Malay Music in Singapore by Muhammad Hafiz Bin Salleh, Written in August 2010 National Library Board, Singapore

ARTICLE Malay Music in Singapore by Muhammad Hafiz bin Salleh, written in August 2010 National Library Board, Singapore Its forms and genres have evolved through the ages, but the unmistakeably Malay sound and feel of the music remains constant. Introduction Malay music in Singapore dates back to the early 19th century. Highly influenced by the early migrants to Singapore, it began its development in an environment rich with diverse music forms brought to Singapore by the migrants who hailed from different parts of Indonesia and Malaysia. Because of its small size and intense activity, Singapore grew into a hub for Malay music, although there is little published documentation about this strand of Malay history. From the earliest times, there existed several music genres, including Asli , Malay music is characterised by its slow and gentle melodies and simple lyrics that often tell a moving story; Zapin, a traditional dance that originated from the Middle East involving rigorous, well- coordinated hand movements and intricate footwork, accompanied by singing and music created with instruments like the violin, harmonium, accordion and gambus ( lute ); and the ever popular Dondang Sayang , a vocal performance in which two parties converse with each other using quatrains. This is usually performed during Peranakan weddings. When the Malay film industry blossomed in the ‘50s and ‘60s with almost 50 films produced by the Malay production houses in Singapore, Malay music too enjoyed much exposure, since music was an essential element in Malay films. The separation of Singapore from Malaysia meant that the film and music action shifted to Kuala Lumpur, to tap on the huge domestic market in Malaysia. The 1970s and 1980s saw new genres being created, ushering in a new era of Malay music, from re-recorded English/Western songs being made into Malay cover songs and Malay rap music, to jazz, pop and spiritual music. Origins of Singapore Malay Music Native Malays started producing music well before the pre-war years. This included original native and area music that often differed from one group to another. Not much is known about the history of Malay music in Singapore, mainly because the lack of documentation makes it difficult to ascertain specific time frames. Native Malays were also known to have been innately modest, with composers and musicians often not putting their names to their works. As a result, no one knows who composed some of Singapore’s most well-known old Malay songs, such as All Rights Reserved, National Library Board, Singapore ARTICLE Geylang Si Paku Geylang and Di Tanjung Katong. They are sung every year during National Day but no one is certain of who wrote them. The earliest physical recorded evidence of Malay music lies in what could well be the first vinyl featuring a Malay song in Singapore. The recording was done in May 1903, and the song was entitled Nuri Terbang Malam (The Parrot that Flew at Night) sung by a male singer by the name of Qasim. This piring hitam (black plate) , as vinyls are called in Malay, was produced in Singapore with the help of Fred Gaisberg, a sound engineer, and his colleague, George Dillnutt, from the Gramophone Company. It was one of the many recordings that the company did during their exploration of the Far East. Singapore was one of the stops for the duo in their bid to record music outside of Europe. They set up a branch of the company in Calcutta (Kolkata) in 1901, which became a centre for producing music in the region. Not much is known about the song and the singer Qasim. Another one of the earliest records of Malay songs is believed to have been recorded in 1914. During this time, Bangsawan (Malay opera) songs that were recorded included Jula Juli Bintang Tiga , Inderagiri and Bintang Terbit, songs which were well received and popular until the 1950s. Recordings before the 1950s were mostly produced in England, India and West Germany. A well-known record label at that time was HMV (His Master’s Voice). These early recordings are evidence that music creation was alive and well as early as the turn of the 20th century. Asli (Original) Malay Songs This genre is often described as “oldies” music because of its slow melody and tempo which are designed to accentuate the Malay values of poise and grace. Asli Malay songs are recognisable by the simplicity of their lyrics, which usually tell a heart-tugging story. These features, among others, made Asli Malay songs popular in its time. The concept of an Asli Malay song is unique and wholesome. The ensemble – usually five or six musicians – begins the song by playing an introduction, followed by the singer who sings the lyrics, which are usually written in a pantun (quatrain) form. It appears deceptively easy to