Emim Eng PDF

Ethnic
Musical Instruments
of
MALAYSIA
Ethnic
Musical Instruments
of
MALAYSIA
LEE ELAINE
First Printing 2006
© Win Publication Sdn. Bhd.
ISBN 983-2312-17-5
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Acknowledgement
I respectfully acknowledge the invaluable assistance, support and co-op-

eration of the following advisors, without whom this book could not
have been produced. Mr Bahizal and Pak Nawi from National Theater,
Mrs Gan and all her staff in Simshen De Classic, Puan Raja Norsheela,
Ms. Norizah, Pak Nasir, Mr Kamarul, Pak Rahbeni Mutaal and Pak Nik
Mustapha from National Arts Academy, Mr Kumar, Mr Prakash and Mr Vi-
jayakumar from Temple of Fine Arts. They are all to be thanked for their
kindness and co-operation during photography sessions at their premises
and also their invaluable contributions in terms of sharing of information
about the musical instruments gathered from their years of experience.
Last but not least, I must also thank my parents who brought me into this
world, providing me education and their unconditional support and en-
couragement for me to pursue my dreams. It would be rather remiss of me
if I do not also thank each and everyone who have contributed one way or
another to this publication.
Thank you once again.
Photo Credit
Special thanks are due to the Ministry of Culture, Arts and Heritage Ma-
laysia, National Theater, National Museum, National Arts Academy, Orang
Asli Museum, Selangor Museum, Temple of Fine Arts and Simshen De
Classic.
i
Preface from the Honorable Minister
The richness of Malaysian music needs no re-emphasis. From the rebana to the
manjira, from the pipa to gong – Malaysian music has been coalesced to produce
the tantalizing sounds of the East for centuries past. What more, as it happens so
often, when fused with the accompaniment of the violin or accordion of the modern
age, Malaysian music assuages its position with universality. This disposition, in
turn, has further fused to form what music means to Malaysia and the global com-
munity.
Whilst the relevance of music in our lives needs no re-emphasis, KeKKWa is now
well poised to pursue and cater music as a substantive subject character and culture
build-up. We are earnest in our pursuit of placing music as a substantive life-long
activity and training. This is nowhere more evident than our present endeavor to
upgrade the present Academy of Arts (ASK – Akademi Seni Kebangsaan) at Jalan
Merbok, Kuala Lumpur into the new all-encompassing National Academy of Arts,
Culture and Heritage whose Act of Parliament has just been made into law.
I wish to congratulate Lee Elaine in her endeavor to bring out this quintessential
book – a first of its kind in local publication history. If at the tender age of 16 she
could produce this gem of a publication, I wonder with glee and expectation, her
further and other products of the future in the field of music. The culture, Arts and
Heritage Ministry (KeKKWa) is indeed proud to recommend this book to all who
care about Malaysian music, a subject that has gained importance as we climb the
ladder of a more rounded nationhood.
DATUK SERI UTAMA DR. RAIS YATIM

Minister of Culture, Arts and Heritage Malaysia (KeKKWa)
iii
Words from The President of The
International Society for Music Education
27th ISME World Conference
Malaysia, July 16-21, 2006
I fell in love with Malaysia, amongst many other things, its rich ethnic mu-
sic contributed by the melting pot of a multi-racial and multi-cultural so-
ciety. Though I have come across many of the ethnic musical instruments
since my arrival in this beautiful country, it came as a pleasant surprise
to actually see a book on my table capturing all these instruments in print
and in full color. So when I was invited to pen a few words, I accepted
without hesitation.
Credit must be given to the author, Lee Elaine, whom I am sure must have
spent a considerable amount of time and effort to come up with this book.
Every single page not only showcases the multitude of ethnic musical in-
struments but it comes with a write-up sufficient to show readers the inge-
nuity of human beings. A very simple leaf could be turned into a musical
instrument. This is simply amazing!
‘’Ethnic Musical Instruments of Malaysia” embodies the very essence of

Malaysian arts, culture and heritage. It is the best self-advertisement for
Malaysian ethnic music and makes very interesting reading. I hope that
local and foreign music lovers will enjoy it too!
Gary McPherson
ISME President 2004-2006
27th ISME World Conference
July 16-21, 2006
Kuala Lumpur, Malaysia
v
Words from National Arts Academy
If music be the food of love, play on!

WILLIAM SHAKESPEARE (1564-1616). “Twelfth Night”
Malaysia is blessed with a rich and diversified music because of our multi-
racial, multi-cultural society. This book introduces the beauty of our eth-
nic music and the instruments that produce it, a combination of the Ethnic
Malay, Chinese, Indian Musical Instruments, Sabah Musical Instruments,
Sarawak Musical Instruments and Orang Asli Musical Instruments.
A very long time ago, the then Malay Peninsular attracted a lot of immi-
grants who brought with them their rich musical heritage. This has turned
into a great blessing as it has further enriched what we are able to enjoy
today. The musical instruments that produce it could be some very simple
devices like clappers or flutes fashioned out of bamboo shoots or even a
tree bark. These had slowly evolved through the centuries into the large
array of ethnic musical instruments we have now covering the 4 main cat-
egories of Membranophone, Aerophone, Idiophone and Chordophone.
It is interesting to turn the pages of this book to discover how instrument

makers discover new materials to invent new shapes that offer new po-
tential for musicians. It is astounding to see how different ethnic musical
instruments play in ensembles can sound so good and yet offer such dis-
tinct tones and colors. It would be a great injustice not to mention that the
music produced by our instruments accompany our equally entertaining
ethnic dances, plays and dramas. It is indeed an audio visual spectacular!
vii
Our ethnic musical instruments are more than just devices to produce mu-
sic. They are just as aesthetically appealing, making it a collector’s item for
many of our foreign friends. They are often beautifully crafted and deco-
rated and just as lovingly polished and its surfaces smoothened. We can al-
ways vizualise the joy and passion that flow through the players when they
hold it in their hands. It is equally a joy to hold this book in your hands.
Personally, I have the pleasure of making the acquaintance of the author

of this book, Lee Elaine, who at time of printing of this book is only 16
years old. But her eyes reflect her passion and love of music. Of course
she could not have completed this book without the various authorities
on music, whose invaluable help she has duly acknowledged. To quote
Elaine: “Irrespective of how far I can go to pursue my dreams, I will never
forget my Malaysian roots and our Malaysian music which is so rich and
diversified. I wish to share our Malaysian art, culture and heritage with
local music lovers as well as music lovers all over the world. And what
better way to promote this than to do it via a book? ‘’
On this note, I am pleased and proud to volunteer to write the Preface. I

would strongly recommend this book to all music lovers and interested
parties because regardless of race and origin we should never stop pursu-
ing this shared knowledge and experience in music teaching and learning.
(Omar Awang)
Director of National Arts Academy
viii
CONTENTS
Acknowledgement i
Preface from the Honorable Minister iii
Words from the ISME President v
Words from National Arts Academy vii-viii
List of Plates xii-xvi
Introduction 1-3
Musical Instrument Categories 5-7

1. Ethnic Malay Musical Instruments
1.1. Alu Bunyi 10
1.2. Angklung 11-12
1.3. Beduk 13
1.4. Bonang / Keromong 14
1.5. Cak Lempong 15
1.6. Canang 16
1.7. Cerek / Kecerek 17
1.8. Dup 18
1.9. Gambang Kayu 19-20
1.10. Gambus 21
1.11. Gedombak 22-23
1.12. Geduk 24-25
1.13. Gendang 26
1.13.1. Gendang Ibu 27
1.13.2. Gendang Jawa 28
1.13.3. Gendang Melayu 28
1.14. Gong 29-30
1.14.1. Gong Agong 31
1.15. Gordang Sembilan 32
1.16. Grantang 33
1.17 Jidur / Dol 34
1.18. Kemplingan 35
1.19. Kempul 36
1.20. Kenong 37
1.21. Kertuk Kayu 38
1.22. Kertuk Kelapa 39
1.23. Kesi 40
1.24. Kompang 41
1.25. Marwas 42
1.26. Nobat 43
1.27. Rebab 44-45
1.28. Rebana 46
1.28.1. Rebana Besar 47-48
1.28.2. Rebana Mangkuk 49
1.28.3. Rebana Ubi 50
1.29. Saron 51
1.29.1. Saron Penerus / Pekin 51
1.29.2. Saron Barong 51
1.29.3. Saron Demung 52
1.30. Slentem 53
1.31. Tetuang 54
2. Ethnic Chinese Musical Instruments

2.1. Bo 56
2.2. Ching and Chap 57
2.3. Dizi 58
2.4. Erhu 59
2.5. Gaohu 60
2.6. Gehu 61
2.7. Gu 62
2.7.1 Paigu 63
2.7.2. Tagu 64
2.8. Guzheng 65
2.9. Ling 66
2.10. Liu Qin 67
2.11. Luo 68
2.12. Mu Yu 69
2.13. Panhu 70
2.14. Pipa 71
2.15. Ruan 72
2.16. San Xian 73
2.17. Sheng 74
2.18. Suona 75
2.19. Temple Block 76
2.20. Yang Qin 77
2.21. Yue Qin 78
3. Ethnic Indian Musical Instruments

3.1. Ghatam 80
3.2. Harmonium 81
3.3. Indian Bamboo Flute 82
3.4. Manjira 83
3.5. Mridangam 84
3.6. Sarod 85
3.7. Sitar 86
3.8. Tabla and Baya 87
3.9. Tambura 88
3.10. Veena 89
4. Sarawak Musical Instruments

4.1. Engkeromong 92
4.2. Engkerurai / Keluri 93
4.3. Ketebung / Ketubong 94
4.4. Sape 95
4.5. Selengut 96
5. Sabah Musical Instruments

5.1. Gendang Sabah 98
5.2. Kulintangan 99
5.3. Sompoton 100
5.4. Sundatang 101
5.5. Tongkungon 102
5.6. Turali 103
6. Orang Asli Musical Instruments

6.1. Awar 106
6.2. Batak 107
6.3. Biola 108
6.4. Chentong 109
6.5. Gendang 110
6.6. Gendang Semarang 111
6.7. Ginggong / Raggoch 112
6.8. Gong 113
6.9. Kereb 114
6.10. Rebab 115
6.11. Seruling / Suling 116
6.12. Seruling Hidung / Pensol 117
6.13. Tambur / Rebana 118
Glossary 119-120
List of Plates
Page
Plate 1 Alu Bunyi 10
Plate 2 Angklung 11
Plate 3: Kuda Kepang Dance 12
Plate 4: Kuda Kepang and Musical Instrument 12
Plate 5 Beduk 13
Plate 6 Beduk 13
Plate 7 Bonang / Keromong 14
Plate 8 Bonang / Keromong in play 14
Plate 9 Cak Lempong 15
Plate 10 Cak Lempong in play 15
Plate 11 Canang for Wayang Kulit performance 16
Plate 12 Canang for Tarian Asyik performance 16
Plate 13 Tari Asyik Dance 16
Plate 14 Cerek / Kecerek 17
Plate 15 Dup 18
Plate 16 Dup 18
Plate 17 Gambang Kayu 19
Plate 18 Lee Elaine with Pak Nik Mustapha and her classmates in 20
Gambang Kayu class
Plate 19 Gambus in play 21
Plate 20 Gambus 21
Plate 21 Gedombak 22
Plate 22 Gedombak Ibu and Gedombak Anak 23
Plate 23 Wayang Kulit Performance 23
Plate 24 Geduk 24
Plate 25 Geduk 24
Plate 26 Geduk Ibu and Geduk Anak 25
Plate 27 Wayang Kulit Gedek 25
Plate 28 Gendang Gamelan 26
Plate 29 Gendang Gamelan 26
Plate 30 Gendang Ibu and Gendang Anak 27
Plate 31 Musicians 28
Plate 32 Gendang Jawa 28
Plate 33 Gendang Melayu 28
Plate 34 Gong Silat 29
Plate 35 Gong Tetawak Ibu and Tetawak Anak 30
Plate 36 Gong Agong in play 31
Plate 37 Gong Suwukan 31
xii
Page
Plate 38 Gordang Sembilan 32
Plate 39 Gordang Sembilan (view from the left) 32
Plate 40 Grantang 33
Plate 41 Grantang 33
Plate 42 Jidur / Dol 34
Plate 43 Jidur / Dol 34
Plate 44 Kemplingan 35
Plate 45 Kempul 36
Plate 46 Kempul 36
Plate 47 Kenong 37
Plate 48 Kenong 37
Plate 49 Kertuk Kayu 38
Plate 50 Lee Elaine with Mr Rahbeni Mutaal (Music Lecturer 38
of National Arts Academy)
Plate 51 Kertuk Kelapa 39
Plate 54 Kesi 40
Plate 55 Kesi for Wayang Kulit performance 40
Plate 56 Kompang 41
Plate 57 Marwas 42
Plate 58 Marwas 42
Plate 59 Nobat in play 43
Plate 62 Rebab 44
Plate 63 Rebab Musician 44
Plate 64 Mak Yong Dance 45
Plate 65 Rebana 46
Plate 66 Rebana Besar 47
Plate 67 Rebana Besar 48
Plate 68 Rebana Mangkuk 49
Plate 71 Rebana Ubi 50
Plate 72 Face of Saron Penerus/Pekin 51
Plate 73 Face of Saron Barong 51
Plate 74 Face of Saron Demung 52
Plate 75 Saron Demung in play 52
Plate 76 Slentem 53
xiii
Page
Plate 77 Slentem 53
Plate 78 Tetuang 54
Plate 79 Tetuang 54
Plate 80 Bo 56
Plate 81 Bo 56
Plate 82 Ching and Chap 57
Plate 83 Ching and Chap (view from the back) 57
Plate 84 Ching and Chap 57
Plate 85 10 types of Dizi 58
Plate 86 Dizi 58
Plate 87 Dizi 58
Plate 88 Erhu 59
Plate 89 Gaohu 60
Plate 90 Face of Gaohu 61
Plate 91 Surface of Gehu 61
Plate 92 Gehu 61
Plate 93 Gu 62
Plate 94 Gu 62
Plate 95 Gu 62
Plate 96 Paigu 63
Plate 97 Paigu 63
Plate 98 Tagu 64
Plate 99 Face of Tagu 64
Plate 100 Guzheng 65
Plate 101 Lee Elaine in Guzheng class 65
Plate 102 Ling 66
Plate 103 Liu Qin 67
Plate 104 Liu Qin 67
Plate 105 Luo 68
Plate 106 Luo 68
Plate 107 Mu Yu 69
Plate 108 Mu Yu 69
Plate 109 Face of Mu Yu 69
Plate 110 Panhu 70
Plate 111 Front Interface of Panhu 70
Plate 112 Back Interface of Panhu 70
Plate 113 Pipa 71
Plate 114 Face of Ruan 72
Plate 115 Ruan 72
Plate 116 San Xian 73
xiv
Page
Plate 117 Sheng 74
Plate 118 Suona 75
Plate 119 Suona 75
Plate 120 Temple Block 76
Plate 121 Temple Block 76
Plate 122 Yang Qin 77
Plate 123 Face of Yang Qin 77
Plate 124 Lee Elaine in Yang Qin class 77
Plate 125 Yue Qin 78
Plate 126 Ghatam 80
Plate 127 Ghatam Hole 80
Plate 128 Harmonium 81
Plate 129 Harmonium 81
Plate 130 5 types of Indian Bamboo Flute 82
Plate 131 Indian Bamboo Flute 82
Plate 132 Manjira 83
Plate 133 Manjira 83
Plate 134 Mridangam 84
Plate 135 Lee Elaine with Mr Thamarakumdi K.R. Vijayakumar 84
(Mridangam / Ganjira Instructor & Artiste)
Plate 136 Sarod 85
Plate 137 Sarod Interface 85
Plate 138 Face of Sarod 85
Plate 139 Face of Sitar 86
Plate 140 Lee Elaine with Mr Kumar Karthigesu (Sitar Instructor) 86
Plate 141 Various types of Sitar 86
Plate 142 Mr Kumar Karthigesu (Sitar Instructor) 86
Plate 143 Tabla (small) and Baya (big) 87
Plate 144 Lee Elaine with Mr Prakash Kandasamy (Tabla Ar- 87
tiste & Instructor)
Plate 145 Lee Elaine in Tabla Class 87
Plate 146 Face of Tabla and Baya 87
Plate 147 Tambura 88
Plate 148 Veena 89
Plate 149 Engkeromong 92
Plate 150 Engkeromong Musician 92
Plate 151 Lee Elaine with Engkeromong Musician 92
Plate 152 Engkerurai / Keluri 93
Plate 153 Engkerurai / Keluri 93
Plate 154 Ketebung / Ketubong 94
xv
Page
Plate 155 Sape 95
Plate 156 Sape Musician 95
Plate 157 Sape Musician 95
Plate 158 Selengut 96
Plate 161 Gendang Sabah (view from the top) 98
Plate 162 Gendang Sabah 98
Plate 163 Kulintangan 99
Plate 164 Sompoton 100
Plate 165 Sundatang 101
Plate 166 Sundatang 101
Plate 167 Tongkungon 102
Plate 168 5 types of Turali 103
Plate 169 Turali 103
Plate 170 Awar 106
Plate 171 Awar 106
Plate 172 Orang Asli Museum 106
Plate 173 Batak 107
Plate 174 Biola 108
Plate 175 Chentong 109
Plate 176 Gendang 110
Plate 177 Gendang Semarang 111
Plate 178 Ginggong, Raggoch and Genggong 112
Plate 179 Raggoch 112
Plate 180 Raggoch 112
Plate 181 Genggong 112
Plate 182 Gong 113
Plate 183 Gong 113
Plate 184 Gong 113
Plate 185 Kereb 114
Plate 186 Kereb 114
Plate 187 Rebab 115
Plate 188 Rebab 115
Plate 189 Seruling / Suling Berlapis 116
Plate 190 Seruling / Suling Hidung 117
Plate 191 Pensol in play 117
Plate 192 Pensol in play 117
Plate 193 Tambur / Rebana 118
Plate 194 Tambur / Rebana 118
xvi
Introduction
M alaysia prides herself as a multi-racial and multi-cultural society producing

