Malaysian Journal of Music

Problems and Expectations of Students Regarding the Management of Learning in the Subjects of Thai Music Theory and History within the Thai Undergraduate Music Education Curriculum

2023-08-30T07:47:44+00:00

This research aimed to investigate the problems and expectations of students regarding the management of learning in the subjects of Thai music theory and history within the Thai undergraduate music education curriculum. The exploratory and descriptive research methodology was employed. The data was collected from 103 students who enrolled in the Thai Music Education curriculum at the undergraduate level. Instruments include a documentary analysis form, and an online questionnaire (Google Form). The results showed that: (1) teaching method was lecture-based, resulting in disengaged learning and limited knowledge acquisition; (2) content was the lack of clear delineation between the content of the two subjects; in many cases, instructors mixed Thai music theory with Thai music history which made students confused and mis-concept; (3) instructional media failed to captivate students and did not facilitate comprehensive learning; (4) instructional materials, each university had different approaches to managing its teaching resources, which were both uninteresting and overly academic; and (5) context consists of the diversity of students, assignments, classroom conditions, and instructor’s preparedness. From the results, this research proposes the guideline for the management of learning in Thai music theory and history through Outcome-based education (OBE) and a blended learning approach that can apply to traditional music teaching which is familiar with the Thai culture.

Kidung:

2023-10-01T10:40:37+00:00

Hindu religious ceremonies continue to be performed in Bali throughout the ages. A ceremony cannot be completed perfectly without the presence of the Kidung (hymn/sacred song), an integral component that cannot be separated. The implementation of the Yadnya ceremony is connected to the ceremony’s purpose. Panca Yadnya refers to these five types of ceremonies, divided by domain into Dewa Yadnya (ceremonies for Gods), Bhuta Yadnya (ceremonies for Bhutakala/demon), Rsi Yadnya (ceremonies for Mahaguru, Rsi, or parents/teachers), Pitra Yadnya (ceremonies for the deceased), and Manusa Yadnya (ceremonies for human’s life). The selection of the type of Kidung (hymn) adapts to the five domains of the relevant Yadnya, considering the various types of Kidung with text selection for context. Several supporting factors refer to the concept of tatwa, morals, and procedures both philosophically, technically, and contextually. The Kidung is sung with full regard for propriety, which is believed to strengthen the spiritual ascent in achieving sidakarya and sidapurnanya (perfectly done) by performing the Yadnya ceremony as an expression of offerings.

Towards Eco-Organology and Paper Flute Design to Disrupt the Plastic Recorder Industry

2023-07-12T07:22:20+00:00

In this article, the concept of “distributed capitalism” (Rifkin, 2011) is used to shift power among administrators, performers and audiences to problematise the homogeneity of unsustainable instrument materials. This shift involves adopting a participatory approach where musicians as key stakeholders get to choose their materials and self-construct their instruments. Instruments, society and ecosystems have intersecting and overlapping relationships that should be studied interdependently through eco-organology (Guy, 2009; Titon, 2013; Allen, 2013; Dawe, 2016), especially when mainstream culture consumption plays a crucial role in the struggle between sustainable materials for instruments and the ecosystem. As an example, mainstream production companies such as Yamaha, Aulos and Fender have standardised the industry and cornered the market for consumers in a top-down consumption model. Educators, artists, and retailers promote the consumption of mainstream instruments, further reinforcing their power of discourse in the materials field. Contesting standardisation, eco-organology involves the study of network relations between tangible materials and aesthetics from the viewpoint of culture and society. As an alternative material, this research project shared paper flutes with elementary school students and conducted over 20 workshops in Southern Taiwan where musicians of all ages self-constructed paper flutes. Paper is readily accessible, recyclable and allows end-users to follow an instruction manual, cut a template out and fold it into a playable flute. End-users participated in material selection, instrument construction and many became critically informed about current environmental issues with the plastic recorder industry. We argue that eco-organology helps decentralise mainstream instruments by educating end-users about eco-friendly materials.

