Kajian mengenai muzik tradisional semakin mendapat tempat dalam kalangan para sarjana, khususnya melibatkan salah satu muzik Malaysia, iaitu lagu Melayu Asli. Hasilnya, terdapat banyak artikel yang mengkaji lagu Melayu Asli, baik dari kaca mata instrumentalis mahupun dari sudut nyanyian vokal. Artikel ini melampirkan tinjauan dalam lagu Melayu Asli, berfokuskan pada ciri-ciri yang terkandung di dalamnya. Metodologi yang digunakan untuk meninjau ciri lagu Melayu Asli ini menggunakan analisis dokumen kualitatif dengan pendekatan analisis kandungan daripada artikel dan diskografi lagu Melayu Asli. Bagi meningkatkan kesahan dapatan yang diperolehi daripada artikel dan diskografi, triangulasi dilakukan dengan kaedah temu bual. Rumusannya, ciri-ciri umum lagu Melayu Asli boleh dilihat dari aspek berikut: struktur asal komposisi lagu Melayu Asli berasaskan struktur AB, kemudian ditambah dengan bahagian intro, interlud dan outro. Rentak asli atau senandung ini dimainkan dalam tempo yang perlahan, sekitar 55 sehingga 75 bit per minit. Akhir sekali, ciri yang harus ada dalam komposisi lagu Melayu Asli ialah melodi pengantar lagu, iaitu satu rangkai melodi pendek yang dimainkan sebelum atau selepas melodi utama atau melodi nyanyian. Ciri pengantar lagu ini juga seperti fungsi counter-melody yang melengkapi melodi utama dalam lagu Melayu Asli.

Effective beginning teacher induction program is seen by many scholars as a vital support system for beginning teachers to negotiate the early years of their careers, which are characterized by many trials. This paper attempts to explore the beginning teacher induction practices in Malaysia and the jurisdiction of Victoria, Australia. The paper focuses on basic components of the induction programs and its unique features. Method used for this study is library research. The paper starts with history and definition of beginning teacher induction before discussing the challenges that beginning teachers endure in their early days. The paper then examines the beginning teacher induction programs in Malaysia and jurisdiction of Victoria, Australia. Finally, a comparison between Malaysian and Victorian induction programs are highlighted.

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Siwang ritual still continues to be practised among the Semai indigenous people at Kampung Bukit Terang, Kampar, Perak. This Semai legacy acquired by the people in this village is presently being practised through performances by the Bah Lut Group. Siwang Kebut and Siwang Asik are two varieties of the siwang ritual. Siwang Kebut is practised for healing purposes while Siwang Asik focuses on entertainment. At present, the siwang ritual evolves in accordance with the lifestyle of the people as well as other factors such as deforestation, technological development and government policies. This article discusses the changes in siwang ritual of the Bah Lut Group. Some aspects of the changes include their practice, functions, venue and time of the performance, accessories, costume and dance choreography. Nevertheless, the Bah Lut Group still upholds the source of the repertoire and musical instrument that is used in the siwang ritual. Observation method with series of interviews, video performance and photographs are used for data acquisition. Today, the Bah Lut Group actively performs the siwang ritual as a cultural performance in many government, corporate and even private functions. This documentation process is vital in sustaining and maintaining the treasures of the unique siwang ritual culture.

2020 is a very challenging year because of the covid-19 pandemic and this completely changed the music education landscape. In the past, learning musical instruments could be done face to face, now it is impossible. If no action is taken, this situation could cause stress among students, especially those who learning gamelan ensemble instruments. Unlike other musical instruments, the ensemble gamelan is expensive and student cant afford to buy it. That is why set of gamelan is only owned by the university and placed in the faculty only. Due to this, students who live far away are unable to practice their gamelan instrument due to movement control order these days. Therefore, this study introduces Gamelan E-Learning Techniques, which is the concept of learning gamelan basic hand techniques using a simulation methods for keromong, gambang, saron and gendang. The uniqueness of this study is due to the emphasis on the basic hand techniques of gamelan. By using google class application as well, lecturers can upload learning videos as well as assessment of student game techniques online can be done. This study uses experimental case study method with qualitative approach. The participants consisted of second semester of 36 students who attended the AME 3082 gamelan course at Universiti Pendidikan Sultan Idris (UPSI).