p. ramlee`s music - Universiti Pendidikan Sultan Idris

P. RAMLEE'S MUSIC: A REFLECTION OF CULTURE CONTACT
IN A MULTI-ETHNIC SOCIETY
CLARE CHAN SUET CHING
FAKULTI SENI DAN MUZIK
KOD PENYELIDIKAN UPSI: 02-05-65-02
2003
Acknowlegdements
I would like to extend my warmest
Sarji
on
who
kind
was
P. Ramlee to
enough
me.
I
am
time out of his
to find
also
gratitude
grateful
him for
to
consists ofP. Ramlee's songs notated into music
Johari Salleh for
entertainment
spending
during
the
time
early
talking
50s until
Sri Dato' Dr. Lin See-Yan, current
the Music
on
Department
the music
I
am
Mahayuddin
scores
and
Library
to
to Tan Sri Dato' Seri
busy
me
me
Ahmad
knowledge
with three books which
I would also like to thank Dato'
about P.Ramlee's music and urban
today. Special
president
schedule to share his
presenting
scores.
(Dr)
thanks
of Harvard Club,
are
also extended to Tan
Malaysia,
who
presented
ofUniversiti Pendidikan Sultan Idris with three books
ofP. Ramlee's song.
also indebted to my fellow
bin Abdul Rahim who
colleagues,
spend
Encik Mohd Azam
much time
advising
and
Sulong
helping
and Encik
me
with this
research in terms of using the music software and
transcribing rhythmic patterns.
thanks is extended to my student,
helping
scores
Choy Yen
Yi for
me
Much
with the notation of music
in the computer. Thank you also to Encik Ahmad Nizam bin Nasrifan and Haidir
bin Mohd Tahir for their music
Through
dad and my
this research, I
come
to
my
mom
Christine and Faris. I also extend my
Abdul Hamid Abdullah for his advice and encouragement
research. Last but not
and
of selected P. Ramlee's songs.
appreciate the support given by
colleagues; Maimun, Colleen,
to Professor Dr.
sponsoring
transcriptions
least,
encouraging
and
grateful
on
this
I wish to thank Universiti Pendidikan Sultan Idris for
new
research and
11
findings.
CONTENTS
Page
Acknowlegdements
11
Contents
111
Appendices
List of Tables
List ofMusical Examples
V
V
V
Abstract
Vll
1.0
Introduction
1.1
Background
1.2
Statement of Problem
4
1.3
Research Focus/
5
1.4
Method of Research
6
1.5
Literature Review
7
1.6
Theoretical
9
2.0
Factors that influenced P. Ramlee's Musical
2.1
His Childhood and Teenage Environment
2.2
Urban Entertainment in the
2.3
Films and songs under Indian directors
2.54
Films and songs with P. Ramlee
3.0
The
3.1
Malay Traditional Rhythms
3.1.1
of Research
2
Objectives
Approach
Variety
Style
12
early 20th Century
as
(1948-1955)
director
12
(1955-1973)
of Rhythms in P. Ramlee's Music
15
17
19
24
27
Asli
28
III
Page
3.2
3.1.2
Inang
29
3.1.3
Joget
30
3.1.4
Zapin
32
3.1.5
Keroncong
34
Western
34
Rhythms
3.2.1
Beguine
35
3.2.2
Mambo
37
3.2.3 March
37
3.2.4 Rumba
38
3.2.5 Samba
41
3.2.6
42
Swing
3.2.7 Twist
43
3.2.8 Waltz
45
modes and tunes
47
4.0
Local and
4.1
Chinese Pentatonic Scales
47
4.1.1
SamPekEngTai
49
4.1.2
Apek dan Marjina
50
4.2
foreign scales,
4.1.3 DoReMi
51
Arabian Modes
51
4.2.1
BungaMelur
51
4.2.2 Ya Habibi Ali Baba
52
IV
Page
4.3
Western
Popular Tunes
53
4.3.1 Swannee River in Do Re Mi
53
4.3.2 Banana Boat Song in Mencece
4.4
Bujang Lapuk
Conclusion
54
55
Bibliography
Appendices- Musical Transcriptions
Appendices
Musical
3.1
Transcriptions
.logetMalaysia
3.2 Semerah Padi
3.3 Getaran Jiwa
3.4 DoReMi
3.5 BUa Larut Malam
3.6 Pok Pok Bujang Lapuk
3.7 Gelora
Tolong Kami
Apek dan Marjina
4.2 Sam Pek Eng Tai
3.8
4.1
4.3 DoReMi
4.4 Bunga Melur
4.5 Ya Habibi Ali
4.6 Mencece
Bujang Lapuk
