Raja Zulkarnain Raja Yusof
Published : 30-6-2025
DOI : https://doi.org/10.62312/asw.ijach.13.8.2025
Abstract
This article explores the misidentification of maqām Kurd as maqām Bayātī among Gambus players in Malaysia, a phenomenon rooted in traditional rote learning practices. Despite the similarities between the two maqāmāt, their theoretical distinction—particularly the half-flat E (quater-tones)—has been overlooked, leading to the blending of the two maqāmāt in performance. This study examines the historical and cultural factors that contributed to this misidentification, focusing on the challenges faced by players in recognizing and producing quarter-tones . By integrating historical and theoretical perspectives, the article analyzes how this misinterpretation has influenced the Malaysian Gambus tradition and discusses its implications for contemporary music education. The paper concludes with recommendations for improving pedagogical practices, advocating for a more accurate understanding and teaching of maqāmāt in Malaysia.
Keywords: Maqāmāt, Bayātī, Kurd, Gambus Performance, Arabic Music Theory, Cultural Assimilation
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