This research aimed to determine and compare the effect of Transcutaneous Electrical Nerve Stimulation (TENS) versus foam rolling on muscular power output. Sixteen kayak sprint (n=16) athletes were involved in this research. All the participants underwent both interventions (traditional and modern-technological based methods) on different days. All the participants were required to perform 10 repetitions of squat jump as a pre-test, then 1 minute of body weight squat as a training. After that, participants need to recover using the recovery methods in different session. Then, a post-test was done to compare and determine the results. Descriptive statistics were used to determine the mean and standard deviation and paired T-Test was used to compare the effect of both interventions. Pearson correlation and Intraclass Correlation Coefficient (ICC) were used to determine validity and reliability of squat jump test protocol on power development. There were significant differences found in t.....

123 hits

Scott Simon (2008) describes jazz improvisation as an act of _reproduction of music_, _reinterpretation of compositions_, and _quotations of melodies_, while Paul Berliner (1994) puts it as _reworking precomposed material_. In contrast, Lee Brown highlights the spirit of _non conformism_ embedded in jazz playing, so that the musical outcome of jazz is _unanticipated_, and _nondeterministic_ (Brown, 2000). In 2012, I proposed _heteronomy_ as one of the defining features of jazz. How would these characters of jazz appear in the light of John Cage_s thoughts? If jazz is an art of quoting rather than creating, then that it was a genre of _distaste_ to Cage becomes understandable. Cage_s relationship to jazz and/or improvisation is more than a mild rejection. Sabine Feisst (2009) refers to it as an _unresolved relationship_, while for Rebecca Kim (2012) there is a _separate togetherness_ between Cage and jazz. In coaching Malaysian students to embrace jazz, needs arise for a clear understan.....

159 hits

The John Cage Variations provide a useful snapshot of a range of score writing techniques employed by Cage throughout this career. From very complex preparations and realisation of parts required in Variations I and II, to the almost non-existent scores of VII and VIII, the complete Variations provide a range of opportunities and challenges. In 2011, Western Australian new music ensemble Decibel developed a software-based score maker and player for the works and presented a series of concerts of the Complete Eight Variations. The performances have led to the development of the John Cage Complete Variations App for the iPad tablet computer, developed in conjunction with Peters Edition. Drawing on the ensemble_s experiments with realtime and scrolling computer score generation and performance, and their unique make up of performers, composers, sound artists and programmers, the group has made the realisation of these works more accurate and possible in real-time for the first time. This .....

145 hits

Reading the introduction into the International Conference John Cage 101 held in August 2013 in Tanjung Malim, Malaysia, the following two sentences caught my attention: _Cage was an early proponent of the need for Western music to incorporate Asian music characteristics. He studied Zen and I Ching, both philosophies having a powerful impact on his music, writings and art._1 This paper examines the essence of this statement that seems to commend openness and at the same time points towards a globally dominating perception of musical intellectuality rooted in the West, a place that John Cage to some extent intended to leave. He studied what many studied before him, the I Ching [Yi Jing]. By doing so, how much could he contribute to the world of composition? Methodologically, this paper will focus on the hermeneutic perspective in discussing Asian music characteristics that are incorporated into contemporary music compositions. Taking further some teaching texts on John Cage to illustrat.....

169 hits

This paper is a descriptive study of the creation of a new work that used practice-based and practice-led methodology, chance, indeterminacy, Malaysian folksong, Hindustani Raga, birdsong and philosophy to guide its creation, its coming into being and its performance realization. The paper also addresses the main problem encountered in its creation, which was how to maintain form whilst using indeterminacy. The composition which was the focus of the study employed indeterminacy and chance in the approximation of the performance realisations and interpretations of the notation. Each of the four main elements of the composition was created separately and incorporated a mode of limited transposition, Hindustani Raga, Kalimantan folktune and Malaysian avian motifs. In the context of the emphasis of the John Cage 101 International Conference, the composition attempted to explore concepts of space and time, chance and indeterminacy and the Cagean notion that _There is no such thing as an emp.....