List of Tables
3.1
Types
of rhythms in P. Ramlee's Music
v
25
List of Musical
Examples
3.1
AsH
28
3.2
Inang
29
3.3
Joget
30
3.4
Joget Malaysia
31
3.5
Zapin
32
3.6
Semerah Padi
33
3.7
Beguine
35
3.8
Getaran Jiwa
36
3.9
March
37
3.10
DoReMi
38
3.11
Rumba
39
3.12
Bila Larut Malam
40
3.13
Samba
41
3.14
Swing
42
3.15
Pok Pok
3.16
Twist
44
3.17
Gelora
44
3.18
Waltz
45
3.19
Tolong Kami
46
4.1
Chinese Pentatonic scale
48
4.2
Sam Pek Eng Tai
49
4.3
Apek
43
Bujang Lapuk
dan
Marj ina
50
VI
Page
4.4
Do ReMi I
51
4.5
The Mode of Hijaz
52
4.6
BungaMelur
52
4.7
Ya Habibi Ali Baba
53
4.8
Old Folks At Home/ Swannee River
54
4.9
Do ReMi II
54
4.10
Mencece
55
Bujang Lapuk
Notation
Ride
Key
for Percussion
Cymbal
High Pitched Tom Tom
Snare Drum
Low Pitched Tom Tom
Bass Drum
Hi Hat
Source: Feldstein, Sandy (1978). An Alfred Handy
Guide: Drum Set Club Date Dictionary.
Alfred Publishing Co,
vii
Inc.
ABSTRACT
P .Ramlee is
was
a
influential
an
beautiful
legend
figure
who
velvety soothing
communities in
in the
history of the
to success
rose
voice. His music
Malaya during
was
through
influenced
by
independence
the life
and India
height
and
came
indirectly
in
Malaysia.
He
acting skills and
of P. Ramlee's
from the colonial rule in
night
Chinese, Indians and other ethnic minorities.
in the
developed
his brilliant
style developed by
urban entertainment consisting of big bands, dance and
brought
industry
the hearts of the multi ethnic
captured
the 50s and 60s. The
coincided with the rise to nationalism and
P. Ramlee's music
film and music
the
British,
career
Malaya.
in terms of
clubs. The colonial rule also
The
variety
of cultures that
in contact with each other after the influx of workers from China
influenced P. Ramlee's musical
style
in
some
way
or
other.
This research aims to prove that culture contact is reflected in the music of a multi
ethnic
society through
another and
the transfer of discrete musical traits from other cultures into
pluralistic coexistence,
combination of two
evident in the
or more
rhythm,
that is the creation of
synthesis through
cultures. In P. Ramlee's music, these two
melodies and musical
of various influences of local,
through the comparison
a new
foreign
style.
phenomenons
a
are
This research will prove the existence
and western cultures in the P. Ramlee's music
of rhythm, scales and modes in his songs to its roots and
Vlll
origins.
Before
examining
these influences,
a
brief discussion will be made
influenced P. Ramlee's musical style with reference
urban entertainment in the
culminating
knowlegde
early 20th century,
with P. Ramlee
is crucial to
as
director
to his
factors that
childhood and teenage years,
his film and music under Indian directors
himself,
and the
understanding the musical style
IX
on
public's changing
he created.
taste.
This
CHAPTERl
INTRODUCTION
Music in
Folk
Malaysia
is
Music, Syncretic Music, Popular
& Patricia
Matusky,
courts of the
Malay
Music includes music
Makyong,
exhibits
1997:
cross
2-3).
Sultanate
cultural
Music and
Music
Classic Music refers to music
in the
Mekmulung
influences,
villages
and Randai.
for
such
society,
music
Syncretic
Asyik
Music,
Sooi
Beng
in the
royal
(Tan
performed
Nobat and
rural
or
Classic
categories;
Contemporary
namely Joget Gamelan,
performed
Main Puteri,
divided into five main
generally
Dance. Folk
Wayang Kulit,
as
comprises
of music that
example Dondang Sayang, Bangsawan,
Kuda
Kepang, Ghazal and Zapin.
