From traditional to pop, Malay music continues to live on
Published: 8 Jun 2025
By: Fezhah Maznan
Time taken : >15mins
Malay music in Singapore exists in many forms, shaped by diverse influences and expressions. Traditional styles were once mainstream, before genres like pop and rock gained popularity. The unexpected and ever-changing music styles, along with the enthusiasm of young musicians to create fresh sounds, continue to enrich Singapore's Malay music canon, making the scene both exciting and inspiring.
In this non-exhaustive timeline and playlist, we trace the beginnings and evolution of Malay music in Singapore, following the ebb and flow of global trends and the changing tastes of its listeners. Want to dive deeper? At the end of this article, download the timeline charting Malay music in Singapore—from its early roots to its 21st-century reinventions.
As early as the 7th century, the angklung, a bamboo musical instrument, was already in use, with its origins tracing back to Java, Indonesia.
By the 9th century, Persian and Arab Muslim traders and missionaries brought the barbat, qanbus and oud to the Malay Archipelago. The presence of these instruments led to a long history of the oud, or more commonly known as the gambus, within traditional Malay music.
Gambus
The gambus subsequently led to the creation of the zapin. The version that is practised in Singapore can trace its roots to Johor, Malaysia. Zapin begins with the improvisation of the oud or gambus and closes with a contrasting rhythmic pattern called kopak.
Instruments used: Gambus or oud, marwas, violin, accordion, rebana ubi, seruling, and tenawak
Zapin
Just like zapin, ghazal is closely associated with Johor, Malaysia. Ghazal songs are sung in poetic quatrains and are usually linked to the themes of love. With roots in the Middle East, it has evolved with local influences. The song will begin with a vocalist who will first start singing a line, before the ensemble plays the melody. One of Malaysia's most famous ghazal singers is Hasnah Ismail.
Instruments used: Harmonium, gambus, violin, guitar, tabla, tambourines, and maracas
Fado
Another form of music introduced to the Malay archipelago through external influences is fado. Brought over by the Portuguese as early as the 16th century, fado is characterised by mournful tunes and lyrics, often about the sea or the life of the poor, infused with a sense of resignation, fate, and melancholy. The Portuguese describe fado as saudade (longing, yearning over a loss or absence).
Fado inspired keroncong—an Indonesian musical style that gets its name from the ukulele-like instrument it uses. The repeated "crong-crong-crong" sound produced by the instrument gave keroncong its name.
One of the most popular traditional singers from the Malay world is Noraniza Idris. Known as the Queen of Ethnic Pop, she was most active from the late 1990s till early 2010s. Listen to her song Zapin Pusaka.
Nasir Abdullah, the founder of Orkes Melayu Mutiara, is a leading proponent of the ghazal tradition in Singapore. Watch to learn more about his contributions to the ghazal scene.
This video is produced by Malay Heritage Centre (MHC) as part of the Intangible Cultural Heritage conversation series which shines a spotlight on the remarkable talents who shape our cultural landscape. Reproduced with permission from MHC.
The origins of Malay music can be traced to as early as the start of 19th century, though the lack of documentation makes it hard to pinpoint an exact timeline.
Traditional Malay music genres consist of asli, ronggeng, masri, inang, joget, dondang sayang, zapin, ghazal, langgam, dikir barat, boria, nasyid, dangdut, and more. Their development in Singapore was brought about by the early migrants to Singapore, and due to its density and location, Singapore became a hub for Malay music. However, many Malay musicians at that time were too modest to put their names to songs that they composed, which is why songs such as Geylang Si Paku Geylang and Di Tanjung Katong have no known composer or original singer.
Asli
Asli music has a slow melody and tempo to represent the Malay values of poise and grace. Asli lyrics are simple and tells an emotionally persuasive narrative.
Instruments used: Violin, accordion or harmonium, knobbed gong, gendang, rebana ubi, seruling, and bass guitar
Dondang sayang
Dondang sayang shares similar melody and tempo with asli. "Dondang" is derived from the word "dendang" which means to sing, while "sayang" represents the different versions of love, longing and dejection. Instead of sentences, lyrics to dondang sayang are written in pantun (quatrains). This music genre was very popular in Malacca, especially amongst the Chinese Peranakans as well as the Riau Courts until their demise in 1911.
Instruments used: Violin, gong, rebana, and gendang
Inang and joget
Although they have different rhythms and melodies, inang and joget are usually played at a faster tempo.
Instruments used: Violin, accordion, rebana, and brass knobbed gong
Bangsawan
Bangsawan, also known as Malay opera, is a traditional theatrical form combining music, dance, and drama. The term "bangsawan" means "nobleman" in Malay. Indigenous to the Malay Peninsula, Riau Islands, Sumatra, and coastal Borneo, it was developed in Penang, Malaysia, drawing influences from South Asian Parsi theatre from Gujarat, India. Bangsawan was the most popular entertainment form of its time and has had a significant influence in Singapore. Some streets in Opera Estate in Singapore such as Jalan Terang Bulan, Terang Bulan Avenue and Jalan Bangsawan are named after popular bangsawan titles, songs, and artists.
