An Exploration of the Malay Kompang

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Name: Chan Tsui Sze Dora
Matriculation Number: U1210644K
Seminar Group Time: 1330 – 1530
Seminar Group Instructor: Cikgu Zubir
Assignment: Research Paper in Malay Music
Date: 10 April 2013
Word Count: 2245


Chapter 1: An Introduction to the Kompang 3 1.1 Features of the Kompang 4 1.2 Features of Kompang Music 4 1.3 Performance Context 6
Chapter 2: Influences on the Malay Kompang 7 2.1 Arabic Influences 7 2.2 Portuguese Influences 9 2.3 Thai Influences 11 2.4 African Influences 12
Chapter 3: Future Changes in the Malay Kompang 14
3.1 Pop and Media Influences 14
3.2 Western Influences 15
Chapter 4: Conclusion
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Additionally, there are even more types of Pukulan found in various forms of dance music (Abdullah, 2005). A summary of the different Pukulan specific to the Kompang Ezhar community is shown in Figure 1 below:
Figure 1: A summary of the various types of Pukulan found in the Kompang Ezhar (Abdullah, 2005)

In Kompang, rhythm is mainly characterized by the interlocking of different parts divided within the Kompang ensemble. Interlocking is basically done with two or more Kompangs playing simultaneously, with one part playing the Basic beat which is usually the downbeats; another part playing the Rhythm beat which is usually the off beats; and an additional part(s) playing the Leading beat which is usually characterized by triplets or a syncopated rhythm that creates a unique interlocking texture specific to the Malay Kompang musical genre (Hahril, 2010). In addition, instrumentation is a musical element that is relatively fixed in Kompang; there is usually a group of Kompangs playing together, and occasionally, accompanying voice.

1.3 Performance Context

In the Singaporean context, the Malay Kompang is usually seen performed at weddings and celebratory ceremonies, or at traditional showcases. As the Kompang is usually performed in large, open spaces, it

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