Musical of Prehistoric ( English Post )

Prehistoric eras

Ancient music can only be imagined by scholars, based on findings from a range of paleolithic sites, such as bones in which lateral holes have been pierced; these are usually identified as flutes, blown at one end like the Japanese shakuhachi. Instruments, such as the seven-holed flute and various types of stringed instruments have been recovered from the Indus Valley Civilization archaeological sites. India has one of the oldest musical traditions in the world—references to Indian classical music (marga) can be found in the ancient scriptures of the Hindu tradition, the Vedas. The earliest and largest collection of prehistoric musical instruments was found in China and dates back to between 7000 and 6600 BC.

Prehistoric music (previously called primitive music) is a term in the history of music for all music produced in preliterate cultures (prehistory), beginning somewhere in very late geological history. Prehistoric music is followed by ancient music in most of Europe (1500 BCE) and later musics in subsequent European-influenced areas, but still exists in isolated areas.

Prehistoric music thus technically includes all of the world's music that has existed before the advent of any currently-extant historical sources concerning that music, for example, traditional Native American music of preliterate tribes and Australian Aboriginal music. However, it is more common to refer to the "prehistoric" music of non-European continents – especially that which still survives – as folk, indigenous or traditional music.

Some suggest that the origin of music likely stems from naturally occurring sounds and rhythms. Human music may echo these phenomena using patterns, repetition and tonality. Even today, some cultures have certain instances of their music intending to imitate natural sounds. In some instances, this feature is related to shamanistic beliefs or practice. It may also serve entertainment (game) or practical (luring animals in hunt)functions.

Even aside from the bird song, monkeys have been witnessed to beat on hollow logs. Although this might serve some purpose of territorialism, it suggests a degree of creativity and seems to incorporate a call and response dialogue.

Explanations of the origin of music depend on how music is defined. If we assume that music is a form of intentional emotional manipulation, music as we know it was not possible until the onset of intentionality - the ability to reflect about the past and the future. Between and 60,000 and 30,000 years ago humans started creating art in the form of paintings on cave walls, jewellery and so on (the "cultural explosion"). They also started to bury their dead ceremonially. If we assume that these new forms of behavior reflect the emergence of intentionality, then music as we know it must also have emerged during that period. However, recent research in primatology casts doubt on this thesis, as wild chimpanzees mourn the dead, have words for things like "grapes", hold elections, campaign for leadership positions, recognize aesthetic scenes like sunsets, and use tools. So, all of these capabilities date back many millions of years.

Prehistoric musical instruments

It is possible that the first musical instrument was the human voice itself, which can make a vast array of sounds, from singing, humming and whistling through to clicking, coughing and yawning. (See Darwin's Origin of Species on music & speech.) The oldest known Neanderthal hyoid bone with the modern human form has been dated to be 60,000 years old, predating the oldest known bone flute by 25,000 years; but since both artifacts are unique the true chronology may date back much further.

Most likely the first rhythm instruments or percussion instruments involved the clapping of hands, stones hit together, or other things that are useful to create rhythm and indeed there are examples of musical instruments which date back as far as the paleolithic, although there is some ambiguity over archaeological finds which can be variously interpreted as either musical or non-musical instruments/tools. Examples of paleolithic objects which are considered unambiguously musical are bone flutes or pipes; paleolithic finds which are open to interpretation are pierced phalanges (usually interpreted as "phalangeal whistles"), objects interpreted as Bullroarers, and rasps.

Music can be theoretically traced to prior to the Oldowan era of the Paleolithic age, the anthropological and archeological designation suggests that music first arose (amongst humans) when stone tools first began to be used by hominids. The noises produced by work such as pounding seed and roots into meal is a likely source of rhythm created by early humans.Also using bones or skin to hit instruments with.

Flutes

The oldest flute ever discovered may be the so-called Divje Babe flute, found in the Slovenian cave Divje Babe I in 1995, though this is disputed. The item in question is a fragment of the femur of a juvenile cave bear, and has been dated to about 43,000 years ago. However, whether it is truly a musical instrument or simply a carnivore-chewed bone is a matter of ongoing debate.

In 2008 archaeologists discovered a bone flute in the Hohle Fels cave near Ulm, Germany. The five-holed flute has a V-shaped mouthpiece and is made from a vulture wing bone. The researchers involved in the discovery officially published their findings in the journal Nature, in June 2009. The discovery is also the oldest confirmed find of any musical instrument in history. The flute, one of several found, was found in the Hohle Fels cavern next to the Venus of Hohle Fels and a short distance from the oldest known human carving. On announcing the discovery, scientists suggested that the "finds demonstrate the presence of a well-established musical tradition at the time when modern humans colonized Europe". Scientists have also suggested that the discovery of the flute may help to explain why early humans survived, while Neanderthals became extinct.

The oldest known wooden pipes were discovered near Greystones, Ireland, in 2004. A wood-lined pit contained a group of six flutes made from yew wood, between 30 and 50 cm long, tapered at one end, but without any finger holes. They may once have been strapped together .[dead link]

In 1986 several gudi (literally "bone flutes") were found in Jiahu in Henan Province, China. They date to about 6000 BCE. They have between 5 and 8 holes each and were made from the hollow bones of a bird, the red-crowned crane. At the time of the discovery, one was found to be still playable. The bone flute plays both the five- or seven-note scale of Xia Zhi and six-note scale of Qing Shang of the ancient Chinese musical system.

Cycladic culture

Cycladic statues of a double flute player (foreground) and a harpist (background)Further information: Cycladic culture
On the island of Keros (Κέρος), two marble statues from the late Neolithic culture called Early Cycladic culture (2900-2000 BCE) were discovered together in a single grave in the 19th century. They depict a standing double flute player and a sitting musician playing a triangular-shaped lyre or harp. The harpist is approximately 23 cm (9 in) high and dates to around 2700-2500 BCE. He expresses concentration and intense feelings and tilts his head up to the light. The meaning of these and many other figures is not known; perhaps they were used to ward off evil spirits or had religious significance or served as toys or depicted figures from mythology.

MUSIC NOTATION ( English Post )

(ABOVE)Hand-written musical notation by J. S. Bach: beginning of the Prelude from the Suite for Lute in G minor BWV 995 (transcription of Cello Suite No. 5, BWV 1011)


Music notation or musical notation is any system that represents aurally perceived music, through the use of written symbols.

The earliest form of musical notation can be found in a cuneiform tablet that was created at Nippur, Iraq in about 2000 B.C. The tablet represents fragmentary instructions for performing music, that the music was composed in harmonies of thirds, and that it was written using a diatonic scale.[1] A tablet from about 1250 B.C. shows a more developed form of notation.[2] Although the interpretation of the notation system is still controversial, it is clear that the notation indicates the names of strings on a lyre, the tuning of which is described in other tablets.[3] Although they were fragmentary, these tablets represent the earliest recorded melodies found anywhere in the world.[3]

Ancient Greece



Photograph of the original stone at Delphi containing the second of the two hymns to Apollo. The music notation is the line of occasional symbols above the main, uninterrupted line of Greek lettering.Ancient Greek musical notation was capable of representing pitch and note-duration, and to a limited extent, harmony.[citation needed] It was in use from at least the 6th century BC until approximately the 4th century AD; several complete compositions and fragments of compositions using this notation survive. The notation consists of symbols placed above text syllables. An example of a complete composition is the Seikilos epitaph, which has been variously dated between the 2nd century BC to the 1st century AD. Three hymns by Mesomedes of Crete exist in manuscript. The Delphic Hymns, dated to the 2nd century BC, also use this notation, but they are not completely preserved. Ancient Greek notation appears to have fallen out of use around the time of the Decline of the Roman Empire.

