TRADITIONAL I N S T R U M E N TMUSIC
CONTENT PAGE 1 . 0 A N G K L U N G 1 . 1 i N T R O D U C T I O N 1 . 2 H I S T O R Y 1 . 3 F U N C T I O N 1 . 4 T E C H N I Q U E S 1 . 5 T Y P E S 1 . 6 T H E M A L A Y C O N C E P T O F A E S T H E T H I C 1 . 0 R E B A B 1 . 1 i N T R O D U C T I O N 1 . 2 H I S T O R Y 1 . 3 F U N C T I O N 1 . 4 T E C H N I Q U E S 1 . 5 T H E M A L A Y C O N C E P T O F A E S T H E T H I C 1 . 0 K O M P A N G 1 . 1 i N T R O D U C T I O N 1 . 2 H I S T O R Y 1 . 3 F U N C T I O N 1 . 4 T E C H N I Q U E S 1 . 5 T H E M A L A Y C O N C E P T O F A E S T H E T H I C 1 . 0 C A K L E M P O N G 1 . 1 i N T R O D U C T I O N 1 . 2 H I S T O R Y 1 . 3 F U N C T I O N 1 . 4 T E C H N I Q U E S 1 . 5 M O T I F 1 . 6 T H E M A L A Y C O N C E P T O F A E S T H E T H I C 1 . 0 G A M B U S 1 . 1 i N T R O D U C T I O N 1 . 2 H I S T O R Y 1 . 3 F U N C T I O N 1 . 4 T E C H N I Q U E S 1 . 5 M O T I F 1 . 6 T H E M A L A Y C O N C E P T O F A E S T H E T H I C 1 . 0 S E R U L I N G 1 . 1 i N T R O D U C T I O N 1 . 2 H I S T O R Y 1 . 3 F U N C T I O N 1 . 4 T E C H N I Q U E S 1 . 5 T Y P E S 1 . 6 T H E M A L A Y C O N C E P T O F A E S T H E T H I C 34567 8-10 11-13 141516 17-18 19-22 23-25 26272830 31-33 34-36 373839 40-41 4342 44-46 47484950 54-60 61 62-63 47484950 54-60 61 62-63
A N G K L U N G
Art and human existence share an inseparable bond, with art serving as a medium for expressing emotions and ideas. In the cultural context, art is crucial, reflecting and shaping the identity of a society. Cultural heritage, like the Indonesian angklung music, faces extinction, prompting concern from officials. The Minister of Culture in Indonesia expressed worry over the potential loss of 150 heritages, including the endangered angklung. In Malaysia, angklung encounters a different challenge—limited acceptance and viewed as secondary compared to other instruments. Declining supply rates lead to increased reliance on imports from Indonesia, further impacting the fate of this traditional musical instrument.
The angklung, a bamboo musical instrument, originates from Sunda, Java Island, deeply ingrained in Sunda's culture. Dr. Groneman notes its archipelago-wide appeal, even predating the Hindu era. Initially a tool for worship, particularly invoking Dewi Sri for bountiful harvests, angklung's significance evolved. It faced ownership debates, spreading across regions like South Sumatra, Kalimantan, East Java, Bali, and Central Java since 1985. Designated a cultural heritage in 2011, angklung served not only ritualistic purposes but also contributed to Islamic missions and resistance against Dutch colonialism. Ponorogo community in Johor pioneered its integration into Malay dances, showcasing its adaptability across various music genres.
Angklung as a Reminder of Prayer Time Traditional communication tool in the Padjadjaran kingdom Used during prayer times to remind the Hindu community Passed down through generations, fostering religious unity Angklung in Post-Stroke Therapy Doubles as a tool for post-stroke therapy Encourages cross midline movements, enhancing brain fitness Angklung for Character Formation Promotes teamwork and responsibility in children Playing fosters traits like honesty, tolerance, and concentration Angklung as a Spirit-Pumping Instrument Historically used during the Bubat war in the Padjadjaran kingdom Creates beautiful harmony, serving as instrumental music Historical records by Sulastomo (2017) depict angklung as a source of emotional strength and enthusiasm in conflicts Wirawan (2019) emphasizes its role in preserving spirit and morale during historical events.