Contemporary
music in
Malaysia
composers who have been trained in the
their artistic
context.
knowledge
According
to Lockard
commodities. Not
Malaysia
which includes
new
(1991), popular
by the
mass
in
music is
composition
Malaysian
theory. They fuse
in the
by-product of the
Malaysian
two
essential
mass
basis for
distinguished by
There
are
other
Western Classical
and music of Sabah and Sarawak.
1
new
music receives the widest audiences
Malaysia.
Chinese, Indian and
indigenous people (Orang Asli);
of Western music
media and it is the
industry
composed by
forms of
surprisingly, popular
and is the most lucrative music
in
knowledge
and skills to create
factors: it is disseminated
marketing
refers to music
categories
Music;
of music
music of the
Popular
Malaysia
In
mUSIC
early twentieth century. According
indigenous
be
theatre to
development of
the first
the film
making
Malay
as
along the
industry
early
1950s
in
character;
arranger
man
an
never
actor,
been
early
success
and
The
music in the country.
with the introduction of
rising
star
responsible
for
other than Teuku Zakaria bin Teuku
popularity
Malaysia
to
of the film and music
the
1991:
new
P. Ramlee is looked upon
life
to
Malay music (Chopyak,
over
of songs; from love songs to songs of
explored
as
of
heights
music and film
Malay
duplicated (Lockard,
P. Ramlee wrote and sung
These songs
popular
21).
singer, director, songwriter, scriptwriter,
simultaneously.
who gave
the first
lines, it engendered the
(1939 to1945)
Malaya.
was
of research
He elevated the entertainment in
that has
(1997), Bangsawan
Western
was none
the fifties and sixties. P. Ramlee infused the
the
Bangsawan, the first
P. Ramlee.
P. Ramlee marked the
Malaysia.
Sooi Beng
after World War II
in the
better known
Background
identity
in
beginnings
orchestra and the first
and entertainment
conquering this industry
Nyak Puteh,
to Tan
modelled
Bangsawan's popularity faded
in
its very
urban commercial theatre which began in the late nineteenth century into the
popular
1.1
saw
He
was a
film
industry
success
industry
genius
producer
during
with
an
of versatile
composer and
the father of Malay films and also
1985:
70).
250 songs in his lifetime. He wrote many varieties
humour, criticism, satyre, patriotism and culture.
the usage of rhythm and melodies
2
ranging
from local to
foreign
and
western
cultures. However,
dominant
usage
Malay
feel in the
of minorish
major
one
style
factor which united his songs
together
was
the
of his songs. This factor could be due to the constant
and
scales, flattening
of certain
sharpening
which
notes
are
characteristics of Malay melodic patterns.
P. Ramlee wanted to create
influence of
music forms such
in his music. P. Ramlee also
portrayed
rhythms
syncretic
mUSIC
like
that
as
incorporated
Western and Latin American dance
samba, rumba, cha cha cha, beguine, mambo, twist, waltz, bolero, quickstep,
infusion of foreign and local
of Middle East
(Arabic)
fragments
bulk of his songs
are
rhythms,
based upon
Malay
began to appeal
to the
were
6).
Besides the
of its time.
of
due to the
popular
of popular music in
would be
and innovated in different ways to
3
music in
of the
Malaysia.
come
use
pentatonic
However the
style.
scenes
Unconsciously,
promotion
development
Chinese
compositions.
to accompany
instrumental in the
explored
incorporated
few of his
composed
development
public largely
a
He
melodic patterns, feel and
popular hits
toward the
2002a:
P. Ramlee also wrote melodic lines that made
of familiar western tunes in
acted in and many became
pioneer
(Ahmad Sarji,
and Hindustani modes.