Byzantine Empire


Byzantine music notation style in a Romanian "Book of Hymns at the Lord's Resurrection", 1823Byzantine music is vocal religious music, based on the monodic modal singing of Ancient Greece and the pre-islamic Near East. The notation developed for it is similar in principle to subsequent Western notation, in that it is ordered left to right, and separated into measures. The main difference is that notation symbols are differential rather than absolute, i.e. they indicate pitch change (rise or fall), and the musician has to deduce correctly, from the score and the note they are singing presently, which note comes next. The pitch symbols themselves resemble brush strokes and are colloquially called gántzoi ("hooks") in Modern Greek. Notes themselves are represented in written form only between measures, as an optional reminder, along with modal and tempo directions if needed. Additional signs are used to indicate embellishments and microtones (pitch changes smaller than a semitone), both essential in Byzantine chant.

The seven standard note names in Byzantine "solfege" are: pá, vú, ghá, dhē, ké, zō, nē, corresponding to Western re, mi, fa, sol, la, si, do. Byzantine music uses the eight natural, non-tempered scales called Ēkhoi, "sounds", exclusively, and therefore the absolute pitch of each note may slightly vary each time, depending on the particular Ēkhos used. Byzantine notation is still used in many Orthodox Churches. Better cantors can also use standard Western notation while adding non-notatable embellishment material from memory and "sliding" into the natural scales from experience.


India



Indian music, early 20th centuryThe Indian scholar and musical theorist Pingala (c. 200 BC), in his Chanda Sutra, used marks indicating long and short syllables to indicate meters in Sanskrit poetry.

In the notation of Indian rāga, a solfege-like system called sargam is used. As in Western solfege, there are names for the seven basic pitches of a major scale (Shadja, Rishabh, Gandhar, Madhyam, Pancham, Dhaivat and Nishad, usually shortened Sa Re Ga Ma Pa Dha Ni). The tonic of any scale is named Sa, and the dominant Pa. Sa is fixed in any scale, and Pa is fixed at a fifth above it (a Pythagorean fifth rather than an equal-tempered fifth). These two notes are known as achala swar ('fixed notes'). Each of the other five notes, Re, Ga, ma, Dha and Ni, can take a 'regular' (shuddha) pitch, which is equivalent to its pitch in a standard major scale (thus, shuddha Re, the second degree of the scale, is a whole-step higher than Sa), or an altered pitch, either a half-step above or half-step below the shuddha pitch. Re, Ga, Dha and Ni all have altered partners that are a half-step lower (Komal-"flat") (thus, komal Re is a half-step higher than Sa). Ma has an altered partner that is a half-step higher (teevra-"sharp") (thus, tivra Ma is an augmented fourth above Sa). Re, Ga, ma, Dha and Ni are called vikrut swar ('movable notes'). In the written system of Indian notation devised by Ravi Shankar, the pitches are represented by Western letters. Capital letters are used for the achala swar, and for the higher variety of all the vikrut swar. Lowercase letters are used for the lower variety of the vikrut swar.

Other systems exist for non-twelve-tone equal temperament and non-Western music, such as the Indian svar lippi. New systems that remove handicaps in existing systems are also being developed like Ome Swarlipi.



China



Chinese Guqin notation, 1425The earliest known examples of text referring to music in China are inscriptions on musical instruments found in the Tomb of Marquis Ye of Zeng (d. 433 B.C.). Sets of 41 chimestones and 65 bells bore lengthy inscriptions concerning pitches, scales, and transposition. The bells still sound the pitches that their inscriptions refer to. Although no notated musical compositions were found, the inscriptions indicate that the system was sufficiently advanced to allow for musical notation. Two systems of pitch nomenclature existed, one for relative pitch and one for absolute pitch. For relative pitch, a solmization system was used.[8]

The tablature of the guqin is unique and complex; the older form is composed of written words describing how to play a melody step-by-step using the plain language of the time, i.e. Descriptive Notation (Classical Chinese); the newer form, composed of bits of Chinese characters put together to indicate the method of play is called Prescriptive Notation. Rhythm is only vaguely indicated in terms of phrasing. Tablatures for the qin are collected in what is called qinpu.

Gongche notation used Chinese characters for the names of the scale.

The jianpu system of notation (probably an adaptation of a French Galin-Paris-Cheve system) had gained widespread acceptance by 1900. It uses a movable do system, with the numbers 1,2,3,4,5,6,7 standing for do, re, mi, fa, sol, la, si. Dots above or below a numeral indicate the octave of the note it represents. Key signatures, barlines, and time signatures are also employed. Many symbols from Western standard notation, such as bar lines, time signatures, accidentals, tie and slur, and the expression markings are also used. The number of dashes following a numeral represents the number of crotchets (quarter notes) by which the note extends. The number of underlines is analogous to the number of flags or beams on notes or rests in standard notation.

Modern music notation originated in European classical music a

nd is now used by musicians of many different genres throughout the world.

Pembikinan Skor Muzik Untuk Filem & Soundtrack

Skor muzik untuk filem adalah muzik latar belakang filem (yang umumnya dipisahkan dari lagu digunakan dalam sesebuah filem). Istilah soundtrack sering terkeliru dengan skor filem, tapi soundtrack juga merangkumi hal lain yang boleh didengar dalam filem seperti kesan bunyi dan dialog. Album Soundtrack juga termasuk lagu yang dipaparkan dalam filem serta muzik yang diterbitkan sebelumnya oleh artis lain. Skor ditulis secara khusus untuk menemani filem, oleh komposer sebenar filem asli .
.
Sejak tahun 1950-an, semakin banyak skor elektronik atau instrumen orkestra hybrid dan elektronik. Sejak penemuan teknologi digital dan kesan duplikasi bunyi, banyak filem berbajet rendah telah mampu mengadakan kesan digital untuk meniru bunyi alatan muzik orkestra..

Apa yang di jelaskan di atas merupakan penerangan tentang skor lagu untuk muzik dan soundtrack. Untuk memudahkan anda selalunya lagu soundtrack merupakan lagu tema untuk sesebuah filem.

Contoh soundtrack yang terkenal dan komposernya ialah :

The Lion King (Film score by Hans Zimmer)
Crimson Tide (Hans Zimmer)
Pirates of the Caribbean series (Klaus Badelt, Hans Zimmer)
Titanic soundtrack (James Horner)
Star Trek TV Series and films (James Horner, Jerry Goldsmith et al.)
The Lord of the Rings trilogy (Howard Shore)
The Aviator (Howard Shore)
Gone with the Wind (Max Steiner)
Casablanca (Max Steiner)
Psycho (Bernard Herrmann)
Back to the Future Trilogy (Alan Silvestri)

Saya rasa sudah agak jelas bagi semua pembaca tentang perkara di atas. Apa yang ingin saya bawakan kepada anda semua ialah bagaimana skor muzik untuk filem dan soundtrack ini dibuat.





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Skor Lagu Filem Yang Paling Menakutkan

Saya yakin anda akan bersetuju muzik yang memainkan peranan penting dalam filem . Skor muzik yang baik membantu memindahkan cerita, mencipta ghairah dan memancing emosi. Seram, ketegangan dan filem thriller memanfaatkan kekuatan muzik untuk membina pendahuluan penampilan dan takutkan adegan tertentu. Berikut adalah beberapa skor paling menakutkan yang pernah ditulis untuk filem-filem seram.

Carrie - Berdasarkan novel karya Stephen King,filem ini tentang seorang gadis remaja yang mempunyai kuasa telekinetic, salah satu kegemaran saya. Pino Donaggio menulis skor untuk filem ini, yang paling terkenal adalah "School in Flames."