Kurulung Technique Introduction to the kurulung technique as the fundamental method of playing angklung. Explanation of the positioning and the quick left-right shaking to produce uninterrupted sound. Scoop Technique Introduction to the scoop technique (Centok) involving hitting the horizontal tube at the base of the angklung with the palm. Emphasis on the tilted position for resonance and comparison to the staccato or pizzicato sounds of a plucked violin. Tengkep Technique Basic technique involving vibrating a large tube while holding the small tube Small tube held with the little finger or has a stopper to prevent vibration Angklung in a straight position, producing a softer sound for solemn, sad, or mystical atmosphere Rarely used by beginners due to complexity, recognized for contributing to musical diversity
Dogdog Lojor Angklung Linked to rice rituals like angklung Kanekes Used in the Seren Taun event in Kampung Gede by the Kasepuhan Pancer Pangawinan community Angklung Kanekes Originates from Kanekes Village, Banten Follows strict traditional rules Exclusive to specific individuals of particular descent Holds cultural significance in preserving Baduy ancestral traditions
Badeng Angklung From Sanding Village, Garut Emphasizes the musical aspect, geared towards Islamic da’wah Allegations of use in rice planting rituals Text contains Sundanese and Arabic, conveying Islamic values Gubrag Angklung From Kampung Cipping, Bogor Used in ceremonies honoring the rice goddess Very old, per local traditional leaders Employed in rituals: 'melak pare,' 'ngunjal pare,' and 'ngadiukun ka leuit'
Pak Daeng Angklung Daeng Soetigna, a music maestro, observed students' disinterest in traditional music due to rare, expensive European instruments. Inspired by a busker, Daeng Soetigna learned and transformed the angklung into chromatic diatonic scales. Buncis Angklung In Baros village, Bandung Used in agricultural ceremonies and performing arts entertainment Synonymous with the famous Sundanese song 'cis kacang buncis' Known for accompanying the song in Sundanese society
FINESSE The first principle is finesse, which expresses the delicacy of the art of the objects and the chosen media. The inspiration originated from nature that embraces the formation of the material of the work of art. The design of angklung is familiar with fine lines as the bamboo itself has natural lines. The lines and shape already on the bamboo makes the Malay concept of aesthetic on angklung so obvious. USEFULNESS Usefulness in Malay Angklung design emphasizes usability for both aesthetic and utilitarian purposes. This principle reflects the communal sharing practices, allowing people of all ages, from children to adults, to engage with angklung. For instance, Sekolah Menengah Kebangsaan Taman Seri Muda, Seksyen 25 Shah Alam showcases the inclusivity of angklung, with youngsters forming their own team alongside adult musicians.
CONTRAST The fourth principle, contrast, enriches angklung design with harmonious differences in bamboo sizes and frame colors. This dynamic interplay ensures flexibility, harmony, and balance, essential for producing the distinctive and balanced sounds that characterize the angklung. The contrasting dark frame and lighter bamboos contribute to the overall visual appeal. UNITY The principle of unity in Malay Angklung design embodies the assimilation of form and content, reflecting in both the physical arrangement of bamboo tubes and the harmonious sounds they produce. Organized from smallest to largest, the bamboos create a visual and auditory continuum, showcasing the complexity and sophistication of Malay heritage. This dual unity, visual and auditory, serves as a symbolic representation of the interconnectedness within Malay cultural identity.
SIMBOLIC The last principle is the symbolism that is used to find the integration and unification between form and content. This principle reveals the symbolic meaning that is associated with the Malay’s history, traditions, beliefs and roots. The principle of the symbolism is the depiction of bamboo. According to the Malay community, humans and the environment have a strong connection. Bamboo is not only used as food or water container but also it can be used as a music instrument for example like angklung. To make bamboo as a symbol for the Malay community, the Malays society took initiative to preserve angklung as a musical instrument based on bamboo.