Much ofP. Ramlee's songs
become the
new, umque and different. The
Joget, Inang, Asli, Zapin, Keroncong is
conga, paso doble and slow fox into his music
scales and
was
in the films he
he would have
Malaysia
mass
He set
as
his music
media. P.Ramlee is
a
musical
in the future.
style
that
Statement of Problem
1.2
In
a
plural society
with each other. The
changes
in life
style,
history
rule
political
influences
fusion of ideas
is the
Music
portrayed
cultures. This
ideologies
own
Malaysia,
influenced its
development
of
P.
of music
Ramlee,
after
people
popular
social contact and
adapted
was
Nona
brought
independence
in
in 1957,
new
was a
in many ways. One of the
music in
Malaysia
which reflects
a
political changes.
with Bangsawan in the late
began
in constant contact
its nation. The multi cultural contact
develop
influences from Indian, Middle East,
style
singers, namely,
to
are
under the colonial rule also
Malaysia
generated through
Popular
which
of
unconsciously
portrayed
many diverse cultures
Malaysia,
ideas and innovations.
nation free to create its
and
like
19th
early zo" century
and
Chinese, Indonesian and
and innovated in the 40s and 50s
Asiah, Normadiah, Saloma,
Western
by popular
Aziz Jaafar and Kassim
Masdor. Their music utilized Latin American flavoured dance music, Hawaiian music,
Indian film music and Western
appeared
popular
in the sixties with the
which caused
a
music
adaptation
(Lockard,
1991:
4
A
new
trend of music
of the rock and roll music of the
stir in the Western world, to what is known
Malaysia.
19).
as
the
"Pop
Yeh Yeh"
Beatles,
style
in
Popular Music
(2003). This
in
reflects all sorts of fusion and mixture of
Malaysia
research goes back to the roots of the
Malaysia through
the music of P. Ramlee. It goes to
foreign
and local influences in the
1.3
Research Focus/
popular music
feel
1985:
(Chopyak:
cultures existent in
songs, thus
identify
revealing the cultural
This research starts
Ramlee's
musical
style;
entertainment in the
situation in
as
Malaya,
style
by
his
popular music
the very
in
of
beginnings
of Malaysia.
early
popular
music idiom, gave it
Malay lyrics
and
a
He absorbed elements of music from the various
the fifties and
incorporated
the various local and
it into his
foreign
own
music. The
influences inherent in his
interactions inherent in his music.
exammmg the factors that may have influenced P.
namely
early
director himself. These
musical
80).
Malaya during
aim of this research is to
explore
of
Objectives
P. Ramlee took the Western
Malay
development
styles today
his
hometown
twentieth century,
films under Indian
explanations
race
of
diversified
and
religion,
cultures,
the
socio-political
directors, and culminates with
will shed
light
to the
P. Ramlee created and is crucial to the
origins
urban
P .Ramlee
of influence in the
understanding
of the
style
he
created.
Many
of P. Ramlee's songs
themes in his films
ranged
were
composed
from stories about
5
to
suit the themes of his films. The
village (kampong)
to urban
life,
Arabian
or
Malay legends, comedies, family
of the
feuds to
composed music largely depended
stories like Ali Baba
in
scenes
on
nightclub
the film itself for
Bujang Lapok (1961)
entertainments. The
example
Arabian
Labu-Labi
(1962),
Masam
entertainments and infused western
samba, beguine into the
rhythms, scales,
scales
or
popular
Manis
dance
featured
(1965)
rhythms
like
Hujan
Panas
nightclub
cha-cha-cha, rumba,
proceed
to the main aim of this research that is to
analyze
modes and familiar tunes used in P. Ramlee's songs. Music
will be made
transcriptions
Masam
as
songs in its film.
This research will then
the
legendary
consists of the song Ya Habibi Ali Baba
which made used of Arabian modes to form its melodic line. Films, such
(1953),
origins
on
chosen songs to enable
a
comparison
modes used in P .Ramlee' s music to the root and
origin
of
specific rhythms,
of that
rhythm,
scale
or
mode.
1.4
Method of Research
This research is conducted
acquired through literature, journal
Literature review
socio-political
consequently
using
during
P.
qualitative
of P. Ramlee's life story and achievements; the
Ramlee's
time
the music he wrote for the films. Book
journals provided knowledge
method. Much information is
and book reviews, internet search and interviews.
provided knowledge
situation
the
which
influenced his
reviews, references
films
to articles and
of the types of urban entertainment inherent in
6
and
Malaya
during the ending
years and
of British rule in
popular music
Interviews
Johari Salleh, two
were
in
era
ofP. Ramlee's childhood and teenage
conducted with Tan Sri Dato' Seri
prominent figures
Bright
the
Malaya during the early zo" Century.
the author of the P. Ramlee
"P.Ramlee: The
Malaya,
in
Malaysia.
dictionary
(Dr)
Ahmad
Tan Sri Dato' Seri
Yang Sakti"
titled "Erti
Star". Dato' Johari Salleh is
Sarji
(Dr)
and Dato'
Ahmad
Sarji
is
and the book titled
famous composer and arranger in
a
Malaysia.
