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Teater ‘Uraong Ulu WARGA MOTAC Hatinya Luke Lagih’ Oleh Kumpulan Kesenian Uraong Ulu (Keulu) Telah I Memenangi Tempat Ketiga Dalam Festival Teater Malaysia 2006
3 FESTIVAL OF ASEAN CULTURAL EXPRESSIONS Festival Kesenian 2015 Orang Asli dan Peribumi Antarabangsa 2015 JKKN MENERAJUI HARI SUKAN NEGARA Teater ‘Uraong Ulu WARGA MOTAC Hatinya Luke Lagih’ Oleh Kumpulan Kesenian Uraong Ulu (Keulu) Telah i Memenangi Tempat Ketiga Dalam Festival Teater Malaysia 2006. Sudut Berita JKKN SEKILAS TINTA EDITOR YBhg. Datuk Norliza Rofli Ketua Pengarah YBrs. En. Mohamad Razy Mohd Nor Timbalan Ketua Pengarah (Sektor Dasar dan Perancangan) YBrs. Tn. Hj. Mesran Mohd Yusop Timbalan Ketua Pengarah (Sektor Kebudayaan dan Kesenian) Editor Assalamualaikum dan Salam 1Malaysia. Mohd Zin Mohd Sahid Penolong Editor Seni Budaya Malaysia semakin mengalami ketirisan. Membina masyarakat Zuriah Mohamad yang berbudaya dan berkeperibadian tinggi adalah menjadi tanggungjawab SIDANG EDITORIAL setiap rakyat Malaysia kerana setiap kita adalah pemimpin diperingkat sidang redaksi Penulis masing-masing. Peristiwa-peristiwa negatif yang pernah berlaku akibat • Mohd Zin Mohd Sahid kebiadaban segelintir rakyat yang tidak bertanggungjawab, seharusnya • Zuriah Mohamad • Muhammad Haqkam Hariri dijadikan iktibar agar tidak berulang dan menjadi gejala yang memusnahkan • Ismarizal Zulamran bangsa Malaysia. Kebiadaban tersebut seharusnya dibendung supaya ia • Muhammad Faizal Ruslee tidak menjadi gejala kepada masyarakat keseluruhannya. Hanya dengan • Siti Anisah Abdul Rahman • Fauziah Ahmad disiplin, kesedaran dan keimanan yang jitu pada setiap insan sahaja yang akan dapat mengatasinya. Pereka Grafik/Kreatif Bafti Hera Abu Bakar Sama-samalah kita menjadikan iktibar dan pengajaran bahawa salah Jurufoto Zaman Sulieman satu sebab kejatuhan kerajaan Melayu Melaka pada tahun 1511 ialah ‘angkara sikitul yang menjual maklumat kepada portugis’ ketika itu. Jika SIDANG REDAKSI kita sama-sama berpegang teguh kepada rukun negara dan disiplin • Unit Komunikasi Korporat diri, InshaAllah seni budaya Malaysia akan terus relevan selaras dengan • Bahagian Khidmat Pengurusan ungkapan ‘Tidak akan Melayu hilang di dunia’. -
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 -
Musical Practice of Keronchong
ARTICLE Musical practice of Keronchong Keronchong is believed to have originated in 16 th century Portuguese music of the Portuguese colonies in the Moluccas and Batavia while in Malaysia (and Malaya) keronchong is mainly associated with practice in Malacca. Malaysian keronchong is thought to be derived from Javanese keronchong. Chopyak 1 informs us it is not so much a musical form as it is a style of performance. Therefore he points out that an asli langgam song becomes a keronchong langgam song when performed in a keronchong style on keronchong instruments. This is evident in Ernst Heins’ entry on keroncong in Groves where typical instrumentation of the ensemble would comprise two kroncong (small guitars), among other instruments. Craig Lockard goes on to describe how keroncong orchestras and recordings attracted both Malay and Chinese communities with a sensuous Portuguese-Indonesian musical blend originating in Java while dondang sayang either produced or consumed in some popularity in Melaka and western Johor seemed to bear resemblance to kroncong. In contradistinction however, Dondang Sayang , according to Philip L. Thomas,2 combined the verbal art of complex poetry or pantun as it was known locally, with orchestral accompaniment. The pantuns were highly stylised repartee and required considerable effort to excel in. Lockard also referred to Popular Malay ensembles known as orkes melayu which he argues as being heavily influenced by Middle Eastern and Indian musical styles were seen to be popular on the West coast while ghazal was -