R E B A B
INTRODUCTION REBAB The rebab is a three-stringed chordophonic Malay traditional musical instrument. The instrument has an elongated triangularshaped body carved from hardwood, usually the wood of the jack-fruit tree. The front face of the body is covered with a layer of the cow’s inner stomach, and a small lump of bee’s wax is attached to the upper left side of the stretched skin. The rebab commonly referred to as the spiked fiddle is played with an intricately carved bow. The rebab is the melodic instrument in the Mak Yong and the Main Petri ensemble. In the Tarik Selampit tradition the rebab appears as a solo instrument played by Tok Selampit himself.
HISTORY The rebab's origin is from the Middle East, then it went to Persia, India, and finally reached the Nusantara islands. Even though it started as a foreign musical instrument, when people played it here, it got its own unique style, different from the music in its home country. In Arabic, they call it "Rabab," and it got improved with a bow. In Afghanistan, it's called "Rubab," and in Persian, it's "Rabab," meaning a group of stringed instruments. Around the 8th century, it traveled to Western Europe as a cello and later became the violin we know today. Passing through Turkey and Central Asia, it reached Persia, India, China, and eventually Southeast Asia. The first Malay region where the rebab became popular was in Patani (Thailand), Kelantan, Terengganu, and Kedah.
FUNCTIONMak Yong is a traditional dance and theater art originating from Kelantan, Malaysia. It involves dance movements, hand gestures, and dramatic vocalization that portray folk stories Main Tarian Melayu Puteri is a popular traditional dance in Malaysia. It is performed by female dancers with graceful and delicate movements, accompanied by traditional musical instruments.
FUNCTION Main Tarik Selampit is a type of traditional Malay game played by a group of children who pull a rope (selampit) in sync with the rhythm of a sung song Wayang Kulit is a traditional Malay theater art that uses leather puppets embroidered and painted to represent characters. It is performed by a puppeteer (dalang) using hand movements
TECHNIQUESPlaying the rebab musical instrument starts with a dance facing the instrument to make sure it sounds good. The player uses a bow to stroke the rebab's strings from left to right. The bowstring touches the strings, held in place with pegs. When the strings are stroked, the vibrations travel to the skin on the front, which acts like a speaker to make the sound louder. The rebab's skin is made from dried cowhide for a better sound. The player sits crosslegged and places the rebab in front to play it. Che Mat Jusoh, also known as Raja Rebab, fight for traditional Malay musical instruments, especially the rebab. He successfully brought changes to the tuning system by introducing musical notes and innovated a new rebab using modern methods. HOW TO PLAY REBAB?
COMPONENT Kecopong Pemulas Susu Tali (Penutup) Penggesek Kemban (Tali)
. PROCESS MAKING REBAB Material Selection: Choose quality wood for the rebab body, often using jackfruit, acacia and chengal wood. cut the wood until it becomes the shape that has been Body Carving: Carve the wooden body of the rebab, shaping it into a traditional shape Carve the wood until a hole is formed TECHNIQUESA long-shaped piece of wood will be pulled to make the rebab handle. The rebab part is examined to place the string - piercing holes using a hole-punching machine.
TECHNIQUESCreating a Resonator: Attach the dried cowhide to the front of the fiddle, forming a resonator.The purpose of this cowhide is to enhance the sound of the rebab Final Touches: Apply finishing touches to the fiddle, such as varnishing or adding decorative elements. The assembly process involves attaching all the completed parts of the rebab to the rebab body. Each string is tied to the tuning peg.
MALAY AESTHETIC Usefulness The usefulness of the rebab in Malay culture extends to its role in conveying narratives, historical accounts, and cultural values through music. As a tool for artistic expression, the rebab is utilized to communicate emotions, evoke nostalgia, and preserve the oral traditions and folklore of the Malay people. The rebab's usefulness extends to its participation in communal gatherings, religious ceremonies, and celebratory events. Its presence enriches the ambiance and emotional depth of these occasions, contributing to the cultural fabric and communal bonding within Malay communities. Finesse The concept of finesse emphasizes the musician's ability to delicately manipulate the instrument, producing precise notes, subtle ornamentations, and nuanced variations in tone and dynamics. It entails a mastery of the rebab's techniques and a deep understanding of the music being performed, allowing the musician to convey emotions, moods, and nuances within the melodies.