I have also
spent much time watching P. Ramlee's films and listening
order to understand the
III
transcriptions
were
exemplified foreign
comparison
made
on
rhythms
and local influences in his music. These
of elements of music in terms of
rhythm,
film
his songs
themes. Music
and melodies that
transcriptions
enabled the
scales and modes existent in P.
origin.
Literature Review
1.5
P. Ramlee's
provides
acting
short
and
songs
selected songs to examine the
Ramlee's song to the roots of its
It
between
relationship
to
is found in the book
titled,
scenario of his hometown, his music
a
career
biography
in
synopsis
Singapore
and
Malaysia
"P. Ramlee: The
experiences
as
a
till his death in 1973. In this
of his films, comments and feedbacks from the
7
Bright
Star".
boy,
his
book, there
are
young
public compiled through
examination of newspapers. This book
Sarji
and James
Harding.
Dato' Seri ·Ahmad
Sarji
"Erti
on
biographies
Seri Ahmad
Tan Sri Dato'
compiled
Yang Sakti"
P.Ramlee. It is
his films and songs; and short
1948
-1960"; "Gelora: Lagu-lagu filem
They
are
is another
a
Tan Sri Dato' Seri
by
important
dictionary
(Dr)
book written
that consists of the
of famous film stars
Sarji
P. Ramlee's music into three
written
was
during
Tan Sri
storylines
of
his times.
and Dato' Johari Salleh have notated and
books;
"Irama
Lagu
P. Ramlee:
Lagu-lagu
1961-1972" and "Air Mata di Kuala
Harvard Club of Malaysia. These books contain the
published by
by
Ahmad
filem
Lumpur".
melody
line
and chords of songs in his films.
Two
important
first research
development
events of its
was
researches have been conducted
done in
of Malaysian
time, focusing
1985
popular
on
found in his thesis titled "The
the
by Chopyak,
careers
in
sociopolitical change
Malaysian popular
examines the
James Decker who
of Malaysian
Craig
A.
Popular
Lockard,
and Criticism in
in his
Music: The Influential
journal
"Reflections of
Malaysian Popular
Music Since
1991, explores the relationship between popular music and
in
examines the historical
attention to P. Ramlee
music. The
of P. Ramlee and J ohari Salleh. His research is
development
Change: Sociopolitical Commentary
published
Malaysian popular
musician in relation to cultural, social and economic
Roles ofP. Ramlee and Johari Salleh".
1950"
on
Malaysia
over
background
as
the past four decades. In his
and roots of
the pop icon who
played
music culture.
8
Malaysian popular
the
pivotal
journal,
Lockard
music. He draws
role in the
development
of
Besides, literature
information
Malaysia,
and 80' s,
on
the internet.
Berita
Minggu,
reviews,
I also went
Newspapers cuttings
Harian Nasional and
through
from
Mingguan
compiled by Perpustakaan Dewan Bahasa
Thereotical
1.6
and book
Perdana
dan Pustaka
In her
and
browsed
through.
occurring
in
multi ethnic
a
concepts", Margaret
Kartomi
(1981) discusses
in musical cultures in contact. Kartomi states six
occurring
results due to this contact: virtual
musical
were
"The processes and results of music culture contact:
journal
terminology
process and results
from the 70's
ranging
Approach
in transition.
A discussion of
Utusan
Mingguan Malaysia,
P. Ramlee's music reflects the cultural interactions
society
newspaper articles and
of
rejection
an
impinging music, transfer
traits, pluralistic coexistence, nativistic revival,
the
possible
of discrete
music abandonment and music
impoverishment.
In this
research,
convergences of
(1981)
cultures from
or
foreign
rhythmic
revolutionary change
and
two
can
of the six results that
single
Some
examples
the diffusion of instruments and the
regarded
musical transculturation.