137 hits

The bulk of artistic and philosophical discussion generated by our intellectual fascination with John Cage_s orchestral work Atlas Eclipticalis (1961_62) centres around its application of aleatoric processes such as the elements of chance and indeterminacy in the stages of composition and performance. That which underlies Cage_s advocacy for and championship of aleatoric explorations is his musical philosophy of nonintentionality. In his views, intentionality stood against genuine artistic expression, or rather, the true expression of the Self through music. This resistance against prevailing musical convention remains relevant in contemporary practices. However, we have often overlooked the role and implications of Cage_s employment of an arbitrary graphical source in the composition of Atlas. The use of a graphical source to determine musical parameters draws tantalisingly close to the creative notions behind graphical scores, graphical notation and musical imageries. Common to all o.....

103 hits

This paper will explore conceptual approaches to participatory music-making, with a focus on the work of John Cage. Cage relied primarily on a performer-audience model of music-making; which seems paradoxical, as a non-hierarchical participatory model seems more in line with his philosophy. While his compositional methods appeared to indicate a desire for self-effacement and collaboration, the resultant works were often quite far from models of non-hierarchical co-creation. However, Cage was a composer who concerned himself primarily with illuminating concepts and demonstrating processes, rather than producing beautiful _objects_ and musical commodities. Embracing a community-based experimental model of participation involves departing from traditional Western art music paradigms that regard _sound_ primarily as a consumable _product_ and the individual composer as all-knowing, all-powerful and central to any experience of music. This movement from selfaggrandisement to self-effacement.....

123 hits

One of the similarities between the ideas and philosophies underlying the musical compositions of John Cage and Hands Percussion Malaysia (HANDS) is their desire to explore musical sounds beyond the conventional and cultural norms of their time. Cage utilised Asian philosophy as inspiration for his aleatoric and chance music compositions, while HANDS fused sound art with movement. Founded on shi gu (shi: lion, gu: drum) drumming, movement and choreography, HANDS now experiments with a variety of musical instruments from various cultures to expand on the sounds and timbres produced in their performances. They merge extracts of musical elements from selected musical cultures, rhythmic drumming, and synchronised creative movements into their concert pieces. Some aspects of HANDS compositions are based on interculturalism, but many are new creations that decontextualise the musical instrument from its essentialised cultural-musical context. Based on interviews with HANDS_ artistic director.....

189 hits

Early exploration of the use of computers in Musical Instrument Digital Interface (MIDI), somehow allowed me to venture further into the domain of sound. Nothing much was known or noted in terms of the notion or historical perspectives of electroacoustic music in Malaysia. Unlike in the West, our music industry accommodated Western music, particularly popular music, but not experimental or electroacoustic music. The advancement in computer technology in music applications introduced new creative ideas, and its democratization permitted more creative exploration, technically and aesthetically. This paper is a recollection of the long journey of a Malaysian composer venturing into electroacoustic music...

113 hits

Kajian ini bertujuan untuk menilai pelaksanaan program keagamaan terhadap pengimarahan Masjid Angkatan Tentera Malaysia (ATM). Objektif kajian yang ditetapkan bagi mencapai tujuan tersebut iaitu: (1) mengenal pasti tahap penerimaan anggota tentera berdasarkan elemen konteks, input, proses dan produk dalam pelaksanaan program keagamaan terhadap pengimarahan Masjid ATM; (2) menganalisis perbezaan berdasarkan demografi anggota tentera dengan hasil pencapaian program; dan (3) menganalisis hubungan di antara elemen konteks, input dan proses dengan hasil pencapaian program. Kajian ini telah mengadaptasi satu model penilaian iaitu model CIPP dari Stufflebeam (1971). Rekabentuk kajian ini adalah pendekatan kuantitatif berbentuk tinjauan dengan menggunakan borang soal selidik sebagai instrumen. Sampel terdiri daripada 380 anggota tentera dari tiga Masjid ATM yang terdapat di Pangkalan Tentera Laut Diraja Malaysia. Data kajian ini di analisis dengan perisian Statistical Packages for Social Scien.....

113 hits