Chan Cheong Jan

MALAYSIAN COMPOSERS: Chan Cheong Jan

Dr C.J. Chan

Chan Cheong Jan started his music education at the age of 7. He quickly learnt to improvise on the piano and was soon appointed pianist of the school choir. He learnt jazz organ at 11, the same year he started playing the clarinet with his school band. He arranged many numbers for brass band and chorus and was also a demonstrator on the organ and synthesizer besides conducting the brass band.

Before continuing his studies in Japan in 1988, he was a pianist at several hotels in Kuala Lumpur including the Regent Hotel and Shangri-La. He continued his career as a pianist in Japan at jazz clubs in Tokyo from 1988 to 1990. He was also an accompanist at a Chanson Club in Kyoto for 4 years from 1992 to 1996.

Chan went to the Kyoto University of Education, focusing on composition and music education. He studied composition under Professor Masahisa Fujishima and Koji Koizumi, and music education under Professor Itsuko Kobayashi and Professor Hiroshi Otsuki. In 1994 he performed 6 fugues of his own composition at his Bachelor’s Graduation Concert. 2 years later, he gave a concert consisting of his compositions at the Kyoto National Hospital Hall. He played the harpsichord part for Handel's Messiah Oratorio and was several times part leader for Beethoven's 9th Symphony chorus. He received his doctorate from Osaka University in 2002, for his work on the folk music of Ulu Tembeling. His aim in undertaking this work was to follow in the footsteps of Bartok - to ascertain the essence of local folk music in order to effectively use this identity in new, original compositions.

Chan is currently employed as a lecturer for Music Education and Composition in the Music Department at Universiti Putra Malaysia. His present research interest is to develop teaching materials that are particularly appropriate to children in Malaysia. His recent compositions include an orchestral work, entitled "RENTAK RIA, Lagu Orkestra Berasaskan Muzik Ronggeng Melayu", plus numerous works for mixed choirs.

Music List of Compositions (A Selection)

Six Fugues in 4 Voices
These fugues were written to show how one could imitate the tradition of Western polyphonic music. Each fugue takes a short theme consisting of 4 bars from various other composers, basing the whole structure of the composition on those single melodies. All the fugues here are written in 4 voices and have no specific assignment of instruments. These fugues maybe performed by ensembles as various in tone color as violin, marimba, trumpet, clarinet, bassoon, and piano.

- Fugue in A minor - theme by Rabaud
- Fugue in G major - theme by Thomas
- Fugue in D major - theme by Cherubini
- Fugue in E flat major - theme by Fujishima

Lima for Violin, Cello, Cornet, Clarinet and Bassoon
Lima was composed specially for UPM Music Department staff members to perform at the University Conservatoire Symphony Orchestra Debut Concert in April 1997. The combination of instruments used reflects the Conservatoire staff at the end of the first semester of the Conservatoire's official beginning. "Lima" (literal meaning, "five") could mean that it has 5 sections, but more simply it means that this is a piece for 5 players. The specialty of Lima is its contrast between tonality and atonality.

Muda for Violin, Marimba and Piano
Muda was composed for a composition concert in 1996 at the composer's hometown of Seremban, Malaysia. The title "Muda", meaning "Youthful" was given to mark the composer's debut concert upon his return to Malaysia after studying in Japan for several years. This lively and energetic piece reflects the composer's ambition to develop musical activities in Malaysia.

A Short Story for Violin and Marimba

Suite Melayu for Clarinet and Piano
This is the composer's second composition in which some Malay flavors are applied. It uses the Malay Joget style. In searching for his own composing style, Chan came up with the idea of including familiar Malay folk tunes such as Si Katak Lompat which has in fact a very charming melody and form. Like Asli and Joget rhythm, it has characteristic Malay musical essences that can hardly be found in Western Art Music.

Mubarak Piano Solo
This piece was written for the wedding celebration of the composer's best friends, Kadir Joskun (Turkish) and Futura Ryoko (Japanese). A Turkish tune appears in the middle of the piece. The word "Mubarak" (Turkish) means "Blessing".

Joget Sonata for Violin and Marimba
This piece was composed for the first concert performance by the University Conservatoire UPM in May 1996. The combination of violin and marimba may sound new to some audiences but one could view it as an exciting musical conversation.

