The Malaysian Journal of Music (MJM) [ISSN 2600-9366 e-ISSN 2600-9331] previously known as the Malaysian Music Journal (MMJ) (2012-2017, ISSN : 2232-1020 e-ISSN : 0128-2158 ), is a double-blind peer-reviewed academic journal that highlights music research and scholarship. It is a forum for music scholars to critically discuss issues related to music. Whilst the journal is based in Malaysia, articles from any region with theoretically robust and empirically engaging content are welcomed. We invite submissions of original articles from a wide spectrum of research areas including musicology, ethnomusicology, music education, performance, composition, music technology, popular music, music therapy and music business. Multidisciplinary research that includes music is also welcomed. Our journal publishes articles in Malay and English bi-annually.
Universiti Pendidikan Sultan Idris Press
The Origins of the Gambus (ʿŪd) in Malaysia: A Two-Channel Hypothesis of Ottoman Cultural Exchange and Hadrami Diaspora
The history of the gambus in Malaysia has long been framed through a “trade-route diffusion” model, which assumes Arab merchants introduced the instrument to Melaka as part of Indian Ocean exchange. While widely repeated, this narrative is speculative and unsupported by concrete organological or archival evidence. This study distinguishes between the Yemeni qanbūs—a shallow, slightly bowled lute—and the large-bodied, fretless, deep bowl-backed lute known in Malaysia as gambus. The latter is structurally consistent with the Ottoman and wider Arabic ʿūdtradition, although regional variants (Turkish, Arabic) are acknowledged. To avoid conflation, the article decouples instrumental history from performance practice. The dance tradition locally known as zapin (Arabic: zafin), characterised by rhythmic footwork, call-and-response singing, and devotional associations, likely entered the Malay world via Hadrami diaspora networks from the 16th century onwards. By contrast, the instrument paired with it resembles Ottoman/Arabic ʿūd models and plausibly arrived through channels of cultural diplomacy, gift exchange, and elite circulation in the 16th to the 18th centuries. This two-channel hypothesis—Hadrami-led transmission of performance practice, Ottoman-linked transmission of the instrument—presents a historically grounded alternative to the trade-route narrative. It reframes the gambus tradition as hybrid: socially Hadrami, structurally Ottoman-Arabic, and culturally localised within Malaysia’s musical heritage.
Copyright (c) 2025 Raja Zulkarnain Raja Mohd Yusof https://creativecommons.org/licenses/by/4.0
Pendekatan Pergerakan Berirama dalam Pembelajaran Rekoder untuk Meningkatkan Kecerdasan Emosi Murid Sekolah Rendah Berprestasi Akademik Rendah
Kajian ini bertujuan meneroka potensi integrasi pergerakan berirama dalam pembelajaran muzik rekoder sebagai pendekatan inovatif untuk meningkatkan kecerdasan emosi (EI), yang diukur melalui EQ (Emotional Quotient), dalam kalangan murid dengan tret masalah emosi serta berprestasi rendah. Kajian ini turut menyumbang kepada pembangunan intervensi pendidikan yang lebih komprehensif dan berkesan. Pendekatan campuran (mixed methods) digunakan dengan melibatkan 18 orang murid berprestasi akademik rendah (di bawah Tahap Penguasaan 2) dan memiliki tret masalah emosi. Data dikumpul melalui soal selidik ujian pra-pasca, pemerhatian, dan temu bual melibatkan tujuh orang peserta, dan dianalisis menggunakan ujian-t berpasangan serta analisis tematik. Intervensi melibatkan aktiviti muzik individu, berpasangan, dan berkumpulan selama empat jam, dengan fokus kepada elemen EQ seperti kesedaran kendiri, pengurusan kendiri, empati, kemahiran sosial, dan motivasi. Keputusan menunjukkan peningkatan signifikan dalam EQ murid berdasarkan ujian-t berpasangan (M pra = 6.11, M pasca = 6.95, p = 0.02). Pemerhatian dan temu bual menunjukkan perubahan tingkah laku positif seperti peningkatan interaksi sosial, penglibatan aktif, serta keupayaan bekerjasama. Murid yang pada awalnya pasif menunjukkan keyakinan dan semangat lebih tinggi, mewujudkan persekitaran pembelajaran yang kondusif. Dapatan membuktikan bahawa integrasi pergerakan berirama dalam permainan rekoder bukan sekadar pengalaman muzikal tetapi juga medium pedagogi efektif untuk membangunkan EI (sebagaimana tercermin dalam peningkatan skor EQ) dan meningkatkan pencapaian akademik murid. Selain jalinan reflektif dan kolaboratif, kajian ini turut menawarkan pendekatan intervensi relevan untuk pendidikan abad ke-21. Kajian lanjut disarankan untuk meneroka keberkesanan muzik ini dalam subjek teras seperti matematik, sains, dan bahasa, termasuk penggunaan teknologi.