Jaws - Tema utama filem ini tahun 1975, yang mungkin menakutkan setiap pengunjung pantai bagi sesiapa yang pernah menonton filem ini. Skor lagu bagi filem ini dicipta oleh John Williams. Selalunya orang akan mengunakan atau mengajuk lagu tema filem ini ketika anda sedang di pantai. Williams meraih Academy Award untuk skor filem yang tetap menjadi salah satu tema filem yang paling dikenali sehingga saat ini.


Halloween - John Carpenter, Pakar bagi filem "keganasan," mengarahkan filem seram ini pada 1978 tentang pesakit jiwa bernama Michael Myers melarikan diri. Carpenter sendiri menulis skor untuk filem ini yang dilaporkan mengaut $ 75.000.000 di seluruh dunia yang pada asalnya hanya mempunyai kewangan hanya $ 300,000.


Psycho - Filem 1960 diarahkan oleh Alfred Hitchcock legenda dan berdasarkan novel Robert Bloch. Adegan paling terkenal dan tak dapat dilupakan adalah pada babak lagi "shower scene." Ganas dari adegan yang diperbesar oleh skor yang luar biasa Bernard Herrmann's.

Rosemary's Baby - Tema utama dari filem 1968 dicipta oleh Krzysztof Komeda. Muzik boleh digambarkan sebagai pengantar tidur dengan undertones sinis, sebuah perlawanan yang sempurna untuk plot filem. Tema daripada "Rosemary's Baby" selalu membawakan perasaan menakutkan, bahkan sebelum mempunyai kesempatan untuk menonton filem ini.

The Exorcist - 1973 Lagu berjudul "tubular Bells" yang ditulis oleh Mike Oldfield. Muzik itu sendiri adalah tidak menakutkan berbanding dengan nilai lain. Tapi yang digunakan dalam filem, muzik berubah menjadi salah satu nilai yang paling mengerikan untuk sebuah filem seram.

The Omen - 1976 filem amat menyeramkan, paduan diantara suara Choral dan digital bunyi dahsyat dan menakutkan-terdengar berjudul "Ave Satani." skor ini ditulis oleh Jerry Goldsmith yang meraih Academy Award untuk sumbangannya kepada skor muzik layar perak. Banyak versi dari "Ave Satani" telah tercatat sejak pertama kali keluar, tetapi versi asal tetap kegemaran.


The Sixth Sense - ketegangan menakutkan ini menyentuh tentang seorang anak yang "melihat orang mati" keluar pada tahun 1999. Nilai indah ini ditulis oleh James Newton Howard dan merupakan campuran dari muzik menyentuh dan pulsa-membesarkan, khususnya "Suicide Ghost," "Hanging Ghosts" and "Kyra's Tape."

"Kain Pelikat" Anuar Zain

Shahrul Anuar bin Zain (lahir 15 Februari 1970; juga dikenali sebagai Anuar Zain), merupakan seorang penyanyi Malaysia yang terkenal. Shahrul Anuar Bin Zain berbintang Aquarius, dilahirkan pada 15 Februari 1970 di Merlimau, Melaka.

Beliau merupakan adik kepada penyanyi wanita, Ziana Zain dan merupakan anak kedua daripada 5 adik-beradik dan satu-satunya yang masih bujang antara mereka.

Antara lagu-lagu yang hitz adalah seperti Keabadian Cinta, Sesucinya Cintamu dan banyak lagi.

Perjalanan seni

Adik kepada penyanyi Ziana Zain ini merupakan orang terawal yang bergiat ke dunia hiburan pada zaman remaja apabila beliau telah menghasilkan album duet bersama Elena. Ketika itu lagu yang amat diminati ialah "Kain Pelikat".




Namun, perjuangan pasangan duet ini akhirnya terpaksa dibubarkan atas sebab-sebab yang tidak dapat dielakkan. Setelah kerjaya seni Anuar tidak dapat diteruskan, Anuar mengambil keputusan bekerja bersama syarikat penerbangan MAS, pada penghujung 80-an.

Hampir sepuluh tahun menyepikan diri, akhirnya pada 1998 Anuar Zain muncul kembali apabila beliau menandatanggani kontrak bersama syarikat Warner Music Malaysia Sdn. Bhd. dan menghasilkan sebuah album yang bertajuk 'Anuar Zain' yang mengandungi lagu-lagu popular seperti "Bila Resah", "Jangan Bersedih Lagi", "Kita" dan "Musim Berlalu".

Pada tahun 2000, beliau telah dinobatkan sebagai Artis Baru Terbaik dalam Anugerah Industri Muzik (AIM) tahun 1999. Walau bagaimanapunm perselisihan faham dengan syarikat Warner Music membuatkan beliau keluar dari syarikat itu lalu telah dilamar oleh syarikat Synchsound Music Sdn. Bhd. Beliau menghasilkan album bersama syarikat berkenaan dengan lagu-lagu popular antaranya "Permata", "Mungkin", "Keabadian Cinta", "Sesucinya Cintamu".




Beliau turut cuba menonjolkan diri dalam bidang lakonan apabila muncul dalam filem "Bintang Hati" bersama dengan pelakon dan penyanyi sensasi Amy Mastura. Dengan cubaan demi cubaan, Anuar Zain akhirnya melangkah dengan lebih berani lagi ke dalam industri seni tanah air hingga menjulang namanya apabila dinobatkan dengan pelbagai anugerah. Kini, Anuar Zain masih diminati dan dikenali ramai.





Anugerah/Kejayaan Seni


Anugerah ERA 2005
Vokal Lelaki Pilihan

Anugerah Planet Muzik 2005
Penyanyi Lelaki Paling Popular

Anugerah HYPE 2004
Penyanyi Lelaki Ter-HYPE!



Anugerah Media Hiburan 03/04
Penyanyi Lelaki Popular
Artis Lelaki Kacak


Anugerah Bintang Popular 2004
Penyanyi Lelaki Popular

Anugerah Planet Muzik 2004
Penyanyi Lelaki Paling Popular

Anugerah ERA 2003
Vokal Lelaki Pilihan

Anugerah Personaliti Hiburan 2002
Penyanyai Lelaki Solo/Berkumpulan

Anugerah Industri Muzik 1999
Penyanyi Baru Lelaki Terbaik
Penyanyi Lelaki Terbaik

Specific Images of Kazakhstan Music ( English Post )

The preservation and promotion of traditional music is a highly visible part of Kazakhstan's effort to build a modern nation rooted in a sense of history and national identity. State-sponsored folk ensembles, concerts, festivals and anthologies of recorded music all provide residents of Kazakhstan with a strong sense of cultural heritage as the country rapidly becomes an industrialized, worldwide exporter of oil and natural gas.

Since ancient times, the sparsely inhabited steppe and grasslands that comprise present-day Kazakhstan have been inhabited by pastoral nomads, and Kazakh music has been largely shaped by the exigencies of nomadic life. Foremost among these is unrelenting sensory immersion in the landscape and soundscape of the natural world. Traditional nomadic spirituality ascribes spiritual power to a range of natural phenomena and living creatures, and nomadic music and sound-making often serve as a means of representing and accessing the power of spirits.

Like other historically nomadic peoples in Inner Asia, Kazakhs developed the art of solo vocal and instrumental music to a high level. Narrative pieces called kui ("frame of mind," "mood") tell stories or represent specific images, feelings or qualities of human character through melody and rhythm alone. Kuis are most commonly performed on the dombra, a long-necked fretted lute with two strings that has become the national instrument of Kazakhstan. Other instruments used for the performance of kui are the qyl-qobys, an archaic bowl fiddle with two horsehair strings that was formerly played by shamans, and the Jew's harp (shang qobyz).