a multitude of colorful music generated by an equally fascinating array of
musical instruments. Music lovers worldwide not only found our music intriguing
but are also enraptured by the aesthetical value of our instruments that they become
collectors’ items. All races that make up Malaysia should take full credit for this,
be they Malay, Chinese, Indian, communities from Sabah state and Sarawak state
and Orang Asli. We must also not undermine the influence of immigrants and indig-
enous people who contributed to the diversity of Malaysian music.
The Ethnic Musical Instruments of Malaysia can be broadly classified into 4 cat-
egories:
a) The largest group is Membranophone. As the name suggests, it is a skin or

membrane stretched over the instruments to produce the sound when struck,
as in a drum.
b) Another category is Aerophone as in wind instruments.
c) Idiophone is instruments where you need to hit, rub or scrape it to produce a
sound.
d) On the other hand, Chordophone is string instruments to be plucked or bowed.
The following pages of this book will beautifully illustrate the various musical
instruments identified with each race accompanied by a broad writeup on each.
However, in Malaysia, there are always occasions where the various ethnic musi-
cal instruments come together in an ensemble and produce music unique to us. It
would be a grave injustice to just mention music without adding that the country is
also steeped in traditions of dance and dance drama, some of which are Portuguese,
Indian or Thai origin.
Some of the ethnic Malay musical instruments include the Alu Bunyi (assimilat-
ing the rice-pounding act); Angklung (provides excellent music to accompany the
Kuda Kepang dance); Beduk (acts as a communications channel to announce prayer
time); Bonang (the main melodic instrument in the Malay Gamelan); Gambus (as-
sociated with Ghazal music); Gendang Ibu (takes the form of a fish); Gong (it is
also a popular wedding gift); Nobat (royal orchestra); Tetuang (trumpet-like instru-
ment fashioned out of a cow or buffalo horn) and many more equally fascinating
instruments.
1
A spin-off of our unique music produces dance forms such as the crowd-pulling
wayang kulit (shadow puppet) or silat (a stylized martial art). Our rich culture en-
compasses artistic crafts such as batik drawing and weaving, silver and brass work.
An interesting tradition has been revived, namely the Mak Yong theatre which in-
cludes much music, singing and dancing.
At the beginning of the 19th century, the then West Malaysia was perceived by the
Ethnic Chinese as a gold mine to seek a living because of the existence of tin mines.
It was a blessing because they brought with them their rich musical heritage, the
most popular of which was the Hua Yue Tuan (Chinese Orchestra). Their musical
instruments could produce very loud sounds because the Chinese normally believes
loudness could chase away everything evil in exchange for good luck. One such
occasion is the letting off firecrackers (currently banned in Malaysia) during the Lu-
nar New Year or during happy occasions such as weddings. Instruments under this
category include: the Gu (Chinese drum); the Luo (tam-tam) or the Bo (hand cym-
bals). There are also instruments that produce very melodic tunes like the Erhu;
Pipa (short-neck lute).
While the Ethnic Chinese were attracted by the tin mines, the minority Ethnic In-
dians were largely brought in by the British to work in the rubber plantations also
during the turn of the 19th century. Their musical instruments were also as varied
as the Chinese’s, like the Ghatam (literally a clay pot), Sitar ( a long neck flute), and
many under the Membranophone category such as Mridangam, Tabla and Baya.
There are also those that come under the flute and cymbal families. These musical
instruments provide exciting accompaniments to their traditional dances or perfor-
mances during religious rituals.
Sarawak state has an equally rich heritage of traditional musical instruments made
mostly from natural materials. Their instruments could be termed as ‘tribal’ as its
creation and construction depend largely on the tribe’s preference. Just like the
other ethnic instruments, all four categories of instruments are available such as
Engkerurai / Keluri (Aerophone); Ketebung / Ketubong (Membranophone); Eng-
keromong (Idiophone) and Sape (Chordophone).
Amongst the many festivals, the more notable ones will be the Gawai Festival cel-
ebrated by the Ibans who use the Sape to accompany the rituals that appease the
2
padi (rice) spirit or the other more popular instrument, the Engkeromong played
during the various rituals.
Sarawak’s neighboring state, Sabah is fortunate that it produces a lot of natural

materials that are being used to make their traditional musical instruments. Simple
materials such as bamboo can be used to make the Sompoton or Turali; jackfruit
wood for the Tongkungon; and animal hides to cover the surfaces. Their instru-
ments are very versatile in the sense that it can be played solo or in an ensemble.
Its rich heritage extends to include the various tribal dances found in the State ac-
companied by the music from the equally varied instruments. The Kadazandusun
community can attest to that.
As mentioned earlier, the Orang Asli too contributed to the diversity of Malaysian
music. What is even more amazing is that a lot of natural materials which we tend
to overlook, are used by the Orang Asli to make instruments that produce their
unique brand of music. Let us share and enjoy the Batak (hollowed out of a log);
Chentong (bamboo); Raggoch (fashioned out of a palm leaf); Rebab (made with the
skin of a fish);or the Tambur (drum hollowed out of a tree trunk);
In conclusion, as you turn the pages of this book, you will be fascinated by the
kaleidoscope of colorful pictures that are definitely a visual treat. If you ‘listen’
carefully, you might even ‘hear’ the music.
3
Musical Instrument Categories
Aerophone
A erophone classifies musical instruments that produce sound strictly due to vi-
brating air inside an instrument or part of the instrument. There is no external
party such as strings or membranes to cause the instrument to vibrate.
Aerophones are further categorized into:
• Free Aerophones where the vibrating air is around the instrument and not in
the instrument itself. Harmonica is an example of this free reed instrument.
• Reed instrument where the vibrating air is contained by the instrument itself.
Wind instruments that come under this category include the flute and trumpet.
Air is blown across the sharp edge at the blow hole, termed the blow hole
• instruments like panpipes.
The final category is where loud sounds are directed inside of resonant cavi-
• ties like steam whistle.
Chordophone
C hordophone is a musical instrument that produces sound by way of a vibrat-

ing string and a resonator or strings stretched between two points. A resona-
tor picks up the sound, vibrate the sound, amplify it and finally alter the sound to
become more musical. Examples are violins, guitars, harps.
Chordophones can be categorized into:
Instruments with a resonator such as the piano and harpsichord.

•
Instruments without a resonator which majority of chordophones fall into this
• category.
5
Idiophone
I diophone classifies musical instruments that produce sound due to the instrument
vibrating itself. The vibration is the musical sound. There is no external party
such as strings or membranes to cause the instrument to vibrate. Most percussion
instruments which are not drums are idiophones.
Idiophones are categorized into:
• Struck idiophones or concussion idiophones. Vibrations caused by hitting

(marimba), shaking or scraping (bells).
• Plucked idiophones such as music box or mbira (thumb piano).
• Blown idiophones such as Aeolsklavier.
• Friction idiophones which can be rubbed or bowed such as harmonica or vio-

lin.
Membranophone
M embranophones classify musical instruments that produce sound by way of

a vibrating stretched membrane. A piece of skin or membrane is stretched
across a resonator and the vibration of the skin or membrane is the sound. Most
drums fall into this classification.
Membranophones are further categorized into:
Struck drums: Where the membrane is hit by a hand or an instrument.
Tubular drums: Footed (with feet around the edge of the bottom); Goblet
(with a stem at the base); Waisted (hourglass-shaped);
Long; Barrel; Conical or Cylindrical.
6
Friction drums: Either a rubbing motion causes the membrane to vibrate
or the player runs a stick through a hole in the membrane
which is pulled back and forth.
String drums: A knotted string attached to the membrane is pulled.
Singing The membrane vibrates in sympathy with the human

membranophone: voice.
7
Ethnic Malay
Musical
Instruments
Ethnic Malay Musical Instruments
Alu Bunyi
Plate 1 Alu Bunyi

Photo credit: www.perlis.gov.
my
Introduction
A lu Bunyi is categorized as an Id-

iophone instrument. It is named
after the rice-pounding act, a tradi-
Made of
• Chiseled from a large timber
tional activity using a large timber block to make a mortar and pes-
tle.
mortar and pestle. The sound pro-
duced by the Alu Bunyi is similar to History
•
this undulating musical rhythm. This Originated from Negeri Sem-
instrument is widely played during bilan state. Associated with the
the harvest festival in Perlis state.
Alu Bunyi is known as Tumbuk Ka-
lang amongst the Minangkabau com- During this ceremony, six players
munity in Negeri Sembilan state. stamp mortal pestles into a wooden
trough (likened to pounding of rice),
Tumbuk Kalang thus generating a rhythmic timing.
Tumbuk Kalang is a ritual that origi- There is much singing to add to the
nated from Negeri Sembilan state. merriment.
10
Angklung
Introduction
T he Angklung is another Idiophone

instrument. The first Angklung
instrument created in Banyumas, Indo-
nesia centuries ago was known as the
“Bongkel”. Then Jawa, also in Indone-
sia, restructured it to the present day tra-
ditional Angklung which is adapted by
Malaysia.
Two or four bamboo tubes are tied to

a housing called “ancak” to make one
Angklung. The tubes are tuned to oc-
tave and the tubes are carved so that they
produce a resonant pitch when shaken.
Three or four Angklung performers just
play one note in an ensemble and collec-
tively produce complete melodies. The
Plate 2 Angklung Angklung together with the Gamelan
Photo credit: National Museum, Minis- instruments provide the music to the
try of Culture, Arts and Heritage Ma-
Kuda Kepang dance.
Made of Kuda Kepang

• Selected bamboo cuts. Kuda Kepang is a very popular hobby
horse dance in the state of Johor. The
History
music is provided by a percussion en-
• The first Angklung was lo-
cated in Banyumas, Indonesia semble comprising of a hanging Gong,
centuries ago whereby it was two drums, a pair of knobbed Gongs
played during religious rituals (Kenong) mounted on a rectangular
and festivals practiced by dif- wooden frame and five Angklung (bam-
ferent communities.
boo tubular chimes) (Mohd Ghouse,
1992).
Example: The Angklung Score
11
Plate 3: Kuda Kepang Dance

Photo credit: National Museum, Ministry of Culture,
Arts and Heritage Malaysia
Plate 4: Kuda Kepang and Musical Instrument

Photo credit: National Museum, Ministry of Culture, Arts and Heritage Malay-
12
Beduk
Made of
• Cow hide for the drum head
and the body of the hard nang-
ka wood or similar variety.
History
• Used as an announcement
channel for prayer times for
the Muslim community. This
was developed way before ra-
dio and television replaced its
function.
Plate 5 Beduk
Photo credit: National Theater, Ministry
of Culture, Arts and Heritage Malaysia
Introduction
B eduk is of the Membranophone

instrument category. It is an elon-
gated drum with only one surface to
produce sounds. The drum head is cov-
ered with cow hide. When struck with
a mallet in an accelerating polyrhythm,
it is to inform the Muslim of different
prayer times. This instrument is hung at
the front of mosques and surau (prayer
place). Beduk plays a special role to the
Muslims in Malaysia, just like the Ker-
tuk Kayu.
Plate 6 Beduk
Photo credit: National Theater, Ministry of Culture,
Example: The Beduk Score
13
Bonang / Kero-
Plate 7 Bonang / Keromong

Photo credit: National Theater,Ministry
Each is tuned to a specific pitch in the

appropriate scale. It is the main me-
lodic instrument in the Malay Gamelan
and it produces a resonating sound. The
Bonang has two octaves tuned in the an-
Made of
• Perunggu. hemitonic pentatonic sound. According
to dichotomy, a Bonang that is low oc-
History tave is known in the Javanese language
• Originated from South East as ‘wedok’ (female) and a high octave
Asia.
as ‘lanang’ (male).
Introduction
B onang / Keromong is of the Id-

iophone category. The Bonang
instrument is traditionally known as
the Keromong in the communities in
Terengganu state. The name is similar
to the Gong family in Sarawak state that
is Engkeromong. Bonang is the most
important instrument in the ensemble of
traditional Gamelan of Johor state. It is
named ‘cantus firmus’ (short melody).
Plate 8 Bonang / Keromong in play
Photo credit: National Arts Academy, Ministry of Culture,
The Bonang is a collection of small Arts and Heritage Malaysia
Gongs (made of perunggu ) sometimes Example: The Bonang / Keromong Score
called ‘kettle’ placed in a wooden frame Upper row:
either in one or two rows. Arrange-
ment of instruments: Keromong, Gam-
bang Kayu, Saron Penerus / Pekin, Sa- Lower row:
ron Barong, Saron Demung, Kenong,
Gendang, Gong Agong / Suwukan.
14
Cak Lempong
Cak Lempong and the Canang are inter-

changeable instruments to play at popu-
lar performances in Kelantan state, such
as the Dikir Barat and Wayang Kulit.
Plate 9 Cak Lempong
Photo credit: National Arts Academy, Min-
istry of Culture, Arts and Heritage Malaysia Made of
• Bronze using the mould tech-
Introduction nique.
C ak Lempong is of the Idiophone

category under the small Gong
melody instrument family. Though first
History
• A traditional Malaysian music
which originated from Negeri
developed by the Minangkabau people Sembilan state and the musical
in Negeri Sembilan state, its popularity composition is influenced by the
has caught on in all other states. Minangkabau people from Su-
matera.
There are 3 pakcik (male players) in
each Gamelan ensemble. Cak Lempong
ensemble consists of the Bamboo Flute,
Salung, Rebana and Gong. It is played
during dances and performances such as
the Pencak Silat, Tari Lilin, Randai and
Tari Inai and also to accompany sing-
ing. Each Cak Lempong player holds
two Gongs and will strike them on an
accelerating crescendo to create a short
melodic phrase. Normally, the Cak
Lempong group is divided into three
functional parts, namely: melody gener-
ating “Gereteh”, “Tingkah” and “Saua”
Plate 10 Cak Lempong in play
which plays the rhythm in homophony, Photo credit: National Arts Academy, Ministry of Culture,
complementary to the song’s melody. Arts and Heritage Malaysia
Example: The Cak Lempong Score (Major Scale)
15
Canang
Introduction
C anang comes under the Idiophone in-

strument category under the small Gong
family. It comes in a pair and suspended by
light ropes in a wooden frame. Normally, the
Gongs are hand-shaped to achieve the desired
pitch. During performance, a mallet is used Plate 11 Canang for Wayang Kulit performance
to hit the Canang. Photo credit: National Theater, Ministry of Culture,
In Kelantan state, the Canang functions tonic system that has a definite pitch. In the
as a time marker in the traditional ensem- Asyik ensemble, the Canang notes of C,
ble. In traditional theater performance, the D, E and G in the Major scale are used in a
Canang is performed in pairs, the Canang minimalism moderithme which is a repetitive
ibu (mother) of about 10-12 inches in diam- sound.
eter and anak (child) of about 8-10 inches
in diameter. When performed at palace Tari Asyik
dances such as Asyik, two pairs of Canang This is a classical palace dance that originated
are used and they are calibrated in the dia- from Kelantan state. Generally, Tari Asyik
is performed merely as folk entertainment
though occasionally as a ritual dance during
official court ceremonies, festivals and wed-
dings. Its ensemble consists of three Gongs,
Plate 12 Canang for Tarian Asyik performance
Photo credit: National Theater, Ministry of Culture, drums and a large hanging Gong and reflects
Arts and Heritage Malaysia gamelan-type song (Malm, 1974).
Made of
•• Metal and bronze.
History
•• Wayang Kulit and Tarian Asyik
ensembles are mostly found
in the state of Kelantan. The
Canang is played to comple-
ment them.
Plate 13 Tari Asyik Dance
Example: The Canang Score
16
Cerek / Kecerek
Plate 14 Cerek / Kecerek