Copyright (c) 2025 Md Jais Ismail https://creativecommons.org/licenses/by/4.0
Tracing the Saxophone’s Divergent Paths: Jazz Influence and Classical Repertoire Development
This study explores the saxophone’s complex role in music and investigates how it has come to be widely linked with jazz despite its extensive repertoire in classical and contemporary art genres. With over 29,000 non-pop works documented from 1844 to 2012 in Jean-Marie Londeix’s guide, the saxophone has a rich history beyond jazz. However, its jazz identity, shaped by icons like Charlie Parker, John Coltrane, Kenny G, and Joshua Redman, remains dominant. This paper traces the origins of the instrument’s strong association with jazz and examines influences from the 1840s onwards, namely military bands, vaudeville, and the saxophone “craze” in early 20th-century America. This study uses a mixed-methods approach and combines quantitative analysis of discographies with qualitative insights drawn from existing literature, including previously conducted surveys and interviews with saxophonists, composers, and audience members. Delimited to Western perspectives, particularly Europe and North America over the past two decades, the research assesses current uses and perceptions of the saxophone. By integrating historical context and contemporary artistic practices, this study offers a nuanced understanding of the saxophone’s evolving cultural significance and its versatility across musical genres.
Copyright (c) 2025 Chee Meng LOW https://creativecommons.org/licenses/by/4.0
Creating Place: The Role of Festival, Kajarī Folk Songs, and Rituals in Mirzapur
This article examines the role of the Kajarī festival and folk songs in the socio-cultural lives of rural women in Mirzapur, Uttar Pradesh, India. It explores how the festival provides a unique space for rural women to assert their autonomy within a patriarchal society. Through ethnographic fieldwork, including the documentation of rituals, folk songs, and cultural activities, this study analyses the Kajarī festival as a place-making process. It argues that women use the performative space of Kajarī songs to express themselves and their experiences using strategies rooted in their traditions and rituals. The paper concludes that the Kajarī festival and its songs function as a critical outlet for emotional expression, social interaction, and self-expression, offering women a form of agency within their rural context.
Copyright (c) 2024 Milan Chauhan, Swasti Mishra https://creativecommons.org/licenses/by/4.0
A Delphi Study of Effective Practices for Determining the Competencies of Elementary Music Teachers
This study aims to determine the competencies essential for elementary music teachers by exploring effective practices and insights of experts in music education. Using a three-round Delphi method with twelve music education experts, the study collected and refined competencies across three stages. In Round 1, qualitative data were thematically analysed to identify competency domains. In Round 2, participants ranked these domains and competencies by importance, with agreement levels assessed using Kendall’s W. Round 3 sought consensus by allowing participants to review collective rankings and explanations. Results revealed seven key domains, with musical skills emerging as the most essential, with the ability to play an instrument being the most important competency.
