The traditional music of Malaysia appears to be sidelined in favour of music which is more accessible and readily available to the younger generation. The lack of exposure to traditional music breeds unfamiliarity of this music and hence is not appreciated or understood by most Malaysians. As music is an integral part of human culture, it is important for this genre of music to be sustained for the future generation. As compared to the availability of examination systems for Western music, there are no mechanisms for assessing musical attainment for the local music traditions in Malaysia. A structured system for assessing and awarding certificates based on levels of achievement in the local music traditions is needed which will provide a platform for musicians involved in the local music traditions to benchmark their achievements and obtain the necessary qualifications which can assist them in furthering their studies or gain employment. This paper discusses the development of a graded examination system for the Malay gamelan in an effort to sustain this tradition. This study used the qualitative method whereby both desk work and field work are conducted. Research methods used include observation of performances, being a participant-observer during practices, interview sessions and focus groups with various practitioners from Malaysia and Indonesia and audio/visual documentation. Guidelines on developing a graded examination system for the Malay gamelan are discussed.

Reflecting on what is currently happening to artistic research in an academic setting, we identified three domains of knowledge that must be interpreted appropriately. In the present article, these three domains of knowledge to which we refer are covered the way we think about art, the way art is processed, and the art works itself. The way we think about art is closely related to the profile of knowledge which is philosophically known as ontology. The way art to be processed is closely related to the structure of knowledge which is philosophically known as epistemology. Meanwhile, the art works itself is closely related to the value of knowledge which is philosophically known as axiology. These three aspects play a role in determining the artistic research paradigms carried out in an academic environment. Based on literature review, we have classified artistic research into two paradigms. The first paradigm, we called artistic as research, in which this notion is representation that artistic works is the production of knowledge. The second paradigm we call artistic as a method, in which this notion is triggered from the understanding that artistic works can be expressed based on research design. Our main motivation to promote two paradigms of the artistic research is to further develop artistic research in conducting scholarly communication. Finally, this article specifically describes how artistic practice and research in academic settings can come together.

The traditional music of the Semai known as Sewang is losing its interest among the Orang Asli communities due to change in livelihood, religious conversion, and interest of youth in popular music and culture. This research aims to rejuvenate Semai musical heritage by exploring how the interest of the Semai youth in popular music can be integrated with traditional Sewang songs as an approach to musical sustainability. The objective of this research is to advocate the development of contemporary traditional Semai music by merging traditional elements into popular music styles. The new works will be performed and transcribed into a musical score, and recorded and produced as an online digital recording that has potential for commercialisation. This research will utilise an applied approach in which researchers act as advocators in nurturing a bottom-up development of contemporary traditional Semai songs. We argue that in order for Semai traditional music and songs to be sustainable, it needs to be relevant and of interest to the Semai youth. We hope to provide the Semai with creative ideas, musical and entrepreunership skills to develop and produce their own contemporary traditional works in future.

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This article provides a critical reflection on the participatory approach methodology and the collaborative creation approach used in an advocacy project to sustain the musical heritage of the indigenous Semai community in Malaysia. These approaches were examined through the medium of an advocacy project that aimed to stimulate the interest of Semai youth in traditional music through relevance, engagement, and connection with their current musical interest and skills. The intention of the project was to also co-create new traditional music with the Semai youth through live musical interaction, improvisation and jam sessions with the research team. This article explored the research team’s use of the “Participatory Action Research” (PAR) method, which involved planning, action, observation, reflection, and revision during the initial stages of our advocacy project. Our findings suggest a narrative style in discussing advocacy processes because they occur in a lateral than the linear or cyclical format used in current action research models. Findings also reveal that any attempts to advocate change in the community would firstly require an established relationship of trust, respect, and belief in the research team. The research team would have to have had prior involvement, commitment, and dedication to the community before members of the team could influence change among the community. A self-review of the research team’s effort to co-create new traditional music with Semai youth led to the conclusion that co-creation between musicians of different musical training would require a “new” compositional method that negotiates Western musical composition techniques with the oral tradition of creating music.