Photo credit: National Museum, Ministry of Culture, Arts and Heritage Malaysia
staged dramas. Surprisingly, the Aus-
Made of tralian’s boomerang, which we knew it
• Bamboo. to be used for hunting, is also a clapper
for their singing.
History
• This is a clapper instrument,
similar to the Boomerang in Cerek / Kecerek can be played solo in
Australia. traditional theater such as Menora in
• It is used as a time marker in Kelantan state by local people of Thai
Mak Yong performance. descendant, Jikey and Mek Mulung in
Kedah state and Mak Yong Laut in Perl-
Introduction is state. If several Cerek players played
C erek / Kecerek is another Idiophone

instrument made from long bamboo
strips of 45cm in length and 6cm wide.
in unison, it would produce a rhythmic
sound. During performance, the Cerek
is a time marker.
It produces a clapping sound, thus earn-
ing the name of clappers. According The Cerek is so versatile that the Kel-
to history, the clapper existed in Egypt antanese Wayang Kulit musical ensem-
since 2700 BC. This Egyptian version ble has adopted it to produce their own
was shaped like a hand and made of “kayu pemetik” or “kayu kesah” (kayu
ivory to accompany dancing and sing- means wood). Its versatility is extend-
ing. The ancient Greek’s clappers were ed to the clappers being used to create
known as upalon and were affixed to noise to frighten birds away.
the player’s shoes that kept time in their
17
Dup
Introduction
T he Dup is a double-headed
cylindrical drum. The
two drumming surfaces
used goat hide and hit-
ting it with bare hands or
a stick wrapped with soft
cloth produces sound. Dup
is usually used to accompa-
ny the Ghazal and “Gambuh”
performance and is very popu-
lar among the Muslim commu- Plate 15 Dup
nity in Johor state. The word ‘dup’ Photo credit: National Theater,
Ministry of Culture, Arts and Heritage Malaysia
comes from onomatopoeia system.
Made of
• Goat hide for the drum head.
History
• Originated from the southern
Plate 16 Dup part of Malaysia, Johor state. It
Photo credit: National Theater,
is played to accompany the very
popular Ghazal performance.
Example: The Dup Score
18
Gambang Kayu
Plate 17 Gambang Kayu

Photo credit: National Theater, Ministry of Culture, Arts and
Heritage Malaysia
Introduction
G
the
ambang
Kayu is of
Idiophone
category. Piec-
es of wood are
arranged on a
wooden box that
serves as a resona-
tor. The pieces of wood
are calibrated to the desired
pitch. These pieces of dense
wood are normally made of teak.
Bamboo and nibong (Oncosperma ti-
gillaria) are preferred materials to make Made of
• Bamboo and nibong (Oncosper-
the “belira” for the Gambang instru-
ma tigillaria). Belira (pieces of
ments as they produce a firmer sound. wood) are made from hardwood
There are generally 17-21 keys kept in such as nangka, chengal or mer-
place by having a hole through which a bau.
nail is placed. The Gambang Kayu has
History
several octaves to produce melodious • Originated from South East
sounds, are used in the range. Hitting Asia. It has been popular in
with a pair of special mallets produces Indonesia since centuries ago
the sound. These mallets are made of to accompany Gamelan perfor-
flexible water buffalo horn with a tip
Example: The Gambang Kayu Score
19
Malay Gamelan
The Gamelan originated from Riau-Lingga and in 1811 it was brought over
to Pahang state in the then Malaya. Through a royal marriage, it spread to
Terengganu state. From the over 60 songs brought over, only 12 are regularly
performed today. The others either lost its popularity or died with the original
players. Javanese Gamelan’s music is not so simplistic as compared to the me-
lodic Malay Gamelan music because of the large number of metal percussion
instruments.
The Malay Gamelan is distinctly different from the Balinese or Javanese

Gamelan in the music played and in the instruments. Instruments used in-
clude: Gambang Kayu (a xylophone), Saron (a metallophone), Keromong or
Bonang (sets of small kettle Gongs), Kenong (larger kettle Gongs), Gong and
Gendang or drums. Performers move from piece to piece of the instruments
as is customary in Gamelan performance. Gamelan music is rhythmmically
organized by nested cycles called “colotomy”.
Plate 18 Lee Elaine with Pak Nik Mustapha and her classmates in Gambang Kayu class
Photo credit: National Arts Academy, Ministry of Culture, Arts and Heritage Malaysia
20
Gambus
Introduction
G ambus is of the Chordophone cat-

egory, likened to a ‘lute’. Be-
fore the 19th century, the Arabs and
Made of
• Hardwood such as nangka or
angsana for the body. Cow hide
is stretched over two sounding
Handramaut (of the Arabic Peninsula) surfaces and held in place by
performed the Zapin Dance in Johor adhesive and hardwood wedges
state using their instruments. Malaysia made from nibung.
adopted the Gambus and used it in the
performance of Ghazal music in Johor History
• Originated in the Middle East.
state and also other Islamic occasions Before the 19th century, it was
like the Maal Hijrah and the Maulud introduced to Johor state to ac-
Nabi celebrations. company the Zapin dance.
Wood with a short neck and without

frets is suitable material to make the
Gambus. Its main
body is pear-shaped
and has a dome or
round bottom and has
between 5 to 8 pairs of strings Plate 19 Gambus in play
Photo credit: National Arts Academy, Min-
stretched. However, only one istry of Culture, Arts and Heritage Malaysia
piece of string is tuned to a high
pitch. The size of the Gambus is
approximately 3.6 inches and
width of about 14.5 inches. The
correct position to hold this in-
strument is lengthwise across
the musician’s lap and its string
finger plucked and strummed. It
sounds more resonant and almost
hollow, quite similar to the Arabian
oud. Plate 20 Gambus
Photo credit: National Arts Academy,
Ministry of Culture, Arts and Heritage
Malaysia
Example: The Gambus Score (Major
21
Gedom-
pairs. In the Middle Eastern regions,

similar instruments are found called
Tombak, Darbuka and Darabuka. In
Thailand, it is called the Thon.
Plate 21 Gedombak
Photo credit: National Theater, Ministry of
Culture, Arts and Heritage Malaysia
Introduction
G edombak comes under the Mem-

branophone category. The in-
strument is made from jackfruit
Made of
• Brown wood, hollow, shaped
wood, components which are baluh, like a ‘goblet’ – long circu-
lar base with a broadened top.
belulang, rotan, baji kayu and cincin The top section is covered with
tebal. The Gedombak is a single- leather which is held by rattan.
faced drum covered with goat hide A handle of rattan strap is fas-
and held together with rattan. Cincin tened near the middle.
tebal or metal ring is used to further
History
tighten the frame and also to be ad- • Originated in South East Asia
justed for tuning purposes. and popular in Kelantan state.
Used in pairs to accompany
The correct position to hold the Ge- Wayang Kulit and Menora.
dombak is to place it flat on the mu-
sician’s lap. Beating and slapping In performance, the Gedombak is
the face with the palm of one hand played in pairs, the Gendang Ibu
produces sound. The other hand (mother drum) and Gendang Anak
covers the open bottom to produce (child drum). The pair is of the same
the various timbres. During Way- size though the ‘mother’ produces a
ang Kulit (Shadow Play) or Me- lower pitch. They are usually played
nora, the Gedombak is performed in by two players, one hand to strike the
drumhead and the other to stabilize
Example: The Gedombak Score
22
the instrument to obtain mnemonic Menora

sounds like ‘doh’, ‘ting’ and ‘phat’. There are many dance drama forms
The Gedombak accompanies tradi- of Thai origin performed in the states
tional theatre such as Wayang Kulit bordering Thailand, such as Kelantan,
and Menora. Kedah and Perlis states. Menora also
known as Nora or Lakon Chatri is one
Wayang Kulit Kelantan of them. It is performed for religious
Wayang Kulit (the Malay Shadow rituals or purely as entertainment.
Puppet Theater) consists of four The instruments used are a reed in-
types found throughout South East strument and a single- headed vase-
Asia. Wayang Siam (aka Wayang Ku- shaped drum, a barrel-shaped double-
lit Kelantan) which originated in Kel- head drum, a pair of wooden sticks, a
antan state is the most popular in Ma- pair of small knob gongs and a pair of
laysia. Its musical repertoire consists hand cymbals (Tan, 1988).
of 35 pieces, maximum 10 players
performing by percussion dominated Plate 22 Gedombak Ibu and Gedombak
ensemble. The Serunai provides the Anak
impressive melody with various types Photo credit: National Museum, Min-
istry of Culture, Arts and Heritage Ma-
of drums providing rhythmic textures laysia
of various timbres and various Gongs
marking time. (Matusky, 1993, 1982,
1974).
Plate 23 Wayang Kulit Performance

23
Geduk
Even though the Geduk is a two-faced

cylindrical Gendang, only one side is
playable. In a Wayang Kulit perfor-
mance, two players play the Geduk
intermittently between the larger and
smaller instruments.
Plate 24 Geduk
Photo credit: Nation-
al Theater, Ministry of Cul-
ture, Arts and Heritage Malaysia
Introduction
G eduk is of the Membranophone

category. Hardwood such as
nangka or angsana is used to make
Plate 25 Geduk
Ministry of Culture, Arts and
Heritage Malaysia
the body. The two sounding surfaces
are made of cow hide and fastened
by hardwood Nibong wedges. The Made of
leather strap handle is fixed near two • Hardwood such as nangka or
vertical sticks. The Geduk is com- angsana for the body. Cow
plete with a stand. hide is stretched across the two
sounding surfaces and held in
place by adhesive and hardwood
In a performance, the Geduk is Nibong wedges. The leather
placed in front of a player who hits strap handle is fixed near two
it with a pair of mallets. The Geduk vertical sticks.
is performed in Wayang Kulit and
History
Menora in Kelantan state in pairs, • First introduced in Kelantan
of different sizes. The large Geduk state to accompany Wayang Ku-
(Parent) is more lowly pitched lit and Menora.
than the smaller Geduk (child).
Example: The Geduk Score
24
Wayang Gedek (Wayang Kulit Gedek)

This shadow puppet theatre originated in the Southern Thailand town of Pat-
talung where it is known as nang (theatre) talung (abbreviation for Pattalung).
Such performances also spread to the northern Malaysian states of Kedah and
Kelantan. The Malaysians term it Wayang Kulit Gedek and it is usually per-
formed in a mixture of both Thai and local Malay dialect. The operator of the
performance who also doubles up as the narrator, manipulates the very thin,
delicate full-faced puppets. The accompanying melodic music is produced by
the 2-stringed lute supported by a percussion group.
Plate 26 Geduk Ibu and Geduk Anak

Photo credit: National Theater, Ministry of Culture, Arts and Heritage Malaysia
Plate 27 Wayang Kulit Gedek

25
Gendang
Introduction
G endang is categorized under

the Membranophone instru-
ment. This term is commonly used
for any type of drum or Membrano-
phone. Gendang is one of the most
Plate 28 Gendang Gamelan dominant traditional Malay instru-
Heritage Malaysia
ments. The Malay gendang is come
in various frame sizes such as Tong
Panjang (long drum), Tong Pendek
Made of (short drum), Panjang Bercembung
• Hardwood such as nangka or (long convex), Silinder Panjang (long
merbau for the body. Goat or cylinder) and Silinder Pendek (short
cow hide is stretched across the cylinder). It also comes in various
surface and tethered with rattan forms such as the two-faced Gendang,
across a wooden frame.
the Nobat Gendang, Gedur, Tambur,
History Jidur and Kemplingan.
• Originated in the Middle East.
In a traditional Malay musical During performance, the Gendang
ensemble such as Wayang Kulit, comes in pairs – the mother and child
Menora and Gamelan, the Gen-
dang is one of the most domi- so that it creates an interlocking tim-
nant of the instruments. bre. Sound is produced by hitting the
leathered or membrane face with the
palm of the hand or with a drumstick.
The face is made of goat or cow hide
stretched across the surface and teth-
ered with rattan laces across a wood-
en frame. The baluh (frame) is made
from the wood of the jackfruit tree or
merbau. Generally it is played to ac-
company dances, religious and social
events.
Plate 29 Gendang Gamelan
Photo credit: Natioanal Theater,
Example: The Gendang Score
26
Anak is to place it on the player’s

lap and strike using hands on both
sides. Its uniqueness lies in its hol-
low inside to ensure the best sound
quality. The Gendang Ibu (moth-
er) pairs with the Gendang Anak
(child) to play in an escalating pat-
tern to build up each melodic
structure conforming
to the musical
discipline such
as in Wayang
Kulit, Mak
Yong, Menora
and Silat.
Great pride is
taken to make the
Gendang. Firstly, the
process involves stretching the
damp leather over the rattan frame,
Plate 30 Gendang Ibu and Gendang Anak
which is then attached to the main
Photo credit: National Theater, Ministry of Culture, Arts and body. Both sides of the drum are
Heritage Malaysia also fixed with rattan at the same
time, and then tied together in a
Gendang Ibu ‘Y’shape. This is used as the im-
The Gendang Ibu or Gendang Me- mediate tuning device. Secondly,
layu is a large two-faced drum cow leather stretches over the larg-
shaped like an urn or barrel and its er surface and goat leather over the
body is made of nangka hardwood smaller surface. Finally, when the
or similar. The Kelantanese likened damp leather dries, it fits snugly
the Gendang Ibu form to that of over the rattan frame. In the sound
‘the body of a fish’. This instru- resonance process, a rattan cum-
ment is popular in Kelantan state merbund (also as a decorative item)
to accompany traditional theatre encircles the Gendang to ensure
or classical palace and folk danc- that its tension remains.
es. During performance, the cor-
rect position to hold the Gendang
27
Plate 31 Musicians
Photo credit: National Museum, Min-
istry of Culture, Arts and Heritage
Malaysia
Gendang Jawa Gendang Melayu

The Gendang Jawa is found in Javanese Like the Gendang Jawa, the Gendang
Gamelan groups in Johor state. It is a Melayu is also a double-headed long
double-headed long barrel drum with barrel drum with two skinhead of dif-
two skinhead of different sizes, made ferent sizes, made either of cow or goat
either of cow or goat hide. hide. The skins are attached directly to
the body with rattan laces. The Gen-
dang Melayu is played in pairs to pro-
duce rhythmic patterns in interlocking
styles.
Plate 32 Gendang Jawa Plate 33 Gendang Melayu

Photo credit: National Museum, Ministry of Culture, Arts Photo credit: National Museum, Ministry of Culture, Arts
and Heritage Malaysia and Heritage Malaysia
28
Gong
Plate 34 Gong Silat

Photo credit: National Theater, Ministry of Culture,
Introduction
G ong comes under the Idiophone

category. It comes in a pair, the
slighter larger is the Gong Tetawak / Ibu
Kulit, Menora and Main Petri and clas-
sic palace dances such as Asyik and folk
dances such as Garong, Ulit Gambuh
(mother) and the smaller is the Gong and Wau Bulan popular in Kelantan
Tetawak / Anak (child). The Gong Tet-
awak which is the main colotomic in-
Made of
strument in traditional Malay music, has • Metal and bronze.
a lower pitch and produces many series
of overtones. According to the Cent’s History
Intervallic System, the difference of • The origins are rather obscured.
It could be the Middle East or
pitch between the ‘mother’ and ‘child’
South East Asia though by the
is about 200-250 Cents. ‘Mother’ and 9th century, it had arrived in In-
‘child’ play together in an ensemble ac- donesia. It made its appearance
companying traditional theatre such in Europe by the 18th century.
as Mak Yong, Kelantanese Wayang
29
In performance, the Tetawak Ibu (placed These are made of bronze using the
to the musician’s left) and Anak Gongs mould technique. In some communities
are hung on a timber frame structure, in Kelantan state, the Gong is more than
its movement stabilized by a piece of just a musical instrument. It is used :
wood called ‘kayu mengambang’. This (i) to seek approval to pass through
is to make it easier for the soft wooden a village.
pemalu (mallet) to hit it. However, in (ii) as a communications channel, ex-
Kedah state, the smaller Gongs used ample to inform the start of a cer-
in the Wayang Kulit ensemble are not emony or gathering.
mounted on a wooden frame but held (iii) to request an enemy into compet-
vertically on a raised platform. These ing a game such as Wayang Kulit,
Gongs used in pairs are termed the male Rebana Ubi, Kertuk or giant top
and female Gong. spinning. The Gong Ibu is used
for this and if the enemy hits the
Today, there are many Canang and Mong Gong, it signifies the game is on.
Gong-makers in Terengganu state.
Plate 35 Gong Tetawak Ibu and Tetawak Anak