Copyright (c) 2024 Benjie M. Manila, Honey Bert G. Dayanan, Gloria S. Santos, Samuel A. Quiroz https://creativecommons.org/licenses/by/4.0
The Impact of Popular Music on Primary Music Education: A Comparative Study of Chinese and Malaysian Teachers’ Perspectives
Malaysia has one of the most comprehensive Chinese language education systems outside China. Both Malaysia and China place great importance on music education to cultivate national pride and identity among students. However, students' preference for popular music often leads to decreased interest in conventional music education in the classroom. Moreover, some argue that the lyrics of popular songs can negatively influence students' values. This study explores and compares the views of music teachers in Zhengzhou, China, and Kuala Lumpur, Malaysia, regarding the impact of popular music on student learning in school and their strategies for addressing potential challenges it presents in the classroom. While the 12 teachers interviewed agreed on the potential of popular music to engage students, they also acknowledged its drawbacks. Differences in their viewpoints are attributed to factors such as experience, school support, curriculum goals, individual backgrounds, and teaching abilities. Based on the findings, the study presents several recommendations to improve student learning outcomes while also addressing problems associated with the influence of popular music. These include comprehensive teacher training programmes, increased instructional time, greater social recognition of music education, and the continuous development of innovative teaching methods.
Copyright (c) 2024 Kai Ti Sun, Kwan Yie Wong https://creativecommons.org/licenses/by/4.0
Factors Influencing Music Career Choice Among Malaysian Students: A Social Cognitive Career Theory Perspective
Careers in music have begun to gain attention within the Malaysian community. With formal music education available from primary to tertiary levels, students are increasingly likely to pursue music careers, a process that involves a series of cognitive and behavioural changes. Using Social Cognitive Career Theory (SCCT) as a basis, semi-structured interviews were conducted in this study to identify cognitive, contextual, and affective attributes that influence music career choices in Malaysia. Thematic and socio-cultural analyses, supported by NVivo software, revealed several key factors: enthusiasm (cognitive), parental and environmental support (contextual), and spirituality (affective). These attributes are seen to greatly influence the tendency towards choosing a music career in the Malaysian context.
cognitive, contextual, and affective factors
Copyright (c) 2025 Shamsul Amri Abdul Manap, Adil Johan, Mohd. Sobhi Ishak https://creativecommons.org/licenses/by/4.0
Pianists’ Interpretive Insights: Exploring Hunt, Military, and Pastoral Motifs through Monelle’s Topic Theory
Topic theory in musicology examines how musical elements and structures convey emotions or topics in music. Despite its potential to provide a framework for understanding musical expression, topic theory has rarely been applied to piano pedagogy. This study aimed to explore participants’ perceptions of Raymond Monelle’s topic theory, specifically the hunt, military, and pastoral topics, in piano interpretation and teaching. Participants included six music lecturers from Chinese universities and nine university music students from Bulgaria, China, France, Germany, and the United States. Data was collected through a listening survey and semi-structured interviews and analysed using thematic analysis. The listening survey used excerpts from Dussek’s La Chasse, C.146, Beethoven’s Piano Sonata in A Major, Op. 101, Second Movement, and Liszt’s Années de Pèlerinage, Première année - Suisse, No. 3, Pastorale. The results showed that more than half of the participants matched the selected topics with the musical excerpts, with some confusion between the hunt and military topics. All participants agreed that topic theory enriches the interpretation of piano pieces and provides a complementary method in piano pedagogy. Two main themes emerged regarding the application of topic theory in piano interpretation: enhanced expression and imagination. Participants also believed that topic theory could serve as an analytical framework for interpreting musical works and increase the musical knowledge of both teachers and students.