9
as
a
pluralistic
discrete musical traits have been
throughout history.
sources
are
or more
motives. This transfer does not create
be
due to the
transpires
the transfer of discrete musical traits and
states that
transfer of discrete musical traits
melodic idioms
on
cultures; that is,
coexistence. Kartomi
adopted by
I focus
of the
adoption
evolutionary
preliminary prerequisite
of
or
for eventual
Pluralistic coexistence
that musical
normally
pluralism usually
lasts
synthesis
of two
as
long
as
the
also be
in
occurs
interplay
applied
a
can
or more
be created when
musical
bi-
used in his music. The
an
interplay
interplay
double
some
nature
Kartomi goes
to
incorporation
cha cha cha,
explain that
a
can
be
implied
to P. Ramlee's mUSIC
instruments is reflected in the combination of instruments
bass,
of its
a
conga,
as
violin,
bongo, rebana, kompang, accordion,
major change
style
own
rhythmic which
this research.
to
musicians combine and transform the elements
in his music
of music, where the
as
Malay
the instruments
tabla
His
use
is
used in
inherited musical concepts.
clearly
of Arabian
and asli is
adoption
obvious in P.Ramlees's music, thus
of rhythmic motives from
zapin, inang
are
feel is still very dominant. It
The transfer of discrete musical traits also refers to the
idioms and
on
of multi cultural diversification in P. Ramlee's music. However, this
the context ofP. Ramlee's
by
states
situation, but
of western, eastern and local instruments such
use
has not resulted in
is not used
(1981)
sources.
whereby the diffusion of music
reflects
multi-ethnic urban
or
long too.
The transfer of discrete musical traits
saxophone, trumpet,
in this research. Kartomi
between the adherents of each musical culture is
limited. Sometimes itcan last for very
strictly
new
can
modes
foreign
proof of this
10
and
Chinese
and local
sources
occurrence.
of melodic
clearly
relevant
pentatonic scales,
such
as
the
rumba, samba,
Musical
reflected in
pluralism, likely
style of music produced by
music idiom with
synthesis
in
to occur
in
a
multi ethnic country like
P. Ramlee. His music combined western
typical Malay melodic patterns
Malaysian
Malaysia,
and
a new
music.
pluralism
identified in P.
Ramlee's music reflects that the convergence of cultures which has created
in the
popular
rhythmic idioms creating
The transfer of discrete musical traits and musical
change
is
popular music culture in Malaysia.
11
a
musical
CHAPTER 2
FACTORS THAT INFLUENCED P.RAMLEE'S MUSICAL STYLE
Nature and nurture
P. Ramlee
an
was
2002a:
21).
of
environment,
directors in
played important
Some
success.
Singapore
This
Ramlee's
style
chapter
and
of singing,
P. Ramlee
his songs.
natural
roles in
of these
was
nurturing
factors
on
Teenage
on
development
and
shaped
own
childhood
directions in
and
teenage
under Indian
Singapore
and
and influenced P.
shaped
Environment
of ideas and
creativity
a
cultural
style
that would
growing
of composing and
12
potpourri
experiences
and teenage years, P. Ramlee
his
Many factors
arranging.
environment gave him
This
and had
(Ahmad
on screen
during his time, films
the 22 Mac 1929 in Penang,
During his childhood
navigated
his
factors which may have
and
style.
his talents till it achieved great
included
different types of music and entertainment from his
exposures
velvety voice
and actor
performer
films under his
composing
born
community.
role in the
lastly
will focus
His Childhood and
important
a
P. Ramlee musical
shaping
beautiful baritone and
the influence of urban entertainment
Malaysia.
multi ethnic
also
was
a
role in
However nature, if not nurtured would not have gone far.
in P. Ramlee's life
heights
important
an
musically gifted, possessed
inborn flair for music. He
Sarj i,
2.1
played
that
soon
was
with its
played
an
be reflected in
exposed
to many
up environment. These
arranging music.
P. Ramlee
and Che Mah Hussin
aristocratic
from
came
family
Oleebang
2002a:
Butterworth
thirteen, he
was
"Donkey Serenade",
1999:
descendent of the
a
mother, Che Mah binte Hussein
2002a:
P. Ramlee went to
1).
Light School, Penang
up the
compositions
Idris,
a
play
accordion and
and
Penang
2002a:
club and took the
bolero and
Not
early
singing
age. At the
to songs like
Sekarang" (Ahmad Sarji,
guitar
Penang.
at
under the
long
after
tutelage
of
that, he picked
xylophone (Ahmad Sarji,
2002a:
frequently
12).