Jurnal Seni Tari
ISSN: 1858-3989 VOLUME: 3 NO.: 1 MEI 2012 JURNAL SENI TARI ISSN: 1858-3989 VOLUME: 3 NO.: 1 MEI 2012 JURNAL SENI TARI Jurnal Joged merangkai beberapa topik kesenian yang terkait dengan fenomena, gagasan konsepsi perancangan karya seni maupun kajian. Joged merupakan media komunikasi, informasi, dan sosialisasi antar insan seni perguruan tinggi ke masyarakat luas. Redaktur menerima sumbangan tulisan yang belum pernah diterbitkan dalam media lain, format penulisan berada di halaman belakang. Naskah yang masuk akan disunting format, istilah dan tata cara lainnya. Pemimpin Umum: Ketua Jurusan Tari (ex-officio) Pemimpin Redaksi: Dr. Sumaryono, MA. Wakil Pemimpin Redaksi: Dr. Hendro Martono, M.Sn. Sekretaris Redaksi: Dra. Supriyanti, M. Hum. Staf Redaksi: 1. Drs. Raja Alfirafindra, M.Hum. 2. Bekti Budi Hastuti, SST., M. Sn. Anggota Redaksi: 1. Prof. Dr. Y. Sumandiyo Hadi. SST. SU. 2. Dr. Hersapandi, SST., M.S. 3. Dr. Rina Martiara, M. Hum. 4. Dra. M. Heni Winahyuningsih, M. Hum. 5. Dra. Daruni, M.Hum. 6. Dra. Budi Astuti, M.Hum. 7. Dra. Siti Sularini Desain Sampul: Dr. Hendro Martono, M.Sn. Alamat Redaksi dan Penerbit: Jurusan Tari Fak. Seni Pertunjukan ISI Yogyakarta, Jl. Parangtritis km 6,5 Yogyakarta 55188 Telp. 08121561257 Naskah dapat dikirim melalui salah satu alamat email di bawah ini: Email: [email protected], [email protected], [email protected] Dicetak oleh: Multi Grafindo, Ruko Perumahan Candi Gebang Permai I/4 Sleman Yogyakarta 55584, Telp. (0274) 7499863, Fax.( 0274)888027 Email: [email protected] Apabila mengutip atau menyalin naskah yang terdapat dalam jurnal ini, maka harus ada ijin dari penulis langsung atau mencantumkan dalam referensi sesuai dengan tata tulis akademis yang berlaku. -
Intercultural Theatre Praxis: Traditional Malay Theatre Meets Shakespeare's the Tempest
University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2017 Intercultural theatre praxis: traditional Malay theatre meets Shakespeare's The Tempest Norzizi Zulkafli University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Zulkafli, Norzizi, Intercultural theatre praxis: traditional Malay theatre meets Shakespeare's The Tempest, Doctor of Philosophy thesis, School of the Arts, English and Media, University of Wollongong, 2017. -
Appendix: Roster of Emergent Theatre Forms
APPENDIX: ROSTEr OF EMErGENT THEaTrE FOrMS 550–500 BCE—Greek tragedy (Athens) (Hartnoll 607) 500–450 BCE—Greek “Old” Comedy (Athens) (Hartnoll 607) 350–300 BCE—Greek “New” Comedy (Athens) (Hartnoll 551) 250–200 BCE—Comedy and tragedy (Rome) (Banham, Cambridge 936) 250–200 BCE—Mime (Rome) (Duckworth 13) 200–100 BCE—Sanskrit Theatre (India) (Richmond et al. 1990: 27) 150–100 BCE—“Horn butting game” (China) (Dolby, “Early” 11) 50–1 BCE—Pantomime (Rome) (Beacham 142) 500–600 CE—Bukagu/gagaku (Japan) (Leiter 1.67) 600–650—Gigaku (Japan) (Leiter 1.227) 700–750—Canjunxi (Adjutant Play) (China) (Dolby, History 7) 700–750—Tayao niang (Stepping and Swinging Women) (China) (Dolby, “Early” 13) 800–900—Robam kbach boran (lakhon kbach boran) (Cambodia) (Ghulam-Sarwar118) * * * 900–1000—Liturgical theatre (Europe) (Hartnoll 674) 900–1000—Wayang kulit purwa (Indonesia) (Ghulam-Sarwar 276) 900–1000—Gambuh (Indonesia) (Ghulam-Sarwar 79) 900–950—Kuttiyatam (India) (Leiter 1.358) 900–950—Wayang beber (Indonesia) (Ghulam-Sarwar 276) © The Author(s) 2020 305 S. Tillis, The Challenge of World Theatre History, https://doi.org/10.1007/978-3-030-48343-2 306 APPENDIX: ROSTER OF EMERGENT THEATRE FORMS 950–1000—Song (dynasty) zaju (China) (Dolby, History 15) 950–1000—Religious literary drama (Europe) (Banham, Cambridge 501) * * * 1000–1100—Dengaku (Japan) (Leiter 1.154) 1000–1100—Khayāl all-zill (Egypt) (Moreh 47) 1000–1050—Cheo (Vietnam) (Brandon 73) 1050–1100—Wayang topeng (Indonesia) (Ghulam-Sarwar 311) 1050–1100—Sangaku/Sarugaku (Japan) (Ortolani 62–63) * * * -
Protection for Intangible Cultural Heritage As a Viable Tourist Product: Malaysia As a Case Study*
MALAYSIAN JOURNAL OF CONSUMER AND FAMILY ECONOMICS PROTECTION FOR INTANGIBLE CULTURAL HERITAGE AS A VIABLE TOURIST PRODUCT: MALAYSIA AS A CASE STUDY* Sharafina Zaky Nublan Zaky1 and Ida Madieha Abdul Ghani Azmi2 Abstract The realisation of the importance of intangible cultural heritage (ICH) has led governments around the world to protect these resources in order to promote tourism. Malaysia, in this respect, is not exceptional. Having ratified the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage in 2013, Malaysia is bound to identify and define the various elements of the ICH present in its territory and ensure its protection. It is the purpose of this article to discuss the protection available for ICH that could be developed further to attract tourists. In particular, the article seeks to examine the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage and the existing heritage laws in Malaysia. The existing laws refer to the National Heritage Act 2005 as well as the States’ heritage enactments that provide for the preservation of cultural heritage resources at both federal and state levels. The problems to be addressed include, inter alia, lack of proper understanding on the nature of ICH and the narrow interpretations and scope of ICH. This article concludes with some recommendations for legislative reform to better protect ICH and ensure the rapid development of tourism in Malaysia. Keywords: Intangible cultural heritage, preservation, tourism product, safeguarding, cultural tourism Introduction The tourism industry has become one of the largest growing sectors in the world, contributing Gross Domestic Product (GDP) to many countries including Malaysia (United Nations Educational and Scientific Organization [UNESCO], 2008). -
B29 Pegawai Kebudayaan
Peg. Kebudayaan B29 - KTII (Teori) PP KJ KK JUM 1 - - 1 No. Kad Pengenalan: ___________________ PEPERIKSAAN PERKHIDMATAN PEGAWAI KEBUDAYAAN B29 KERTAS II (TEORI) Tarikh : 23 September 2020 (Rabu) Masa : 9.00 pagi – 10.00 pagi (1 jam) Tempat : Kampus Induk ______________________________________________________________________________ ARAHAN KEPADA CALON Kertas ini mengandungi LIMA PULUH (50) soalan berbentuk objektif. Jawab semua soalan. Setiap soalan bernilai dua (2) markah. Bulatkan jawapan anda pada kertas soalan dan kembalikan kepada Pengawas apabila tamat peperiksaan. Calon TIDAK DIBENARKAN membawa keluar kertas soalan. Sila serahkan kertas soalan bersama-sama buku jawapan kepada Pengawas sebelum meninggalkan dewan. Kertas soalan ini mengandungi 10 muka surat termasuk muka hadapan. JANGAN BUKA KERTAS SOALAN SEBELUM DIARAHKAN Peg. Kebudayaan B29 - KTII (Teori) 2 Jawab SEMUA soalan. 