Copyright (c) 2024 Ding Jin, Chiew Hwa Poon, Feng-Hsu Lee https://creativecommons.org/licenses/by/4.0
Quiet Resonances of an Emergent Indigeneity: Sound, Silence, and Igorot Protest Performances in the Philippines
Soundscapes of piercing gangsa (flat gong) rhythmic patterns, political speeches blared on loudspeakers, and call-and-response chants that envelop renditions of traditional celebratory dances characterise street protests led by Igorot left-wing activists. Upholding militant activism as foundational to Igorot identity, these spectacular displays signify an Igorot sense of value for collectivism, sovereignty, and territorial defense, echoing long-established practices that have sounded community resistance to corporate aggression since the 1970s. Despite this history, many Igorots reject the practice. Performances by leftist Igorots in 2017 aggravated internal debates about politicising Igorot identity. This troubled many Igorot activists, particularly an elder who, since his teenage years, had witnessed Igorots confront corporate intrusion into their ancestral lands through deployments of traditional practices. In an existential crisis, he distanced himself from the normative “noise” of protests, staging a solo act that reaffirmed his identity as an Igorot activist yet also promised his acceptance by the broader Igorot public. Drawing from ethnographic evidence and adaptations of Abe’s (2016) insights on sound-silence relationalities and Tsing’s (2007) notion of “friction”—the traction and slippage of divergent indigeneities—I examine this duality, amplifying the weighty “silence” of the said activist’s militancy and its emergent meanings. Through this exercise of individual creativity, Indigeneity manifests as a contradictory phenomenon that transcends conventional associations about identity and its expression. This paper seeks to disrupt the tendency to homogenise Indigenous experience by unveiling its radical possibilities. I voice often-ignored musical lives that forge new trajectories of identity.
gangsa, Igorot, Indigeneity, left-wing activism, Philippine Indigenous music
Copyright (c) 2024 Lisa Decenteceo https://creativecommons.org/licenses/by/4.0
Vocal Art in the Javanese Version of the Ramayana Epic by Raden Ngabehi Yasadipura
This study examines the vocal art in the Javanese adaption of the Ramayana, Serat Rama, authored by the 18th-century Central Javanese poet Raden Ngabehi Yasadipura. Employing Paul Ricoeur's hermeneutical approach, it explores the meaning and content of the work, including its musical elements. Analysis involved repeated readings and interpretations of the text at the word, sentence, and overall content levels. The findings of this study indicate that Serat Rama incorporates musical art through the inclusion of Javanese songs, specifically the macapat style. Out of the 11 types of macapat songs, nine are represented in Serat Rama: Maskumambang, Mijil, Sinom, Kinanthi, Asmaradana, Megatruh, Dhandanggula, Durma, and Pangkur. This study concludes that in Serat Rama, there are two educational elements: culturally insightful education and harmony education. The former is reflected in the carefully selected words forming song verses that communicate cultural insights. The latter is evident in the harmonious structure of the songs, where sentences are divided into two phrases to allow singers to pause and maintain harmony. In Javanese song theory, this concept of harmony is known as "padang-ulihan.”
Copyright (c) 2024 Cipto Budy Handoyo, Suwardi Endraswara, Birul Walidaini https://creativecommons.org/licenses/by/4.0
Enhancing Joint Attention Skills in a Child with Tuberous Sclerosis Complex (TSC):
Tuberous Sclerosis Complex (TSC) is a rare genetic disorder that causes benign tumors, or hamartomas, in various organs, including the brain. These tumors can lead to seizures and epilepsy, which impact the brain's neural circuits and are associated with neurodevelopmental disorders (TAND) such as autism spectrum disorder, intellectual disability, and various behavioral, academic, and psychosocial difficulties. Due to these neurodevelopmental challenges, children with TSC often experience social communication delays, particularly in joint attention skills. Music therapy has been found to improve joint attention in children with autism spectrum disorder (ASD), but its effectiveness in children with TSC has not been studied. This study aimed to investigate the effectiveness of music therapy on joint attention skills in an 8-year-old child with TSC, using an ABAB single-case design. The study involved six baseline sessions and eleven music intervention sessions, which included singing, instrumental playing, and movement with music. Joint attention skills were assessed using the SCERTS Model, specifically the SAP-Report Form (SAP-R) and SAP-Observation Form (SAP-O). The results showed that during the baseline phases, the child’s joint attention skills had a mean score of 1.57 in the first baseline and 1.64 in the second. During the intervention phases, these scores increased to 1.85 and 1.93, respectively. The findings suggest that music therapy interventions effectively improve joint attention skills in children with TSC.
