While humbly accepting scholarly opinions that hybridity is a global trend in cultural research, theory and criticism, and one of the most broadly utilized and reprimanded ideas in postcolonial theory, this research is a response to the already extant that western and non-western fusion is practicable. During cultural hybridization process, traditional components will not die out however will develop into a spectacular form. Tradition isn't something made stale or worn after some time, nonetheless develops throughout the years. From this perspective, the researcher decided to design a hybrid project that would cross cultural boundaries and bring the researcher into music and interpersonal dialogue between western and non-western elements. Two distinct elements which are the traditional Malay gamelan repertories and string ensemble as the Western instruments were brought together to create a work of intercultural beauty, respectful to both musical traditions and to the artists who practice them. The study attempts to create new arrangement for string ensemble using selected traditional Malay gamelan repertories and use these pieces as instructional material for teaching intermediate university-level string ensemble class. The results of the study assists music educator in developing instructional material which hybridized other Malaysian traditional music with western instruments.
Ackermann, A. (2012). Cultural hybridity: Between metaphor and empiricism. In Conceptualizing Cultural Hybridization. Berlin: Springer. 5-25.
Andrews, M. N. (2017). Compositional practice as expression of cultural hybridity in Lou Harrison’s double concerto for violin, cello and Javanese gamelan. Student Research Symposium.12. Retrieved August 15, 2017 from Portland State University, Website:
http://www.pdxscholar.library.pdx.edu/studentsymposium/2017/Presentations/12.
Bramantyo, T. (2009). Intercultural musicology in music education: In search for philosophy of music education in Malaysia. In Colloquium for Music Research.
Burke, P. (2009). Cultural Hybridity. Cambridge: Polity Press.
Chacko, R. E. (2010). Beyond the myth of East-West hybridity: An analysis of Lou Harrison's works for gamelan and Western instruments. Unpublished doctorate thesis, University of Colorado at Boulder.
Dick, W., Carey, L. & Carey, J.O. (2005). The systematic design of instruction (6th Ed.). Boston: Allyn and Bacon.
Ibrahim, Z. (2016). Disciplining Rock and Identity Contestations: Hybridization, Islam and New Musical Genres in Contemporary Malaysian Popular Music. Situations, 9, 21-47.
Ibrahim, Z. (1995). Popular Culture at the Crossroads: Malay Contemporary Music. Kuala Lumpur: Universiti Malaya.
Oh, I. (2013). The Globalization of K-pop: Korea's Place in the Global Music Industry. Korea Observer, 44(3), 389.
Ryoo, W. (2009). Globalization, or the logic of cultural hybridization: The case of the Korean wave. Asian Journal of Communication, 19(2), 137-151.
Sim, H. C., Kim, S. A., & Lee, B. M. (2017). K-Pop Strategy Seen from the Viewpoint of Cultural Hybridity and the Tradition of the Gwangdae. Kritika Kultura, (29), 292-317.
Shah. S., M. & Masumi, M., A. (2016). Teaching traditional music in Malaysian schools: Considering the cultural context. International Journal of Learning and Teaching. 8(1), 69-76.
Shim, D. (2006). Hybridity and the rise of Korean popular culture in Asia. Media, culture & society, 28(1), 25-44.
Spicer, E. H. (1962). Cycles of conquest: the impact of Spain, Mexico, and the United States on the Indians of the Southwest, 1533-1960. University of Arizona Press.
Spiller, H. (2009). Lou Harrison's Music for Western Instruments and Gamelan: Even More Western than It Sounds. Asian Music, 40(1), 31-52.
Sutton, R. A. (2010). Gamelan encounters with Western music in Indonesia: Hybridity/hybridism. Journal of Popular Music Studies, 22(2), 180-197.
Sutton, R. (1996). Gamelan: Cultural Interaction and Musical Development in Central Java. Crossroads: An Interdisciplinary Journal of Southeast Asian Studies, 10(1), 192-194
Wappel, J. (2016). Gamelan and the modern pedal harp of the west: A performer’s perspective on hybridized musical influences in the harp chamber works of Bill Alves, Lou Harrison, and Alan Hovhaness. Unpublished doctorate thesis, Ball State University.
Wozniak, A. (2014). Orientalism, Regionalism, Cosmopolitanism: Musical Manifestations of Cultural Hybridity. Unpublished undergraduate thesis, Wellesley College
In-Text Citation: (Sabri, Rahim, & Yi, 2019)
To Cite this Article: Sabri, S., Rahim, M. A., & Yi, C. W. H. (2019). Malay Gamelan and String Ensemble Cultural Hybridity: Instructional Material Development for Teaching Intermediate University-level String Ensemble Class Using Gamelan Repertories. International Journal of Academic Research in Business and Socal Sciences, 9(2), 364–383.
Copyright: © 2018 The Author(s)
Published by Human Resource Management Academic Research Society (www.hrmars.com)
This article is published under the Creative Commons Attribution (CC BY 4.0) license. Anyone may reproduce, distribute, translate and create derivative works of this article (for both commercial and non-commercial purposes), subject to full attribution to the original publication and authors. The full terms of this license may be seen at: http://creativecommons.org/licences/by/4.0/legalcode
