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Annotation Elizabeth A. Kaye specializes in communications as part of her coaching and consulting practice. She has edited Requirements for Certification since the 2000-01 edition.
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.
This book presents a comprehensive, full-length analysis of the uses of media and communication technologies by different social actors in Malaysia. Unlike other studies of the media in Malaysia which concentrate on "political economy" or "freedom of the media" approaches, this book focuses on the ways in which different media forms have constituted cultural practices and power relations amongst particular audiences and publics. It also examines the ways in which technologies of varying scales and range have been appropriated for various subaltern purposes and counter-hegemonic agendas. Drawing upon recent case studies on the deployment of different media – including mainstream and independent films, television programming, black metal music, community rituals, political advertising, the internet, and artistic visual installations – it provides valuable insights into the complex, vibrant ways in which these different media forms have negotiated with the dominant cultural representations of Malaysian society. The book makes an important contribution to the emergent disciplines of media studies and cultural studies in Malaysia.
This book fathoms the depths of Philippine cinema as the author ventures into the largely unknown terrain of the country’s history of early cinema. With meticulous scholarship and engaging insights, prize-winning filmmaker and author Nick Deocampo investigates the origin and formation of cinema as it became the Filipinos’ preeminent entertainment and cultural form.
Made in Nusantara serves as a comprehensive introduction to the history, sociology, ethnography, and musicology of historical and contemporary popular music in maritime Southeast Asia. Each essay covers major figures, styles, and social contexts of genres of a popular nature in the Nusantara region including Malaysia, Indonesia, Brunei, Singapore, and the Philippines. Through a critical investigation of specific genres and their spaces of performance, production, and consumption, the volume is organised into four thematic areas: 1) issues in Nusantara popular music; 2) history; 3) artists and genres; and 4) national vs. local industries. Written by scholars working in the region, Made in Nusantara brings local perspectives to the history and analysis of popular music and critically considers conceptualisations developed in the West, rendering it an intriguing read for students and scholars of popular and global music.
Bangsawan - the first popular urban commercial theatre in Malaysia - merged in the late nineteenth century as an adaptation of the Parsi theatre of India which toured Malaya. The first indigenous theatre in Malaya to be modelled along Western lines, bangsawan engendered the development of the first Malay orchestra and the first Malay popular music in the country. This book traces the stylistic changes in bangsawan from the late nineteenth century to the 1980s and links these changes to the socio-political transformations in Malaysian society. A product of a period characterized by rapid and radical social changes occurring as a result of British intervention, bangsawan of the early twentieth century was heterogeneous, innovative, and constantly adapting to new situations and new audiences. Its conventions of plot structure, character types, costumes, speech, and stage setting corresponded with the new 'structure of feeling' in the society of that time. After a decline in the 1940s and 1950s caused by social hardships and uncertainties in the wake of World War II and the immediate post-war and Emergency periods, bangsawan was revived in the 1970s. However, this revival - spearheaded by the government and government institutions - has resulted in bangsawan being reshaped, Malayized for new national purposes, and projected as traditional theatre. This book is written in terms of a relatively recent trend in ethnomusicology which emphasizes diachronic analyses. The author is an ethnomusicologist at the Arts Centre, Universiti Sains Malaysia.
From the late nineteenth- to the mid-twentieth century, changing technologies and growing transregional ties provided unprecedented opportunities for the entrepreneurially minded in China and Southeast Asia. The Business of Culture examines the rise of Chinese “cultural entrepreneurs,” businesspeople who risked financial well-being and reputation by investing in multiple cultural enterprises in the late nineteenth and twentieth centuries. Rich in biographical detail, the interlinked case studies featured in this volume introduce three distinct archetypes: the cultural personality, the tycoon, and the collective enterprise. These portraits reveal how changes in social and economic conditions created the fertile soil for business success; conditions that are similar to those emerging in China today.