MALAY AESTHETIC Unity Unity in rebab music represents the interconnectedness between music, cultural identity, and communal values within Malay society. It symbolizes the integration of diverse influences, traditions, and perspectives into a unified expression of artistic beauty, thereby fostering a sense of togetherness, cohesion, and shared heritage within the community. Contrast Contrast in rebab music involves skillfully blending different musical components, such as dynamics, tempo, tonal qualities, and mood, to highlight differences and create a compelling and multifaceted musical experience. Musicians playing the rebab utilize contrast by alternating between various musical elements, such as playing soft and loud passages, employing different tempos or rhythmic patterns, or transitioning between melancholic and lively melodies.
MALAY AESTHETIC Symbolic The rebab serves as a symbol of cultural heritage, embodying traditions, values, and the interconnectedness between music and Malay identity. Its historical roots, presence in various ceremonial, spiritual, and artistic contexts, and the craftsmanship involved in its creation all contribute to the instrument's symbolism, evoking a sense of cultural pride and identity. The rebab's symbolic significance extends to its role as a medium for storytelling and the preservation of oral traditions within Malay communities. Through its melodies and musical expressions, the rebab communicates narratives, folklore, and moral lessons, serving as a conduit for transmitting cultural knowledge and preserving the collective memory of the community.
K O M P A N G
The kompang is a type of traditional musical instrument belonging to the membranophone family. Resembling a shallow basin, it is divided into two main parts: the body, known as "baluh," and the frame, termed "belulang." The frame, which forms the outer structure of the kompang, is crafted from the wood of the jackfruit tree, providing a sturdy and resonant foundation. On the other hand, the belulang, which encompasses the drumhead, is made from goat skin. This combination of materials, with the wooden frame and goat skin drumhead, contributes to the distinctive and dynamic sound produced by the kompang. The meticulous crafting of these components reflects the traditional craftsmanship passed down through generations, emphasizing the cultural significance and artistry embedded in this traditional Malay musical instrument. Beyond its role as a musical device, the kompang also serves as a cultural symbol, connecting individuals to their heritage and contributing to the vibrant tapestry of traditional Malay arts. INTRODUCTION
The kompang is believed to have originated from the Middle East based on several perspectives. The first perspective notes its resemblance to the hadrah, a drum commonly found in Arab countries. The similarity in their forms suggests a potential Middle Eastern origin for the kompang. Another perspective highlights the Arabic language used in the lyrics of kompang songs, particularly in expressions of praise for Prophet Muhammad (SAW), such as in Selawat Memuji Rasulullah. This linguistic connection further supports the hypothesis of the kompang's roots in the Arab world. Historically, it is proposed that the introduction of the kompang to the Malay archipelago was facilitated by Arab traders who engaged in commerce in the Nusantara region. The kompang served as an attention-grabbing musical accompaniment, enhancing the presentation of Arab traders and becoming an integral part of their business practices. It is believed that this musical tradition was embraced by the local population and subsequently evolved, continuing to be a prominent cultural element to this day. HISTORY
COMPONENT
FUNCTION The performance of the kompang serves various functions and roles. Essentially, its purpose is to enliven a ceremony. However, over time, the functions of this performance have evolved. Among the functions of playing the kompang are: Accompanying Vocal Activities (Nasyid or Marhaban) Processional Roles (Majlis Perkahwinan, Majlis Berkhatan, Berkatam Quran,) Integration with Ensemble Performances Boosting Team Spirit Competitions The performance of the kompang is led by a leader. The leader's role is to initiate and conclude the performance with specific directions or gestures.
