APSMER2017 PROCEEDINGS

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Proceedings of the 11th Asia-Pacific Symposium for Music Education Research (APSMER 2017) 19th to 21st July 2017, Melaka MALAYSIA The ornamentations are used to give the melody the unique traditional style of the Zapin. Figure 2: Viola Double Stops in Pantun Budi. Piano Techniques In this arrangement of Pantun Budi, the piano serves primarily as the ‘rhythm section’, providing not only the rhythmic drive, but also the harmony that supports the melody and countermelody played by the flute and viola. After the introductory rubato flute solo, the piano opens the middle section with a percussive Kopak pattern that sets the tempo, as well as the rhythmic energy of the Zapin (Figure 3). This Kopak pattern continues until the end of the piece. Figure 3: Piano Solo (Kopak Pattern) from Pantun Budi. The piano part is accessible and suitable for an intermediate player with a strong sense of rhythm. The chords are fully notated, with a comfortable voicing and chord progression, which is helpful for a classical pianist who may have limited experience with reading chord symbols. The most challenging part for the pianist is the opening of the middle section and the coda. In both sections, the right hand plays the melody in mostly consecutive octaves, while the left hand plays the Kopak rhythmic pattern, which involves leaping between octaves in the lower register and chords in the middle register of the piano. Zapin as Educational Material While Zapin music is performed widely by Malaysian musicians, due to a lack of availability of published scores, this vibrant music is much less known to Western classical players. Institutions such as the Faculty of Music and Performing Arts, Universiti Pendidikan Sultan Idris, recognise the importance of promoting Malaysian music and Malaysian composers, and have already implemented the requirement for students to play at least one Malaysian work in their Applied music examination performances. This research has in part come about in response to the need for scores which cater for the growing number of students playing Western classical instruments, such as flute, viola and piano at Malaysian educational institutions. These scores will also provide an opportunity to expand the repertoire for ensembles of classical instruments and to enrich the performing skills of ensemble members. This will enable both musicians to develop an understanding of the cultural and historical contexts of traditional music and its proper execution. 32
Proceedings of the 11th Asia-Pacific Symposium for Music Education Research (APSMER 2017) 19th to 21st July 2017, Melaka MALAYSIA Importance of the Research Including the Zapin genre as educational music material may be beneficial for students to deepen their understanding of the different musical traditions of Malaysia, while developing knowledge about the social, cultural and historical contexts of this music. Additionally, students may develop skills in interpretation through a better understanding of the stylistic elements and form of Zapin music. Conclusion The creation of a published collection of Malay Asli music arrangements is likely to increase international awareness and appreciation of the traditional music of Malaysia. This article has focused on the first of this collection of scores which will provide musicians across the globe with the opportunity to learn how to play traditional Malay Asli music in a Western classical ensemble. It is hoped that students who play Western classical instruments will be able to benefit from using this new score for flute, viola and piano, towards an increased awareness and understanding of the Zapin style. By playing through this score, students can come to a better understanding about the correct execution of ornaments, as well as traditional Malay ensemble performance in general. Acknowledgements This project is funded by an FRGS research grant entitled “Sourcing and Preserving Malay Asli Music Through the Development of a Book of Music Score of Arrangements for Small Ensembles, with an Accompanying CD”. The authors wish to thank Universiti Pendidikan Sultan Idris and the Malaysian Government for their support of this research. References Chye, G. N. K. (2016). Violin in ensemble for dance: Improvisatory styles in the ‘adopted’ Malay dances of Zapin. In G. Jähnichen (Ed.), Studia Instrumentorum Musicae Popularis IV (New Series) (pp. 217-224). Münster: MV-Wissenschaft. Ho, S. (2015). Dondang sayang. Retrieved from the Singapore Infopedia website: http://eresources.nlb.gov.sg/infopedia/articles/SIP_495_2004-12- 20.html Matusky, P. & Tan, S. B. (2004). The music of Malaysia: The classical, folk and syncretic traditions. Hampshire: Ashgate. Mohamed Ghouse Nasuruddin. (2007). Traditional Malaysian music. Selangor Darul Ehsan: Malaysia. Mohd Anis Md Nor. (2001). Blurring Images, glowing likenesses: Old and new styles in traditional dances of Malaysia. Yearbook for Traditional Music, 33, 65-71. doi:doi:10.2307/1519631 Mohd Anis Md Nor. (2009). The spiritual essence of Tawhid (Oneness- Peerlessness) in zapin dance performance by the beholders of the 33
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