30
The Gong Agong is made from pe-

runggu and has a diameter of 90-
95cm with a height of 28-30cm. It
has the lowest pitch in the Gong
family and produces the most series
of overtones. The Gong Agong is
featured prominently in the play-
ing of Malay Gamelan. It is a steel
Gong made using the welding and
knocking technique.
Plate 36 Gong Agong in play

Gong Agong
The Gong Agong and Gong Suwu-
kan are both colotomic instruments
in the Gamelan genre in Malaysia.
Its colotomic features are more em-
phasized at the end of a song and
sometimes used as a marker of
cheratyne of song phrases accord-
ing to the repertoire. Its colotomic
traits center on the dividing fea-
tures of song phrases according to
the Gong’s sounding process. This
enables it to build up a song with Plate 37 Gong Suwukan
Photo credit: National Theater, Ministry of Culture, Arts
each phrasal section before sound- and Heritage Malaysia
ing another Gong.
Example: The Gong Score
31
Gordang Sembilan
Plate 38 Gordang Sembilan

Introduction
G ordang Sembilan comes under the

Membranophone category. It looks
like a cone with a playable surface on ei-
Made of
• Wood such as surian, immu or
ther end. Wood such as surian, immu or coconut tree for the body. Cow
leather is stretched across the
coconut tree is used for the body while larger end while the smaller end
cow leather is stretched across the larger is covered with wood.
end and the smaller end is covered with
wood. It is believed the wood-covered History
end provides better acoustic, producing • It is an unique instrument found
in Selangor state and played to
more dense sounds. Quite a loud sound accompany dancing and enter-
is produced if two mallets are used to tainment.
strike the instrument.
This instrument is found in Selangor

state and played for entertainment. It
is one of the traditional instruments of
the Mandaling-Malay community. It is
unique and special for the community
in Selangor state because it can only be
found at the Selangor Museum and no Plate 39 Gordang Sembilan (view from the left)
Photo credit: Selangor Museum, Ministry of Culture, Arts
other museums in Malaysia. and Heritage Malaysia
Example: The Gordang Sembilan Score
32
Grantang
Introduction
G rantang comes under the Idiophone category. It is

made from a bamboo segment and to ensure that
the air inside the segment can flow out freely when the
instrument is tapped, a hole is made on its surface as
the sound hole. Its initial purpose was to create a sound
to scare off birds from destroying farm products. How-
ever, it has been discovered to provide music to con-
temporary folk dances.
Made of
• Bamboo segment and a hole is made on its
surface as the sound hole.
History
• Originated from North Malaysia. Initial
purpose was to scare off birds from destroy-
ing farm products but it progressed to being
Plate 40 Grantang a musical instrument to accompany Malay
Photo credit: National Museum, Ministry folk dance.
Plate 41 Grantang
Photo credit: National Museum, Ministry of Culture, Arts and Heritage Ma-
33
Jidur / Dol
Introduction
J idur / Dol comes under

the Membranophone
category. Hardwood
such as from the
jackfruit tree is used
for the frame and
the drum skin is of
cow or goat hide
tightened with iron
grips. Johor state
is famous for the
Kuda Kepang and
Kemplingan dances
and the Jidur provides
the music by striking with
Plate 42 Jidur / Dol
wooden sticks. It is actually a dou- Photo credit: National Theater,
ble-head drum found in Malay folk Ministry of Culture, Arts and Heritage Malaysia
music.
Made of
• Hardwood such as jackfruit tree
for the frame and the drum skin
is of cow or goat hide reinforced
with iron structures.
History
• Originated from Johor state to
accompany Kuda Kepang and
Plate 43 Jidur / Dol
Kemplingan dance.
Example: The Jidur / Dol Score
34
Kemplingan
Plate 44 Kemplingan
Introduction
K emplingan comes under the

Membranophone category and is
a one-sided drum. Kemplingan instru-
Made of
• Jackfruit or cempedak wood for
ments are made in three sizes, a large the frame and the drum skin is
goat hide attached to the drum
one with low sound, the medium and
with nails or glue.
small one with higher pitch. There
are four players in a Kemplingan per- History
formance, one Jidur player and a long • Originated from Johor state and
Gendang player. They play to a spe- is popular with its Jawa Malay
communities. Used in the rawi
cific sound pattern to accompany the
tradition similar to the ‘berza-
rawi reading performed by a group of nji’.
men. The rawi reading is similar to
the ‘berzanji’ tradition of the Johor
state Jawa Malay communities.
Example: The Kemplingan Score
35
Kempul
Introduction
K empul comes under the Id-

iophone category. It is a
colotomic instrument in the
Gamelan range in Malay-
sia related to the Gamelan
Melayu genre. It is a type
of hanging Gong placed
behind the Gamelan. The
original discipline boasts
an impressive array of
instruments such as the
Bonang / Keromong, Gong
Agong and Gong Suwukan,
Sarong Demung, Saron Ba-
rung, Gambang Kayu, Kenong
and one two-sided Gendang. The
instruments are often played by the
Plate 45 Kempul
same player with the same mallets.
Ministry of Culture, Arts and Heritage Malaysia The Kempul is a new addition to the
existing ensemble and this ensemble
produces dynamic music and accom-
panies its dances well.
Made of
• Metal and bronze.
History
• Originated from South East Asia
and used in pairs in Gamelan
performance. Plate 46 Kempul
Example: The Kempul Score
36
Kenong
Introduction
K enong comes under

the Idiophone cate-
gory. Kenong is made of
perunggu and is a domi-
nant colotomic instrument
in the Gamelan range in
Malaysia. It is the largest
cradled Gong. In the Malay
Plate 47 Kenong
Gamelan ensemble, the Ke- Photo credit: National Theater, Ministry of Cul-
nong is entered in the same ture, Arts and Heritage Malaysia
octave and is calibrated to
anhemitonic pentatonic which is a 5
Made of
notes scale with no semitones in be-
• Perunggu.
tween. Considering its size, its pitch
is high and timbre unique. The Johor History
state Gamelan has a two-scale sys- • Originated from South East
tem, the pelog and slendro. The pelog Asia.
is a seven note scale as compared to
the slendro’s five. This scale system
is based on a non-tempered pitch and
has a smaller sound scale. In the In-
donesian Jawa Gamelan discipline,
the term Kenong also refers to a
tone in the Kerawitan ensem-
ble, specifically the ‘loloran’
or ‘lima’ tones.
Plate 48 Kenong
Example: The Kenong Score
37
Kertuk Kayu
This instrument is made from jackfruit

wood and is oblong in shape. A long
slit on the surface functions as voice and
echo holes.
Made of
• Selected wood such as nangka.
History
• Originated from the Malay Ar-
chipelago and acted as a form of
communication tool for calling
for prayer times.
Plate 49 Kertuk Kayu

Photo credit: Nik Mustapha Nik Mohd. Salleh
Introduction
T he Kertuk Kayu is of the Idiophone

category. Malays on the east coast
of Peninsular Malaysia use this name
while their southern counterparts in Jo-
hor state, called it ‘Kerantung’. This is
a traditional instrument quite revered by
the Muslim community. Apart from be-
ing played in religious functions, it also
functions as a communication tool to
call people to prayer times. It is usually
hung at the entrances of musallas and
mosques and by striking with a strong Plate 50 Lee Elaine with Mr Rahbeni Mutaal (Music Lec-
piece of wood, the sounds are played on turer of National Arts Academy)
a crescending note. Arts and Heritage Malaysia
Example: The Kertuk Kayu Score
38
Kertuk Kelapa
Introduction
K ertuk Kelapa is of the Idio-

phone category. The whole
ensemble is rather unique. A piece
of Belira wood is attached to the
top of the coconut shell resonators.
This piece of wood which functions
as the sounding body for the instru-
ment is covered with soft materials,
like rubber and strings. A mallet
Plate 51 Kertuk Kelapa
Photo credit: National Museum, Ministry of Culture, Arts
woven with wool is used to strike
and Heritage Malaysia the Kertuk Kelapa to produce a loud
and long echo. This instrument is
played in a group as a form of pas-
time or for celebrations.

Photo credit: National Museum,
Ministry of Culture, Arts and Heri-
tage Malaysia

and Heritage Malaysia
Example: The Kertuk Kelapa Score
39
Made of
• Brass.
Plate 54 Kesi History

Photo credit: National Theater, • Originated from Kelantan state.
Introduction
K esi comes under the Idiophone

category, from the cymbal fam-
ily that has been fashioned from cop-
Kesi plays the role of a melodic instru-
ment complementing a traditional per-
cussion ensemble first developed in
per sheets. Its ensemble consists of four Kelantanese Wayang Kulit, Mak Yong
small brass discs (two to four inches in and Menora, Asyik and Wau Bulan.
diameter) attached to a wooden base of
approximately twelve inches square.
One pair is nailed permanently to the
wooden base while fine ropes
hold the other pair. The
middle portion of the kesi
is concave. Different
sounds can be produced
depending on how the
performer strikes
it. If the two fixed
discs are struck, it
could be a crashing,
tinkling or sparkling
sound. If struck together and
then held closed, it would be a muted Plate 55 Kesi for Wayang Kulit performance
Photo credit: National Arts Academy, Ministry of Cul-
sound. ture, Arts and Heritage Malaysia
Example: The Kesi Score
40
Kompang
Introduction
T he Kompang comes under the

Membranophone category. This
is probably the most popular eth-
nic Malay musical instrument.
It has a shallow frame made of
hardwood such as cengal, lebah
or pulai and a goat leather mem-
brane stretched across its face to
ensure the right tension. The parts
Plate 56 Kompang
of a company are called the buluh, be- Photo credit: National Theater, Ministry of
lulang, paku, kain merah (red cloth) and Culture, Arts and Heritage Malaysia
sedak. Before assembling the belulang,
the bottom of the baluh will be perforat- The Kompang is played during Islam-
ed. It measures 6.5 to 13 cm in length. ic ceremonies and festive such as the
Maulidur Rasul, Marhaba, Zikir and
The Kompang is played in a group of Selawat to the Prophet Muhammad
not less than ten players who may sit, S.A.W. It also performs at various
stand or walk in a procession (like a events and ceremonies to welcome
wedding). The ensemble plays inter- dignitaries and guests as well as wed-
locking rhythmic patterns sometimes to dings.
accompany the choral singing of zikir.
There are three groups in a Kompang
ensemble that creates the Kompang Made of
melody, the melalu, menyelang and • Goat leather membrane is
stretched across the face of the
the menganak. The three groups are frame.
divided according to their sound. The • Cengal, lebah or pulai wood for
first group is called Pembolong to play the baluh.
base percussion pattern. The second
group is Peningkah comprising of only History
• Originated from the Middle
one player who acts as the master of the East since 13th century in Tanah
performance and the final is Penyilang Jawa brought to them by traders
who plays secondary rhythms. from Arab.
Example: The Kompang Score
41
Marwas
Introduction
M arwas is of the Membrano-

phone category. This is
a small cylindrical two-
sided Gendang made
of nangka wood for
the body and both
ends stretched over
with goat skin.
In performance (main-
ly for Zapin dance),
the Marwas Gendang is
Plate 57 Marwas
played by three players (us- Photo credit: National Theater, Ministry
ing one hand) as each Marwas has of Culture, Arts and Heritage Malaysia
different pitch ranging from low, medium and high. Its music is perceived to
have middle-eastern influence.
Made of
• Goat leather membrane is
stretched across the face of the
frame. Cengal, lebah or pulai
wood for the baluh.
History
East since 13th century in Tanah
Jawa brought to them by traders
from Arab.
Plate 58 Marwas
Photo credit: National Theater, Ministry
Example: The Marwas Score
42
Nobat
History
N obat comes under the Membrano-

phone category. The frame of the
drum is made of hardwood and the cov-
er is made of goat skin. Nobat is a royal
orchestra of Kedah, Perak, Selangor and
Terengganu states. The royal musicians
Plate 59 Nobat in play are handpicked from privileged families
Photo credit: National Museum, Ministry of Culture, Arts to play during royal occasions. Only at
the command of the Sultan could Nobat
be played in royal ceremonies such as
Made of Installation of Rulers, royal weddings
Only the courts of Kedah, Perak, Tereng- and funerals. This royal court protocol
ganu and Selangor states have Nobat en- existed during the Malacca Sultanate in
sembles consisting of 6 basic instruments:
the 15th century until its inheritance by
i) Serunai the Yang di-Pertuan Agong (the King)
Batang lada, lebam, nangka wood. in 1962.
The reed is from Daun Luna (a type
of fern leaf).
ii) Nafiri
The royal trumpet is made of original
silver.
iii)Gendang Nobat Besar (main drum)
Hardwood for the frame and goat
skin for the covers.
iv)Gendang Nobat Kecil (double-sided
drum)
Hardwood for the frame and goat
skin for the covers.
v) Gendang Nahara (one-sided drum)
Plate 60 Nobat in play
Merbau hardwood for the frame and
deer skin for the covers. and Heritage Malaysia
vi)Gong
Metal and bronze.
History
• Originated from the ancient Persian
court and spread to the courts of Iran,
Iraq, Syria, Turkey, Egypt, North
Africa, Spain, India and the Malay
Archipelago. Plate 61 Nobat in play
43
Rebab
Introduction
R ebab is of the Chordophone cate-

gory, a type of three-stringed violin
instrument played with a bow. On cer-
tain occasions, the Rebab is played solo
during the opening sequence of the Mak
Yong and Main Petri (healing) perfor-
mances. It is more a vocal-style instru-
ment that does not conform to the scale
of exact-pitch core gamelan instrument.
Plate 62 Rebab
Made of
• Body of the instrument is made
of wood covered with a mem-
brane made of parchment from
cow bladder.
• A long spike supports the strings
at the top and serves as a foot at
the bottom. The spike is made
of wood or ivory or both.
• The brass strings are stretched
across the membrane from a
point on the leg (just below the
body) to the pegs on the upper
part of the spike.
• The bow consists of horsehair
loosely attached to both ends.
History
East. It is considered the oldest
of Malay musical instruments.
Plate 63 Rebab Musician
Example: The Rebab Score (Major Scale)
44
Mak Yong
Mak Yong is a form of traditional Malay entertainment that combines drama, act-
ing, singing, dancing, romance, elaborate gestures costumes and broad comedy all
in one performance. It is considered a priceless heritage of the Kelantanese. Until
the beginning of the 20th century, this dance drama used to be performed only for
Sultans and aristocrats and was a favorite form of entertainment of the palace court-
yard of Kelantan state and Patani for over 3 centuries.
The orchestra performed mostly by womenfolk consists of a 3-string spiked fiddle

(Rebab), a pair of double-headed drum (Gendang) and a hanging knobbed gong
(Tetawak).
Plate 64 Mak Yong Dance

45
Rebana
Introduction
R ebana is of the Membranophone

category. The name Rebana
loosely applies to many framed
single-headed drums with a shal-
low or deep wooden frame. It is
used in Muslim devotional music
such as zikir. Its resonant sound is
reminiscent of that of the Middle-
East.
Rebana Penganak
Rebana Penganak comes in pairs. The
drum surface is covered with goat hide.
The correct position to place the in-
Plate 65 Rebana
strument during performance is on the Photo credit: National Museum, Ministry of Culture, Arts
player’s lap. and Heritage Malaysia
Rebana Pengerum
Rebana Pengerum comes in sets of 8 Made of
• Rebana Hadrah Jackfruit tree
or 10. During performance, all the sets wood for the frame and cow hide
are played together. In the same way, for the drum surface.
the instrument is placed on the player’s • Rebana Melayu / Pengerum /
lap and striking the Rebana and singing Penganak / Dikir Barat goat skin
is done simultaneously. is used to cover one surface. It
is held taut by inserting the skin
under the rim of the drum and
Rebana Dikir Barat using thin rattan ring to wind
This can be played as a solo instrument around the rim.
in Main Petri (healing) traditional cer-
emony performed in Kelantan state. History
East. Popular in Kelantan state
since centuries ago.
Example: The Rebana Score
46
Rebana Besar
Plate 66 Rebana Besar