TECHNIQUE Kompang Playing Tips: Hold the kompang securely with one hand while using the other for striking. Play the kompang sitting or standing, showcasing its versatile nature. Create two distinct sounds: 'pak' and 'bung,' with 'pak' being a more forceful strike. For the 'pak' sound, strike the middle part with an open palm, emphasizing power in both palm and fingers. Ensure precision by touching the palm and fingers, leading with the index finger during the 'pak' strike. Generate the 'bung' sound by striking about one-third of the kompang's edge with closed fingers. Master these techniques for an artistic kompang performance, contributing to the rich tapestry of traditional Malay music. How to hold the Kompang.
TECHNIQUE Making of Kompang The size of kompang varies from 30 to 43 cm. The shallow wooden frame of the drum is made of leban wood which is light. Goat hide is nailed to the frame using metal nails Cowhide is not suitable as it is ticker and it does not produce the desired sound when struck
Goat leather drying process to produce kompang Cut the excess goat leather to produce kompang Kompang frame drying
MALAY AESTHETIC Finesse The finesse of the kompang encompasses various aspects, including material, design, and sound quality. The crafting of the kompang typically favors the use of goat skin over cow skin due to the finer sound quality produced by the selected goat skin. Goat skin is smoother compared to cow skin, which tends to be thicker. The size of the kompang is also crucial in ensuring uniformity and balance in the produced sound when struck. By harmonizing the finesse in material, design, and sound quality, the kompang becomes a resilient and aesthetically pleasing musical instrument, playing a significant role in Malaysia's cultural heritage.
MALAY AESTHETIC Usefulness The useful principles embedded in playing the kompang encompass technical, artistic, and cultural aspects. The performance of the kompang serves various functions and roles. Essentially, its purpose is to enliven a ceremony. However, over time, the functions of this performance have evolved. Among the events that utilize musical instruments like the kompang are wedding ceremonies, competitions, and so forth. Contrast In principle contrast, we can understand that the kompang produces two distinct sounds, namely 'pak' and 'bum.' Both techniques involve using different striking forces to generate these sounds. For the 'pak' sound, a gentle strike is sufficient, while a stronger strike is employed for the 'bum' sound. The contrast between these two sounds can be harmonized through the techniques utilized during kompang playing. The techniques employed must be precise to ensure that the two different sounds create a harmonious rhythm of kompang beats.
MALAY AESTHETIC Unity The unity principle in the context of the kompang refers to aspects or elements working in harmony and balance in both the playing and crafting of this musical instrument. In the unity principle of the kompang, it is evident that the instrument is often played in a group setting. These principles guide the preservation of the integrity and uniqueness of the kompang as a valuable cultural heritage of the Malay arts. Through a well-maintained balance across various aspects, the kompang continues to fulfill its role as a beautiful and meaningful musical instrument. Symbolic TThe kompang holds profound symbolic meaning within Malay society. It is not merely a traditional musical instrument; rather, it encapsulates values, traditions, and specific roles. The kompang serves as a symbol of the rich cultural heritage of the Malay community. Its utilization in various ceremonies and traditional performances reinforces the identity and cultural wealth of the Malay society. Moreover, in ceremonies such as circumcision (khatan) or the completion of Quranic recitation (khatam Quran), the kompang becomes a significant symbol of transition in one's life.
C A K L E M P O N G
Caklempong is a traditional musical instrument from the idiophone family that employs a diatonic scale. This traditional musical instrument from Minangkabau belongs to the small gong family. 'Cak' refers to the drum beat sound, while 'Lempong' signifies the beating of “boning”. This traditional art form combines music with dance, singing, and drama (taridra). Additionally, it is recognized by various names such as Telempong, Celempong, and Taklempong. It is made of bronze and uses a molding technique. The word CakLempong is also used to describe the type of ensemble. CakLempong grew among the Malay community of Minangkabau descent in Negeri Sembilan who came from Minangkabau or West Sumatra, Indonesia. Now CakLempong's music has established itself in other states and is taught in schools and higher learning centers. Family Small “Gong” At back Small “Gong” Idiophone Family
The history of traditional Malay musical instruments in Malaysia encompasses diverse origins, influenced by cultures and traditions from various regions such as Southeast Asia, India, Arab, and China. In the past, these instruments were used in various aspects, including religious ceremonies, cultural events, the arts, and even as accompaniment for traditional dances and songs. Initially, caklempong was a musical instrument played by the Minangkabau community in Sumatera Barat, Indonesia. During the 14th century, it was introduced to Negeri Sembilan by Minangkabau traders and settlers in the Malay lands at that time. Due to the significant settlement of the Minangkabau people in Negeri Sembilan, the caklempong became identified as a traditional musical instrument in the state. Besides being known as caklempong, this instrument is also referred to as Taklempong by the Minangkabau community. In earlier traditions, caklempong served as entertainment. However, its significance extended to daily life, acting as a unifying element among the local Minangkabau community. Although caklempong has strong origins and history in the Minangkabau community in Indonesia, after being introduced to Malay lands, it has become part of the cultural in Malaysia, adding to its rich and unique heritage that deserves preservation.