Kazakh vocal arts are represented by two kinds of performers. One is the poet-improviser (aqyn), who composes lyrical, often philosophical texts and sets them to music. In the past, aqyns frequently took part in music and poetry contests (aitys) that were an important part of traditional Kazakh social life, and are presently undergoing a revival. The second kind of performer is the storyteller-epic reciter (jyrau). Epic traditions are very much alive in central and western Kazakhstan and include a variety of genres ranging from heroic tales known throughout the Turkic-speaking world ("Kör-ogly," "Alpamysh," "Yedige") to local tales, lyric epics and narrative songs.

With its large Russian population and cosmopolitan major city (Almaty), Kazakhstan has become a center of fusion music that combines traditional instrumental and vocal genres with pop, jazz, and rock. One of the best-known fusion groups is Roksonake, which features a driving, amplified Jew's harp supported by electric guitars and drums. Beginning in the early 1990s, Almaty's "Voices of Asia" festival has offered a showcase for young musicians striving to develop global connections while remaining rooted in an authentic tradition.

Behind The Spritual Power of Gamelan ( English Post )

Gamelan

In the Indonesian archipelago, gamelan ensembles are found on the islands of Java, Bali, Lombok and Kalimantan. Generally speaking, the word "gamelan" refers to many different kinds of Indonesian musical groups, which often feature hanging and pot gongs, metallophones of various sizes, flutes, drums and other instruments. All gamelan music is shaped by a basic melody (in Java, balungan; in Bali, pokok) that is fixed within a repeating gong cycle and decorated by elaborating parts that blossom out of that basic melody.

There are some notable similarities between gamelan ensembles across the west, central and east regions of Java and throughout Bali, including instrument types and construction, performance contexts, musical techniques and theoretical and conceptual approaches to music-making. Gamelan instruments are constructed using natural materials such as wood, bamboo, iron, bronze and animal hide and horn. Gamelan makers are specialized, highly skilled and revered craftsmen who fashion and tune the instruments they produce. Working with metal so closely is believed to be spiritually charged, carrying both possible risks and potential benefits that must be taken seriously.

Gamelan instruments are considered to be imbued with great spiritual power. Stepping over the instruments and touching them with one's feet are forbidden; such actions are considered disrespectful to the instruments and potentially unsafe for the offending individual or other ensemble members. Offerings of various kinds, including incense and flowers, are often made before a gamelan piece is played and on certain auspicious days. There are a number of ancient gamelan groups in Bali and Java, most of which are ceremonial ensembles kept in courts and temples. These archaic gamelan, such as Bali's gamelan salonding and Central Java's gamelan sekati, are usually played only for specific ritual occasions, and some are believed to have tremendous, sometimes dangerous, sacred power.

Traditionally, gamelan ensembles are used in religious contexts, often as accompaniment to rituals, customary practices, ceremonies and dancing. In relatively recent times, gamelan music has begun to accompany secular events, including tourist and concert performances, government functions and educational demonstrations. Many performers maintain, however, that they uphold the sacred associations of the music on a personal level, even when performing in such secular contexts. It is typical for a gamelan musician to be a competent performer on all of the instruments in the ensemble and he will usually select a playing position in a given performance circumstance based on his experience, status, age and abilities relative to the other musicians in attendance.

There is no standard, fixed tuning in gamelan music. Instruments in a single ensemble are tuned as a unique set, making it impossible to simply take one instrument from a given gamelan and exchange it with the same-sized instrument from another set. This does not, however, mean that the gamelan tunings are unregulated or uncontrolled—there exists an exceptionally complex system of tuning and mode (or, more accurately, "mood"), the understanding of which develops over a musician's lifetime.

Given the many consistencies described above, it is remarkable that the various kinds of gamelan, both across regions and within a single area, differ greatly from each other. Each type of gamelan is distinctive, its music unique.
In contemporary Central Java, for example, a complete gamelan usually contains two full sets of instruments, one tuned in the five-tone slendro system and one in the seven-tone pelog. The two sets that make up this gamelan seprangkat are placed together on the floor, with all of the instruments of one tuning facing forward, and those of the other tuning placed perpendicular to the front-facing set. Musicians can quickly turn their bodies then to easily transition from one tuning system to the other. Full gamelan of this kind can be found at large institutions in Indonesia and internationally as well as in villages, in the homes of revered musicians and in the royal courts of Central Java.

On the other hand, a complete Balinese gamelan comprises one set of instruments, but these instruments are paired in their tuning: two instruments of the same size and construction are tuned in a complementary female (slightly lower-pitched pengumbang) and male (slightly higher-pitched pengisep) relationship. The unison pitches on the two instruments are not identical frequencies and when they are played together the result is an acoustical beating called ombak (literally, "waves"). This produces the characteristic shimmering sonority of Balinese gamelan.

A complex technique of interlocking rhythms, called kotekan, is also a defining feature of Balinese gamelan music: two players play precise, differing parts that interlock to create a single, extremely fast melody.
Gamelan ensemble types in Bali are many, and vary greatly in size, instrument composition, repertoire, age and function. Balinese gamelan of all kinds can be found in temples, village community centers, schools and institutes, hotels and private homes. Similarly, there is a great diversity of gamelan types in East and West Java, Lombok and in the relatively unknown and certainly under-researched traditions of gamelan in Kalimantan.

Professional recordings of gamelan music are widely available in the international market, and many colleges, universities and other educational institutions around the world own gamelan ensembles and present public performances. Opportunities to experience live gamelan music are plentiful in Indonesia and beyond the archipelago.

Deep Regional Roots Of Tradisional Chinese Music ( English Post)

Tradisional Chinese Music
There is a saying that 99 percent of all Chinese are farmers, and it's true that most Chinese music – excluding the classical, operatic and art music traditions – originates with rural, peasant traditions, and has deep regional roots.

For centuries, farmers in the north have practiced wind-and-percussion ensembles. Ding County of Hebei is famous for artistry in the double reeds: the guanzi (double-reed pipe), the haidi (small oboe) and the suona (Northern oboe). In Xian, the Western Capital of China, musicians for centuries practiced the sheng (a free-reed mouth organ) and di (reeded transverse flute) for joining ensembles called Xian drum music. In the early 1960s, Liu Mingyuan and the Xinying Traditional Orchestra wrote the popular "Years of Happiness" based on rural traditional music.

Eastern China is "fiddle" country, and bowed instruments such as the erhu, zhonghu, and the gaohu are popular as both solo and ensemble instruments. The Zhejiang, Jiangsu, Shandong provinces have produced a lot of fiddlers, including Wang Dianyu, Zhao Yuchai and the influential A Bing (1893–1950), a street musician famous for his many compositions, including his most famous "Listen to the Pine."

In the south, folk music is often combined with dance. The huadeng is a large class of regional dance. Huadeng is known in the West as the "lantern dance" and translates literally as "flower lantern" -- but has many other names: "jumping the lantern," "playing with the lantern" and lantern theater. The dance is popular in Yunnan, Guizhou, Sichuan and their surrounding areas (all in southern or southwestern China). The steps vary from place to place, but the dancers all carry lanterns or fans and they also sing. Huadeng Xi is the lower Lantern Opera. "Yunnan Huadeng" of Yunnan Province, for example, has a very strong instrumental component.

Many Huadeng artists are also highly accomplished instrumental players. The yueqin master Li Yongnian of the Yunnan Huadeng Theater Company (Yunnan Huadeng Jutuan) in Kunming was one such well-known figure. Yueqin is the general name for the moon lute, which is round. Li Yongnian's yueqin is the type used in Yunnan Flower Lantern music, has an octagonal resonator, and is more resonant in musical acoustics.
In the 20th Century, music lovers flocked to folkloric zheng (horizontal harp) artistry.