Photo credit: National Mu-
seum, Ministry of Culture,
Introduction
R ebana Besar is of the Membrano-

phone category. The Rebana Besar
is used for both performance and com-
Made of
• Hardwood such as merbau or
petition. During performance, the Re- cengal for the Temalang which
is shaped like a pot tapering
bana Besar is placed strategically in an
from top to bottom.
inclined position on its base and struck • Buffalo leather is stretched
with bare hands. The Rebana Besar pro- across the sounding body.
vides music to accompany Dikir sing- • Leather strip is used as the main
ing of religious and social awareness acoustic material to stretch and
secure the leather that is then
themes presented through the chorus
fixed in place using wooden
sung by three musicians in each ensem- wedges.
ble. During Rebana Besar competitions
and performances, the tension of the History
leather and the striking technique deter- • Originated from the Middle
East. Popular in Kelantan state
mine the judging factors and aesthetic
since centuries ago.
stimulation.
Example: The Rebana Besar Score
47
The Large Rebana is the largest recorded

drum in the musical culture of the Malays.
The Temalang is made from Merbau or
Cengal hardwood. It is shaped like a pot
tapering from top to bottom. This drum
has only one sounding surface measuring
80-100cm in diameter covered with buf-
falo leather. A rattan strip is used as the
main acoustic material to secure the leath-
er and reinforced by wooden
wedges. The ‘baji’ or ‘kayu
pasak’ (a piece of wood)
is the main acoustic ad-
justment tool for sound
resonance.
For some trivia, the

Rebana Ubi is named
after a type of potato
known as ‘Ubi Badak’
that is large, round
and black. Both Re-
bana Besar and Rebana
Ubi share many simi-
lar features. They are of
the same construction and
acoustic principle except
that the latter is of smaller
size. Its middle structure
or body (baluh) is punctured
with holes all around and shaped
like an urn. The large mouth of the Re-
bana Besar is stretched over with cow
leather as the sounding medium.
Plate 67 Rebana Besar
48
Rebana Mangkuk
Plate 69 Rebana Mangkuk

Plate 68 Rebana Mangkuk
Made of
• Clay for the body.
Introduction • Several layers of rubber sheets
R ebana Mangkuk is of the Membra-

nophone category and is a one-sided
drum. It is shaped like a bowl made of clay.
are stretched over the sounding
surface and secured with adhe-
sives and rattan strips.
The mouth is stretched across with layers History

of rubber sheets to convert it into a sound- • Originated from the Middle
ing surface. The layers of rubber sheets are East.
held in place by adhesives and rattan strips.
Two wooden wedges are placed at the bot-
tom of the instrument and tightened to cre-
ate tension for the layers of rubber sheets.
These wedges also double up as sound
pitching device. The Rebana Mangkuk
plays songs in the repertoire of the Rebana
Ubi and for community entertainment. A
mallet is used to hit the Rebana Mangkuk
to produce sounds and Rebana-playing is
being experimented traditionally every- Plate 70 Rebana Mangkuk
where. Photo credit: National Museum, Ministry of Culture, Arts
Example: The Rebana Mangkuk Score
49
Rebana Ubi
Introduction
R ebana Ubi comes under the Mem-

branophone category. It was first
introduced during the late 19th cen-
tury by a descendant of the Jembar
Dynasty. The Rebana Ubi is a large
cone-shape drum of at least one me-
ter in height and 70cm in diameter. It
is constructed in similar form to the
Rebana Besar except that the Rebana
Ubi is smaller in size and painted in
colorful geometric patters. The Reba-
na Ubi forms part of an ensemble that
Plate 71 Rebana Ubi plays interlocking patterns.
Heritage Malaysia
When performing, the Rebana Ubi
is placed horizontally on the floor or
hung vertically. The Kelantanese uses
it for drum beating contest carried
out to test human endurance while
maintaining harmonious rhythm. Or
Made of village Rebana Ubi orchestras often
• Merbau wood for the body.
provide entertainment after the rice
Smooth leather to cover the top
which is firmly held in position harvest (Matusky, 1985). It is played
by rattan strips. in a group of five or more but always
in odd number. The venue for such
History events can be in open rice fields.
• First introduced in the late 19th
Apart from competitions, it is also
century by a descendent of the
Jembar Dynasty. featured at weddings, special occa-
sions or ceremonial functions in all
other states.
Example: The Rebana Ubi Score
50
Saron
Saron Penerus / Pekin

The Saron Penerus is made up of
smaller and thicker strips of Perunggu
in comparison to that used for the Sa-
ron Barung. The sounding device is a
hammer-like device made from buffalo
horn. It is a new addition to the Ma-
lay Gamelan ensemble. It functions as
Plate 72 Face of Saron Penerus/Pekin
a melodic instrument that doubles the
Heritage Malaysia main melody. It can achieve the high-
est octave in the Saron family producing
Introduction sharp and loud notes. However, muting
S aron is of the Idiophone category.

There are three types in the Saron
family, namely:
techniques have also been practised on
this instrument.
the smallest Saron Pekin to the me-

dium Saron Barong followed by the
largest Saron Demung.
Made of
• Shaped from strips of perunggu.
• Metal xylophone consisting of Plate 73 Face of Saron Barong
six keys resting on a rectangular Photo credit: National Theater, Ministry of Culture, Arts and
wooden resonator. Heritage Malaysia
• The keys are separated from the
wooden resonator by a thin cord Saron Barong
which lines the edge of the reso- The Saron Barong belongs to the Idio-
nator. phone family. It has medium-sized bars
and it is another member of the Gamelan
History
• Originated from the courts of
Melayu ensemble occupying the middle
Rhiau Lingga since the 18th octave position. It also plays the main
century before being brought to melody and the short melody (cincang).
Pahang state. Appearance-wise, it is similar to the Sa-
ron Demung though the perunggu strips
Example: The Saron Penerus / Pekin Score
51
Plate 74 Face of Saron Demung

Saron Demung
are smaller and are able to produce a The Saron Demung also belongs to the
shrill sound. Attached to the wooden Idiophone family. In the Saron family
barrel-shaped head is a wooden handle. it has the largest metal bars but produc-
Because the metal bars are thick, the es the lowest octave. The measurement
player needs to strike very hard with of the arched bars are approximately
strong mallets. 35.5cm long and 9cm wide. The en-
tire instrument consists of strips of pe-
runggu arranged on a timber base. In
some designs, the strips may be made
of steel using the scrape and temper
technique. The underneath of the tim-
ber base is supported by a layer of soft
material to fulfill its acoustic needs. It
is also designed in such a way that there
is air to balance out the sound and also
to act as a resonator. In the Gamelan
tradition in Johor state, the Saron De-
mung is used to make the main melody,
the sound of which is produced by hit-
ting it with a soft mallet.
Plate 75 Saron Demung in play
Example: The Saron Barong
Example: The Saron Demung Score
52
Slentem
Plate 76 Slentem
Heritage Malaysia
Introduction
Made of
S lentem comes under the Idiophone
category. It is made of perunggu
strips and is the latest addition to the
• Strips made of perunggu. Malay Gamelan performance. It is
• Resonator is made of small met- a low-pitched tube-resonated instru-
al sheets.
ment played with a large, soft mallet
History held in one hand. The other hand is
• New addition in the Malay used for damping the ringing key.
Gamelan performance. However, to amplify the sound, the
Slentem needs a resonator or an echo
box to do it. Usually the resonator
is made of small metal sheets fash-
ioned like a cylinder and calibrated
together with the strips. The Slentem
functions as a melodic instrument and
produces a soft sound with a deep and
long echo. To prevent sound pollu-
tion when it is played together with
Plate 77 Slentem
other melodic instruments, the muting
Photo credit: National Theater, Ministry of Culture, Arts and technique is applied.
Heritage Malaysia
Example: The Slentem Score
53
Tetuang
Plate 78 Tetuang
Photo credit: National The-
ater, Ministry of Culture, Arts
Introduction
T etuang is of the Aerophone cat-

egory. It functions as a commu-
nication tool between the fishermen
in the East Coast of West Malay-
sia. This trumpet-like instrument
is shaped from cow or buffalo horn
and this is being blown when it is
time to go out to sea. Nowadays,
the Tetuang is part of the wind in-
struments and is used to produce the
‘drone’ melody in an ensemble for
procession in traditional and con-
temporary dramatic performance.
Made of
• It is made from cow or buffalo
horn
History
• Originally used for communica-
tion between fishermen in the
East-Coast of West Malaysia.
• They blow the Tetuang when it
is time to go out to sea.
• Nowadays used in dramatic per-
formance.
Plate 79 Tetuang
Heritage Malaysia
54
Ethnic Chinese
Musical
Instruments
Ethnic Chinese Musical Instruments
Plate 80 Bo
laysia
Introduction
B o is of the Idiophone category and

is also known as Po. This instru-
ment was very popular during the Sui
Made of
• Commonly made of high-tin
and Tang Dynasties (581-907) and prac- bronze.
tically an indispensable item during
Chinese Orchestra performance.
Basically, it is a flat, round metal plate

though sometimes the designs vary but
it is commonly made of high-tin bronze.
A very loud sound is produced if the pair
of Bo is struck together like hand cym-
bals. The Chinese normally considers
loud sounds as auspicious just like let- Plate 81 Bo
ting off fire crackers to chase evil away. Photo credit: National Museum, Ministry of Culture, Arts
A softer sound is produced by striking and Heritage Malaysia
the metal plate with a mallet.
Example: The Bo Score
56
Ching and Chap
Plate 82 Ching and Chap

Photo credit: Simshen De Clas-
Introduction
C hing and Chap is of the Idiophone

category. This instrument is de-
veloped and used in an identical pair.
It belongs to the cymbal family and is
cup-shaped. They function as the time-
keeper / conductor keeping in time to the
rhythmic beat and setting the pace for
the ensemble featured in Piphat Band. Plate 84 Ching and Chap
Ching gets its name from the ringing Photo credit: Simshen De
sound produced when the two edges of

the cymbals are stroke with an outward
sliding motion. Chap is derived from
the more subdued sound produced when
the two cymbals closed on each other.
The sounds are of a higher pitch if the
size of the Ching and Chap is smaller.
Plate 83 Ching and Chap (view from the back)
Photo credit: Simshen De Classic
Made of
• Commonly made of high-tin
bronze.
Example: The Ching and Chap Score
57
Dizi
D izi is of the Aerophone catego-

ry. It is a traditional Chinese
transverse flute made of bamboo
and is believed to be in use in Chi-
na over 2,000 years since the Han
Dynasty. It has an impressive array
of approximately twelve sizes per-
formed in a Chinese Orchestra.
Sound is produced when the play-

er blows across the mouthpiece
coupled with various tonguing and
fingering techniques. By covering
certain holes in the flute, different
notes are produced.
Plate 85 10 types of Dizi

Made of
• Bamboo.
Example: The Dizi Score (Major Scale)
Plate 86 Dizi
Plate 87 Dizi
58
Erhu
Introduction
E rhu is of the Chordophone category. It is a tunable two-stringed

fiddle, one of the most popular instruments in the Chinese Hu-
qin family. It is likened to the Western violin if not for the fact that
it has only two strings. It even sounds like the violin with a range of
three octaves but because of a smaller resonating chamber, it pro-
duces a thinner note.
In a Chinese Orchestra, the Erhu is divided into the 1st century or 20th
century or more simply termed, the 1st and 2nd violin but the principal
player only plays one Erhu. The Erhu gained prominent status as a solo
instrument in the orchestra largely due to the credit of famous artist Liu
Tianhua (1895-1932). Another artist who contributed to its improvement
was Hua Yanjun (1893-1950).
The Erhu first appeared during the Song Dynasty (960-1279 AD) and
gained popularity in Southern China. The people here named it “Nan-
hu” (“Nan” meaning “South” in Chinese). Historically, the Erhu has been
associated with the lower classes not until the formation of the People’s
Republic of China (1949) that it attained universal status at the turn of the
20th Century. Today’s Erhu has undergone a tremendous development
change in terms of playing techniques, acceptance of its versatility and
repertoire.
Plate 88 Erhu
Made of Ministry of Culture, Arts and
• Two-stringed fiddle, body is Heritage Malaysia
highly polished and at one end is
a dragon figure and the other is a
sound box with snake skin.
• Fiddle is made of bamboo and
long strings (hair)
Example: The Erhu Score (Major Scale)
59
Gaohu
Introduction
G aohu is of the Chordophone category and a member of the

string instruments family. Like the Erhu, the Gaohu also ap-
peared after 1104 AD in the Song Dynasty and similarly popular
in Southern China. It is often played in solo performance ac-
companying Cantonese music. (Cantonese is one of the many
Chinese dialects). The Gaohu is suitable for playing soft melo-
dies and long notes.
The similarity between the Gaohu and Erhu even extends to its
physical appearance although the neck of the Gaohu is shorter.
Sound-wise, it is a fourth or fifth higher than the erhu giving it a
higher pitch. Its range can reach 2 octaves.
Plate 89 Gaohu
Photo credit: National
Museum, Ministry of
Culture, Arts and Heri-
tage Malaysia
Plate 90 Face of Gaohu
Photo credit: National Museum, Ministry
Example: The Gaohu Score (Major Scale)
60
Gehu
Introduction
G ehu is also one of the Chordophone instruments. Gehu

is very similar to the cello and due to the influence of
Western ideas, this instrument came into existence in the
1950s. In actual fact, it is a mixture of the cello and the typi-
cal Chinese four-stringed instrument and an end pin. The
four strings are tuned to C, G, D and A. In a Chinese Orches-
tra, it plays the role of the cello and used primarily for bass
support.
The sound board of the Gehu has a banjo-like membrane

allowing it to produce a full, low and rich tones. This bal-
ances the high pitch and nasal sounds produced by most na-
tive Chinese instruments thus enlarging the scope of how
Chinese music can be played.
Plate 91 Surface of Gehu

Photo credit: Simshen De
Plate 92 Gehu
Example: The Gehu Score (Major Scale)
61
Gu
According to history, the present gu is

an adaptation of an ancient Gu which
was found in the yin ruins of Anyang
in Henan Province. In modern times,
the Gu is featured within the percussion
Plate 93 Gu
Photo credit: National Mu- section during a Chinese Orchestra per-
seum, Ministry of Culture, formance.
Introduction
G u comes under the Membrano-

phone category, a Western version
of the drum. The Gu is made of wood
and comes in different sizes, the bigger
size is called Ta Gu and the smaller size,
the Xiao Gu. There are a few shapes too
- it can have a round top and tapers at
the bottom, like half of an hour glass or Plate 94 Gu
both surfaces are of the same size with Photo credit: National Museum, Ministry
a cylindrical body. Sometimes the Gu of Culture, Arts and Heritage Malaysia
is placed on a wooden frame allowing

the player to strike the surface with two
wooden mallets, one in each hand. Both
ends of the Gu are covered by a skin
membrane, either of cow hide or buffalo
skin but only one surface is hit. For the
bigger Gu, the mallets used to strike it
are covered with soft materials thus pro-
ducing a dull but loud sound. For the Plate 95 Gu
smaller Gu, the drumsticks are thin- Photo credit: National Museum, Min-
ner and the sound produced is sharper. laysia
Example: The Gu Score
Left hand
Right hand
62
Paigu
Plate 96 Paigu
Introduction
P aigu comes under the Membrano-

phone category. It is a set of five
small tuned drums, traditionally made
of wood with leather covers. Long
wooden sticks are used to hit it to pro-
duce sound.
Typical of oriental musical ensembles,

in a classic Chinese orchestra a wide va-
riety of percussion is used. The Paigu is
featured within the percussion section in
the orchestra.
Made of
• Wood with leather covers.
Plate 97 Paigu
Example: The Paigu Score
63
Tagu
Introduction
T agu comes under the Membra-

nophone category. The literal
meaning of Tagu is ‘large drum’. It
has a round surface on the top and
tapers at the end – like a half hour
Plate 98 Tagu glass and placed within a wooden
Photo credit: Simshen De Classic frame. Like many oriental drum
ensemble, the Tagu is played by a
team of players. If it comes in a
pair, then it is called Paigu.
Plate 99 Face of Tagu

