Page 412 - Proceedings Collega2023

Toh Lai Chee (2006) states that the Sendayung Song is based on a colostomy structure marked by
a gong on every beat 4. The mong is kept on every beat, while the kecerek is marked on every beat 2. The
song is accompanied by an increasing beat of the rebana in a round rhythm of 4 beats. The main 4-bit beat
is played by the rebana penganak player in a very similar pattern, while the rebana penganak player
produces a continuous beat on each upbeat and downbeat in the same song. The rebana ibu player
improvises on the tree beat by playing 'tak' with the left hand between beats one and 2 of the tree beat
pattern. As a result of the marriage, the rhythm of Sendayung song was produced.

Figure 1.20

Sendayung Song Notation (Toh Lai Chee, 2006)

Based on the Western music notation/score from Toh Lai Chee (2006) (Refer to Figure 1.21) and
the traditional music score from Kamarul Baisah (2017) (Refer to Figure 1.22), the Sendayung song starts
from the beginning of the mother's tambourine being hammered interspersed with the first sound of the
gong (4 bit). It continues with 8 bits, a Sendayung song accompanied by dance movements. Each
notation/score of this traditional music will be repeated as many as seven rounds of music are played.

Figure 1.21
Western Music Notation/Score of Sendayung Song (Toh Lai Chee, 2006)

International Conference on Local Wisdom of the Malay Archipelago (COLLEGA 2023) Page - 399 -