Rentak Ria, for Symphony Orchestra

Nona Nona, folk song arrangement for SATB

Other Websites about Chan
Chan's Home Page

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MALAYSIAN COMPOSERS: Chan Cheong Jan Chan Cheong Jan started his music education at the age of 7. He quickly learnt to improvise on the piano and was soon appointed pianist of the school choir. He learnt jazz organ at 11, the same year he started playing the clarinet with his school band. He arranged many numbers for brass band and chorus and was also a demonstrator on the organ and synthesizer besides conducting the brass band. Before continuing his studies in Japan in 1988, he was a pianist at several hotels in Kuala Lumpur including the Regent Hotel and Shangri-La. He continued his career as a pianist in Japan at jazz clubs in Tokyo from 1988 to 1990. He was also an accompanist at a Chanson Club in Kyoto for 4 years from 1992 to 1996. Chan went to the Kyoto University of Education, focusing on composition and music education. He studied composition under Professor Masahisa Fujishima and Koji Koizumi, and music education under Professor Itsuko Kobayashi and Professor Hiroshi Otsuki. In 1994 he performed 6 fugues of his own composition at his Bachelor’s Graduation Concert. 2 years later, he gave a concert consisting of his compositions at the Kyoto National Hospital Hall. He played the harpsichord part for Handel's Messiah Oratorio and was several times part leader for Beethoven's 9th Symphony chorus. He received his doctorate from Osaka University in 2002, for his work on the folk music of Ulu Tembeling. His aim in undertaking this work was to follow in the footsteps of Bartok - to ascertain the essence of local folk music in order to effectively use this identity in new, original compositions. Chan is currently employed as a lecturer for Music Education and Composition in the Music Department at Universiti Putra Malaysia. His present research interest is to develop teaching materials that are particularly appropriate to children in Malaysia. His recent compositions include an orchestral work, entitled "RENTAK RIA, Lagu Orkestra Berasaskan Muzik Ronggeng Melayu", plus numerous works for mixed choirs. List of Compositions (A Selection) Six Fugues in 4 Voices These fugues were written to show how one could imitate the tradition of Western polyphonic music. Each fugue takes a short theme consisting of 4 bars from various other composers, basing the whole structure of the composition on those single melodies. All the fugues here are written in 4 voices and have no specific assignment of instruments. These fugues maybe performed by ensembles as various in tone color as violin, marimba, trumpet, clarinet, bassoon, and piano. - Fugue in A minor - theme by Rabaud - Fugue in G major - theme by Thomas - Fugue in D major - theme by Cherubini - Fugue in E flat major - theme by Fujishima Lima for Violin, Cello, Cornet, Clarinet and Bassoon Lima was composed specially for UPM Music Department staff members to perform at the University Conservatoire Symphony Orchestra Debut Concert in April 1997. The combination of instruments used reflects the Conservatoire staff at the end of the first semester of the Conservatoire's official beginning. "Lima" (literal meaning, "five") could mean that it has 5 sections, but more simply it means that this is a piece for 5 players. The specialty of Lima is its contrast between tonality and atonality. Muda for Violin, Marimba and Piano Muda was composed for a composition concert in 1996 at the composer's hometown of Seremban, Malaysia. The title "Muda", meaning "Youthful" was given to mark the composer's debut concert upon his return to Malaysia after studying in Japan for several years. This lively and energetic piece reflects the composer's ambition to develop musical activities in Malaysia. A Short Story for Violin and Marimba Suite Melayu for Clarinet and Piano This is the composer's second composition in which some Malay flavors are applied. It uses the Malay Joget style. In searching for his own composing style, Chan came up with the idea of including familiar Malay folk tunes such as Si Katak Lompat which has in fact a very charming melody and form. Like Asli and Joget rhythm, it has characteristic Malay musical essences that can hardly be found in Western Art Music. Mubarak Piano Solo This piece was written for the wedding celebration of the composer's best friends, Kadir Joskun (Turkish) and Futura Ryoko (Japanese). A Turkish tune appears in the middle of the piece. The word "Mubarak" (Turkish) means "Blessing". Joget Sonata for Violin and Marimba This piece was composed for the first concert performance by the University Conservatoire UPM in May 1996. The combination of violin and marimba may sound new to some audiences but one could view it as an exciting musical conversation. Rentak Ria, for Symphony Orchestra Nona Nona, folk song arrangement for SATB *Other Websites about Chan* Chan's Home Page OTHER MALAYSIAN COMPOSERS Musical Instrument Index \| MIDI Archive Original Malaysian SoundFonts \| SEARCH Musical Malaysia		Musical Context Music by Genre Music by Region Bibliography Author Credits SITE MAP Guestbook
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