Music of Malaysia
A great variety of genres in Malaysian music reflects the specific cultural groups within multiethnic Malaysian society: Malay, Javanese and other cultures in overlap with the neighbouring Indonesian archipelago, Arabic, Chinese, Indian, Dayak, Kadazan-Dusun, Bajau, Orang Asli, Melanau, Kristang and others.
[4] Many forms of traditional Malay music and performing arts appear to have originated in the Kelantan-Pattani region with influence from India, China, Thailand and Indonesia.
[7] The Malays of Kelantan and Terengganu are culturally linked to peoples from the South China Sea area, and are quite different from the West Coast of Malaya.
The martial art of silat Melayu developed in the Malay Peninsula since the beginning of common era[8][9][10][11] also popular in Malaysia, while essentially still important as a branch of the self-defence form.
Similar to tai chi, though of independent origin, it is a mix of martial arts, dance and music typically accompanied by gongs, drums and Indian oboes.
The natives of the Malay Peninsula played in small ensembles called kertok, which performed swift and rhythmic xylophone music.
[12] Johor art performances such as Zapin and Hamdolok as well as musical instruments including Gambus and Samrah have apparent Arab and Persian influences.
Ghazals from Arabia are popular in the markets and malls of Kuala Lumpur and Johor, and stars like Kamariah Noor are very successful.
Another style, Dondang Sayang is slow and intense; it mixes influences from China, India, Arabia, and Portugal with traditional elements.
Although the bulk of its repertoire consists of music originated from Hong Kong, Taiwan and China, many local Chinese orchestras also regularly perform Malay folk tunes with various local composers making a definite effort to absorb elements of surrounding musical cultures, especially Malay, into their compositions.
Sponsored largely by various Chinese organisations including schools, clan associations and Buddhist societies, a typical orchestra consists of between 12 and 50 members.
Also commonly found are percussion troupes with drums, gongs and cymbals that provide rhythm for performances of Lion Dance.
[16] A number of ethnic groups such as the various Dayak tribes (e.g. Iban, Murut), Kadazan, and Bajau are found in Sabah and Sarawak.
The first Malaysian "ethnic fusion" group to play on this international platform was Akar Umbi - comprising Temuan ceremonial singer Minah Angong (1930–1999), Antares and Rafique Rashid.
[citation needed] Private companies like Trident Entertainment have begun to invest in the production, distribution and promotion of the "ethnic fringe" in Malaysian music.
[20] In the field of Malaysian contemporary music a number of composers have gained international recognition, for example composers Chong Kee Yong, Dr Tazul Izan Tajuddin, Yii Kah Hoe, Saidah Rastam, Adeline Wong and others, encompassing a diverse range of styles and aesthetics.
In the 1950s, P. Ramlee became the most popular Malay singer and composer with a range of slow ballads such as "Azizah", "Dendang Perantau" and the evergreen "Di Mana Kan Ku Cari Ganti".
In the 1960s, a genre of pop music influenced by The Beatles and other British rock and roll bands called 'Pop Yeh-yeh' appeared in Malaysia.
[23] In the 1960s and 1970s, a modified rock combo called kugiran (an abbreviation of "kumpulan gitar rancak", meaning rhythmic guitar bands) was also common, and was often used to accompany singers.
[27] Contemporary pop music exchanges between Malaysia, Indonesia, Singapore and Brunei are normal due to the literary form of Malay used in songwriting widely understood in all four countries.
After bringing Rap music to the masses in 1992, they established their own record label creating the first Malaysian girl group Feminin and R&B crooners Indigo.