There is Zhao Yuchai from the Northeastern school and the Yunnan school, Cao Dongfu from the Henan school, and Su Qiaozheng from the Southern school. The period 1955-1966 is what historians and musicologists call the Golden Era of Chinese music recording, and some of the most passionate performances in the history of China were recorded. The most successful recordings of that era were made by the Shanghai Traditional Orchestra (He Wu-qi and Ma Shenglong), the Xinying Traditional Orchestra (in connection with the music of Liu Mingyuan), the Qianwei Traditional Orchestra, and the China Broadcasting Traditional Orchestra.

The Labadi Boy of Percussionist ( English Post )

Nyanyo Addo is a young master percussionist from Ghana, combining the old traditions with new rhythms and songs.

Nyanyo Addo

It was in the small Ga community of Labadi in Ghana, West Africa, that Nyanyo Addo was born into a family where music and dance was naturally integrated into daily life. Traditionally the drum plays an important role in the healing ceremonies of the Ga - people: The calling of the drum is the main reason why people fall into trance.


Raised by his grandfather, a well respected won or priest, Addo learned to play the drum at an early age. In Ghanaian culture the won is involved with his people in a very direct fashion: He is not only a spiritual and religious leader, but often acts as a doctor, lawyer and community leader, prescribing herbal medicines and settling land disputes. This involves great responsibility, which was given to Nyanyo Addo by his grandfather.


But drumming is also part of the daily life in Ghana, messages were transmitted over long distances with the help of big drums and they still accompany weddings and funerals. Festivals are unimaginable without drumming and dancing. The art of drumming and drum-making has been developed to a high level.
The position of the drummer corresponds to the importance and variety of drums: The drummer is a well respected person who knows about history and culture. He gives inspiration to the people as well as to chiefs and kings.

From early childhood, Addo learned to play the traditional drums of the Ga people — for example the big standing drum oblente, but also the atumpani, the gome-drum and the small talking drum odono (with one arm the pressure is varied to change the pitch of the drum, while the other hand uses a stick to beat it.)
The slightly bigger blekete is a bass drum with one membrane at each side. The ballafon, a West African type of xylophone, is another instrument which Addo has learned to play with great skill.

Accompanying Fela Kuti, Mutabaruka and Mustapha Tettey Addy on their tours throughout West Africa, Addo has become an accomplished drummer.
— Courtesy Calabash Music

Andalusian Magic..( English Post )

Andalusian Music is the traditional urban music of the Maghreb – spanning Morocco, Algeria, Tunisia and Libya.

In 711, a Berber general named Tariq bin Ziyad crossed the narrow strait that divides northern Morocco from southern Spain, named it Gibraltar, and established the first Muslim claim on European land. Over the next eight centuries, a succession of Arab, Berber and other Muslim leaders would control portions of what is now Southern Spain. The lands that Moors controlled included northern cities like Toledo, but the core Muslim areas were Cordoba, Seville and Granada. This area became known as Al-Andalus. The remarkable cultural blendings and innovations, especially in architecture, music, poetry and literature, that developed in Al-Andalus until 1492 when the last Moors were expelled from Granada, resonates in present day traditions in many parts of the world. Al-Andalus is often celebrated as a time and place of tolerance when Muslims, Jews, and Christians thrived together. But periods of war and sieges from the 8th century on caused many Andalusians - among them poets, musicians, Sufi mystics, political figures and Sepharadi Jews - to flee the violence in Europe and to carry Andalusian culture to North Africa and the Eastern Mediterranean.

Musiqa Andalusia is the general term for the traditional urban music of the Maghreb - spanning Morocco, Algeria, Tunisia and Libya, and also of Syria - where communities preserved and developed Andalusian music since medieval times. This music was imported to North Africa and Syria by Muslims and Jews, who were fleeing persecution and the Christian re-conquest of Spain between the 10th and the 15th centuries, after centuries of Arab Muslim control. Early in the 10th century, the first wave of refugees came from Sevilla and concentrated in Tunisia. Waves of migration that followed came from other areas of Spain and concentrated in Algeria and Morocco. The difference in patterns of migrations resulted in differences between contemporary traditions, and in the development of five distinct national traditions. Each tradition has its own repertory, and the variations between them include differences in modal and rhythmic patterns, large-scale structures, instruments and terminology. Andalusian music is known as a'la (instrumental music) in Morocco, san'a (work of art) in Algiers, Gharnati (from Granada) in Western Algeria, ma'luf (customary, standard) in Tunisia and Lybia. Despite the regional and national differences, Andalusian music is united by some formal characteristics, norms of performance practice, a historical identity and philosophical heritage which as a whole, distinguishes the tradition from the music of the Arab East, known as mashreq.

Origins of distinctive Arab-Andalusian music tradition date back to the early 9th century, when the musician, singer and composer Ziryab (Blackbird), a freed Persian slave, was ousted from the court of Baghdad. Ziryab ended up in the court of Al-Andalus in Cordoba, Spain. There he founded a music school in which he developed a new compositional system based in a system of 24 melodic modes, whose cosmological properties were represented in a symbolic tree of temperaments. Each of the modes was associated with a specific hour of the day, natural elements, colors in the spectrum, and aspects of human emotional and physical conditions. Many of those associations are still respected by Andalusian musicians, even if they are not followed in detail in their musical practice. Ziryab also defined the rules for sequencing different song types, putting in place the template for the large-scale form of Andalusian art music in North Africa - the nouba - a cycle of vocal and instrumental music, the performance of which can last many hours. The nouba consists of one or two instrumental introductions and then a series of different vocal movements that move from the slowest and stately to movements that are faster and have shorter rhythmic cycles, at the end of which the feel is driving and danceable. While there used to be 24 noubas, each linked to a different hour of the day, the way in which certain noubas exist in each of the present-day national traditions defines some of the differences between each tradition.



Across the Andalusian diaspora, Andalusian music was cultivated in the palaces of the aristocracy but was especially embraced by Sufi brotherhoods and performed in both religious contexts as well as in coffee houses and in communal celebrations. Andalusian traditions are monodic and based on a subtle system of melodic modes called maqamat, all of which include intervals that are beyond the scope of the diatonic scale, and with rhythmic structures and range from free to metric cycles with distinct patterns of accentuation. The poetic texts, most of which belong to a literary classical Arabic verse form called muwashasha and some to the vernacular zajal were recorded in special collections, but until recently melodic content relied on oral transmission. Love, nature's beauty and the effect of wine are typical topics. Typical instrumentation of Andalusian music includes the oud (lute) rabab (one or 2 stringed fiddle) darbukka (goblet drum), def or tarija (tambourine) qanun (zither), nay (flute) and kamenjah (violin). In recent lineups, other instruments have been added to the ensemble, including piano, contrabass, cello, and sometimes mandolins and even saxophones or clarinets.

While the earliest Andalusian community established itself in Tunisia, Morocco retained the most long-standing ties with the actual territory of Al-Andalus, and in some Northern Moroccan cities whole communities identify themselves as Andalusian. In both Morocco and Tunisia, French colonial authorities saw value in preserving Andalusian music, and after independence, the music was officially sanctioned by the state. This resulted in sponsorship of Andalusian classical music by the state and the media, which helped to keep the music alive, but deterred innovation and experimentation. In Algeria, the reverse was true. French administrators tried to crush Andalusian music traditions and the religious conservatives in Algeria today oppose the poetic celebrations of wine and carnal love. This has given the music a kind of underground appeal that attracts young musicians to the tradition. In Syria the music lives in cities such as Damascus and Aleppo, though the tradition has been greatly influenced by Persian and Ottoman music. But from Libya to Syria, what has kept Andalusian music alive is its use in religious contexts, especially the Sufi lodges.