Caklempong is played during the coronation ceremony of the Yang Dipertuan Besar of Negeri Sembilan, serving as music accompaniment for pencak silat and dance. Additionally, it is played for various purposes, including wedding ceremonies, inaugurations, and celebrations. Traditional caklempong music serves various functions, accompanying work, medical rituals, daily life, official ceremonies, religious events, and dance. The primary purpose of caklempong music is to entertain. Additionally, caklempong music plays a significant role as the musical backdrop for wedding parties, official events, and ceremonies involving senior officials of a state.
Gendang Ibu and Anak play the beat of the song, and control the tempo. Tingkah play music with harmony, and rhythm, often following the beat of the “Gendang Ibu" to reinforce the rhythm of the song Gereteh 1 & 2 play the melody, melodic cautery, ostinato, and chords Sauwa play an ostinato with rhythmically Big "Gong" Following the tempo of music
Tepak Tingkah and Sauwa is the place where bonang is placed. This tepak is a rectangular chest carved with awan larat carvings. Bonang is arranged diatonically on two strings that are stretched in the middle of the box. Tepak Tingkah or Sauwa can fit a row with 8 bonang. The motif of Awan Larat is a plant motif with a complete pattern arranged in a chain. Inspiration from the shape of clouds in space that are constantly moving and changing their shape. Tepak Caklempong, which is carved based on the motif of awan larat, should be well taken care of so that it does not get scratched or chipped. Ideally after playing, this drop is put in a box or wrapped in a cloth. Do not expose the drop to the heat of the sun.
Material Selection: In the selection of materials, caklempong making typically involves the use of metals like copper. Metals are often chosen for their excellent resonance in producing clear and harmonious sounds. Metal Cutting: The chosen metal is cut according to the desired size and dimensions, usually around 15–17.5 cm in diameter and 8 cm in height with a hollow bottom. Carving and Alignment: The cut metal is then carved and patterned on its surface. Each gong or bonang is inspected to produce the desired sound. Grinding and Tuning: The grinding process aims to smoothen the metal surface to achieve the desired thickness. Metal thickness plays a crucial role in the sound production of each metal piece. Mounting on Frame: The prepared gongs or bonang are mounted on a wooden frame. The placement and distance between the gongs are essential in producing the desired tones when played. Sound Testing: In this sound testing process, the instrument maker will play the completed caklempong to ensure that each gong produces harmonious tones when played.
FINESSE The first aesthetic Malay principle in finesse that exists on Caklempong musical instruments is, Wood carving located on the "Tepak Caklempong", the finesse of the woodcarver has produced various carvings pattern, which is "Awan Larat". The delicate carving circles on the leaves also prove the fine art of carving. The carving on the "Tepak Caklempong" further highlights the identity of Malay aesthetics in musical instruments. USEFULNESS One of the usefulness found in the study is the utility of the caklempong in nobat music, which is a traditional orchestra of ceremonies. It is performed during the installation ceremonies of the Yang Dipertuan Besar of Negeri Sembilan. Additionally, caklempong is also utilized as musical accompaniment in pencak silat (traditional Malay martial arts) Malay traditional dances. Nowdays,the usefulness of caklempong has become versatile; it is also played during inauguration ceremonies, wedding ceremonies, and various festive occasions.
