/papers.htm Printed in Athens, Greece by the Athens Institute for Education and Research. All rights reserved.
    [Show full text]
  • Diterbitkan Oleh: SEKSYEN PENYATA RASMI PARLIMEN MALAYSIA 2018
    _________________________________________________________________________________________________________ Diterbitkan oleh: SEKSYEN PENYATA RASMI PARLIMEN MALAYSIA 2018 K A N D U N G A N JAWAPAN-JAWAPAN LISAN BAGI PERTANYAAN-PERTANYAAN (Halaman 1) USUL: Waktu Mesyuarat dan Urusan Dibebaskan Daripada Peraturan Mesyuarat (Halaman 22) Kajian Separuh Penggal Rancangan Malaysia Kesebelas (2018 – 2020) (Halaman 23) _________________________________________________________________________________________________________ Diterbitkan oleh: SEKSYEN PENYATA RASMI PARLIMEN MALAYSIA 2018 DN 6.12.2018 i AHLI-AHLI DEWAN NEGARA 1. Yang Berhormat Tan Sri Dato’ Sri SA. Vigneswaran 2. “ Datuk Abdul Ghani bin Mohamed Yassin 3. “ Timbalan Yang di-Pertua, Datuk Seri Haji Abdul Halim bin Abd. Samad 4. “ Dato’ Haji Abdul Rahman bin Mat Yasin (Terengganu) 5. “ Tuan Haji Abdul Shukor bin Mohd Sultan (Perlis) 6. “ Datuk Haji Abdullah bin Mat Yasim 7. “ Datuk Haji Abidullah bin Salleh 8. “ Tuan Aknan a/l Ehtook 9. “ Dato’ Dr. Ananthan a/l Somasundaram 10. “ Dr. Ariffin bin S.M. Omar (Pulau Pinang) 11. “ Dato' Dr. Asyraf Wajdi bin Dato' Dusuki - Timbalan Menteri di Jabatan Perdana Menteri 12. “ Puan Hajah Azizah binti Haji Harun 13. “ Datuk Haji Bashir bin Haji Alias 14. “ Puan Bathmavathi Krishnan 15. “ Dato’ Chai Kim Sen 16. “ Tuan Chandra Mohan a/l S.Thambirajah (Selangor) 17. “ Datuk Chong Sin Woon (Negeri Sembilan) - Timbalan Menteri Pendidikan 18. “ Dato’ Sri Devamany a/l S. Krishnasamy - Timbalan Menteri di Jabatan Perdana Menteri 19. “ YBM. Engku Naimah binti Engku Taib (Terengganu) 20. “ Dato' Hajah Fahariyah binti Hj Md Nordin 21. “ Datuk Hamzah bin Mohd. Kasim (Perak) 22. “ Datuk Sr. Haji Hanafi bin Haji Mamat 23. “ Dato’ Indera Hoh Khai Mun (Pahang) 24. “ Dato’ Dr. Hou Kok Chung 25.
    [Show full text]
  • FREQUENCY CHARACTERISTICS of SOUND from SOMPOTON MUSICAL INSTRUMENT Ong Chen Wei & Jedol Dayou School of Science and Technol
    BORNEO SCIENCE 25: SEPTEMBER 2009 FREQUENCY CHARACTERISTICS OF SOUND FROM SOMPOTON MUSICAL INSTRUMENT Ong Chen Wei & Jedol Dayou School of Science and Technology Universiti Malaysia Sabah, 88999 Kota Kinabalu, Sabah, Malaysia ABSTRACT. 'Sompoton' is one of the most popular traditional musical instruments among local residents in Sabah. The sound generated by the instrument is unique and attractive and its architecture contains a gourd, which had been dried up with eight pieces of bamboo (pipe) inserted into it. A measurement has been carried out to determine the frequency characteristics of sound of the 'sompoton' in its original forms. Frequency values obtained from the measurement were then compared to the frequency predicted by using the closed-end pipe and open-end pipe model. It was found that the generation of harmonic frequency by the 'sompoton' follows the open-end pipe model. However, the generation of the fundamental frequency does not comply with any of the models. This has opened for possibility to the establishment of a new model for 'sompoton'. KEYWORDS. Musical instruments, frequency analysis, pipe model, harmonic frequency. INTRODUCTION Sabah is rich with local musical arts and instruments from different clans (Williams 1961). Music in Sabah have been an important part of most of the social activities for the indigenous people. Most of the musical instruments in Sabah are made from natural resources, for instance tongkungon, turali, suling and sompoton are made from bamboo. Musical instruments in Sabah have been categorized as membranphones (e.g. gendang and kompang), aerophones (e.g. suling, turali, sompoton and kungkuvak), codophones (e.g. biola, tongkungon, sundatang and gambus) and idiophones (e.g.
    [Show full text]