It
in his
come.
busy following
laced with
even
the instruments that will be used
are
P. Ramlee spent most of his school
(Ahmad Sarji,
the violin and
famous music teacher in
to note that these
to
overwhelming
was
"It's in the Air" and "Nona-Nona Zaman
piano, saxophone, trumpet,
interesting
actirig
the base-line of his ukulele and
strumming
P. Ramlee learnt to
263).
Kamaruddin bin
were
St Francis
was
Nyak Puteh
School, Penang until Standard Seven (Ahmad Sarji, 2002a: 5).
age of
also
His father
3).
(Ahmad Sarji,
Melayu Kampung Jawa,
his parents, Teuku
by
in East Acheh and his
P.Ramlee's love for music and
is
Teuku Zakaria
name
(Ahmad Sarji,
Kubang Buaya,
school at Sekolah
Free
of
the
given
was
various bands of
6).
P. Ramlee
opportunity
popular
to
days travelling
a
big band that played
his musical skills
dance beats of the time such
swing (Lockard,
1991:
21).
was
musicians, listening and learning their styles
joined
polish
with the school band. He
He
13
was
a
as
as a
in
a
joget (dancing)
musician, His
early
songs
joget, beguine, samba, rumba,
master at
utilizing
diverse musical
cultures in his
twist and
music, including asli, zapin, inang, cha-cha-cha, and waltz
Makyong theatre
was
P Ramlee
Penang,
in the northern
Ramlee
followed
"
by
Mee
9). These
songs
which he
joined.
seldom
made him
region
composing Malay
string
a
was
exposed
more
of other
organized by
finally
an
was
event
were
sung and
performed by
Malay
the age of 16, P.Ramlee
at
that would
Pinang.
champion
change
9).
P.
song titled "Azizah" which
P Ramlee's life took
of the Shaw Brothers directors
www.farahaqil.com).
him
On the
a
job
as
8th August,
a
placed
third at
place
place
while he
be
the
was
singing
a
following
In
early
singing
contest
year and
June
and
1948,
playing
at the "Pesta Pertanian Ria" festival.
was
captured by P.
playback singer
P. Ramlee left for
14
soon
films.
(http//: www.farahaqil.com).
B.S.
offered
tunes and folk songs would
He made it to second
in 1947
Sekampung
band named Mastika in Butterworth.
was
original composition, "Azizah",
and
a
own
the violin to his
violin
a
band group called Teruna
a
Besides this, he also conducted
Radio Pulau
one
dan Johari Salleh, 1993:
Jawa", "Joget Malay", "Malam Thaipusam" and "Padang Kota" (ibid.:
crowned
Rajhan,
songs.
to songs from the
listening
prone to
songs. He wrote
exemplified when he became the director of his
1945,
newly composed Malay
Malay compositions including "Baidah", "Abang
P. Ramlee's interest and enthusiasm for
In
to
lagu-lagu cembong (Ahmad Sarji
or
drawn to
was
Dollah",
roll,
so on.
In
Living
to rock and
in
Ramlee's skill at the
his
Singapore
films
(http//:
to work for the
Malay
Films Productions
nurtured and
1999:
(Ahmad Sarji,
experience
in music
years built the foundation he needed towards the
would be
during
his childhood and teenage
development
of his
own
musical
career
come.
2.2
Urban Entertainment in the
early twentieth Century
The late nineteenth and twentieth century
political expansion
in
potentials
polished till he became a legend in Malaysian history.
P. Ramlee's exposure and
to
where his
263)
population
in the
Malay
due to the influx of
strategic geographical position
attracted
Peninsula. This
people
Peninsula The
from all
comers
foreign
was a
period
of
rapid expansion
economic, social and
resulted in
an
increased
labour from the Chinese and Indians. The
of the Straits
Settlement, Penang and Melaka also
of the world to trade and seek their fortune in the
Malay
Europeans, Arabs, Armenians, Jews, Burmese, Thais, Bugis, Arnbonese,
Javanese, Rawanese, Minangkabaus, Tamils, Malbaris, Gujeratis, Bengalis, Parsis,
Cantonese, Hokkien,
were
Teo Chews.
among the ethnic minorities
Malaysia's
mainstream
Malay,
Hainanese, Ceylonese, Sikhs, Japanese and Filipinos
(Shukor Rahman,
1999:
17) adding
to the richness of
Chinese and Indians cultures. The convergence of these
communities resulted in the creation of a
plural society with
art, religion and language.
15
diversified forms of culture,