1. Dasar Kebudayaan Kebangsaan berteraskan tiga prinsip berikut, KECUALI A. Berteraskan kebudayaan asal rakyat asal rantau ini B. Menggalakkan semangat etnosentrik dalam kalangan rakyat C. Islam menjadi unsur penting dalam pembentukan kebudayaan kebangsaan D. Unsur-unsur kebudayaan lain yang sesuai dan wajar diterima 2. Sebuah persembahan boria mesti dimulakan dengan :- A. Tarian B. Muzik C. Sketsa D. Nyanyian 3. Tarian Ayam Didik berasal dari negeri :- A. Kedah B. Perlis C. Perak D. Negeri Sembilan 4. Di dalam persembahan Makyung, props utama yang digunakan oleh Pakyong ialah :- A. Parang kayu B. Busur dan anak panah C. Pedang D. Rotan berai 5. Berikut merupakan instrumen Gamelan Malaysia KECUALI A. Bonang B. Saron C. Canang D. Gambang 6. Berikut merupakan instrumen muzik wayang kulit KECUALI A. Mong B. Gedombak C. Tetawak D. Rebab Peg. Kebudayaan B29 - KTII (Teori) 3 7. Tujuan tarian Sumazau dipersembahkan ialah :- A. -
Musical Practice of Malay 'Traditional'
ARTICLE Musical Practice of Malay ‘traditional’ forms Malay Community Much has been written about the little that is known about pre 19 th century Singapore, among the recent works being the Singapore History Museum's Early Singapore 1300s - 1819: Evidence in Maps, text and Artefacts . However, references to music can be found in the classical Malay text Sejarah Melayu (Malay Annals) that traces the origins and descent of Malay royalty. Although the Sejarah Melayu is a work belonging to more traditional literary genre than history, it nevertheless provides some clue to what type of music could have been performed and heard in prior to the arrival of the British. Here, mention is made of the queen of Bintan, Iskandar Shah who is said to have been the first to use or instituted the nobat , which refers to both a drum as well as a royal orchestra that performs during a ruler's coronation, Bagindalah yang pertama nobat, maka diturut oleh segala raja-raja yang di bawah angin ini. 1 The significance of the nobat lies in that it is believed that the ruler will not be accepted unless the nobat is played. More interestingly however, according to the Sejarah Melayu , Iskandar Shah was the mother of Sang Nila Utama, the founder of Singapore. 2 Excavations by historian and archaeologist John Miksic however has not revealed any musical instruments although Miksic does mention the limitation of his work owing to extraneous factors. Miksic also points out objects that have yet to be identified. Nevertheless, he does however suggest that Fort Canning was once the site of religious activity, craftsmen's workshops and a palace. -
Bk2 Layout Akhir.Indd
