Nada Nusantara: Transcending Cultural Boundaries Through Transcultural Music Compositions

Autores

DOI:

https://doi.org/10.5216/mh.v26.82989

Palavras-chave:

Música contemporânea, Composição musical, Nusantara, Nada Nusantara, Música transcultural

Resumo

Nada Nusantara é um coletivo de compositores e músicos dedicados a explorar a herança musical de Nusantara (Arquipélago Malaio) e fundi-la com as tradições clássicas ocidentais. Através de composições transculturais originais, o grupo procura misturar diversas formas musicais, melodias, ritmos e instrumentos destas tradições, criando uma paisagem sonora que entrelaça profundidade emocional com expressão física. A sua música promove conexões culturais significativas e redefine as práticas contemporâneas, unindo tradições orais e notadas. Este estudo analisa duas obras representativas – Cermin Edina de Marzelan Salleh e Menambat Rakit de Camellia Razali – para examinar a abordagem de Nada Nusantara à composição transcultural. Cermin Edina reflete um rico entrelaçamento de padrões rítmicos inspirados no gamelão com a linguagem harmônica ocidental, empregando estruturas cíclicas, ornamentação vocal e mudanças modais que evocam uma atmosfera meditativa, porém teatral. Em contraste, Menambat Rakit baseia-se nas qualidades tímbricas da música tradicional malaia e integra-as com texturas harmónicas ocidentais, produzindo uma narrativa contemplativa através de texturas em camadas e contrastes dinâmicos. Estas análises destacam como os compositores incorporam cuidadosamente elementos de ambas as culturas, resultando em obras que são estrutural e expressivamente transculturais. Nada Nusantara desempenha um papel vital na promoção da sustentabilidade e da diversidade cultural através de colaborações internacionais e inovação artística. As suas composições demonstram a universalidade da música e o seu poder de transcender fronteiras culturais. Ao destacar os valores artísticos e estéticos da cultura Nusantara, Nada Nusantara promove a música transcultural como uma forma de arte contemporânea, abraçando a abertura, a criatividade e as possibilidades ilimitadas de fusão cultural na paisagem musical global de hoje.

Downloads

Não há dados estatísticos.

Biografia do Autor

Marzelan Salleh, University of Malaya, Kuala Lumpur, Malaysia. marzelan@um.edu.my

Marzelan Salleh morou na Malásia e no Reino Unido. Suas músicas, como Bani Jawi, Bangkit, Puteri Gunung Ledang, Rukun, Hijrah e Tarian Cinta, foram inspiradas por métodos musicais contemporâneos derivados de diversas nuances da música asiática. Sua música foi tocada no Reino Unido e na Malásia ao lado de compositores como John Pickard, Michael Ellison e Dieter Mack. As apresentações de suas composições nos principais festivais e concertos de música internacionais incluem New Music in the South West, Bristol New Music Festival, Contemporary Music Venture Concert Series e New Music Ensemble Concerts da University of Bristol. Marzelan Salleh trabalhou e colaborou com prestigiados conjuntos musicais e músicos, nomeadamente Quatuor Bozzini, o Quarteto Brodowski, New Music Ensemble Bristol e Manos Charalabopoulos, para citar alguns. Marzelan Salleh participou de workshops de composição e masterclasses de compositores e músicos renomados, como Pierre Boulez, Sir Peter Maxwell Davies, John Pickard, Trevor Wishart, Philip Glass e Nigel Clarke. Marzelan Salleh recebeu seu PhD em Composição pela University of Bristol sob a supervisão do Prof. Dr. Michael Ellison, e anteriormente fez seu Mestrado em Composição na University of Salford com o Prof. Alan Williams. O primeiro envolvimento de Marzelan Salleh na música começou como saxofonista na banda marcial do St. John Institution Kuala Lumpur. Depois disso, ele se matriculou na Universiti Teknologi MARA Malaysia, onde estudou clarinete e obteve um diploma de primeira classe. A composição musical sempre foi o seu principal interesse, o que o levou a obter uma bolsa para estudar composição musical contemporânea no Reino Unido. Atualmente, Marzelan Salleh é conferencista sênior no Centro Cultural da Universidade da Malásia. 

Alan Williams, University of Salford, Manchester, United Kingdom. a.e.williams@salford.ac.uk

Alan Williams is a composer and writer on contemporary music and culture, and Professor of Collaborative Composition at the University of Salford. He studied at the Universities of Edinburgh and Manchester and at the Liszt Academy, Budapest. His music has been performed by world leading ensembles such as the BBC Philharmonic, the BBC Singers, the Philharmonia, MDR Radio Choir, and Psappha, and has been broadcast on BBC Radio 3, MDR (Germany), NEC (Brazil) and Bartók Rádió (Hungary). In 2016 he created a score for Val McDermid’s adaptation of The Kraken Wakens, broadcast on BBC Radio 4 in 2016, and in 2017 he wrote the ‘world’s first Northern opera’ with Ian McMillan, with poet Ian McMillan. In 2023 he created Healing Tales, a collaborative composition with NHS workers in Bolton telling the story of their experience of the COVID pandemic, and this led him to develop the Listening Composer method of collaborative composition.