sing Asli songs, but it requires a special talent. The challenge lies in the fact that sometimes the lyrics are sung in such a way that the first part of it is halted and then dragged and intertwined into a different paragraph. Singers also have to manage the sometimes erratic tempo of the songs. Asli Malay songs use pantun as lyrics. Arguably the most unique heritage of the Malays, the pantun is either composed or improvised. Each pantun created is unique because of its structure - two, four, or six verses – and its message. All Rights Reserved, National Library Board, Singapore ARTICLE Accompanying instruments include the gendang (drum), the akordian (accordion), the biola (violin), the gitar bass (bass guitar) and the rebana (hand drum). These are usually played on festive occasions such as a majlis keramaian (festive congregation) or weddings to entertain guests. The violin is used in this very traditional music form, although it is not native to the Malays. This was due to the colonial influence, which saw Malay composers for the first time learning how to write and read musical notes, document their works and learn to play Western instruments. Dondang Sayang – The Love Ballad Dondang Sayang is a folk genre with distinctive artistic elements. Similar to Asli music, the melody and tempo of the Dondang Sayang is slow and at points melancholic. The term “Dondang” is derived from the word “ dendang”, which means to sing. “ Sayang” on the other hand, carries the different manifestations of love, longing or even dejection. To put it simply, Dondang Sayang is a song usually sung by those in love, in times of happiness or sadness. This genre is known to have been heavily popularised in Malacca as far back as the 15th century. One of the earliest Dondang Sayang composers is believed to have been the princess of Bintan known as Wan Benai, in the year 1159. Mentioned in historical references, the Lagu Gunong Sayang , found between 1832 and 1835 in Malacca, is also believed to be an early reference to the Dondang Sayang sung in Sumatra and Riau. The art continued to be closely associated with the Riau courts until their demise in 1911. The Dondang Sayang is considered a syncretic-based song, which means a change in value and form which emerges when elements of two or more cultures are blended, in this case, the Malay and Chinese cultures blending to form the Peranakan culture. The musical instruments used for Dondang Sayang consists of the violin, the gong, the rebana and the gendang . The music itself is slow, and a song usually consists of 32 bars. A typical group consists of two singers – ideally a man and a woman – and four musicians. Some instruments are sometimes substituted for others. The female singer will begin by menjual pantun (“selling” her quatrain) to the male singer. Sometimes it might be the other way round. Then the other party will attempt to membeli pantun or “buy” the quatrain. This process of jual-beli pantun (buying and selling quatrains) is akin to asking and answering questions. The difference is that quatrains are used instead of conventional sentences and are presented in a song. Its style is somewhat informal and its lyrics usually delve into the areas of love. This includes teasing – usually done by the male to the female – passion, rejection, and even yearning. This All Rights Reserved, National Library Board, Singapore ARTICLE traditional duet is usually performed at mass gatherings in the villages, during royal ceremonies and weddings. Well-known Malay Dondang Sayang performers include R. Ismail and Hasnah Karan. As this genre is not solely confined to the Malays, Dr. William Tan, Koh Hoon Teck, and Tecy Lei from the Gunong Sayang Association – established in 1901 in Singapore – are equally experts in this field of Malay music. Malay Pop Music Malay pop music was popularised by the Bangsawan troupes in the 1920s and 1930s. Bangsawan has its roots in Indian opera, where these performances were usually showcased to the rich and famous Persians who resided in India. When pilgrims and missionaries came to Southeast Asia, they brought with them the Bangsawan culture. To suit the local environment, the music and songs were given a Malay flavour and these were popular until the ’50s. It is believed that the earliest Malay pop song was Tudong Periuk (A Pot’s Cover), sung by female artiste Momo Makarim, better known as Momo Latif, recorded in 1930. It was during this time that many singers emerged. Due to its commercial appeal, Malay pop music developed rapidly. Influences from Hindi movies were the most apparent, with cha-cha, samba, limbo, rumba, mambo, tango and bossa nova playing into Malay music as well. Among the famous singers who garnered strong support from the community were R. Azmi, Ismail Kassim, Nona Asiah, Saloma and many others.

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