Calung Banyumasan:

2023-10-13T06:51:05+00:00

The music of the Banyumas region in west Central Java contains a complex blend of cultural influences, spurred on by the influence of neighbouring regions, the institutionalisation of Javanese classical music and the spread of recording technology. The bamboo calung ensemble is viewed as traditional; however, most of the standard techniques, instruments and forms are relatively modern. Specifically due to this artificiality and resultant flexibility, the musical techniques that have become standard practice in calung can be used as a lens through which to view local identity and representation in a borderland culture. The music played by the calung ensemble distinguishes itself from the court music of Yogyakarta and Surakarta, while drawing on its techniques as a means for development. Elements of Sundanese music become forces for inspiration in the context of entertainment and commercialism, with expert musicians preferring incorporation above imitation. Calung thus acts as a site for the assertion of Banyumas cultural identity. Through interviews and musical analysis, the authors claim that Banyumas is not merely a blend of surrounding cultures, but rather a distinct sub-cultural group.

Gender Differences in the Function of Music for Emotion Regulation Development in Everyday Life:

2023-10-01T15:43:12+00:00

The present study employed experience sampling methodology (ESM) to examine the role of music in regulating emotions and the potential differences in music usage for emotion regulation between men and women in everyday life. The study spanned over seven days, including both weekdays and weekends, during which 28 participants (14 men and 14 women) were asked to complete a brief questionnaire 21 times a day. The questionnaire aimed to document instances of music listening in the past three hours, resulting in a total of 588 questionnaires being sent and 264 instances of music listening being analysed. Results indicate that listening to music in daily life may have a positive impact on emotion regulation and suggest possible differences in music usage between men and women for this purpose. The study's primary findings include: (1) Relaxation was the most commonly used strategy for regulating emotions with music; (2) Four primary mechanisms of music usage for emotion regulation, including emotion type, familiarity, and content of music, were found to be essential; (3) Listening to music was an effective emotion regulation strategy, particularly for regulating happiness and peacefulness; (4) Men were more likely to use music for active coping and to consider the type and content of music when selecting music; and (5) Music appeared to regulate the intensity of emotions similarly for both men and women, although men tended to report higher emotional intensity.

Investigating the Roles of Pedagogical Content Knowledge in Music Education:

2023-09-14T14:21:41+00:00

Despite the growing recognition of the importance of Pedagogical Content Knowledge (PCK) in music education, there is a significant knowledge gap regarding the precise nature of its role and how it contributes to effective teaching and learning. The objective of this systematic literature review is to examine and synthesize existing research on the roles of teachers' PCK in music education. Specifically, the study aims to explore how the PCK of music educators influences their teaching strategies, curriculum development, student engagement, and assessment practices. The research seeks to examine how these roles may vary across different scenarios and the implications of these variations for teaching and learning, especially in the context of music education across various educational settings. By synthesizing findings from diverse educational levels and cultural contexts, this review seeks to offer profound insights into the optimization of music education across various educational settings. The study follows the Preferred Reporting Items for Systematic Review and Meta-Analysis (PRISMA) guidelines. The analysis focused on the research question and identified themes related to the PCK in music education. The analysis revealed four emerging themes: understanding of music concepts, pedagogical strategies, student-centered teaching approaches, and assessment practices. These findings provide insights into effective practices for music curriculum designers and instructors in designing and developing strategies in teaching and learning in music education. These insights can inform the development of effective teaching strategies, curriculum design, and assessment practices in music education, ultimately enhancing the quality of instruction and learning experiences for students.

Proximity to Daily Life:

2023-08-28T06:43:41+00:00

In every culture and time period, music has always been a medium of expression that gathers people together. In Thailand, the Sadhukarn, ceremonial music from the early Rattanakosin era (1782-1851), expressed a bodily and mental salutation to heavenly spirits, reinforcing a unified belief system before the start of an event. In a parallel era in Central Europe, the music of the Biedermeier period (1815-1848) also had a unifying function as it grew out of societal conditions in which the distinction of classes became less pronounced. In order to more fully engage with these concepts, a concert was devised featuring an ensemble of instruments that would commonly have been played in a Viennese salon during the Biedermeier era. The repertoire studied and performed for this research were serenades written for the relatively rare and under-performed combination of guitar, violin, and viola by Biedermeier-era composers Leonard von Call, Wenzeslaus Matiegka, and Anton Diabelli, as well as a newly created arrangement of the Thai Sadhukarn for the same combination of instruments. Upon investigation of the role that music written in the Austrian Biedermeier and Thai Rattanakosin cultural contexts had in the broader community, it was found that both cultures were strongly driven by the middle class, resulting in a conception of music that emphasised accessibility and functionality, highlighting its proximity to daily life. The performance of these works aimed to transfer knowledge about the social function of this music to contemporary audiences of today.