Copyright (c) 2024 Nikie Wong Zhi Qin, Asst. Prof. Dr. Natee Chiengchana, Asst. Prof. Dr. Ni-on Tayrattanachai https://creativecommons.org/licenses/by/4.0
Chinese Local Children's Piano Enlightenment Works -
This study explores the evolution of Chinese local children's piano enlightenment works, focusing on the balance between tradition and innovation. Chinese piano music, deeply rooted in traditional culture and modern piano techniques, holds significant artistic value. Early 20th century initiatives by Xiao Youmei and Zakharoff established a foundation for systematic piano education in China, while competitions such as Tcherepnin's in the 1930s spurred the creation of child-centric piano pieces. Despite interruptions during the Cultural Revolution, post-1980s reforms and the advent of the new millennium have led to a resurgence in culturally responsive piano education materials. These materials often integrate folk tunes and traditional operas, addressing the need for aesthetic appreciation and cultural relevance in children's musical education. The essay highlights the importance of localized piano education in nurturing young learners' appreciation for national music and ensuring the continuity of Chinese piano traditions. It also addresses the challenges posed by traditional teaching methods, the scarcity of culturally relevant repertoire, and the impact of digital technology on piano pedagogy, proposing a blended approach to foster creativity and cultural understanding. Through qualitative research and score analysis, this study aims to provide a comprehensive understanding of the development and the current status of children's piano education in China, offering insights into more effective and culturally aligned teaching methodologies.
Copyright (c) 2024 Anqi Wang, Yew Yoong Chong https://creativecommons.org/licenses/by/4.0
Financial Challenges in Music and Dance-Based Interventions for Older Adults:
Older adults can benefit from the addition of music and dance-based programs to their care. Music and dance-based interventions are a diverse approach to address the unique needs of older people. However, aged care centre and older people are less willing to put in money for such programs. This paper examines the financial issues that surround the provision of music and dance-based interventions for older adults. Systematic search of literature retrieval on Scopus Elsevier, data extraction, and study selection were carried out. After conducting a systematic search on Scopus Elsevier, this paper retrieved 512 publications. Then, after a meticulous screening process and only five publications were suitable for analysis. Thematic analysis categorized into music and dance-based interventions for discussion. Developing and sustaining music and dance-based care programs for older people requires financial resources, such as investment and funding coverage. Dance-based interventions offer potential benefits for older adults; such as improving participation and motivation for rehabilitation in older adults, while music-based intervention helps ease cognitive and neuropsychiatric symptoms in dementia patients.
Copyright (c) 2024 Anna Che Azmi, Kai Hong Ooi, Suhaily Shahimi, Norazlin Ab Aziz, Shafaatussara binti Silahudin https://creativecommons.org/licenses/by/4.0
Mapping and Digitizing Sarawak Bioacoustic for Soundscape Composition:
The entirety of sounds that can be heard at any particular time and place is referred to as the soundscape. Similar to how a landscape presents itself visually, one way to think of a soundscape is as the way the listener's surroundings show themselves through sound. Terminology such as sound ecology, bioacoustics, electroacoustic music and musical composition of sound art is something that is still a novel concept in Malaysia. In Malaysia, the genre of soundscape composition is relatively new. This research is conducted and mainly inspired by the World Soundscape Project by R. Murray Schafer. The World Soundscape Project is to foster awareness of sounds and to promote the importance of soundscape and nature. Hence, this concept was applied in this research in text by conducting soundscape research in Bako National Park, Sarawak. The purpose of this research was to record the acoustic environment as a case study of soundscape composition which leads to composing a musical piece of soundscape composition in the perspective of recognizable environmental sounds. Soundwalk methods was applied in this research to create documentation on database of sounds recorded of bioacoustics and soundscape environment in Bako National Park. Purposive sampling technique and focus group discussion were applied in this research whereas groups of students were selected to evaluate their appreciation of composed soundscape. In conclusion, this research shows that soundscape compositions can improve ecological awareness, build a sense of connection, and promote the value of taking care of the environment through thorough listening and thought.
