Internet 4.

0 and The Future

of Malay Minang Music
By Triyono Bramantyo
Indonesia Institute of the Arts of Yogyakarta
triyonobramantyo@isi.ac.id
Main References:
• “Digital Art and the Future of
Traditional Arts”
• By TRIYONO BRAMANTYO
• Indonesia Institute of the Arts,
Yogyakarta, Central of Java,
Indonesia
• ORCID: 0000-0002-6488-914X,
bramantyo.triyono@gmail.com
• Scopus ID: 57219363726
• “Malay Popular Songs of Deli, Minang
and Minahasa: The Dynamism of
Song Characteristics, the Identities of
Linguistic, and Musical Expression.”
• By TRIYONO BRAMANTYO
• Indonesia Institute of the Arts,
Yogyakarta, Central of Java, Indonesia
• ORCID: 0000-0002-6488-914X,
bramantyo.triyono@gmail.com
• Scopus ID: 57219363726
Internet of Things (IoT)

Internet of Things (IoT) literary means all about

physical items talking to each other. Machine-to-
machine communications and person-to-computer
communications will be extended to things.”
(Mukhopadhyay (Ed.). 2014, 2).
IoT revolution begins with the invention of software
such as sensor technology, fiberoptic, smart things,
nanotechnology and miniaturization. Moreover,
speedy yet admirable development of ubiquity
networks which does exist everywhere as well as the
invention of modern computer that have opened up
the road to the revolution of IoT (simply known as
Revolution 4.0) signified the beginning of the future
generation of internet.
Before the computer became this close to the creative
world, all of our creative process was done manually.
Composers wrote music scores manually; many mistakes
can be found hence made the publishers speculate over
the originality of the edition and the editors they claimed
as the only authentic.
All artists now can enjoy the benefit offered by the computer
and the improvement of the digital technology. Furthermore,
the unprecedented innovation of technology could even
more highly developed in a blink of an eye. A today
computer can be able to make a music composition in a scale
of a symphony orchestra, to make a painting and the works
of visual arts, all in a matter of clicking an input we already
set it out.
The first example was a music computer of Stephen Baron.
This work was a network art, a work of art produced and
transmitted by the internet. This work ‘performed’ in
Adelaide Festival 1996 in Australia. The work was a
combination of the internet technology and with the
aesthetic touches, social problems and the political agendas
influenced by a practice of globalization (Baron, Telstra
Adelaide Festival, 1996).
Following is the experimental music as an example of a
composition in Artificial Intelligence (AI) through a computer by
David Cope, a professor of music of the California University of
Santa Cruz, USA, who has successfully built up a music
composition on a system which was called as Experiments in
Musical Intelligence (EMI). David Cope already done this
experiment in 20 years when EMI’s works were announced for
the first time in 1995.
Malay Minang Music
In general popular Malay music, it is found that the hybrid
element in the singing style derives from the influence
of Quranic recitation. Meanwhile from the utilization of its
musical instruments such as the violin, flute, accordion,
gambus, and others, Malay pop songs can certainly be
classified as “hybrid music.”
1. What are the most visible characteristic features of Malay
pop songs?
2. What are the most significant means of musical expression
in Malay pop songs?
3. How can we best describe the linguistic characteristic
features and points of identity of Malay pop songs?
Vocal inflections, being a constituent part of a quality of singing,
can only be obtained by individual singers by means
of an immense amount of elaboration of singing styles and
techniques, as well as by understanding, participating in and
gathering extensive experience from musical practices. The
specific skills of understanding and the creation of pantun
texts is required for showing the composer’s genuine
expression in compliance with the typical vocal sonority and of
the expressive individual style of singing.
Dissemination of the Malay language throughout the entire
nation is believed to have begun since the time the
influence of the Sriwijaya Kingdom was spread out
throughout the entire nation. Located in Palembang the
kingdom formed the centre of commerce, and Malay
language was widely used there for trade communication
throughout the archipelago. By the seventh century,
accordingly, the Malay language had become a kind of
lingua franca.
Vocal Inflections in Malay Chants
Grace notes are known as one of decorative vocal
inflections, which are played fast before the main tones
and are utilized to make the main note sounds more
expressive and colourful.
Passing tone is a non-harmonic pitch that is approached
by step (conjunct motion) from a chordal tone and
resolves by step to another chordal tone without any
change in direction.
The neighbouring tone is included as one of the earliest
ornamentation tones that are presented only in stepwise
motion. Meanwhile, suspension tones belong to a type of
neighbouring tones that always appears in the strong beat
and is always introduced as a dissonant tone.
 Object Analysis of the Cengkok
In Gregorian chant there exists the musical term of musica ficta, which is
somewhat similar to the cengkok in Malay pop songs. The cengkok is
normally utilized as personal improvisation on a melodic line, so it is certain
that the capabilities of each Malay pop singer are different, due to its
personal traits. In contrast with it, in musica ficta, generally found in
Medieval music and Gregorian chants, there is no individual characteristic
feature of improvisation, because, as a rule, the composers wrote down the
necessary inflections into their scores
As it was mentioned above, in Western music theory the
synonym of cengkok is musica ficta, i.e. an ornamental
melodic line sung in a melismatic manner. John Stainer
and William Barret categorized musica ficta as one of the
necessarily most elaborative and complex singing techniques.
HKI Lagu “Ayam Den Lapeh” dan “Kuala
Deli+
Thank you!
“Tak kan Melayu hilang di bumi.”
Hang Tuah (1444-1511)