Discover some of the traditional Malay music forms and songs that flourished in 19th-century Singapore.
Watch a fresh take of Geylang si Paku Geylang as reimagined by Sing! Men’s Chorus, Rojer Kajol's cover of the traditional inang song Mak Inang Lenggang, and an excerpt of a song from the 1959 bangsawan film Jula Juli Bintang Tiga.
Hadrah and kompang
In the early 20th century, hadrah and kompang music came to Singapore through the Riau Islands and was popular until the Japanese Occupation. A burgeoning number of groups can be found between the 1920s and 1941, but their practice ceased to exist as members shifted focus to post-war rehabilitation.
Dikir barat
Dikir barat originates from Kelantan, Malaysia, with roots in Muslim sufi dhikr practices from Pattani, Thailand. It gained popularity in Singapore in the 1980s and was adapted to the urban contexts in Singapore. Dikir barat is performed by groups of 10 to 15 members with two main singers: the tok juara, who sings melodically on more serious issues, and the tukang karut, providing comic relief with improvisation. They are supported by the chorus who would usually clap and sing in unison.
Instruments used: Rebana, maracas and shallow gong
Established in 1990, Kelana Purba is one of the giants in the dikir barat scene in Singapore. They boast impressive accolades which includes being crowned champions of the prestigious national competition Mega Perdana a whopping seven times. Currently, they are made up of 80-strong active members.
Watch their 2019 Mega Perdana performances where they came in third and won the title for Best Tok Juara.
Early 1900s
Singapore recorded its first ever Malay song, Nuri Terbang Malam by Qasim, or The Parakeet that Flew at Night in 1903.
Late 1930s to early 1940s
Leading up to World War II, strong anti-Japanese sentiments started to simmer among the Chinese population in Singapore as these Chinese immigrants had very strong ties to their motherland. This support resulted in patriotic songs supporting the Sino-Japanese War, with a total of 25 records made between 1939 and 1941. This led the colonial government in Singapore to impose a "blackout" on all entertainment and it was during this time that the colonial government started using the record company for propaganda. The first local recording as part of this propaganda effort was the Malay song Selamat Tinggal Singapura (Wish Me Luck) by Jani in 1940, followed by anti-Nazi songs like Kenangan Hitler by Miss Julia and Kebuasan Hitler by Miss Fadillah to garner the support of the Malay community for the British during the war.
1942 to 1945
During the Japanese Occupation, Western music and radio broadcasts were restricted. During this period, Malay musicians continued performing at events and entertainment parks, accompanying dances like joget, ronggeng, foxtrot, and cha-cha. Malay songs were also translated to Japanese for propaganda.
Late 1940s to 1950s
The late 1940s marked the rise of film giants Cathay Organisation and Shaw Brothers and consequently, the Golden Age of Malay Cinema. Films during this period featured songs sung by playback singers. These singers recorded songs that were mimed by actors in the movie.
One of the many famous playback singers of that time was Momo Latiff. Other female singers to check out during this period would be Nona Asiah and Saloma. No discussion of this golden era would be complete without P Ramlee and his contributions to Malay film and music. Another male singer who was well known during this time was R Azmi.
1960s
Singapore separated from Malaysia on 9 August 1965 and became independent. The new constitution included:
The Beatles, formed in Liverpool, England, played a pivotal role in the 1960s counterculture and, unsurprisingly, influenced Malay music and musicians of the time. “Pop Yeh Yeh” bands were popular with youths. The genre was named after the famous Beatles song, She Loves You. The popularity of guitar also surged overnight, and Singapore became the epicentre of the pop revolution with over 120 local music labels.
1970s
In the 1970s, American and British subcultures and countercultures such as hippies, disco and rock fascinated the youth, while also raising concerns among the authorities. During this decade, Singapore also emerged as a key recording hub for local and regional Malay superstars under major labels like EMI, WEA, Warner, Polygram, and Senada. The airwaves in the '70s were dominated by artists such as Ismail Haron, J. Mizan, Rahimah Rahim, and Anita Sarawak.
In 1975, Iskandar Mirza Ismail, affectionately known as The Music Man, won first prize at the Singapore Electone Festival. As the eldest son of veteran Malay singers Ismail Kassim and Nona Asiah, he was mentored by Zubir Said, composer of Singapore's national anthem. Encouraged by Said to attend Berklee College of Music, young Iskandar Mirza became a versatile musician, composer, conductor, music director, and producer. He worked the nightclub circuit in the ’80s, composed for regional artists and Anita Sarawak in the '90s and later on directed for musicals and Singapore's National Day parades. Through his work with Spotlight Singapore and ChildAid, he presented young and local talents to the world.
1980s
In the 1980s, there was a surge in demand for concerts and recordings, largely contributed by popularity created by television. This era also saw the rise of rock and heavy metal music, with many homegrown groups gaining prominence. Many of these groups eventually moved to Kuala Lumpur to tap into Malaysia's huge domestic market. Band such as Sweet Charity, Kembara, Gingerbread, Black Dog Bone, and The Flybaits gained lasting recognition, and their songs continue to resonate today.
