The maintenance of Central Thai cultural identity through hybrid music genres

Thailand has experienced rapid industrialisation, modernisation and cultural changesince the mid-nineteenth century. Many Western cultural forms have been adopted intoThai life, including Western popular music. An external view of these processes andtheir results might suggest that Thailand has become quite ‘Western’. However, closeranalysis reveals that elements of foreign cultures have long been adopted and adaptedinto Thai culture, and used as social capital to build an image of modernity andcosmopolitan sophistication.One of the adaptations made has been the fusion of Western genres with Thaiones, to form new hybrid styles of music. One hybrid genre that has developed largelyover the past half century is Dontri Thai Prayuk (‘modernised Thai music’), whichfuses aspects of Western pop with elements of Central Thai classical music. As thispaper demonstrates, clear patterns emerge in the way Thai musicians have maintainedmarkers of Thai identity and fused them with Western elements that signifymodernisation.Motivations behind this deliberate fusion of Thai and Western elements areexplained by the theories of ‘musical accommodation’ and ‘acts of identity’ – thatmusicians will converge with or diverge from other music-cultures in order to gainapproval or assert a separate identity, in ways that deliberately change the underlyingrules of the source musics to form a new identity. Analysis of Dontri Thai Prayukfusion music shows that it has changed the underlying rules of Thai classical andWestern popular music to display a music-cultural identity that is Thai, yet modern.

Jazz cats unmasked : revealing tales/tails of jazz education, musicians and teachers

New Zealand jazz education has come of age in the last 30 years.  The presence of a jazz curriculum in schools and universities has reflected students' desire to study this vernacular music and an adherence to international shifts in music education.  Yet, the Jazz genre commands the least market share in terms of record sales and concert attendance worldwide.  Now often described as America's true 'classical music', the cogent questions would seem to be 'why jazz', 'why now' and 'why here'?  This book explores these questions through the narrative of two New Zealand-born jazz educators who have made considerable contributions in post-secondary settigns.  It takes a critical look at their musical lives, and the influence that experience, context  and self-perception has ontheir teaching philosophies.  Stripping back the layers created by predominant binaries of musician/educator, glocal/global, history/genealogy, formal/informal and generalist/specialist, thsi book makes liberal use of a range of  arts-informed methodologies to unmask the main actors in jazz education adding to the ongoing broader international discussion of future directions of the art.

Allure (elegant piano solo)

An elegant piano solo.

Arpeggio magic (piano and timpani)

Just over a minute long this piano arpeggio plays out a joyful melody and dramatic timpani, cymbals and vocal pads assist the journey.

In the heat of the moment: audience real time response to live music and dance performance

Coughing and Clapping: Investigating Audience Experience explores the processes and experiences of attending live music events from the initial decision to attend through to audience responses and memories of a performance after it has happened. The book brings together international researchers who consider the experience of being an audience member from a range of theoretical and empirical perspectives. Whether enjoying a drink at a jazz gig, tweeting at a pop concert or suppressing a cough at a classical recital, audience experience is affected by motivation, performance quality, social atmosphere and group and personal identity. Drawing on the implications of these experiences and attitudes, the authors consider the question of what makes an audience, and argue convincingly for the practical and academic value of that question.

Inspired by the past, driven by the passion: music in state-supported education in New South Wales and Victoria 1848-1920

This investigation considers the development of class music teaching in New South Wales and Victoria during the first seventy-two years of state-supported primary education. The first chapter describes the English background including music teaching methods (resulting from the mid-nineteenth century English choral singing movement) and the subsequent development of music teaching in English elementary schools. The promotion of school music is then considered on a broadly chronological basis in the two states and several themes are identified in relation to school music policy and practice. These include the status of music (core curriculum or extra-curricular subject), who should teach music (generalist or specialist teachers), what teaching methods and music notation should be used (staff or Tonic Sol-fa), musical training for generalist teachers, and curriculum content in relation to the aims and objectives of school music. Comparisons are made between developments in both states and between both states and English school music. The final chapter demonstrates the relevance of many of the historical themes identified for music education today. The thesis concludes by identifying a recurring problem from the past. namely the lack of co-ordination between various aspects of school music policy, as the most serious problem to be overcome in the future.

Learning, linking and participating : transmitting African music in Australian schools

Considered in this paper is the concept of "change"for practising teachers who are teaching and learning African music in Melbourne, Australia. African music and culture is seen as an effective way for these teachers to experience a cross-cultural odyssey through both social and situated learning. This chapter reports on a music project where teachers perceived African music to be an effective way to leam link and participate with a new music and culture. The chapter summarises pertinent findings relating to why and how teachers are engaging with African music.

Kivy on justifying music in liberal education

Within analytical aesthetic circles, Peter Kivy is best known for re-igniting the debate inaugurated by Eduard Hanslick over the issue of whether or not music of the purely instrumental or absolute kind can be said to express a content, and, if so, whether or not listeners' emotional responses to it bear any relation to that content. Kivy's particular contribution countenances the possibility of interpreting the appearance of a musical work as expressive - be it the percussive Allegro barbara [1911] by Bela Bartok or the lyrical Adagio for Strings {1936] by Samuel Barber - without having to presume that music itself, being non-sentient by nature, possesses any emotional, subjective state.  This short essay, however, will critically examine a rather neglected facet of Kivy's prolific writings. In a relatively recent attempt to justify the place of purely instrumental music in liberal education without drawing upon the above-mentioned notion of expressiveness, Kivy reconceptualizes the matter in a manner that significantly shifts us from the dominant epistemological arena of debate. No longer are we to dispute the place of music within the terms set by the highly influential forms-of-knowledge approach revived by P.H. Hirst a generation ago and currently under revision by Jim McKenzie in terms of forms of argumentative discourse. But before first surveying and then critically assessing Kivy's proposal, perhaps we should briefly remind ourselves of the contrasting frame of reference associated with Hirst.

Teachers reactions to outcomes-based music education in South African primary schools

This article examines the reactions of specialist music teachers to the introduction of Outcomes-Based Education (OBE) in South Africa. OBE has been seen in post-apartheid South Africa as a way to transform education and address the imbalances of the past. The study reported here used questionnaires to explore attitudes of teachers at independent schools in Johannesburg in the first year of implementing OBE. Analysis of data revealed both positive and negative attitudes as well as the strong need for teachers professional development if OBE is to succeed.

Learners' perceptions about the relationship between music education and generic skills development : a case study within the Australian higher education sector

A major issue emerging from the research and debate concerning quality in higher education has been an emphasis on the value of the acquisition of generic skills by undergraduate students, as indicators of quality in education. Music educators have long recognised the contribution music makes to the general education of learners. Learning in and through music can present varied and complex means for the acquisition of generic life skills such as: problem solving, decision-making, critical thinking, oral and written communication and teamwork. This paper documents one particular course of action that was implemented within a university undergraduate primary teacher education program, to systematically gauge learner perceptions about generic skill development/enhancement before and after participation in the music component of the core arts education subject.

Mapping music education in Australia

Music education research in Australia has grown almost exponentially over the past 25 years. Particularly in the area of doctoral research studies, there has been a substantial increase in the number of theses completed from two in 1977 to 72 in 2002. In addition, there have been increases in professional research undertaken by university academics, in the number of nationally competitive research grants being awarded by the Australian Research Council and other research funding agencies, and in commissioned research studies. This article reviews the various types of music education research being undertaken in Australia and also discusses the dissemination of the findings of research through articles in national and international scholarly journals and papers presented at local and international conferences. One of the conclusions drawn is that Australian music education has ‘come of age’ in terms of both the quantity and the quality of its national research profile.