UPSI Digital Repository (UDRep)
|
UPSI Digital Repository (UDRep)
|
|
|
| ||||||||||||||||||
| Abstract : Universiti Pendidikan Sultan Idris |
| Although research has been conducted on the musical compositions of Tazul Izan Tajuddin, the focus has mainly been on the musical analysis of the composition itself. Supporting material such as performance guidelines on how to perform Tazul's compositions effectively is lacking. This paper focuses on the performance guidelines on a solo piano work, Kabus Pantun (2018). As a newly commissioned work, the complexity of musical material presented in Kabus Pantun appears to suggest that different playing techniques are required. Studying music of this "experimental" kind, where playing techniques owe little or nothing to the techniques of traditional repertoire, forces one to rethink one's approach to learning and practice; a performer may need to find alternative strategies to perform these contemporary pieces effectively, particularly in the execution of the notes. Encapsulated within Tazul's Kabus Pantun (2018), this article also attempts to elucidate how John Rink's idea of a performer's creative process can contribute to the preparation of a performance on works that push pianistic possibilities to the limit, if not beyond.
|
| References |
1. Cook, N. 2013. Beyond the score: Music as performance. Oxford: Oxford University Press. 2. Dainal, E. (2013). Woven music: An exploration of compositional techniques used in Tenunan II by Tazul Tajuddin. BM diss., Universiti Teknologi MARA. 3. Gan, P. J. 2014. Tenunan II by Tazul Izan Tajuddin (b. 1969): A case study of cultural confluence in Malaysian contemporary music. Malaysian Music Journal 3(1): 13–31. 4. Hatten, R. S. 2004. Interpreting musical gestures, topics, and tropes: Mozart, Beethoven, Schubert. Bloomington, IN: Indiana University Press. 5. Hill, J. 2002. From score to sound. In Musical performance: A guide to understanding, ed. J. Rink. Cambridge, UK: Cambridge University Press, 129–143. 6. Khoo, K. S. 2014. Selected solo piano works by contemporary Malaysian composers: An analysis. PhD diss., West Virginia University. 7. Lam, M. H. 2000. Art music composition in Malaysia: A focus on three composers. MSc diss., Universiti Putra Malaysia. 8. Lawson, C. and R. Stowell, eds. 2012. The Cambridge history of musical performance. Cambridge: Cambridge University Press. 9. Lie, L. P. K. 2013. Music of the Malaysian Philharmonic Orchestra (MPO) Forum 2 finalists: Reflections on Malaysian multiculturalism. Wacana Seni Journal of Arts Discourse 12: 57–80. 10. Marshman, A., ed. 2012. Performers' voices across centuries and cultures. London: Imperial College Press. 11. Rink, J. 2015. The (f)utility of performance analysis. In Artistic practice as research in music: Theory,criticism, practice, ed. M. Doğantan-Dack. Surrey, UK: Ashgate Publishing Limited, 127–148. 12. ———. 2002. Musical performance: A guide to understanding. Cambridge: Cambridge University Press. 13. Ross, V. 2002. Public external music examinations in Malaysia: Symbolical and social significance. PhD diss., Deakin University. 14. Siagian, C. B. 2007. Selected solo piano works by contemporary Malaysian and Indonesian composers from 1979 to 2007: An introduction. DMA diss., University of Oklahoma. 15. Tazul Izan Tajuddin. 2002. Sebuah pantun. In Spectrum 4: An international collection of 66 miniatures for solo piano. London: The Associated Board of The Royal Schools of Music. 16. Tye, J. K. -C. 2005. Negotiating effective piano pedagogy and music examinations in Penang, Malaysia: The impact of the Associated Board of the Royal Schools of Music on piano instruction. Wacana Seni Journal of Arts Discourse 4: 1–39.
|
| This material may be protected under Copyright Act which governs the making of photocopies or reproductions of copyrighted materials. You may use the digitized material for private study, scholarship, or research. |