Example: The Tagu
64
Guzheng
Plate 100 Guzheng

Introduction
G uzheng comes under the Chordo-

phone category. It is also known as
Zheng and is a Chinese zither. It is fitted
This stringed instrument is in the same
family as the Korean kayagum, Japa-
nese Koto and Dan Tranh of Vietnam.
with 12, 13, 15 or 16 silk strings that are In playing traditional Chinese music,
now replaced with metal strings. There the Guzheng is played as a solo instru-
are separate bridges for each string. It ment. Its playing technique also allows
is tuned to the pentatonic scale and has the player to play fast contemporary
a range exceeding three octaves . When music. It is a popular instrument since
being played, the left hand presses the ancient times and its solo repertoire has
strings to produce the melodious sound since grown and gained technical com-
while the right hand plucks the strings. plexity from the mid-19th century. The
In an ensemble, the Guzeng is used present day Guzheng has evolved into a
when special sounds such as cascading 21-stringed zither.
water is needed.
Plate 101 Lee Elaine in Guzheng class

Example: The Guzheng Score (Major Scale) Photo credit: Simshen De Classic
65
Ling
Introduction
L ing comes under the Idiophone cat-

egory. It is actually a small type
of bell. According to history, a red
Made of
• Bronze.
pottery Ling was first discovered from
the remains of the Yangshao culture at
Miaodigou, the Sanmen Gorges, Henan
Province in the 1950s. The present
day Ling is made of bronze and shaped
like a procelain cup fixed to a wooden
handle. A bronze Ling was unearthed
in 1983 from a tomb at the remains of
Taosi, Xiangfen, Shanxi Province (dat-
ing back to around 2085 BC).
Plate 102 Ling

During a performance, the Ling appears

in the intro music or in the middle of the
music. The player holds the handle with
one hand and the other strikes it with a
metal mallet. Apart from being a musi-
cal instrument, the ling can be attached
to an animal, a person or an object al-
lowing it to jingle to produce a pleasant
sound.
Example: The Ling Score
66
Liu Qin
Introduntion
L iu Qin comes under the Chordo-

phone category. It is a plucked
stringed instrument similar to the
Pipa only that it is smaller in size
and it sounds like a Mandolin. It is
shaped like a willow leaf or a pear
and its four strings are tuned to G,
D1, G1 and D2. To play this instru-
ment, it should be held diagonally
and plucked with a spectrum. Tradi-
Plate 104 Liu Qin
tionally, the pick / spectrum is made Photo credit: Sim-
of horn though nowadays, plastic is shen De Classic
used. Over the decades, much prog-
ress has been made to use the Liu
Qin to compose music pieces that
it has become a soloist instrument.
Otherwise, it is used to accompany
local opera or folk songs. In a Chi-
nese orchestra, when high notes are
noted, it is provided by the Liu Qin.
Plate 103 Liu Qin

Example: The Liu Qin Score (Major
67
Luo
Introduction
L uo is one the Idiophone instru-

ments. It comes under the Gong
family like a tam-tam and is a popu-
lar folk musical instrument. When
hitting the center of its round
bronze frame which is shallow
and thin, the sound it produces
creates liveliness and a joyous
spirit. A wooden mallet cov-
ered with a piece of cloth is
used to hit the Luo. Luo used
to be one of the accompanying
instruments in a percussion en-
semble but now it can stand on
its own as a leading instrument in
an orchestra.
Plate 105 Luo

Heritage Malaysia
Plate 106 Luo

Example: The Luo Score
68
Mu Yu
Plate 107 Mu Yu
Introduction
M u Yu comes under the Idio-

phone category. Its name
is translated to mean “wooden
fish”. A t-shaped woodblock, ei-
Plate 108 Mu Yu
ther of mulberry or Chinese toon Photo credit: Simshen De Classic
wood, is carved into the shape of
a fish and its interior hollowed
out. Sound is produced when
hit with a wooden beater.
According to history,
the Mu Yu was first Plate 109 Face of Mu Yu
mentioned in the
literature of the
Ming Dynasty (1368-1644). It was during the Qing Dynasty (1645-1911) that the
Mu Yu became one of the accompanying instruments in folk instrumental ensem-
bles. Nowadays, in a Chinese Orchestra, the Mu Yu is featured in the percussion
section.
The larger Mu Yu is primarily used in temples to accompany Buddhists chants

only. But with the changes in time, it started to appear in sets which is mainly used
for regular rhythms in the accompaniment. Its diameter could vary from 5-50cm
(or more) 8-16cm (types in sets). Likewise the tone quality varies too.
Example: The Mu Yu Score
69
Panhu
Introduction
P anhu comes under the Chordophone

category. The name is a literal trans-
lation of flat board (“pan”) and barbar-
ian fiddle (“hu”). It first appeared dur-
ing the Qing Dynasty. In a Bangzi opera
or other northern tunes or ballads played
in local operas of the Henan Province,
Central China, the Panhu is the leading
accompanying instrument.
This instrument is made up of a wooden

soundboard covering the half globular
resonating chamber. The two strings
are tuned to a fifth or fourth apart. The
Panhu is generally played as a solo in-
strument in a Chinese orchestra because
its timbre is strident and bright, making
it difficult to blend with other instru-
ments for tutti.
Plate 112 Back Interface of Panhu
Plate 110 Panhu

Plate 111 Front Interface of Panhu

Example: The Panhu Score (Major Scale)
70
Pipa
Introduction
P ipa comes under the Chordophone category. Pipa

is the one of the most symbolic and well-known
Chinese orchestra instruments, with a history dat-
ing back to over 2,000 years and developed
from pentatonic to full scales. Practically
none can match its richness in expression
and diversity in performing techniques. Xi Liu of
the Eastern Han Dynasty (25-220AD) wrote about
it in his book that it was during the late Qin period
that the Pipa first appeared. The people played it
to counter their resentment in being forced to build
the Great Wall. Also during the Han Dynasty, the
Pipa developed into a four string instrument with
twelve frets. It was during the Ming (1368-1644)
and Qing (1645-1911) Dynasties that the inter-
est in Pipa started to flourish from Wuxi in the
South to Beijing in the North, turning it into
an iconic Chinese musical instrument of to-
day.
What we see today is a four-stringed lute

with 30 frets and the characteristic pear-
shaped body with a wooden soundboard.
Its four strings are tuned to A, D, E and A
with a range of 4 and half octaves (Tan,
1983). To play it, the instrumentalist
holds the Pipa upright. All five fingers
(protected by small plectras) of the right
hand are used to pluck the strings.
Plate 113 Pipa
Example: The Pipa Score (Major Scale)
71
Ruan
Introduction
R uan comes under the Chordophone

category. According to history, dur-
ing the Qin Dynasty (around 200BC),
the Ruan was then known as the Pipa but
during the early Tang Dynasty (around
the 5th Century), the Pipa evolved into
the present form. The name Ruan is the
abbreviated name of Ruan Xian, a musi-
cian of the 3rd Century.
Ruan is a round wooden instrument with

two holes giving it the name of moon
guitar and it comes in different sizes and
pitches. It is fitted with four strings and
Plate 115 Ruan
frets. There are different types of Ruan, Photo credit: Simshen
gao (high range), zhong (middle range - De Classic
tuned to G, D, A, and E), di (low range

tuned to A, E, B and F, da (big) and xiao.
When playing, the instrumentalist holds

it the same way as a Pipa except that the
strong hand holds the only one pick.
Plate 114 Face of Ruan

Photo credit: Simshen De Clas-
Example: The Ruan Score (Major
72
San Xian
Introduction
S an Xian comes under the Chor-

dophone category. The liter-
al meaning of San Xian is “three
strings” similar to the Japanese
Shamisen (Matusky and Tan, 1997).
It actually originated in China and
is more popular in the North. It was
during the 13th century that the San
Xian evolved into what we see to-
day, a long fretless fingerboard. It
has a very small, round, wooden
sound-body uniquely covered on
both sides with snake skin.
When in play, the instrumental-

ist places the San Xian on the lap
and the strings are plucked with a
plectrum. San Xian is one of the
Plate 116 San Xian accompanying instruments in local
Photo credit: National Muse-
um, Ministry of Culture, Arts
opera and when playing folk songs.
Example: The San Xian Score (Major Scale)
73
Introduction
S heng comes under the Aero-

phone category. It is one of the
oldest varieties of Chinese instru-
ments existing as far back as 3,000
years.
Its construction is very unique. It is

actually a free-reed bamboo mouth
organ. A bundle of 17 bamboo
pipes are seated on a small, wooden
wind chamber in a circular fashion.
The number of pipes can go as high
as 36. By blowing and sucking the
air through the specially designed
mouthpiece at the base, sound is
produced. To increase the sound
volume, each bamboo pipe is re-
inforced with a metal pipe. Each
pipe contains a single freely vibrat-
ing reed, above which a finger hole
is placed and for a note to be pro-
duced, the hole must be covered. It
comes in three tones, soprano, alto
Plate 117 Sheng
Photo credit: Paulnoll. and tenor.
By virtue of its unique construction,

it can safely claimed to be the only
Chinese musical instrument capable
of playing various notes simultane-
ously with great clarity of tone. In a
Chinese orchestra, the Sheng plays
in the “brass” section.
Example: The Sheng Score (Major Scale)
74
Suona
Introduction
S uona comes under the Aero-

phone category. It is also known
by different names, such as Laba
(trumpet), or Haidi (horn). This
is a double-reeded instrument with
a conical metal bell and comes in
various sizes. It produces a nasal
piercing tone quality.
According to history, it was first

used during the Wei and Jin period
(200-420) in Xinjiang. It gained
popularity ever since the Zhengde
period (1506-1520) of the Ming Dy-
nasty. It is widely used in concerts
as an accompaniment instrument to
the Gong and drum.
Plate 119 Suona

Plate 118 Suona

Example: The Suona Score (Major Scale)
75
Te m p l e
Introduction
T emple Block comes under the

Idiophone category. Temple
Blocks are sets of Woodblocks that
come in different sizes that deter-
mine whether the pitches are high
or low. A woodblock is a hollow
block of wood or hard plastic. In
a Chinese orchestra, the Temple
Block is used within the percus-
sion section and usually comes in
sets of 5.
When playing the instru-

ment, arrange the larg- Plate 121 Temple Block
est block to your left and the
smallest to your right. Then strike
the top center of each block in a
down-up motion with a rubber or
wooden mallet which is held in
each hand.
Plate 120 Temple Block
Example: The Temple Block Score
76
Yang Qin
Plate 122 Yang Qin

Introduction
Y ang Qin comes under the Chordophone category. It originated from Western
Asia and it was only during the Ming Dynasty that it made its appearance in
China. It is also known as the Chinese hammered dulcimer with a squarish sound-
board. It is a very versatile instrument as it can be played solo, as an accompani-
ment or in an ensemble. A pair of hammers made of thin bamboo are used to hit
metal strings strung in pairs. It produces a high and tinkling pitch in its top reg-
isters, and soft and mellow tone in the middle rounding up with a strong and rich
sound in the lower registers.
Plate 123 Face of Yang Qin

Plate 124 Lee Elaine in Yang Qin class

Example: The Yang Qin Score (Major Scale)
77
Yue Qin
Plate 125 Yue Qin

Introduction
Y ue Qin comes under the Chordophone category. Yue means “moon”

in Chinese. This instrument evolved from the Ruan with the same
circular body but wth no sound holes and a much shorter neck. It has four
metal strings split into two pairs. One pair is tuned to A and the other to
D, and 9 to 10 movable wooden frets (Tan, 1983). During local operas, the
Yue Qin is played with a plectrum.
Example: The Yue Qin Score (Major Scale)
78
Ethnic Indian
Musical
Instruments
Ethnic Indian Musical Instruments
Ghatam
Introduction
G hatam comes under the Idio-

phone category and is actually
a large clay pot where great pains
are taken to knead it carefully
and then uniformly fired.
The Ghatam is the second
percussion instrument of
Carnatic music with Mri-
dangam. Normally, Gha-
tam is played with the
Mridangam. It is an in-
strument made of single
homogenous material and
no parts are detachable.
There is a very unique way

of playing the Ghatam. When
Plate 126 Ghatam
the open mouth of the Ghatam is
Photo credit: Tunji.org pressed against the stomach and
both palms and fingers stroke the
Ghatam, the air inside the Gha-
tam vibrates and emanates a low
resonance. Opening or closing the
mouth with the stomach achieves
different levels of pitches.
Plate 127 Ghatam Hole

Photo credit: Tunji.org
Example: The Ghatam Score
(each region of India uses its own language and system of notation)
80
Harmonium
Plate 128 Harmonium

Introduction
H armonium comes under the Aerophone category and is an instrument

with reeds that vibrate freely. This instrument originates from Great
Britain and has since played a vital role in any Indian music ensembles.
(Matusky and Tan, 1997). In performance, the musician pumps the instru-
ment with one hand and the other hand activates the bellow of the instru-
ment. The instrument has 44 black and white keys thus enabling it to equal
the temperament of Western
music. It usually accompa-
nies the singing, playing the
second melody in Hindustani
music. This instrument pos-
es some problems in Indian
classical music because of
its tempered scale.
Plate 129 Harmonium

Example: The Harmonium Score - Shuddha Saptak (Major Scale)
81
Indian Bamboo Flute
Introduction
I ndian Bamboo Flute comes un-

der the Aerophone category and
is one of the most ancient instru-
ments played widely in the world,
including India. Technical-wise,
the flute is limited to two octaves.
This would pose a problem when
performing the raga because being
a wind instrument, it is difficult to
achieve the crescendo which is ab-
solutely necessary. In the northern
part of India, this flute is known as
venu, vamsi, bansi, bansuri and mu-
rali. In South India, it goes by the
name of pullamkazhal, pillanagrovi
and kolalu.
In a traditional bamboo flute of

North India, there are six holes in
alignment and the last 7th hole is
placed according to whether the
flutist is right or left-handed.
Plate 130 5 types of Indian Bamboo Flute

Photo credit: Silverbushmusic.com
Plate 131 Indian Bamboo Flute

Photo credit: Silverbushmusic.
com
Example: The Indian Bamboo Flute Score - Shuddha Saptak (Major Scale)
82
Manjira
Introduction
M anjira comes under the Idiophone category. It is also

known by various names, some of which are the Jhan-
ji and Tala. This very ancient instrument can sometimes be
seen on temple walls from way back in time. It is actually a
small pair of unpitched cymbals very similar to the Chinese
Ching and Chap. In Indian classical music, its role is to ac-
company singing and provide rhythmic punctuation. It is a
ubiquitous component of
bhajans and dance music.
Plate 132 Manjira

Photo credit: Temple of Fine Arts, Min-
laysia
Plate 133 Manjira

Photo credit: Silverbushmusic.
Example: The Manjira Score
83
Mridangam
pasted with Semolina (“Ravai” in Tam-

Plate 134 Mridangam il). Then the paste is scraped off after
Photo credit: Temple of Fine
Arts, Ministry of Culture,
the performance. This is to improve
Arts and Heritage Malaysia the tone of the instrument. The right
head is made of three concentric layers
of skin (calf and sheep). It has a per-
manent black spot in its center called
Soru (or saatham) which comprises
manganese dust, boiled rice and fine
iron filings.
When being performed in Carnatic mu-

sic ensembles in Malaysia, the player
sits cross-legged on the floor with the
left foot under the right foot and slight-
Introduction ly extended. The instrument is placed
M ridangam comes under the

Membranophone category. It
is a two-foot long double-headed
on the right foot and ankle. It is played
with two hands, wrists and fingertips.
barrel-shaped drum made of wood.

