This chapter is an exploration of the pipe organ in Malaysia. It will point out that the pipe organs in Malaysia represent significant heritage value, though there are relatively few instruments remaining. The communities who are charged with responsibility for these instruments – their maintenance, preservation and restoration – need support in understanding their role and responsibilities to a wider Malaysian culture. This is possible through an academic documentation of their instrument, assessment of its significance in the cultural heritage of Malaysia, and wide community support in undertaking and financing historically appropriate restorations. The exemplar of a very successful restoration in Penang, supported by the wider community, shows how this can happen. Although mostly housed in Christian places of worship, these instruments form part of the heritage of all Malaysians, regardless of religion or background. It is important to understand that this is a significant part of Malaysia's history and heritage, so the processes which are set out in this chapter provide some pointers towards retaining and continuing to vivify the instruments in the various communities charged with their care and maintenance. For the long-term viability of the pipe organ, it is important to develop a cohort of younger students learning to play the organ and so gaining an understanding of its musical heritage – an outcome of the recent restoration in Penang. A further indicator of the energy and support of any instrument in today's musical world is the interest music creators and composers show in writing for it. In this measure, the organ again displays positive signs. The chapter explores several examples in some detail and in different contemporary musical styles, showing something of the range of musical styles in which the pipe organ is " at home ". Despite the indisputable problems that have and continue to exist, this chapter argues that there are a number of positive signs of life and growth, which suggest that there is an opportunity for the pipe organ to create a continuing cultural sustainability and even vibrancy in contemporary, post-colonial Malaysia. Understanding the interculturality of both the instrument in Malaysia, and of Malaysian music now being composed for it, demands a theoretical and philosophical perspective. Models of interculturality, which form the outcomes of a Fundamental Research Grant undertaken by Penny and Blackburn, et al i provide solid and clear pointers which will be enunciated later in this chapter. The theorists Michel Foucault and Nicholas Bourriard each provide useful insights and perspectives, especially Foucault's theory of heterotopia, which can be effectively applied to this area. The discussion of the instruments, both extant and lost, and the exemplar pieces which are discussed should be seen through the prism of an intercultural richness and spaciousness, explained by these writers. It is through this prism that the Malaysian heritage of the pipe organ becomes culturally sustainable and relevant within what could be otherwise construed as operating in a hostile climate and cultural indifference. An Overview of Pipe Organs in Malaysia Compared to other countries in South East Asia, Malaysia has historically had relatively few pipe organs, and in 2014 there are only a few remaining instruments. Surveying the instruments noted on the website Pipe Organs of Malaysia ii , and assessing which are in regular use and playable, the total number (both playable and destroyed) in Malaysia is listed as fourteen. This website is not totally complete, for it does not include within its listings the five-stop chamber organ by English builder Robin Jennings (I/5 1998) in the Dewan Filharmonic Petronas (Petronas Philharmonic Hall) in Kuala Lumpur, KLCC. iii This hall is also home to the country's largest instrument – a three manual organ by Klais (III/P/44– 1999 _iv).