Camellia Siti Maya Mohamed Razali, Universiti Putra Malaysia, Selangor, Malaysia. camellia@upm.edu.my

Camellia Siti Maya Mohamed Razali is Senior Lecturer at the Department of Music, Universiti Putra Malaysia. Camellia received her PhD from the University of Bristol. Camellia’s music are inspired by Asian nuance and Western European music combined through transcultural contemporary ideas. Her interest in music composition lies in composing contemporary acoustic orchestral, chamber and vocal music. Her music has been performed in United Kingdom and Malaysia. Performances of her compositions at major international music festivals and concerts include Bristol New Music Festival, Contemporary Music Venture Concert Series and University of Bristol’s New Music Ensemble Concerts. Camellia Mohamed Razali has worked and collaborated with prestigious music ensembles and musicians namely, Ensemble Variances, Quatuor Bozzini, New Music Ensemble, Narden Sonel, and Luis Ingels, to name a few. She has attended composition workshops and masterclasses by renowned composers such as Pierre Boulez, Sir Peter Maxwell Davies, John Pickard, Trevor Wishart, Phillip Glass and Nigel Clarke. While studying in Bristol, her composition, Sayup, for 11 instruments won the New Music Ensemble Call for Scores in 2015.

Abdul Rachman, Universitas Negeri Semarang, Semarang, Indonesia dulkemplinx@mail.unnes.ac.id

Dr. Abdul Rachman pursued higher education in the Music Education Department, Faculty of Languages ​​and Arts, Universitas Negeri Semarang (UNNES), Indonesia, where he earned a Bachelor of Education degree in 2003. He completed his Master's study in Art Education at UNNES in 2012. Later, he continued to obtain his doctorate in the Doctoral Program in Art Education. He is currently an Associate Lecturer at the Department of Music Education,Faculty of Languages and Arts, Universitas Negeri Semarang. In addition to carrying out teaching and research duties, he is also Coordinator of the Music Arts Education Study Program. Dr. Abdul Rachman’s scientific research focuses on Keroncong music, traditional Nusantara music, musical innovation, creativity in learning, art enculturation, and the sustainability of cultural practices in contemporary society. In 2013, he confirmed his status as an active advocate forthe preservation and revitalization of Keroncong music. His creative body of work encompasses original song compositions, arrangements, and Gending Karawitan adaptations. Dr. Abdul Rachman views art as an educational medium that cultivates sensitivity, builds character, and strengthens cultural identity. As an educator, researcher, and arts practitioner he is committed to strengthening arts education and advancing research on traditional music for future generations.

Irfanda Rizki Harmono Sejati, Universitas Negeri Semarang, Semarang, Indonesia irfandasejati@mail.unnes.ac.id

Dr. Irfanda Rizki’s music education began since high school in 2001 with a major in violin and minor in piano. Dr. Irfanda continued his S1 studies at the Indonesian Institute of the Arts Yogyakarta in 2004 in musicology. In 2010, he continued his master's studies at Gadjah Mada University, Yogyakarta, in the field of Performing Arts and Fine Arts, majoring in ethnomusicology. Since 2013, Dr. Irfanda has been a lecturer in the Music Education Study Program, Faculty of Language and Arts, State University of Semarang. He is active as a researcher in the field of musicology and music education. In 2022, he continued his doctoral studies at the Art Education Study Program, State University of Semarang and completed his doctoral studies in 2025 as a Doctor of Music Education. Currently, Dr. Irfanda is a lecturer in the Music Education Study Program, Semarang State University. In addition to carrying out teaching, researching and serving the community, he is also active as an editor and reviewer in several national journals in Indonesia. Dr. Irfanda’s scientific research focuses on musicology, analysis of musical forms, military music, music composition and arrangement and musical performance forms. In addition to academics, he is also active as a violinist, arranger, and orchestra conductor. His experience includes performing in various major orchestras in Indonesia and as a companion to the UNNES Student Orchestra.

Downloads

Publicado

2026-02-09

Como Citar

SALLEH, Marzelan; WILLIAMS, Alan; MOHAMED RAZALI, Camellia Siti Maya; RACHMAN, Abdul; SEJATI, Irfanda Rizki Harmono. Nada Nusantara: Transcending Cultural Boundaries Through Transcultural Music Compositions. Música Hodie, Goiânia, v. 26, 2026. DOI: 10.5216/mh.v26.82989. Disponível em: https://revistas.ufg.br/musica/article/view/82989. Acesso em: 9 fev. 2026.

Edição

v. 26 (2026)

Seção

Artigos
Crossref
Scopus
Google Scholar
Europe PMC