In Syria, the most famous singers of Andalusian music are Sabri Moudallal, who began his career as a muezzin, and the hugely popular singer Sabah Fakri; singer Abed Azrie experiments with Arabo-Andalusian crossovers with flamenco. Morocco has a tremendously active scene of Andalusian music, with prominent local orchestras such as the Orchestra of Fez and the Orchestra of Tangier; traditional singer Amina Alaoui has also received fame in the West. Tunisia has a variety of ensembles, ranging from that of the Rashidya Institute, which has been prominent in the preservation of Andalusian music of the 20th century, to the experimental all women's band Firqat El Azifat - which mixes a traditional Andalusian lineup with Western strings and piano. Nassima of Algeria is noted for her renditions of the san'a tradition, which in Algeria has been associated with males, while Habib Guerroumi has tackled the Andalu-Algerian repertoire with solo voice and oud accompaniment.-Nili Belkind

A.R Rahman Scores....( English Post ).

Known for his lavish Bollywood film scores, hitmaker A.R. Rahman is a household name in India and it's diaspora.

A.R. Rahman

A.R. Rahman is an Indian composer best known in the West for his collaboration with Sir Andrew Lloyd Webber on the 2002 musical Bombay Dreams. But in India and the Indian diaspora, Rahman is a household name thanks to the hundreds of Bollywood film scores and hit songs that he's penned.

Born A.S. Dileep Kumar in 1966 in Madras (now Chennai), the future megastar grew up in a musical household. He began his music instruction early, beginning piano at the age of 4. After his father's death, young Dileep began to support his family as a professional keyboard player at the age of 11; dropping out of school for a life on the road. He would accompany the great tabla master Zakir Hussain on world tours, and eventually convert to Islam, taking the name Allah Rakha Rahman. And, despite Rahman's failure to complete his formal studies, his raw talent won him a scholarship at the Trinity College of Music at Oxford University, where took a degree in music and studied Western Classical forms. He returned to India in 1987 where he began a career in advertising, honing his pop skills by writing jingles.

Rahman opened his own studio in 1989—Panchathan Record Inn—and soon after moved from advertising to scoring the soundtracks to mainly Tamil-language films. His first great success came in 1992, with the film Roja. By 1995 he had moved on to the even bigger Hindi film market, making a big splash with the smash hit Rangeela. He followed this with string of chart-toppers throughout the '90s, including 1998's Dil Se and culminating in his 2001 masterpiece Lagaan: Once Upon a Time in India , which was nominated for best foreign-language film at the 2002 Academy Awards.




Rahman's music is as day-glo and technicolor as the Bollywood films he scores; vivid and unafraid to employ synthesizers and big pop sounds. A big fan of '80s pop, Rahman's music often puts a sly, Indian spin on pop cliches—something that served him well in his collaboration with Andrew Lloyd Webber. In Bombay Dreams, Rahman adapted the melodies of original hits such as "Chaiyya Chayyia" to new, English language lyrics. The lavish musical was a smash hit in it's original 2002 production in London's West End, but later fizzled when transplanted to Broadway.—Tom Pryor

Pelawak Juga Perlukan Lagu Dan Nyanyian.....

Sejak dari dulu pelawak-pelawak telah berjaya menghiburkan kita semua. Saya percaya mereka ini merupakan insan yang sangat istemewa kerana homework mereka sebelum persembahan pastinya penuh dengan idea dan latihan rapi dari mereka. Saya berpendapat begitu kerana saya kira kalaulah seseorang penyanyi ketika membuat persembahan jika tidak dapat tepukan penonton masih lega lagi tetapi bayangkan jika penonton mereka tidak ketawa. Malu dan kesal pada diri sendiri pasti hadir dalam diri mereka.


Nama-nama seperti : Aman Belon, Alias Konggo, Putih Lawak, P. Ramlee, Aziz Satar, S. Shamsudin, Mat Sentul, Ibrahim Pendek, Wahid Satay, A.R Tompel, Ibrahim Din, Jamali Shadat, Hamid Gurka, A.K Jailani dan yang seangkatan dengan mereka.




Saya cuba membariskan pula pada era yang kehadapan dari mereka seperti : Badul, R. Jaafar, Yahya Sulung, Param, Lim Goh Poh, Santhi, Tan Tin, Os, Imuda, Sabri Yunus, Wan Maimunah, Maideen, Peei, Farouk Husin, Ahmad Busu, Zami Ismail, Acapan, Ayapan, Angeline Tan, Khatijah Tan, M. Rajoli, Zaibo, Din Beramboi, Mat Over, Isma Alif, Stanley, Dee & Mun, Harris Iskandar, Aflin Sauki, Abon, Abby Yus, Enot, Didi Alias, Jalil Hamid, Ali Mamak, Harun Salim Bachik,






Pelawak-pelawak masa kini pula cuba saya senaraikan seperti berikut : Samsul Ghau-Ghau, Senario, Saiful Apek, Yasin, Aziz Kota, Hamdan, Ilya, Yus, Johan, Zizan, Angah, Tauke, Nabil, Along, Asrul, Sepah, Man Belon, Amir, Jihan, Kecik, Alex, Idlan Pon-pon.







Apa sebenarnya yang ingin kita bincangkan ialah perkaitan pelawak dengan lagu dan nyayian.
Kita cuba bawa diri kita pada era Studio Jalan Ampas dan Cathay Keris. Banyak persembahan lawak pada ketika itu mengunakan lagu untuk membentuk lebih unsur lawak dalam sesuatu persembahan. Saya suka melihat zaman P. Ramlee masa muda dulu dimana lagu “Kisah Rumah Tangga” amat memberi kesan dalam memperkenalkan P. Ramlee di peringkat awal. Lagu “Aci-Aci Buka Pintu” juga mempunyai kelebihannya tersendiri lebih lagi lagu ini tercipta bersama terciptanya filem “Nasib Si Labu – Labi”. Sebenarnya bukan saja P.Ramlee yang boleh menyanyi sebaliknya rakan-rakannya dalam “Bujang Lapuk” juga boleh menyanyi dengan baik. Mereka yang dimaksudkan ialah Aziz Satar dan S. Samsuddin. Lagu itu bukan saja menarik sebalik dinyanyikan dengan 3 lapisan suara. Selebihnya P. Ramlee dan rakan-rakannya telah menghasil banyak lagu jenaka atau lucu termasuklah “ Do Re Mi”, “Yang Mana Satu”, Madu Tiga” dan lain-lain.

Mat Sentul membawa kembali kita kepada filem-filem pelik beliau diantaranya : “Mat Bond”,“Mat Karung Guni”, “Mat Tiga Suku” dan lain-lain. Mat Sentul sangat jelas mengunakan lagu dan nyanyian beliau sendiri untuk setiap filem beliau. Saya suka lagu “Kalau Sudah Cinta” anda mesti ingat Mat Sentul dengan ayam golek ditangan sambil menyanyi keliling kampung. Setiap filem beliau mengunakan tidak kurang dari 3 hingga 4 buah lagu jenaka sekurang-kurangnya. Walaupun suara beliau tidaklah sehebat P.Ramlee tetapi Mat Sentul berjaya popular di sebalik lagu-lagu lucunya.


Wahid Satay berada di zaman yang agak sama dengan Mat Sentul. Wahid Satay adalah seorang pelawak yang ada sedikit pengaruh Jerry Lewis di Amerika penuh dengan aksi muka dan fizikal. Beliau juga banyak berdiri atas lagu dan nyanyian untuk terus popular sebagai pelawak. Lagu “Kayu”, “Pak Mamat Si Parang Tajam” masih kekal di ingatan saya walaupun sudah agak lama lagu-lagu dicipta.


