THE INFLUENTIAL MUSICAL COMPOSITIONAL TOOLS OF MALAY POPULAR MUSIC IN MALAYSIA OF THE MID 20th AND THE EARLY 21st CENTURY

James P. S. Boyle, Mohd Nasir Hashim, Y. Chang
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Abstract

In the mid-20th century, it is noteworthy that Malay popular music composed in this era was heavily influenced by various stylistic and cultural musical forms of both the traditional Malay styles such as asli, inang, joget, zapin and even keroncong, and also by Western idioms and styles. Branded as jazz ballads in the Mid-20th Century, Malay popular music is a key subject in unveiling the musical changes in the Malay popular music history of Peninsula Malaysia. In the 1960s, there was a trend to compose Malay popular music with heavily influenced idiomatic jazz harmonics in the many various Western styles. In the early 21st century, as it has musically and stylistically evolved, Malay popular music became closely associated with the continuous dissemination of patriotic songs in Malaysia as well as an amalgamation of the various trending styles of the Western hemisphere such as funk, pop, rhythm and blues, gospel and even rock music. Throughout it all, the continued and consistent harmonics of Jazz Music have been an ever-present tool for many Malay Popular Music composers since the early years of independence. This paper will focus on four chosen compositions, two from each of the time frames in focus and each tune will have an analysis from a singular compositional viewpoint, be it melodic (Gema Rembulan-Jimmy Boyle, 1956), chordal (Air Mata Berderai-Alfonso Soliano,1964) or the dissertation of the song-form (Selingkuh Kasih-Mokhzani Ismail,2006 & Gemilang-Aubrey Suwito,2005). Through the analysis of the chosen musical scores, this paper intends to reintroduce and refresh the essential elements of composing a Malay Popular Music composition as well as the musical influences and changing mindsets of approach on the different compositional styles of Malay popular music, its culture, and identity, of the mid-20th and the early 21st centuries of Malaysia to the current and future composers of this genre.
20世纪中期和21世纪初马来西亚流行音乐中有影响力的音乐创作工具
在20世纪中期,值得注意的是,在这个时代创作的马来流行音乐深受各种风格和文化音乐形式的影响,既有传统的马来风格,如asli, inang, joget, zapin和evenkeroncong,也有西方的习语和风格。马来流行音乐在20世纪中期被称为爵士民谣,是揭示马来西亚半岛马来流行音乐史上音乐变化的关键主题。在20世纪60年代,有一种趋势是在许多不同的西方风格中,用习惯的爵士和声来创作马来流行音乐。在21世纪初,随着音乐和风格的发展,马来流行音乐与马来西亚爱国歌曲的不断传播以及西半球各种流行风格的融合密切相关,如放克,流行,节奏和布鲁斯,福音甚至摇滚音乐。纵观这一切,爵士音乐的持续和一致的和声一直是一个无处不在的工具,许多马来流行音乐作曲家自早年独立。本文将重点关注四个选定的作品,每个时间框架中有两个,每个曲调将从单一的作曲角度进行分析,无论是旋律(Gema Rembulan-Jimmy Boyle, 1956),和弦(Air Mata Berderai-AlfonsoSoliano,1964)还是歌曲形式的论文(Selingkuh Kasih-MokhzaniIsmail,2006和Gemilang-Aubrey Suwito,2005)。通过对所选乐谱的分析,本文旨在重新介绍和更新创作马来流行音乐作品的基本要素,以及20世纪中期和21世纪初马来西亚马来流行音乐的不同创作风格,其文化和身份的音乐影响和不断变化的思维方式,以当前和未来的这一流派的作曲家。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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