1990s
In 1991, Orkestra Melayu Singapore (OMS) was established by the People's Association to promote and preserve traditional music, blending both Western and traditional Malay instruments. The orchestra was initially led by Conductor Emeritus Mokhtar Abdullah, its founding music director. Jais Minsawi took over the leadership from 1995 to 2009. Since 2009, Amri Amin has led OMS. OMS established its youth wing, OMS Belia, a few years before forming its own gamelan group called Pangrawit Anyar Gamelan Ensemble (Singapura) in 2006.
From 1991 to 2000, Fuji Television launched Asia Bagus!, a star-search programme aimed at promoting young emerging performing artists across Asia. Airing weekly in Indonesia, Singapore, Malaysia, Korea, Japan, Taiwan, and Thailand, the show was hosted by Singaporean performer, Najip Ali who also introduced his own brand of music and style to the local Malay music scene. Asia Bagus! discovered Singapore talents such as Maizurah Hamzah and Sheikh Haikel and Ashidiq Ghazali from Construction Sight.
Some of the most iconic Malay songs from Singapore in the 1990s include Dhikir Fikir Fikir by Rausyanfikir, Rentak Oonik by Najip and Aku Yang Masih by Nuradee.
Some of the popular Malay bands from the 1960s include Sanisah Huri and The Terwellows, M Osman and the Clans, and Kassim Selamat and the Swallows. Discover a piece of the ’60s with these songs from the bands.
One of the most popular artists of the ’70s, Anita Sarawak released her first Malay album in 1974, followed by multiple English and Malay albums over the next four decades. Listen to one of her albums from the ’70s.
2000
Sri Mahligai, a Malay folk/traditional ensemble, was formed. It was led by Ariffin Abdullah. The group performs a diverse repertoire, from the exquisite keroncong and Middle Eastern zapin to nostalgic asli and dondang sayang, as well as classics of the golden era of Malay films and evergreen songs from the 1940s to 1970s. To date, the group has been invited to perform in France, Turkey, Switzerland, Bulgaria, Australia, China, South Korea, Indonesia, and Malaysia. Ariffin Abdullah has been leading the group since its establishment and remains a prominent advocate for traditional Malay music in Singapore.
2004
Singapore Idol, a reality television singing competition produced by MediaCorp Studios and FremantleMedia Operations BV, premiered in 2004 and was on air till 2009. It showcased Malay singers in the spotlight with winners such as Taufik Batisah (Season 1), Hady Mirza (Season 2) and Sezairi Sezali (Season 3).
2011
Akeem Jahat gained recognition in the Malay hip hop scene with his releases Suke Hati Nenek Volume I: Akeemotherapy on Soundcloud. Known for his clever wordplay, Akeem addressed issues resonating with the Malay youths.
2017
Aisyah Aziz made history as the first Singaporean to win Best APM Song at Anugerah Planet Muzik (Malaysia) for her song Senyum Saja. She was nominated for nine awards and also took home two other awards, Best Song (Singapore) for Senyum Saja and Best Collaboration (Song) for Tanda Tanya. After leaving her Malaysian record label, she continued her career as an independent artist currently based in Singapore.
2018
Gemadah: Traditional Malay Music Festival, was formed by the Traditional Malay Music Consortium and Esplanade – Theatres on the Bay. Gemadah celebrates traditional Malay music—new and old compositions as well as musicians. The festival features workshops, talks, a residency, pop up performances, and a gala showing that caps off the festival.
In the same year, Wisma Geylang Serai started a new platform for young musicians and music makers. The platform asked its participating artists to create a new work that showcased a distinct laga concept, where they have to merge two or more musical genres, collaborate with a different group of a contrasting style. The last edition of the festival was in 2020. It was directed by and hosted by Najip Ali and like many events in 2020, it was livestreamed Facebook and YouTube. Until today, Wisma Geylang Serai continues to support local Malay musicians by featuring them in their programmes.
Watch a video of Aisyah Aziz's song janji kita bertemu lagi, one of the songs that Aisyah released as an independent artist.
2020
The pandemic did not stop traditional Malay musicians from performing and creating. When all live performances were stopped, musicians adapted and continued their work online. One of the groups that recorded music from a distance was Alto Aura - Hati ke Hati.
2021
The National Arts Council, Singapore (NAC) announced the Self-Employed Person Grant (SEPG). This is a time-limited scheme that aims to provide support to Arts Self-Employed Persons (SEPs) affected by Covid-19. Through this grant, NAC looks to create work opportunities for arts SEPs by encouraging them to come together and work on projects, especially projects that can make a longer-term impact on the practices, professionalism and livelihoods of arts SEPs.
To date, Singapore's Malay music scene continues to thrive as artists continuously create Malay music.
Contributed by:
Fezhah Maznan is a creative producer and performance dramaturg. Part of her work centres around creating opportunities for new development and presentation of Malay arts and artists in Singapore and abroad.