11 OGOS 2008 ISSN : 1397-7443 ISNIN BIL 2 JILID 41 RM 0.50 Berita SUARA DARI MENARA ILMU KampusELAK MUSNAH.. USM BINA KABINET SIMPAN RANGKA MANUSIA Berita Selanjutnya M/S 4... Sekitar Kampus Heboh Buku 2008 Variasiswa Bukti Mahasiswa USM Lancar 30 Buku Bersatu di universiti tetapi juga untuk tujuan M/S 6 kerja kursus dan peperiksaan. Naib Canselor USM, Prof. Tan Sri Datuk Dzulkifli Abdul Razak yang turut hadir di majilis tersebut Personaliti berkata, penerbitan buku merupakan satu sumbangan besar USM kepada Ooi Hock masyarakat dalam usaha menambah khazanah ilmu. Tiam Buktikan “Buku-buku ini akan menjadi Kemapuan Diri sumber rujukan untuk masyarakat umum dan para penyelidik M/S 19 yang sememangnya dahagakan pengetahuan serta maklumat yang terkini sebagai wadah pencetus kreativiti dan inovasi,” katanya. Dzulkifli berkata, kepelbagaian Kembara tajuk penerbitan yang berkualiti dihasilkan berkat sinergi penyelidik Pulau Redang tempatan dan luar negara akan Gamit Ramai mengangkat martabat universiti ke Yang di-Pertua Negeri Pulau Pinang, Tun Datuk Seri Utama Dr Abdul Rahman Abbas tandatangani mercu kegemilangan di mata dunia. Pengunjung buku pernerbitan USM Beliau juga berharap program seperti ini menjadi suatu tradisi M/S 25 Oleh Noor Malini Mohamad di mana sahaja,” kata beliau. rujukan semua,” ujar beliau. Penerbit USM dan universiti untuk Siti Fatimah Yazid Beliau berkata demikian pada Beliau turut menegaskan, masih mendekati masyarakat dalam Majlis Penutupan Rasmi Heboh Buku banyak lagi yang harus dilakukan usaha menyebarkan ilmu dan uku harus terus menjadi 2008 dan Pelancaran Buku Penerbit terutamanya dalam membanyakkan menghebahkan perkembangan sumber ilmu yang berguna USM yang diadakan di Queensbay hasil penerbitan yang dapat menjadi universiti kepada umum. -
Gramophone Records and Radio in the Late Colonial Era, 1903-1942
Music and media in the Dutch East Indies: Gramophone records and radio in the late colonial era, 1903-1942 Philip Bradford Yampolsky A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Philip D. Schuyler, Chair Ter Ellingson Laurie J. Sears Program Authorized to Offer Degree: Music © 2013 Philip Bradford Yampolsky University of Washington Abstract Music and media in the Dutch East Indies: Gramophone records and radio in the late colonial era, 1903-1942 Philip Bradford Yampolsky Chair of the Supervisory Committee: Associate Professor Emeritus Philip D. Schuyler Music This dissertation is intended as an ethnomusicological contribution to the history of music and media in Indonesia. It deals with topics and resources that have never been systematically examined for this region: gramophone records and radio broadcasting from the years before World War II, the last years of Dutch colonial control. The gramophone records are our only documentation of the sound of Indonesian music in the years before World War II. This dissertation tries to identify (and to some extent provide) the information one needs in order to understand the records and, by extension, stylistic trends during the pre-war period. Ultimately it is meant as an argument for the importance of making use of historical recordings and discography in ethnomusicology. The use of gramophone records from before World War II (“78s”) in musicology and ethnomusicology is growing. Robert -
Composing Malaysian Popular Music for the Orchestra in the Early 21St Century
Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Pek, Isabella (2021) Composing Malaysian popular music for the Orchestra in the early 21st century. PhD thesis, Middlesex University. [Thesis] Final accepted version (with author’s formatting) This version is available at: https://eprints.mdx.ac.uk/33063/ 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.