One end is slightly larger than the
other. The heads are covered with
parchment and tuned by leather
braces with small adjustable cylin-
drical blocks of wood enclosing it.
The body is carved out of a single
block of wood (jackfruit wood, red-
wood or margosa).
The left head is covered with two

layers of buffalo and sheepskin.
The Mridangam has to be treated Plate 135 Lee Elaine with Mr Thamarakumdi K.R. Vijaya-
kumar (Mridangam/Ganjira Instructor & Artiste)
regularly depending on usage. Be- Photo credit: Temple of Fine Arts, Ministry of Culture, Arts
fore every concert, the left head is and Heritage Malaysia
Example: The Mridangam Score
Tha Thee Dhom Nam Tha Thee Dhom Nam Tha Thee Dhom Nam Tha Thee Dhom Nam
84
Sarod
Plate 136 Sarod

Photo credit: Temple of Fine Arts, Ministry of Culture, Arts
Introduction
S arod comes under the Chor-

dophone category. The instru-
ment probably originated from the
Plate 137 Sarod Interface
Photo credit: Temple of Fine Arts,
Ministry of Culture, Arts and Heritage Malay-
sia
Senya rebab. A taut membrane is
stretched across the resonator on
which lies the bridge. The finger-
board is a metal plate with no frets
attached to which is a small metal
bowl. It has several strings, four
for melody, three are for rhythm and
some are drone strings. The strings
are plucked with a plectrum made
from coconut shell.
Plate 138 Face of Sarod

Example: The Sarod Score - Shuddha Saptak (Major Scale)
Sa Ri Ga Ma Pa Da Ni Sa
85
Sitar
Introduction
S itar comes under the

Chordophone category.
It is a long neck flute with
7 metal strings passing
over a wide bridge. Some
strings are used as drone
or rhythm and others the
main melodic rifrain.
The base is made from
hard pumpkin gourd
and acts as the sound
box (chamber). A set
of thin strings that are
tuned to the raga be-
ing played acts as Plate 140 Lee Elaine with Mr Kumar Karthigesu (Sitar In-
sympathetic vi- structor)
brators creating and Heritage Malaysia
extra resonance.
In Hindustani
music, the Si- Plate 139 Face of Sitar
tar plays a very Photo credit: Temple of Fine
Arts, Ministry of Culture, Arts
prominent posi- and Heritage Malaysia
tion.
Plate 141 Various types of Sitar

Plate 142 Mr Kumar Karthigesu (Sitar Instructor) Photo credit: Temple of Fine Arts,
Photo credit: Temple of Fine Arts, Ministry of Culture, Arts Ministry of Culture, Arts and Heritage Malaysia
Example: The Sitar Score - Shuddha Saptak (Major Scale)
86
Tabla and Baya
Plate 143 Tabla (small) and Baya (big)

Heritage Malaysia
Introduction
T abla and Baya come under the Plate 144 Lee Elaine with Mr Prakash Kandasamy (Tabla
Artiste & Instructor)
Membranophone category. Tabla Photo credit: Temple of Fine Arts, Ministry of Culture, Arts
is a treble right hand drum made from and Heritage Malaysia
several layers of hardwood and Baya

which is the bass left hand drum. The
heads of the Tabla and Baya are made
of layered goat skin. These are attached
with leather strips and weighed down by
the gob (the black patch). Not only are
these played in the Carnatic music and
Hindustani music of Malaysian com-
munity, its versatility extends to accom-
paniment in various syncretic music
ensembles such as Ghazal and Dangdut.
Plate 145 Lee Elaine in Tabla Class
Plate 146 Face of Tabla and Baya

Photo credit: Temple of Fine Arts, Ministry
Example: The Tabla and Baya Score
87
Tambura
Introduction
T ambura comes under the Chordophone catego-

ry. It is a classical stringed instrument indis-
pensable in any musical performance as it provides
the basic shruti for the performer. The Tambura
comes in various sizes and models that could be of
1 to 5 feet in length. Its body, made of Jackfruit
wood, is called “Kudam” and is semi globular in
shape. The belly is slightly convex. Attached to
the Kudam is a long stem called Dandi. The end of
the dandi has four pegs. The Kudam has a wooden
bridge affixed on it and it has 4 metals strings
and no frets. The first string is Pa (dominant),
the second and third are Sa (tonic) and the final
fourth is again Pa (tonic of the lower octave).
When the strings are plucked, it produces a res-
onant sound contributed by little pieces of silk
placed underneath the strings beside the bridge.
The correct way to hold a Tambura is upright. In

Plate 147 Tambura
a performance, the Kudam is placed on the play-
Photo credit: Temple of er’s right thigh and the middle and fore fingers of
Fine Arts, Ministry of
Culture, Arts and Heri-
the right hand are used to pluck the four strings
tage gently in succession starting with the Pa string.
Middle finger is used to pluck the first string
and the forefinger for the other three. The Tam-
bura produces the harmonic drone background
to the main melody on other instruments such
as the Sitar in Hindustani music and the
Veena in Carnatic music. (White, 1971)
88
Ve e -
Introduction
Plate 148 Veena

V
eena comes under the Chordophone category and is
an indispensable instrument in Carnatic music. The
Veena is made of wood such as maple, silver oak, cedar,
Photo credit: Temple
of Fine Arts, Minis- spruce, sycamore, etc. The selected piece of wood
try of Culture, Arts and
Heritage
must be kept under shade for many years. The fin-
gerboard is made of ebony wood. The Veena has
7 strings of silver or brass, 4 of them for melodies
and the other 3 drone strings (thalam). Metallic
strings are sometimes used for the violin while the bow
is made of Pernambuco, Brazilian wood or beech wood.
There are 3 parts to the Veena. The pear-shaped bowl called Kudam (in
Tamil) is hollowed out of a single block of Jackfruit wood or Blackwood.
The selected wood is preserved over a long period of time and portions
are scooped out at long intervals. The smaller bowl is the gourd resona-
tor / rest and it is attached to the underside of the neck. The smaller
bowl is detachable and is made of papier-mache. Finally the stem or
dandi which connects both bowls. The stem is made of the same
wood as the bowls. It is broad near the bowl end and gradually ta-
pers towards the smaller bowl. A resinous substance is used to fix
the 24 metallic frets to the hollow stem. The stem leads to the neck
(i.e. the end of the long section) which is curved downwards and its tip
is carved like the head of a yali, a mythical animal.
When performing, the Veena is placed on a horizontal position over the lap of the player who
sits on the floor. The forefinger and the middle finger of the left hand are used to stop the four
main strings on the frets, while the corresponding fingers of the right hand pluck these strings
alternately near the bridge. While the four main strings are plucked downwards, the three side
strings are sounded by the little finger of the right hand moving upwards (the three strings are
sounded simultaneously while playing the melody and not in exclusion).
Example: The Veena Score - Shuddha Saptak (Major Scale)
89
Sarawak
Musical
Instrument
Sarawak Musical Instruments
Engkero-
are arranged on a long table in a

neat line in accordance with a spe-
cific scale system. A pair of soft
mallet is used to strike them pro-
Plate 149 Engkeromong ducing a very interesting repeti-
tive and stepped polarithme in an
Introduction ascending and descending manner.
E ngkeromong comes under the

Idiophone category. It is from
the gong family of ‘knobedgong’
This is a great instrument to accom-
pany the Iban’s famous traditional
dance called “Ngajat”.
or ‘gong berbusut’. Also from the
knobedgong family is another larg-
er instrument called “bandai” which
is similar to Kelantan state’s gong Made of
tetawak. For the Ibans, the bandai • Shaped like a water vessel and made
symbolizes power and wealth. from perunggu.
History
The Engkeromong is made of pe- • Originated from South East Asia.
runggu and shaped like a water • Similar with Gong Tetawak found in
vessel. It is a popular instrument Kelantan state.
in South East Asian communities • Closely related to a symbol of power
and wealth for the Iban communities.
especially the Iban tribe. In perfor-
mance, eight pieces of Engkeromong
Plate 150 Engkeromong Musician Plate 151 Lee Elaine with Engkeromong Musi-
92
Engkerurai / Keluri
Introduction
E ngkerurai / Keluri comes under the Aerophone category.

It is a bamboo free-reed mouth organ which is extremely
rare. A bundle of pipes are inserted into a windchest The
Ibans play the Engkerurai while the Orang Ulu (upriver people
of the interior of the island) play the Keluri. The Engkerurai
originates from Sarawak state.
Made of
• Made up of 6, 7, or 8 bamboo
pipes.
History
• Originated in Sarawak state and
played by the Iban community.
Plate 152 Engkerurai / Keluri

Ministry of Culture, Arts and Heri-
tage Malaysia
Plate 153 Engkerurai / Keluri

Heritage Malaysia
Example: The Engkerurai / Keluri Score (Major Scale)
93
Ketebung / Ketu-
Introduction
K etebung / Ketubong comes under the Aerophone

category. Like the Engkerurai / Keluri, it also orig-
inated from Sarawak state. This instrument is played
during opening ceremonies and the music accompanies
lots of chanting and action. This merriment is believed
to placate the various spirits and seek divine help to con-
tinuously safeguard the wellbeing of both audience and
performers. At the close of the ceremony, music is again
played to thank the spirits for a successful performance.
Ketebung / Ketubong is made from belian, tapang or

cempedak wood. Only one side is covered with goat-
skin. A rattan ring is used to secure the body around the
drumhead.
Made of
• Made from belian, tapang or
cempedak wood.
• One side covered with goatskin
(mousedeer or iguana skin are
sometimes used)
• Tied securely with a rattan ring
around the drumhead.
History
• Originated from Sarawak state.
• Played during buka panggung
or opening ceremony and be-
lieved in ensuring a successful
performance.
Plate 154 Ketebung / Ketubong

Example: The Ketebung / Ketubong Score
94
Introduction
S ape comes under the Chordophone category. It originated

from Sarawak state. Sape is made of softwood such as me-
ranti, kayu pelark or belian wood. The neck is short but the body
is elongated and shaped like a sampan (boat). The body func-
tions as a resonator. The tribes of Kenyah, Kayan, Kelabit , Iban
and Penan favor this instrument. In performance, it provides
music to accompany dances such as Datun Julud and Ngajat.
Plate 156 Sape musician Plate 157 Sape Musician

Made of
• Made from meranti, kayu pelaik or some-
times belian.
• Engraved with Kenyah design.
• Varies from 3-1/2 to 6 feet long.
• Formerly it had two strings made from fine
threads of rattan.
• Nowadays four metal strings are used.
History
• Found among the Kenyah, Kayan, Kelabit,
Plate 155 Sape Iban and Penan, but it is identified most
Photo credit: National Theater, with the Kenyah (Orang Ulu).
Heritage Malaysia
Example: The Sape Score (Major Scale)
95
Selen-
Introduction
S elengut comes under the Aero-

phone category. It originated
from Sarawak state and is played
for personal entertainment. Selen-
gut is a nose flute made of bamboo.
The uniqueness of this instrument
lies in the fact that nose breath is
used to play it and this is believed
to have some religious significance.
Made of
• Made from sumbiling bamboo.
History
• Originated from Sarawak state.
• Nose flute is common in the
ASEAN religion.
Plate 158 Selengut

Ministry of Culture, Arts and Heri- Plate 159 Selengut
tage Malaysia Photo credit: National Museum, Ministry
Plate 160 Selengut

sia
Example: The Selengut Score (Major Scale)
96
Sabah
Musical
Instruments
Sabah Musical Instruments
Gendang Sabah
Introduction
G endang comes under the Membranophone

category. This instrument is known by
different names in different communities.
The Bajau people uses the Gendang
in the musical art of Bertitik and
a striking pattern to the sound
of ‘Kedidi’, ‘Ayas’ and
‘Tidong’. The Bru-
nei community in
Sabah state
called it rem-
pana whereas the
Brunei people uses
a smaller type of Gen-
Plate 161 Gendang Sabah (view from the
dang called the Gendang top)
Labik. Photo credit: National Theater, Ministry of
Made of
• Nangka or merbau wood for
the body. Goat skin is stretched
across both ends.
History
Plate 162 Gendang Sabah • Originated from the Middle
Heritage Malaysia East.
Example: The Gendang Sabah Score
98
Kulintangan
Plate 163 Kulintangan

Introduction
K ulintangan comes under the Idio-

phone category. It belongs to the
gong family and is closely related to the
to the Sarawak state’s Engkeromong,
eight Kulintangan instruments are also
arranged in a row. A pair of soft mallet
Kulintangan instrument found on the is- carried by one player is used to strike
lands of Mindanao, south Philippines. the cones thus producing music to ac-
Being a small instrument and conical company dances such as the Kadazan
in shape, it is more of a percussion. It ‘Sumazau’, the ‘Limbai’, ‘Silat’ and
is made of bronze or perunggu. Among ‘Tingkad-tingkad’.
the Suluk community in Samporna and
Sandakan, there is an idiophone wood- Made of
en instrument from the xylophone fam- • Made from bronze or perunggu.
ily known as ‘gabang’. The melody it
History
plays accompanies the ‘Daling-daling’
• Established in the island of Min-
dance. danao, south of the Philippines.
• Played to accompany dances for
In performance, the Kulintangan is the Kadazan community.
strung up and stretched over a wood-
Example: The Kulintangan Score (Major Scale)
99
Sompo-
Introduction
S ompoton comes under the Aerophone category. It

originated from Sabah state and is played by both
male and female indigenous people of Sabah state espe-
cially by Kadazans and Murut.
Sompoton is made from a dried gourd and bamboo
pipes. Each of the eight Sompoton pipes is individually
named. On the top row of four pipes, the two longest
in the middle are called lombohon (one which is sound-
less), flanked by the monongkol and the surut, the short-
est. The lower pipes of similar length have the following
names, the tinangga, the tetunduk, the rendawai and the
baranat (beginning from the side of the mouthpiece).
Made of
• Consists of eight pieces of bam-
boo pipes of varying length and
arranged in two rows.
• All these pipes are held together
by pieces of rattan.
History
• Sompoton was originated from
Sabah state.
• Specially played by Kadazan and
Murut community in Sabah state.
Plate 164 Sompoton

Photo credit: National Museum, Ministry
Example: The Sompoton Score (Major Scale)
100
Sundatang
Introduction
S undatang comes under the Chordo-

phone category. It is a long-neck
strummed lute. This instrument is
played in a similar manner to the Sape in
Sarawak state, that is: the two or three
strings are twenged or strummed. The
Sundatang is made of jackfruit wood
and the strings are made from string
palm fiber or from brass wire.
Made of
• Nangka or similar hardwood.
• It measures 3 feet in length.
History
• Originated from Sabah state.
Plate 165 Sundatang Plate 166 Sundatang

Photo credit: National Museum, Min- Photo credit: National Museum, Min-
istry of Culture, Arts and Heritage Ma- istry of Culture, Arts and Heritage Ma-
Example: The Sundatang Score (Major Scale)
101
To n g k u n -
Plate 167 Tongkungon

Introduction
T ongkungon comes under the

Chordophone category. Origi-
nated from Sabah state. Tongkungon
bamboo joint close both ends of
the Tongkungon. A one-inch wide
sound hole is cut across the length
which is of about 2 feet in length, of the bamboo.
is made from the poring bamboo
joint with its seven strings slit from Tongkungon is a tube zither from
its side. Both ends of the strings the Dusun and Kadazan tribes. The
are secured tightly by pegs to con- womenfolk of the Kadazans like to
trol tension. Nodes that define the play this instrument as a light and
easy pastime. A bamboo stick is
Made of
used to pluck it (in a solo perfor-
• It is made from poring bamboo mance) but in a duet, one is plucked
joint with its seven strings slit to provide the rhythm and the other
from its side. is to strike to play the melody.
History
• Tongkungon originated in
Sabah state.
• Played by the Dusun and Kada-
zan tribes.
102
Turali
Introduction
T urali comes under the Aero-

phone category. It originated
from Sabah state and is popular
amongst the indigenous people. It
is made from sumbiling bamboo. It
measures from one to two meters in
length and it has an angled blowing
end. Interestingly, the nose is used
to blow it. There are four holes on
top and one below. Four basic tones
are produced, the lowest, with all
the four holes closed, and the other
three by successively opening the
remaining finger holes.
Made of
• Made from sumbiling bamboo.
History
• Originated from Sabah state.
Plate 168 5 types of Turali Plate 169 Turali

Photo credit: National Museum, Photo credit: National Museum,
Ministry of Culture, Arts and Heritage Ministry of Culture, Arts and Heritage
103
Orang Asli
Musical
Instruments
Orang Asli Musical Instruments
Awar
Introduction
A war comes under the Idiophone

category. Awar are bamboo stamp-
ers and to enjoy this instrument, sev-
eral players do it in unison with each
player holding a pair of Awar, one short,
one long. To add on to the gaiety, one
or more Batak players are welcome to
join in. Apart from entertainment, Awar
is also played during healing rituals,
whereby the players stamp out a regular
Plate 170 Awar repeated duple rhythm. This acts as an
Photo credit: Orang Asli Museum, Ministry of Culture, Arts
and Heritage Malaysia excellent accompaniment to the singing
as part of the choral response.
Made of
• Made of bamboo.
Awar is usually played by the women-
folk of the Temiar tribes. This indig-
History enous tribe originated in the vicinity of
• Used by the Temiar indigenous Cameron Highlands.
people originating in Cameron
Highlands vicinity.
• Usually played by women.
Plate 171 Awar Plate 172 Orang Asli Museum