CONTRAST In princle of contrast, this can be seen in the form of the bonang sizes. Each bonang available comes in different sizes and thicknesses. Although bonang sizes may appear similar, their dimensions and thickness significantly impact the notes/sounds produced. UNITY The third principle that Caklempong musical instruments have is unity, it is about harmony in design. As we can see from the use of colors, the arrangement of "Bonang Gereteh" and the size of repetition of "Boning" on Caklempong musical instruments has produced harmony. In addition, the arrangement of "bonang" has also produced a harmonious sound and me principle that Caklempong musical instruments have is unity, it is about harmony in design. As we can see from the use of colors, the arrangement of "Bonang Gereteh" and the size of repetition of "Boning" on Caklempong musical instruments has produced harmony. In addition, the arrangement of "bonang" has also produced a harmonious sound and melody.lody.
SIMBOLIC The last aesthetic Malay principle is symbolic, the caklempong musical instrument is very famous and has become an identity and symbol for the people of Negeri Sembilan. It is a duty that the caklempong instrument is also played when performing "Ceremonies in Negeri Sembilan". Not only that, the golden color on the "Boning" in the caklempong instrument and the use of attire caklempong players is also the identity of music from the negeri sembilan.
A very powerful object to store this cultural information is gambus. Gambus is said to be originated from the Arabic musical instrument Oud, which meaning flexible wood; twigs or stalks are also referred to as gambus in the Idea of Malaya (Malaysia, Brunei, Indonesia, and Singapore). Gambus or shortute/lute is a type of stringed musical instrument without frets that produces sound through an arrangement of strings that vibrate when plucked which is quite famous in Malaysia, especially in the states of Johor and Sabah. The word gambus refers to the two main types of harp found in the Malay world. These types are known as the Malay gambus. There are two types of gambus in the Malay Islands, namely Arab Gambus/Hadramauth and Malay Gambus/Hadhrami. In Johor, Arabic gambus is used in the performance of gambus groups, Zapin and Ghazal groups. While the Malay Gambus is used in the performance of Hamdolok. Gambus is usually plucked solo or in groups. The characteristics that distinguish the melody from the gambus musical instrument with various other musical instruments are not in the sound produced but in the Maqamat played.
Persians and Arabs began trading in the Malay Sea as early as the sixth century during the Sassanid era, allowing for the discovery of many musical instruments. Gambus entered the Malay world in the eighth or ninth century due to trade between the Malay and Arab civilizations. In the 15th century, traders from eastern nations exchanged dance and music art with the people of Malaya, notably in the southern region of Peninsular Malaysia, so keeping the art of playing the gambus in the Malay-Arab culture of Malaysia to the current day. Anis Nor, an ethnomusicologist, attributes the introduction of the gambus to the Arabs during Malacca's Islamization and, more significantly, to the coastal Malay people in the 15th century (Mohd Anis, 1993). According to German music historian Curt Sachs (1940), the Persian harp may have arrived in the Malay Archipelago through "Islamic migration and conquest." Possible extensive use of these musical instruments by Persian and Arab merchants based in Malay trading ports. After the Islamization of Malacca in the 15th century, gambus was likely absorbed into the region more extensively, especially after the rest of the Malay Ocean turned to Islam in the 16th century. In reality, Curt Sachs (1940), and Mohd Anis have presented explanations for the Malay Sea's gambus emergence (1993). They display on the spread of Islam.
A public ceremony is a ceremony, meeting, or gathering held formally or unofficially by a party for a specific purpose or aim that has been planned, with the involvement and participation of numerous other parties and many participants, such as weddings, crest shaving, and so on. Entertainment music for Malay (aristocratic) theater shows. The term "performance music" refers to a public show. It is intended as a filling for religious and belief needs, ceremonies and inauguration, entertainment and games, medicine or hobbies, even for advertising and sales purposes. One of the musical instruments used to accompany Zapin music performances, particularly Johor ghazal songs. This music is frequently played at various events or gatherings in Johor Darul Takzim, particularly at the palace, and it receives a lot of attention from the Sultan, state dignitaries, and courtiers.