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The Music of Malaysia, first published in Malay in 1997 and followed by an English edition in 2004 is still the only history, appreciation and analysis of Malaysian music in its many and varied forms available in English. The book categorizes the types of music genres found in Malaysian society and provides an overview of the development of music in that country. Analyses of the music are illustrated with many examples transcribed from original field recordings. Genres discussed include theatrical and dance forms, percussion ensembles, vocal and instrumental music and classical music. It is an excellent introduction to and exploration of the country's vibrant musical culture.
This new, fully revised and updated edition includes time lines, listening guides and downloadable resources of field recordings that are analysed and discussed in the text.
Patricia Matusky is an ethnomusicologist and has taught for several years in Malaysia, including posts at the Universiti Sains Malaysia in Penang (1978-79, 1981-82 (Fulbright-Hays Lecturer in Music) and 1994-97 (Associate Professor), the University of Malaya in Kuala Lumpur (1983-86, 2013-16) and the LaSalle-SIA College of the Arts in Singapore (1990-93). Her degrees are Bachelor of Music, Master of Arts (Library Science), and Doctor of Philosophy in ethnomusicology from the University of Michigan (Ann Arbor, USA), and Master of Arts in musicology from Hunter College of the City University of New York. Her doctoral field research focused on music of the Malay shadow puppet theatre (wayang kulit) from the state of Kelantan (1975-76), while her continuing research involves Malaysian musical instruments, folk and classical Malay music in Peninsular Malaysia and music in Sarawak. Her publications include articles on the folk and classical music in Malaysia in international journals, and the books Malaysian Shadow Puppet Theatre and Music: Continuity of an Oral Tradition (Kuala Lumpur: Oxford University Press, 1993 and Penang, The Asian Centre, 1997), and she is co-author of Muzik Malaysia Tradisi Klasik, Rakyat dan Sinkretik (Kuala Lumpur: Asian Centre 1997 and University of Malaya Press 2012). She has contributed articles on folk and classical music of Malaysia in the Garland Encyclopedia of World Music (1998), in The New Grove Dictionary of Music and Musicians (2001), and on musical instruments of Malaysia in The Grove Dictionary of Musical Instruments (2014). She has contributed and annotated several hours of original field video recordings of Malaysian traditional musical/thearical performances, currently available for viewing, in the EVIA Digital Archive (Ethnomusicological Video for Instruction and Analysis Digital Archive) at Indiana University, Bloomington, Indiana, USA. She maintains active membership in many academic music societies and is currently the Chairperson of the ICTM Study Group on Performing Arts of Southeast Asia. Most recently she is Adjunct Professor of ethnomusicology at the Academy of Arts, Culture and Heritage of Malaysia (Akademi Seni, Budaya dan Warisan Malaysia (ASWARA), and at the University of Malaya Cultural Centre in Kuala Lumpur.
As a principal author in this publication project, she formulated the basic concept of the book and wrote on folk and classical music of the Malays and the indigenous groups in Sarawak.
Tan Sooi Beng is an ethnomusicologist and Professor in the Music Department of the Universiti Sains Malaysia in Penang. Her degrees are the Bachelor of Arts from Cornell University (USA), Master of Arts from Wesleyan University (USA) and Doctor of Philosophy in ethnomusicology from Monash University (Australia). Tan Sooi Beng planned and originally chaired the Bachelor of Arts degree in music at the Universiti Sains Malaysia. Her publications include several articles and a book entitled Bangsawan: A Social and Stylistic History of Popular Malay Opera (Singapore, Oxford University Press, 1993 and Penang, The Asian Centre, 1997). She is one of the co-authors of Longing for the Past, the 78 RPM Era in Southeast Asia (Atlanta, Dust-to-Digital, 2013) which won the joint SEM Bruno Nettl Prize, 2014. She has carried out extensive research and written articles on Peace Building through the Performing Arts (supported by Ford Foundation), Community Theatre in Southeast Asia and Japan (Asian Public Intellectual Fellowship, Nippon Foundation), Multicultural Traditions of Malaysia (USM Research Grant), Popular Music in Southeast Asia and the Chinese in Diaspora (Toyota Foundation). She is the Editor-in-Chief of Wacana Seni, Journal of Arts Discourse, serves in the Advisory Editorial Boards of Asian Music (USA) and Ethnomusicology Forum (UK), and is an elected member of the International Council for Traditional Music (ICTM). Tan is actively involved in the development of methodologies in applied ethnomusicology through community engagement and collaborative research.
Tan Sooi Beng proposed the idea of this book as a resource for information on traditional music and the analyses of folk, classical and syncretic music. She is also a principal author in this project, writing about syncretic music, Chinese music, and popular music in Malaysia.
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Read the first book and this 2nd one did not disappoint! Loved every chapter. More please!
Like it was written by George Santos
Received an Advanced Reader Copy from a friend. I am an avid true crime reader and upon completion I question if the author is credible. The timeline does not add up for his age and the times of his alleged involvement in organized crime. Some of the things in the book he is alleged to have said and done I remember almost word for word from movies I had previously watched. He literally stole a scene from the movie the accountant with Ben Affleck and said that he did it. I did a little research after completing the book and learned that this author was also claiming in 2010 that he was a long time member of the Bloods Gang. That coupled with the above leads me to believe that it is nothing more than fantasy. Do not waste your time or money
Like it was written by George Santos
Received an Advanced Reader Copy from a friend. I am an avid true crime reader and upon completion I question if the author is credible. The timeline does not add up for his age and the times of his alleged involvement in organized crime. Some of the things in the book he is alleged to have said and done I remember almost word for word from movies I had previously watched. He literally stole a scene from the movie the accountant with Ben Affleck and said that he did it. I did a little research after completing the book and learned that this author was also claiming in 2010 that he was a long time member of the Bloods Gang. That coupled with the above leads me to believe that it is nothing more than fantasy. Do not waste your time or money
What a difficult story to tell. I appreciate the honesty and vulnerability. Definitely made me think.
I had hopes for this book but was not expecting what I would read within the pages. If your kink is deplorable grammar, incoherent sentences, and inconsistent messages, then this book is for you. At first, I thought the book I received was not the book I ordered. But as I dived in, it was very confusing. I would not recommend this book to anyone
There are not many reviews on the internet for this book. In researching the many stores selling the book, it was self-published which makes a lot of sense. The online description is written perfectly, so reading the actual book was very difficult. Pages two and three are written clearly as well as the table of contents. Pages 155 and 156 are also written logically.
It appears this book was written, then sent through a program like “Grammarly.” Once completed it seems it was published without being re-read or edited. The first clue was the title narrative that used “Has” instead of “As.” The table of contents is one page off from what it shows on pages four though seven. Many of the “q’s” are written as “[]”
Below are some examples of what was within the pages of this book written verbatim:
“Chains & Discipline/ Domination & entry/ Sadism & Masochism (BDSM) is a wide classification of bed room play.” Page 9
“When bringing up the topic of chains, you are actually asking a person to offer you their depend on, their flexibility, and also possibly their suggestion of security in exchange for sensual/sexual enjoyment, power-play, and also feasible re-evaluation of your very own connection.” Page 39
“Techni[]ue can take a selection of kinds and also be as easy or facility as you pick to (new paragraph) bargain for your details scenario” Page 52
“BDSM stands for chains as well as entry, technique and also supremacy as well as sadism and also masochism.” Page 125
“SHELF means Risk Aware Consensual Kink.” Page 130
“Approval is whatever.” Page 152
“your twist isn’t my twist, yet your twist is OKAY.” Page 153
“You can be a top, base, or button” Page 153