Copyright (c) 2024 Hellenda Harmon, Hasnizam Abdul Wahid https://creativecommons.org/licenses/by/4.0
The Differences in 21st-Century 4C Skills Among Diverse University Choirs in China
Choir singing originated from the choir of Christian churches in medieval Europe and first appeared in the 1st century. However, the focus of choir education had long been on musical knowledge, neglecting the cultivation of practical skills, resulting in variations in skill performance. In the 21st century, choir singing flourished, particularly in Chinese universities. Aligned with modern educational trends, choir singing aimed to foster students' 4C skills: critical thinking, creativity, communication, and collaboration. Music educators gradually emphasized skill development, recognizing it as essential for students' future lives and careers. Nevertheless, the cultivation of these 4C skills remained at a preliminary stage, with varying understandings of skills across different universities leading to differing skill levels among choir ensemble students. Therefore, this study aimed to investigate the disparities in the development of 4C skills among choir ensemble students from diverse Chinese universities. Three universities of different types were selected for the study, and a quantitative approach was employed through a case study to examine the differences in students' 4C skill development in the 21st century. Because most of the research was qualitative. Researchers distributed an online survey to all students in the music school's choir ensembles of the three universities, collecting a total of 220 valid responses. The analysis revealed that students in universities with a stronger musical emphasis exhibited a positive attitude towards skill cultivation and development. These findings provided valuable insights for the future of diverse forms of choir music education in terms of skill development.
Copyright (c) 2024 NAIXUE BAO, YI-LI CHANG, KU WING CHEONG https://creativecommons.org/licenses/by/4.0
Pythagorean Music Theory and Its Application in Renaissance Architectural Design
This article concerns Alberti's approach to architectural design integrates Pythagorean consonance ratios from music theory, not by direct application but as a conceptual guide for aesthetic ratios in buildings. He expands spatial dimensions using methods derived from past artisans, adhering to and building upon the foundational consonance ratios. While applying these two-number proportions to width and length poses no problem, calculating height in a three-dimensional space requires a three-number proportion. Alberti resolves this issue by adopting the mean value strategy from music theory, where the mean is typically the middle value in an octave ratio, to determine the height in the spatial configuration. Alberti advocates for architects to leverage the insights of skilled artisans. However, his own architectural work demonstrates deviations from his theoretical principles. This study highlights Alberti's application of musical intervals such as the major and minor thirds, sixths, and sevenths, which were not traditionally emphasized in the musical science of the quadrivium, focused primarily on octaves, fifths, and fourths. These choices reflect the broader evolution of music during the 15th century, marking a shift towards "practical music" and signaling music's departure from the liberal arts to become a significant element of the fine arts, showcasing the influence of Pythagorean consonance in European music and arts through the 16th century. Thus, this article reflects the interactions between music and architecture of knowledge received from ancient Greek civilization in the Renaissance. The art of music in this period is founded on the philosophy and knowledge of Pythagoras.
Copyright (c) 2024 Sasi Pongsarayuth, Suphot Manalapanacharoen https://creativecommons.org/licenses/by/4.0
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.
Copyright (c) 2023 Sean Hayward, Darno Kartawi https://creativecommons.org/licenses/by/4.0
Gender Differences in the Function of Music for Emotion Regulation Development in Everyday Life:
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.
Copyright (c) 2023 Aini Azeqa Ma’rof, Zheng Danhe, Zeinab Zaremohzzabieh https://creativecommons.org/licenses/by/4.0
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.
Copyright (c) 2023 Desak Made Suarti Laksmi, I Wayan Sudirana https://creativecommons.org/licenses/by/4.0
Investigating the Roles of Pedagogical Content Knowledge in Music Education:
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.
Copyright (c) 2023 Shahazwan Mat Yusoff, Anwar Farhan Mohd Marzaini, Muhammad Hafiz Hassan, Noorhayati Zakaria https://creativecommons.org/licenses/by/4.0
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
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.
Copyright (c) 2023 Weerakit Suwanphithak, Chalermpan Ruwicha, Yootthana Chuppunnarat https://creativecommons.org/licenses/by/4.0
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.
Copyright (c) 2023 Hayne Kim, Apichai Chantanakajornfung, Suppabhorn Suwanpakdee https://creativecommons.org/licenses/by/4.0
Towards Eco-Organology and Paper Flute Design to Disrupt the Plastic Recorder Industry
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.
