An Analysis of Compositional Techniques in Sebuah Pantun VII for Solo Flute by Tazul Izan Tajuddin Based on Hanis Nurlina's Thesis
List of Authors
Adam Dani, Tazul Tajuddin
Keyword
Sebuah Pantun VII for Solo Flute; Malaysian Contemporary Art Music; Pantun Structure; Gamelan Numbering; Extended Flute Techniques
Abstract
This article is a revised study based on the thesis An Analysis of Compositional Techniques in Sebuah Pantun VII for Solo Flute, written by Hanis Nurlina binti Azman (Azman, 2017). The study asks how elements of traditional Malay literature and musical performance have been altered and adapted for modern compositional strategies, through a thorough examination of structural form, organizing rhythm, and pitch symbolism within the composition. Employing a qualitative methodological framework, the research combines the systematic analysis of scores with an in-depth interview with the composer to explain the connection between the four-line pantun poetic structure and the composition's musical structure. The findings indicate that the notions of pembayang (hint) and maksud (meaning), which are basic to the pantun tradition, are structurally and symbolically manifested across four formal musical sections. Within this architecture, non-pitched sonic material dominates in the first sections to suggest ambiguity and anticipation, and pitched material gradually emerges to suggest clarity and meaning. Furthermore, the study shows that the gamelan numbering based on the pelog system is used as a rhythmic structure and recreated through extended flute techniques. Symbolic gestures such as gong and ketuk are interpreted into contemporary sonic gestures rather than fixed pitches; thus, emphasis is placed on the sonic character rather than the tonal accuracy. These results highlight the compositional approaches used to incorporate Malay cultural identity into a Western solo instrumental context without reproducing traditional forms. This article thus contributes to the scholarly discussion of Malaysian contemporary art music by exemplifying how indigenous literary and musical ideas can serve as structural and symbolic fundamentals in contemporary composition, offering important insights into culturally grounded compositional approaches for composers, performers, and researchers.