Photo credit: Orang Asli Museum, Ministry of Culture, Arts Photo credit: Orang Asli Museum, Ministry of Culture, Arts
and Heritage Malaysia and Heritage Malaysia
106
Batak
Made of
• The frame is made from a hol-
lowed out merbau log.
• The head is traditionally made
from goat or deer skin.
• The head is attached to the frame
using ropes made from rattan
while wood or cork is used as
rough tuning pegs.
History
Plate 173 Batak • The Batak is a frame drum used
Photo credit: Orang Asli Museum, Min-
istry of Culture, Arts and Heritage Ma- by the Temiar indigenous peo-
ple originating in the Cameron
Introduction Highlands vicinity.
B atak comes under the Membrano-

phone category and it belongs to
the framed drum family. A merbau log (Roseman, 1992). During performance,
is hollowed out to create the frame while the Batak is placed on the left knee of
goat or deer skin is stretched across the the player who is seated on the floor. The
head surface. Present times, woven right hand plays the open strokes and the
sack is used instead of skin. The head is other hand plays the closed tap. Two or
attached to the frame using rattan ropes three players may play simultaneously
and the rough tuning pegs are made of accompanied by 3-5 players of paired
wood or cork. Like the Awar, the Te- bamboo stampers or awar. It is strictly
miar tribe also favors this instrument. observed that during a mourning period
These indigenous people originated in that could last from a week to a month,
the vicinity of Cameron Highlands. the drum is strictly out of bounds. On
expiry of the mourning period, the drum
The Temiar tribe takes great pride in is once again launched amidst a kenduri
preserving the playing skills of the (feast). During the feast, only seasoned
Batak and it is passed from parent to drummers are allowed to play so as not
child, generations to generations. It to make mistakes which otherwise could
is generally played in healing rituals offend the spirit of the dead.
Example: The Batak Score
107
Biola
Introduction
B iola comes under the Chordophone

category. The difference between
the western violin and the Biola, lies
in the Biola using only three strings.
Nowadays, the strings are made of ny-
lon, though in the olden days they were
made from the hairs of a cow’s tail. As
for the Biola and its bow, softwood such
as from the jackfruit tree is used.
This instrument is being played by both

sexes for pleasure or as a mere form
of public entertainment at weddings or
other social gatherings organized in the
late evenings.
Made of
• The Biola and its bow are carved
from soft wood such as jackfruit
tree.
• Traditionally the bow strings
were made from the hairs of
a cow’s tail but nowadays are
made from nylon strings.
History
• Biola is a Portuguese musical
instrument.
• Found in the Southern part
of West Malaysia (especially
among Temiars).
Plate 174 Biola
Photo credit: Orang Asli Museum, Minis-
try of Culture, Arts and Heritage Malaysia
Example: The Biola Score (Major Scale)
108
Chentong
Plate 175 Chentong

Introduction
C hentong comes under the Idio-

phone category. Similar to the
Awar, Chentong is another type of bam-
Made of
• It is made from bamboo.
boo stampers played by the Orang Asli
History
in Peninsular Malaysia. The Semai and • Is a form of Senoi music and
Temiar tribes favor it. 5 female mem- normally played by Semai and
bers per performance usually play this Temiar.
instrument. Each member holds a pair • Played by women only and nor-
mally five female players are
of Chentong of different length.
needed for each performance.
109
Gendang
Plate 176 Gendang

Introduction
G endang comes under the Mem-

branophone category. The Per-
ak Sakai and Jakun tribes favor this
Made of
• Made by hollowing out the trunk
two-sided drum which is similar to of a tree and headed at each end
with the skin of mouse deer.
the ethnic Malay Gendang. Gen-
dang is carved out from the trunk History
of a screw pine and deer skin is • Played in Perak state by Sakai
stretched across both sides. and Jakun tribes.
Example: The Gendang Score
110
Gendang Semarang
Plate 177 Gendang Semarang

Introduction
G endang Semarang comes under the

Membranophone category. The
aborigines in Malaysia favor it and it
Made of
• Made by hollowing out the trunk
of a tree.
is normally found in Perak state. The
• Across one end, the skin of a
body of the Gendang Semarang is hol- gibbon (siamang) or some other
lowed out from a tree trunk and further small animal is stretched, and
processed by burning and chopping un- tightened up to the required
til the barrel is about half an inch thick. pitch by means of rattan cords
and wedges.
The skin of a gibbon (siamang) or some
other small animal covers the head of History
the barrel. The skin is stretched until • Found in Perak state.
the required pitch is achieved and then
secured by rattan cords and reinforced
by wedges.
Example: The Gendang Semarang Score
111
Ginggong / Raggoch
Made of
• The Ginggong is made from
wood.
• The Genggong is made from
metal.
• The Raggoch is fashioned from
parts of a palm leaf.
History
• The Negritos and the Temiar
Plate 178 Ginggong, Raggoch and Genggong
tribes favor it as the instruments
and Heritage Malaysia can emit music which are al-
most similar to bird singing and
Introduction sounds of jungle insects.
G inggong/Raggoch comes under

the Chordophone category. The
Ginggong is a wooden Jew’s harp fa-
vored by the Orang Asli of the Malay
Peninsula. Plate 179 Raggoch
Photo credit: Orang Asli Mu-
seum, Ministry of Culture, Arts
While only females of the Temiar and Heritage Malaysia
tribes play the Chentong, the Ging-
gong is played by only the male Temi-
ars. Ginggong is made of metal and
the raggoch is fashioned from parts of
the palm leaf. The music is played
on all occasions, both joyous or sad Plate 180 Raggoch
but sometimes for the villagers’ en- Photo credit: Orang Asli Mu-
seum, Ministry of Culture, Arts
tertainment. Sound is produced by and Heritage Malaysia
vibrating the ‘tongue’ of the instru-
ment. To cause the vibrations, just
twang the ‘tongue’ with a finger or
jerk the string attached to one end of
the instrument. The open mouth is
used as the resonator. Interestingly,
the Negritos and the Temiar tribes fa-
vor the instruments as they can emit
music almost similar to bird singing Plate 181 Genggong
Photo credit: Orang Asli Museum,
or sounds of jungle insects. Ministry of Culture, Arts and Heritage
112
Introduction
G ong comes under the Idiophone

category. It originated from the
Middle East. The Orang Asli’s Gong
and the Ethnic Malay’s Gong bears a
lot of similarities. It is played during
wedding ceremonies or on occasions
to welcome guests. A mallet is used to
strike the Gong and the mallet is made
of hardwood and covered with a piece
of black cloth.
Plate 182 Gong
Made of
• Made of metal and bronze.
History
• Originated from Middle East
and played using mallet from
the hardwood covered by black
cloth.
Plate 183 Gong Plate 184 Gong

Photo credit: Orang Asli Museum, Photo credit: Orang Asli Museum,
Ministry of Culture, Arts and Heritage Ministry of Culture, Arts and Heritage
Example: The Gong Score
113
Plate 185 Kereb

Photo credit: Orang Asli Museum, Ministry of Culture, Arts and Heritage Malay-
Introduction
K ereb comes under the Chordo-

phone category. This instru-
ment is favored by women of the
Made of
• It is made from bamboo and has
Semai and Temiar tribes in Kelan- 2 strings.
tan state. They play Kereb for self- History
enjoyment or entertainment. • Kereb is played by Semai and
Temiar people in Kelantan state.
Kereb is carved out from bamboo
and the 2 strings are fashioned out
of roots of different sizes and thick-
ness. These strings, of about 60cm
in length with a diameter of 9cm,
are attached to the bamboo tube and
to play it, simply pluck with the fin-
gers. A sharp knife is used to slice
several thin parallel strips off the
outer skin of the internode and the
strings are fashioned out of it. Then
under either end of the strip, the
maker inserts small wooden wedges
or bridges. The purpose is to stretch
the strings to the required extremes.
Since the wedges are movable, the
instrument can be tuned to the re-
quired pitch. A strong rattan ring is
wrapped round each end to prevent
the strings from breaking and also Plate 186 Kereb
to keep the instrument in place. Photo credit: Orang Asli Museum,
114
Rebab
Introduction
R ebab comes under the Chordo-

phone category. It originated from
the Middle East. The Orang Asli’s Re-
bab is similar to the Ethnic Malay’s Re-
bab, the only difference lies in the skin
which is that of the buntal fish with short
and sharp spikes. The Rebab is played
during healing rituals but sometimes for
entertainment too.
Made of
• Made with the skin of the buntal
fish, which has short and sharp
spikes.
History
• Originated from Middle-East-
ern.
• Originally used in healing cer-
emonies.
Plate 187 Rebab

Plate 188 Rebab

Example: The Rebab Score (Major Scale)
115
Seruling / Suling
Plate 189 Seruling / Suling Berlapis

Photo credit: Nik Mustapha Nik Mohd.
Salleh
Introduction
S eruling / Suling comes under the

Aerophone category. In some com-
munities in Malaysia, the sound of the
Made of
• Made from segment of young
Seruling used to evoke strong emotions, bamboo.
such as love or death. But in present History
days, it is played merely for entertain- • Found among all the Orang Asli
ment in an ensemble or solo or the men groups.
play it to attract women’s attention. It
is made of a segment of young bamboo
usually a foot long.
Example: The Seruling / Suling Score (Major Scale)
116
Seruling Hidung / Pensol
Plate 190 Seruling / Suling Hidung

Photo credit: Orang Asli Museum, Ministry of Culture, Arts and Heritage Ma-
laysia
Introduction
S eruling Hidung / Pensol comes un-

der the Aerophone category. It is
fashioned from a long, thin narrow bam- Made of
boo of about a foot in length. On either • Made from long thin, narrow
end are punched four holes. The Semais bamboo with 4 small holes at
tribe favors this instrument. As the name one end.
suggests – hidung (means nose). So,
History
when this instrument is played, it is held • Seems to be peculiar to the Se-
horizontally and blown across the edge mais only.
through the nose rather than the mouth.
Men play this instrument for recreation
and also to attract women’s attention.
Plate 191 Pensol in play

Plate 192 Pensol in play

117
Tambur / Rebana
Plate 193 Tambur / Rebana

Introduction
T ambur / Rebana comes under the

Membranophone category. It is
similar to the Ethnic Malay’s Rebana but
Made of
• Drum is hollowed out of a tree
the Orang Asli named theirs ‘tambur’. trunk. Mousedeer skin is used
A mallet is used to strike the Tambur / to cover each end but sometimes
cow or goat hide is substituted.
Rebana. This sound of this instrument
• Fastened by strong rattan bands
is more pronounced if it is played si- or rings.
multaneously with others such as Gongs
during dance performances. History
• Widely distributed in South East
Asia and the Malay Archipelago.
Plate 194 Tambur / Rebana

Photo credit: National Mu-
seum,
Example: The Tambur / Rebana Score
118
Glossary
Acoustic: (Musical instrument) not electric. Ensemble: Group of musicians who play togeth-
er regularly.
Aeolsklavier: A musical instrument under the
Aerophone category. Fife: Small high-pitched musical instrument
like a flute, used with drums in military music.
Ancak: A bamboo stand.
Gawai: A festival celebrated in Sarawak State
Anak: A child. on 1st June of every year.
Angsana: Burmese Rosewood tree. Ghazal: A Poetic form.
Badak: Hippopotamus. Haidi: Horn.
Bagpipes: Musical instrument played by storing Hidung: Nose.

air in a bag held under the arm, which is then
pressed out through pipes. Hua Yue Tuan: Modern Chinese Orchestra, a
blending of Western and modern musical in-
Baji: Wedge. struments.
Belulang: Animal hide or untanned leather. Iban: A branch of the Dayak people of Borneo.
Blowhole: Vent for air. Ibu: Mother.
Buka panggung: Opening ceremony. Jakun: Proto-Malay tribes of Pahang, Johor and
Negeri Sembilan States.
Buluh: Bamboo.
Kain merah: Red cloth.
Cengal: A type of good quality wood.
Kayu: Wood.
Colotomy: A term coined to describe the
rhythmic patterns of the gamelan. Kenduri: Feast.
Daun Luna: A type of fern leaf. Laba: Trumpet.
Diatonic: Using the notes of the major or minor Lebam: Bluish black.
scale only, not of the chromatic scales.
Lombohon: One which is soundless.
Dichotomy: Separation into or between two
groups or things that are opposed, entirely dif- Lute: Stringed musical instrument with a pear-
ferent. shaped body, used mainly from the 14th to the
18th century and played by plucking with the
Dikir Barat: A performance or ritual. fingers.
Dulcimer: Musical instrument played by strik- Lyre: Ancient musical instrument with strings
ing metal strings with two hammers. fixed in a U-shaped frame, played by plucking
with the fingers.
119
Glossary
Maal Hijrah: The first month of the Islamic cal- Panpipe: Musical instrument made of a series
endar. of reeds or pipes fixed together and played by
blowing across the open ends.
Main Petri: Healing performance.
Parchment: Heavy paper-like material made
Mallets: Hammer with a wooden head. from the skin of sheep or goats and used for
writing on.
Mandolin: A small, plucked, stringed musical
instrument. Randai: A folk theatre tradition of
the Minangkabau people of West Sumatra.
Merbau: Tropical wood.
Rattan: Similar to bamboo.
Minangkabau: An ethnic group indigenous to
the highlands of West Sumatra. Rawi: A person who records the sayings
of Prophet Muhammad.
Mnemonic: A memory aid.
Resonator: Appliance or system for giving
Mortar and pestle: Tools used with each other to resonance to sound.
grind and mix substances.
Rotan: Cane.
Muslim: An adherent of Islam.
Sakai: A tribe.
Nangka: Jackfruit.
Sampan: A boat.
Nibung: A kind of palm tree with a spiky or
thorny trunk. Selawat: Prayers for peace and prosperity.
Octave: Interval between one musical note and Shuddha Saptak: Major scale.
another with half or double the frequency.
Silat: A Southeast-Asian martial art.
Orang Asli: An indigenous minority people of
Peninsular Malaysia. Surau: A small place of worship for Muslims.
Orang Ulu: Upper river people of the interior Tari Lilin: Candle dance.
of the island.
Tombak: To fight.
Onomatopoeia: A combination of sounds.
Wayang Kulit: Shadow puppet theater.
Oud: A pear-shaped, stringed Middle-Eastern
musical instrument. Yali: A mythical animal.
Padi: Rice. Yang di-Pertuan Agong: the King.
Pakcik: Adult male. Zikir: Religious verses.
120

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Ethnic

The copyrights/trademarks of the photographs, information and articles quoted

Published by Win Publication Sdn. Bhd.(492819-M)

Printed by BCH Press Sdn. Bhd.(549228-M)

I respectfully acknowledge the invaluable assistance, support and co-op-

Thank you once again.

DATUK SERI UTAMA DR. RAIS YATIM

‘’Ethnic Musical Instruments of Malaysia” embodies the very essence of

If music be the food of love, play on!

It is interesting to turn the pages of this book to discover how instrument

Personally, I have the pleasure of making the acquaintance of the author

On this note, I am pleased and proud to volunteer to write the Preface. I

2. Ethnic Chinese Musical Instruments

3. Ethnic Indian Musical Instruments

4. Sarawak Musical Instruments

5. Sabah Musical Instruments

6. Orang Asli Musical Instruments

M alaysia prides herself as a multi-racial and multi-cultural society producing

a) The largest group is Membranophone. As the name suggests, it is a skin or

Sarawak’s neighboring state, Sabah is fortunate that it produces a lot of natural

Aerophones are further categorized into:

C hordophone is a musical instrument that produces sound by way of a vibrat-

Chordophones can be categorized into:

Instruments with a resonator such as the piano and harpsichord.

Idiophones are categorized into:

• Struck idiophones or concussion idiophones. Vibrations caused by hitting

• Plucked idiophones such as music box or mbira (thumb piano).

• Blown idiophones such as Aeolsklavier.

• Friction idiophones which can be rubbed or bowed such as harmonica or vio-

M embranophones classify musical instruments that produce sound by way of

Membranophones are further categorized into:

Struck drums: Where the membrane is hit by a hand or an instrument.

String drums: A knotted string attached to the membrane is pulled.

Singing The membrane vibrates in sympathy with the human

Plate 1 Alu Bunyi

A lu Bunyi is categorized as an Id-

T he Angklung is another Idiophone

Two or four bamboo tubes are tied to

Made of Kuda Kepang

Example: The Angklung Score

Plate 3: Kuda Kepang Dance

Plate 4: Kuda Kepang and Musical Instrument

B eduk is of the Membranophone

Example: The Beduk Score

Plate 7 Bonang / Keromong

Each is tuned to a specific pitch in the

B onang / Keromong is of the Id-

Cak Lempong and the Canang are inter-

C ak Lempong is of the Idiophone

Example: The Cak Lempong Score (Major Scale)

C anang comes under the Idiophone in-

Plate 14 Cerek / Kecerek

C erek / Kecerek is another Idiophone

Example: The Dup Score

Plate 17 Gambang Kayu

Example: The Gambang Kayu Score

The Malay Gamelan is distinctly different from the Balinese or Javanese