Mr Os satu nama besar sebagai pelawak tanah air satu ketika dulu. Banyak filem lakunan beliau mendapat Box Office. Dalam kehebatannya sebagai pelawak dia tidak ketinggalan meletakkan lagu lucu bersebelahan dengan popularti beliau. Lagu “Bila Musim Durian".Walaupun lagu itu ialah lagu rakyat negeri Perak sejak dari dulu namun telah digunapakai oleh Mr Os untuk popular bagi kedu-dua pihak.

Mat Over jelas kelihatan membuat lawak dengan lagu-lagu hindustannya. Beliau di kenali benar dengan berlawak sambil menyanyi.

Imuda pernah popular dengan lagu “An Evening In Parit”.

Isma Alif yang mempunyai cara tersendiri untuk membuat lawak selalu mengunakan lagu medley pelbagai artis unutk persembahannya.


Aflin Sauki ialah seorang komposer disamping pelawak namun beliau lebih cenderung untuk membuat persembahan lawak dengan menukar lirik asal kepada lirik lucu dan dilakukan secara spontan. Semua filem lucu beliau pasti ada terdapat lagu nyanyian beliau dan rakan-rakannya.

Jalil Hamid selain dari berlawak beliau memang terkenal kerana lagu jenak atau lucunya terutama lagu “Ayam”, “Hari Raya”. Dua lagu ini cukup meletup satu ketika dulu menaikkan nama Jalil Hamid kerah komidian yang baik.



Siapa tak kenal Ali Mamak sikit-skit menyanyi apabila buat pesembahan lawak. Banyak album telah berjaya dihasilkan oleh beliau disamping kerjaya sebagi pelawak. Ini yang dikatakan side income yang positif.

Harun Salim Bachik pernah pupular dengan lagu “Banjero” satu ketika dulu.

Pelawak pada era ini lebih lagi mengunakan muzik, nyanyian dan lagu. Pelawak masa kini banyaknya timbul dari rancangan reality tv “Raja Lawak” dan sebelumnya dari rancangan TV3 “Pasport Sinaran Kegemilangan”. Rancangan ini sendiri yang mahu melihat pelawak-pelawak ini menyanyikan lagu dan meletakannya dalam slot mingguan mereka. Bagi saya kebanyakkannya boleh menyanyi dengan baik seperti Shamsul Ghau-Ghau(TV3) dan Senario(TV3) . Pelbagai Album telah berjaya dihasilkan oleh mereka. Rancangan terbitan Astro pula(Raja Lawak) menampilkan pelawak yang baik mutu suaranya dan mengikut ranking top ten saya ialah :



1. Johan 2. Sepah 3. Asrul 4. Angah 5. Tauke 6. Along 7. Jihan 8. Alex 9. Idlan 10. Kecik




Lagu-lagu jenaka sewajarnya mendapat tempat di hati peminat kerana ia selalunya mudah dihafal dan sentiasa dibibir kita. Pelawak sejak dari dulu mengunakan nyanyian sebagai umpan untuk menangkap ikan-ikan mereka. Tak salah saya kira kerana ini memberi maksud iaitu lagu dan lawak jenaka mempunyai pertalian yang amat sinonim.

Di Sebalik Lagu Negara Ku.......

NEGARA KU

Negara ku
Tanah tumpahnya darah ku
Rakyat hidup
Bersatu dan maju
Rahmat bahgia
Tuhan kurniakan
Raja kita
Selamat bertahta
Rahmat bahgia
Tuhan kurniakan
Raja kita
Selamat bertahta


Idea untuk mencipta Lagu Kebangsaan timbul apabila negara hampir mencapai kemerdekaan. Lagu rasmi Kebangsaan ini perlu diperdengarkan diupacara pengistiharan kemerdekaan yang telah ditetapkan pada 31 Ogos 1957. Lantaran itu, pada bulan Febuari 1957, satu pertandingan mencipta lagu kebangsaan telah diadakan. Hasilnya sebanyak 514 penyertaan telah diterima dari dalam dan luar negara.

Setelah dibuat tapisan, sebanyak empat buah lagu iaitu ciptaan Benjamin Britten, Sir William Walton, Carlo Manetti dan Zubir Said telah disenarai pendekkan daripada 514 penyertaan yang diterima. Bagi memilih lagu kebangsaan, satu Jawatankuasa Khas Pemilihan Lagu Kebagsaan telah dibentuk yang diketuai sendiri oleh Y.T.M Tunku Abdul Rahman Putra Al-Haj. Keempat-empat lagu tersebut diperdengarkan semula dan telah dimainkan oleh Pacaragam Polis Diraja Malaysia di dewan Polis Depoh, Kuala Lumpur pada 5 Ogos 1957. Walau bagaimanapun Jawatankuasa Pemilihan Lagu Kebangsaan tidak bersetuju dengan keempat-empat lagu tersebut. Y.T.M Tunku sebaliknya mengesyorkan lagu Terang Bulan sebagai lagu Kebangsaan Negara ku. Cadangan ini dipersetujui oleh Jawatankuasa yang lain walaupun pada mulanya mendapat sedikit bantahan.

Lagu Terang Bulan merupakan lagu yang amat disukai oleh Sultan Abdullah , Sultan Perak. Ketika itu baginda berada dalam buangan di Pulau Seychelles. Baginda selalu mendengar lagu tersebut yang dimainkan oleh Pasukan Pancaragam Perancis bagi menghiburkan tentera dan juga orang ramai. Lagu tersebut juga amat disukai dan menjadi siulan oleh penduduk-penduduk di pulau itu.





Lagu Terang Bulan juga telah mencuit hati Raja Chulan. Ketika itu Raja Chulan melawat Raja Abdullah di Pulau Seychelles, baginda amat tertarik dengan lagu ini lalu baginda mempelajari dan memainkan lagu tersebut dengan biola. Apabila kembali ke Perak, Raja Chulan telah memainkan lagu tersebut dihadapan Raja Mansur, yang kemudiannya telah mengesyorkan kepada Sultan Idris, Sultan Perak ketika itu supaya menjadikan lagu Terang Bulan sebagai Lagu Negeri Perak.

Pada tahun 1888 buat pertama kalinya lagu Terang Bulan telah dimainkan sebagai lagu rasmi Negeri Perak di Istana Buckingham England semasa lawatan Sultan Idris Murshidulazam Shah ke London sempena pertabalan Queen Victoria. Bermula dari itulah lagu Terang Bulan menjadi lagu Negeri Perak dan pada tahun 1957 lagu itu telah dijadikan asas sebagai Lagu Kebangsaan Negara Ku.

Notasi muzik lagu Negara Ku telah disediakan oleh Alfonso Soliano (Pemimpin Orkestra Radio Malaya), D.S.P Croft (Pengarah Muzik Pancaragam Polis diRaja), Kepten Lenthall(Pengarah Muzik Pancaragam Askar Melayu, Port Dickson) dan A.T Reed (Ketua Pengarah Radio Malaya). Senikata lagu Kebengsaan Negara telah disediakan olehsatu Jawatankuasa Khas yang juga diketuai oleh Y.T.M Tunku Abdul Rahman Al Haj dengan persetujuan Sultan-sultan Tanah Melayu.





Lagu Kebangsaan Negara Ku diperdengarkan buat pertama kalinya pada 31 Ogos 1957. Upacara menaikkan Bendera Persekutuan Tanah Melayu di padang Kelab Selangor. Pada masa tersebut bendera Union Jack telah diturunkan dan digantikan dengan bendera Persekutuan Tanah Melayu (kini Jalur Gemilang ciptaan Mohamad Hamzah)diiringi lagu Negara Ku. Bermula dari detik inilah lagu Negara Ku terus kekal menjadi lagu rasmi negara.