Copyright (c) 2023 Ching Jie Kang, Made Mantle Hood https://creativecommons.org/licenses/by/4.0
This article explores the transformative power of musical instruments on pedagogical strategies within music ensembles, with a focus on world music ensembles at the tertiary level. Drawing from my unique perspective as an international graduate student in the U.S. and having had no prior exposure to world music ensembles, I share my experiences with the saron metallophone from the Javanese gamelan and the mṛdaṅgam, the principal rhythmic instrument of South Indian Karṇāṭak music ensemble. I argue that the interaction of sound between instruments and learners offers a deeply enriching, immersive educational journey. Recognizing this sonic interaction broadens our understanding of world music education and suggests that instruments inherently carry pedagogical value. By embracing this notion, educators can cultivate a more holistic teaching methodology, enhancing the pedagogical landscape within and beyond world music ensembles.
Copyright (c) 2023 Gene Lai https://creativecommons.org/licenses/by/4.0
Examining Scaffolding Process in One-to-One Piano Lessons for Young Beginners
In piano education, the initial stages of teaching young beginners establish the foundation for future endeavours. Due to the necessity of collaborative effort, piano lessons can be a complex process for both the teacher and the student. A balance must be found whereby the teachers can administer information in a way that is compatible with the student’s learning style. Therefore, the teacher must adapt their instruction to the level of the student. This exploratory case study investigates how scaffolding process is adapted into piano education in private setting to enhance the learning process of young beginner students. 10 teacher-student dyads, with students ages between 5-7 years, were recruited. Weekly lessons over a span of four weeks were observed and documented. Interviews with participants were conducted to find out more insights on their perspectives of teaching. Video data analysis was conducted based on the three characteristics–contingency, fading of support and transfer of responsibility–from the conceptual model of scaffolding. The findings indicate that two types of scaffolding process were applied in piano lessons–consistent and contingent, with the latter prevailing in most of the lessons. It was also observed that the three characteristics of scaffolding emerges within the same lesson and across several lessons, influenced by students’ readiness and response. Whilst there were differences among the contingency strategies used, certain tendencies recured across the teachers. Among these, modelling stood out as the as the predominant strategy and that teachers rely primarily on their perspectives and intuition when it comes to scaffolding.
Copyright (c) 2023 Yiing Siing Wong, I Ta Wang, Mohd Nasir Hashim https://creativecommons.org/licenses/by/4.0
Preserving Folk Music in Community Cultural Events as a Method of Preserving Traditional Heritage:
The Ta Oi people in Thua Thien-Hue province continue to preserve and promote numerous unique indigenous music genres. However, these invaluable cultural heritages are at risk of vanishing from their cultural life in the future if there is no comprehensive and scientifically backed protection policy in place. My first-hand fieldwork and surveys have demonstrated that folk music is integral to the Ta Oi people’s way of life, being practiced at every stage of their lives, in significant cultural events within the community, and during religious rituals. Music serves as a distinct language, fostering connections among individuals, between people, and between people and spirits within specific cultural spaces, thereby forming a remarkably distinctive cultural mosaic among the Ta Oi people. Utilizing qualitative research methods, this study focuses on conducting in-depth interviews with skilled local artisans and participating in folk music performances within the Ta Oi community. The findings of the study reveal that significant community events play a crucial role in the practice, preservation, and maintenance of the Ta Oi people’s traditional musical culture. The study asserts that preserving folk music within the cultural life of the community serves as the most effective approach to safeguarding the indigenous folk art of each distinct community. This progression would enable the maintenance of the musical heritage of each ethnic group within contemporary society. Such endeavors necessitate support from the government, researchers, and local authorities.
