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Making Music in Malaysian Schools

IKS 2011 Presentation

Ramona tahir

on 4 July 2011

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Transcript of Making Music in Malaysian Schools

Making Music in Malaysian Schools Ramona Mohd Tahir
Department of Music Education
Faculty of Music
Universiti Teknologi MARA (UiTM)
Shah Alam, Selangor, MALAYSIA Some Challenges in Malaysian music education

Some efforts to overcome these challenges

Kodály in Malaysia/A Seminar on the Kodály Method Main Topics Some Background Music education as two entities – public and private
Music as a subject in all primary schools – 1983
Music available as an examinable subject for MCE (O levels) in secondary schools – 1996
Music in the Sekolah Seni (Arts Schools)
Music as curriculum, music as co-curriculum CHALLENGES Main Challenge: MISPERCEPTIONS! Misperception 1 Music is just entertainment Misperception 2
Music is not knowledge Misperception 3
Musicians are not smart Misperception 4
Music is prohibited in Islam Efforts Effort 1: Center for Music Advocacy, UiTM Formed in 2008
Mission: To provide information and resources that will bring about increased support and recognition of the values of music and music education in Malaysia.
Public lectures
Research Effort 2: MAME Malaysian Association for Music Education
Formerly launched in 2002 by HRH the King of Malaysia during the 1st Malaysian Music Education conference
To increase awareness of the importance of music education towards producing a musically-knowledgable Malaysia Effort 3: MusEd Malaysian Music Education Conference
Consolidated effort by UiTM, UPM and UPSI to improve the situation of music education in Malaysia
First conference in 2002 - MusEd’02
Next year MusEd’12 – 15-17 February 2012 hosted by 7 universities Effort 4: ISME2006 Purpose was to jumpstart music education in Malaysia
Comprised of conference, conference concerts and fringe concerts, and exhibition
4000 international/local conference delegates and performers/musicians
Jointly organized by UiTM, Ministry of Education, Ministry of Higher Education, Ministry of Culture, Ministry of Federal Territories, Yamaha Music Malaysia, etc Effort 5: Active Involvement in MOE Agencies Schools Division
Co Curricular & Arts Division (BKK)
Curriculum Development Division (BPK)
Examinations Syndicate (LPK)
Sekolah Seni (Arts School)
Residential Scools & Schools of Excellence Management Division (BPSBPSK)
Teacher Education Division (BPG)
Etc Effort 6: MUSPAN Music Panel
Think tank for music education, education in music issues and developments
Formation initiated by several concerned music educators in 2010
Panel comprises of representative music educators from all (7) Malaysian public universities offering music Effort 7: Kodály in Malaysia Aspects may be used in Malaysian schools, but not explicitly recognized as Kodály
Included as content material in music teacher training program, but not explicitly mentioned in school music curriculum or teaching materials
Championed by The Young Choral Academy through Susanna Saw.
Jumpstarted through the Seminar on the Kodály Method jointly organized in 2009 by UiTM’s Faculty of Music and The Young Choral Academy in collaboration with the International Kodály Society. A Seminar on the Kodály Method June 1-6, 2009, Shah Alam, Selangor, Malaysia
Organized by the Young Choral Academy and UiTM’s Faculty of Music
219 Participants (school music teachers, private music teachers, students, university lecturers)
Gilbert de Greeve, Jerry Jaccard, Anne Laskey,
James Cuskelly, Judith Johnson, Judit Hartyányi Title:
Malaysian Music Teachers and Practitioners’
Attitudes Toward the Application of the Kodály
Method in the Teaching and Learning of music
Out of a total of 219 participants who attended
the seminar, only 147 questionnaires were
successfully matched between Section One and
Two (beginning and end of seminar). Method:
The expectancy-value model of motivational theory by Eccles & Wigfield (1988) was adopted.

Survey questionnaires were constructed based on the various teaching methodologies of the Kodály Method such as musicianship, choral singing, conducting, pedagogy, and technical aspects of the method.

Seven-point Likert scales with different motivational constructs of the expectancy-value theory such as importance, usefulness, enjoyment, and interest in implementing the method in their work were used for each section of the questionnaire. Results
a. Participants in this seminar had positive attitudes toward the
contents of the seminar – as demonstrated by means and total
mean scores of each seminar content area having received
ratings of at least 5.78 out of 7 points.
b. Consistently high ratings for the importance construct
demonstrate participants’ acknowledgment of the value of the
Kodály method in teaching music in Malaysia.
c. Perception of the importance of the contents of the Kodály
Seminar among the participants is further illustrated through the
high ratings by three of the four occupational groups (lecturers,
school music teachers, and private music teachers) for the
importance construct for methodology/pedagogy and the average
total means for musicianship being the highest rated (M = 6.35).
d. Participants’ responses also indicate that they found contents of
the seminar (i.e. pieces learned during the seminar and choir
singing) to be enjoyable and interesting. Conclusion
Participants at the 1st Kodály seminar in Malaysia perceived contents of the seminar and the Kodály method/concept to be important, useful, enjoyable, and interesting.
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