Yang Kurang di Kenali ( SubGenre )

Kisah kita kali ini ialah berkenaan subgenre lagu. Saya kira ramai mengatakan kita sudah bincangkan perkara ini pada talk yang lepas. Tapi bagi saya topik genre kali ini lebih menarik kerana kita akan memperlihatkan tentang jenis subgenre yang jarang orang kenali. Kita amat kenali Rock, Balada, Jazz, Waltz dan lain lagi. Apa yang akan kita kongsikan bersama nanti akan dibekalkan dengan video dari You Tube mengikut tajuk yang jarang kita jumpa ini.

Nu Metal

Nu metal merupakan sub-genre bagi heavy metal yang mula bangkit pada awal 1990an yang menggabungkan muzik grunge,alternatif metal, funk metal, hip hop, serta pelbagai genre heavy metal lain seperti industrial, groove dan thrash.



Keroncong

Keroncong ialah sejenis seni muzik yang berasal dari pengaruh Indonesia. Ia mulai diperkenalkan ke Semenanjung Tanah Melayu pada akhir abad ke-19 apabila ramai pekerja buruh dari Indonesia terutama dari Pulau Jawa berhijrah ke Malaysia untuk mencari pekerjaan. Penduduk dari Jawa, tidak ketinggalan juga membawa bersama kesenian mereka termasuk seni muzik gamelan, keroncong, muzik untuk wayang kulit, kuda kepang, barongan, hamdulok, katoperak dan sebagainya.



Operatic Pop

Pop Opera (bahasa Inggeris: Operatic pop) ialah corak lagu yang dikategorikan di dalam cabang genre muzik pop, dimana lagu – lagu berentak pop dinyanyikan mengunakan suara opera. Kebiasaannya lagu-lagu pop opera dimainkan dengan muzik klasikal (bercorak orkestra) tetapi ia kerap juga dimainkan dengan irama muzik pop. Pop Opera juga disebut atau lebih kenali sebagai "Popera" oleh ramai penulis media dan pengkritik lagu.



World Music

World Music atau Muzik Dunia adalah sebutan bagi aliran muzik yang bukan termasuk muzik popular dan muzik klasik, serta mempunyai elemen "etnik". Biasanya yang termasuk kategori ini adalah muzik-muzik rakyat Eropah (folk song) dan muzik dari negara-negara dunia ketiga seperti negara-negara di Asia dan Afrika.



(Emocore

Emo atau emocore merupakan salah satu subgenre punk hardcore yang bermula pada penghujung tahun 1980-an. Band yang sering dikatakan mula-mula membawa genre ini adalah band hardcore Rites of Spring dan Embrace yang merupakan band-band dari scene DC. Kemudiannya pada pertengahan 1990-an, istilah emo mula digunakan untuk merujuk scene indie yang terpengaruh dengan bunyi Fugazi. Band-band ini mempunyai bunyi emo yang berstail rock indie, lebih melodik dan kurang onar. Antara band-band awal dalam scene ini adalah Sunny Day Real Estate dan Texas Is The Reason.



Acid Jazz

Acid jazz (dikenal juga dengan jazz Club) adalah genre muzik yang menggabungkan elemen-elemen muzik soul, funk, dan disco. Genre ini dikembangkan pada tahun 1980-an dan 1990-an, awalnya pada kelab malam di Selatan England. DJ Gilles Peterson dan Chris Bangs umumnya dikenal sebagai yang menciptakan istilah acid jazz, pada tahun 1987.

.Muzikalnya P.Ramlee.

Siapa yang tak kenal dengan beliau, seantero nusantara masih memuji kehandalan beliau walaupun telah lama meninggalkan kita.Dari kecil terus ke dewasa dan golongan tua juga amat mengkagumi beliau.

Tan Sri P. Ramlee telah dilahirkan bernama Teuku Zakaria Teuku Nyak Puteh pada 22.3.1929 di Pulau Pinang. Cemerlang seninya bergemerlapan sekitar tahun 1948 hingga 1973. Dalam jangka masa tersebut Tan Sri telah mengukir nama dalam bidang lakonan, penulisan lagu dan pengarahan filem. Itulah serba sedikit tentang diri beliau secara umum.


P. Ramlee sebenarnya sangat beruntung kerana di persekitarannya wujud satu fenomena dimana muzik adalah satu keperluan dalam kehidupan masyarakat ketika itu. Industri hiburan mula menular dengan pesatnya. Kumpulan muzik juga tidak ketinggalan.


Tan Sri memulakan Ilmu muziknya dengan muzik Keroncong. Bagi saya muzik keroncong ada kelebihannya tersediri amat muzikal dan unik dari segi gubahannya dan perlu juga kita lihat counter lagu yang menarik dan tidak ketinggalan bass line yang tersendiri. Antara kumpulan keroncong yang melibatkan Tan Sri ialah Kumpulan Pemuda Indonesia Keroncong Party (1946) dan Kumpulan keroncong Pulau Pinang sebelum itu.



Disamping Keroncong yang mendukung ilmu muzik P. Ramlee beliau juga sudah mula kenal akan muzik barat. Penglibatannya dalam Orkes Mutiara (1946) membawa beliau terus berkembang dari segi muzikalnya. Bercerita tentang Orkestra ni terdapat banyak kelebihannya. Sebenarnya bakat Tan Sri telah digabungkan dengan kelebihan jenis muzik yang diceburi maka inilah yang saya katakan tadi iaitu beliau sangat beruntung.


Dengan kebolehan yang ada Tan sri telah diberi peranan untuk memimpin Orkes Malay Film Production maka tercetuslah lagi satu penghormatan kepada beliau kerana pada pandangan saya seorang komposer yang mampu membuat gubahan ( Arrangment) nya sediri akan menghasilkan satu set lagu yang baik. Gabungan ini diserikan lagi dengan penglibatan beliau sebagai Pengarah filem.



Banyak lagu-lagu Tan Sri berunsur atau genrenya menyeluruh. Saya akan senaraikan beberapa contoh lagu-ciptaan P. Ramlee yang pelbagai.

Ballad : Engkau Laksana Bulan, Merak Kayangan
Komedi : Pok-Pok Bujang Lapuk
Patriotik : Perwira
Nasyid : Rukun Islam,Alhamdulillah
Tradisional
Asli : Nak Dara Rindu
Inang : Inang Baru
Joget : Joget Si Pinang Muda
Zapin : Zapin Malaysia
Keroncong : Keroncong Kuala Lumpur
Pengaruh Cina : Apek dan Mardinah
Pengaruh Arab : Ya Habibi Ali Baba


P. Ramlee tidak pernah merakamkan album dalam bahasa inggeris tetapi banyak lagu-lagu beliau berunsurkan muzik barat.

A go-go : Terbang Burung Terbang
Andante : Mengapa riang ria
Beguine : Merak Kayangan
Bolero : Juwita
Mambo : Kwek Mambo
Rumba : Bila Larut Malam
Samba : Nasi Goreng
Twist : Bunyi Gitar

Saya rasa Tan Sri sangat lengkap. Kita di Malaysia ramai komposer yang hebat dan ramai juga pengubah lagu tapi tak ramai komposer bertaraf pengubah yang baik dan sebaliknya.



Bagi saya mungkin nak jadi P.Ramlee amat jauh sekali cukuplah kalau kita dapat jadi rakan-rakan yang seangkatan dengan beliau seperti…
Zubir Said, Osman Ahmad, Yusuf B, Ahmad Jaafar dan Ahmad Nawab.