folk music in indigenous cultural festivals
Copyright (c) 2023 Lam Nguyen Dinh https://creativecommons.org/licenses/by/4.0
Demystifying Knowledge on Music Transmission, Creation, and Succession Among the Indigenous Semai of Malaysia
The Semai are a group of indigenous minorities, collectively known as the Orang Asli of Peninsular Malaysia. They are well-known for their dream songs or jenulak that is taught by gunik (spirit guide) to halak (shaman). The knowledge of how jenulak is transmitted, created, and succeeded becomes important today when researchers collaborate with culture bearers to sustain their musical heritage. This knowledge is integral to the sustainability of Semai musical heritage, indigenous concepts, and values. This article examines (1) how jenulak is transmitted from one generation to the next generation; (2) how Semai musicians create music; and (3) who can succeed as the next generation of Semai musicians. It utilises the revisiting ethnography methodology in which the researcher re-examines case studies through data from past transcribed fieldnotes and interviews with Semai musicians over a span of 10 years. In this article, I argue that the learning of jenulak is not limited to the transmission from gunik to halak—it can be learned by anyone who has strong interest in the music. Second, Semai musicians do create new jenulak devoid of supernatural transmission after learning to sing those with spiritual origins. Third, the potential for being a Semai musician, creator, and successor is “achieved” rather than “ascribed”.
Copyright (c) 2023 Clare Suet Ching Chan https://creativecommons.org/licenses/by/4.0
Audience’s Profile and Perception Towards Contemporary Classical Music:
Contemporary Classical Music (CCM) emerged from Classical Music (CM) in the early 20th century; however, it has received mixed reception from both audiences and institutions. Due to its low acceptance among the mainstream CM audience, CCM composers need to take their own initiative to boost the visibility and exposure of their creative output. In addition, more musicians in recent decades have gradually specialised in this genre and perceived it as a potential career path, in addition to the competitive CM performing market. However, there is limited research on the CCM audience, both globally and locally. Therefore, this study aims to investigate the audience profile and their perceptions towards specific styles of CCM based on social status, educational level, musical background, and interest. An exploratory case study was employed to investigate the audience profile of the first International Composers' Symposium 2021 (ICS2021), which was a collaboration between Universiti Malaya, the National Band Directors Association of Malaysia and funded by the Japan Foundation of Kuala Lumpur. An online survey was distributed to the participants at the end of the webinars. Following the analysis of the 73 surveys, it was found that respondents consisted mostly of students and young working professionals. Although many were encouraged to participate due to teacher-student relationships and other social connections, they generally held a positive and open-minded view towards CCM and viewed the event as an opportunity to experience CCM and learn new knowledge about it. The study also informed possible factors that attract the CCM audience.
Copyright (c) 2023 Dr. Poon Chiew Hwa , Dr. Wang I Ta https://creativecommons.org/licenses/by/4.0
The Malaysian Journal of Music, Volume 11, Issue 1, comprises nine articles that present current issues in performance, musicology, music technology, practice-based research, and ethnomusicology from Thailand, Malaysia, China, and Indonesia.
Copyright (c) 2022 Christine Augustine https://creativecommons.org/licenses/by/4.0
Guidelines for creation of a Luk Thung method for trumpet
21st century trumpet players are required to play many diverse styles of music. One of these unique musical styles, Luk Thung (a Thai traditional music style) is music derived from Thai folk music culture that describes the Thai rural lifestyle, especially in the lyrics. Learning this style is a crucial part of a trumpet player’s chances for career success in Thailand’s musical industry. For trumpet players, performing Luk Thung music requires fundamental trumpet techniques. Because of the need for training trumpet players in this unique Thai musical style, this research aims to generate the guidelines for a trumpet method design based on Luk Thung music through the study of three categories: (1) fundamental trumpet techniques appearing in Thai Luk Thung music; (2) comparison of fundamental technique approaches between Western pedagogical methods for trumpet and Luk Thung music; and (3) the possibility of using Thai Luk Thung music to develop fundamental trumpet techniques for trumpet players. The purposeful sampling includes official recordings of Thai Luk Thung songs, four major method books for trumpet and in-depth interviews used for collecting data, and analysis. The findings were discussed and presented as the guidelines to design a trumpet method including purpose of the method design, structure of the method, and scope of contents. The generated guidelines will help trumpet players, music teachers or trumpet educators to design their own trumpet methods based on Thai Luk Thung music that suits their needs.
Copyright (c) 2022 Patcharee Suwantada; Joseph Bowman https://creativecommons.org/licenses/by/4.0