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Chapter 1 Introduction
1 lack of direction at the national level to support the industry. Recording Industry
Despite “Dasar dan Strategi Pembangunan Industri Muzik Association of
Negara” under “Dasar Industri Kreatif Negara”, there is no Malaysia (RIM)
champion ministry responsible for overall direction and November 2016
implementation of initiatives
2. All pupils in Malaysia have the opportunity to learn at least one
hour per week of music lessons formally through singing
activities, playing recorder and some easy percussion
instruments (Abdullah, 2007).
Developing Malaysian High
School
Marching Bands
Issues, Challenges and
Strategies
Competition in music helps generate student interest, stimulate (Shahanum Mohamad Shah
higher achievement levels, measure achievement in comparison Zaharul Lailiddin
to peers, and to prepare students for the real world (Austin, Saidon,2012)
1990).
3 Experiments were done by UNESCO states that appropriate art The Contribution of
activities not only offer children a better artistic development but Arts Education to
also enhance their appreciation of arts (Iwai). Children’s Lives
by Kaori Iwai
The main objective of the Malaysian music curriculum is for Implementation of Music
in Government Preschools
generations of pupils to learn to appreciate nature’s beauty in Malaysia:
through creative performance, use and recycled materials Music Activities, Teachers’
creatively, express motion creatively and, value cultural heritage Perceptions and Teachers’
(Chan & Shyan, 2010). Self-Efficacy
Chan Cheong Jan* and
Kwan Shwu Shyan,2010

Malaysian pupils have an extra option or chance to develop their THE ROLES OF THE
interest other than academic main subject in schools this allow MALAYSIAN GOVERNMENT
students having an appreciation of music, songs, and dances of
AND PRIVATE SECTORS IN
Malaysian culture as well (John, 2003).
THE DEVELOPMENT OF
MUSIC EDUCATION (JOHN
LAH BOH
 YONG,2003(PG43)

Future direction of music education.

This report is published by UKM Press for
Department of Higher Education, Ministry of Higher Education Malaysia.

the study looked into the current status of music programmes offered in the seven public
universities, issues relating to the development of music programmes and related issues such as
curriculum development, learning outcomes and assessment in music, human resource, learning
resources, creative works and research evelopment, management and quality assurance in tertiary
music education.

music will enter a competitive global market which is information driven, technologically driven,
mass-mediated and increasingly multicultural. With the continuous advancement of new
technologies and media, music graduates must be equipped with multiple knowledge and skills in
the

music discipline for competent performance in their tasks.

necessary for music academicians to review and identify the directions that music education in the
country needs to take and the important knowledge and skills that musicians need to be equipped
with.

current and future musicians and music educators need to generate creative and innovative ideas to
fulfill society demands. Education needs to help shape culture and the direction society moves.
Programmes offered at the tertiary level should enable graduates to take their place in the
international music market.

The development of music however, whether in the education sector or the industry, continues to
be hampered by many factors

music not being considered by university management to be a priority

perception of many that music does not require thinking but just feeling, that music is not a field of
knowledge but is just entertainment.
the arts have always been considered as a frill and not a necessity such as the sciences

The overemphasis on science and technology has in fact, further relegated music’s presence in
tertiary education to the sidelines

music as a science can, not only improve the perception of many on the importance of music and
lead to greater support for music, it can also rightly confirm the status of music in tertiary education
and as a field of knowledge.

Diminishing 减少 government or private funding is also adding considerable

pressure on many music institutions
This additional pressure leads to rising student-staff ratios and insufficient resources and
infrastructure for music training

Purchasing and maintaining musical instruments as well as instrumental study are the main reasons
music programmes cost more than other programmes.

to reduce costs, universities have opted to no longer offer private instrumental study, reduce the
instrumental study time to half of what it was, require students to pay for their instrumental study,
or offer group instrumental study instead.
The lack of interest in music and the performing arts has resulted in the devaluing of arts and
subsequently, the lack of performing opportunities and performing venues.

This has also affected music education in the primary and secondary school level which directly
affects tertiary music education as music education should be a continuous process

The inadequate music education in primary and secondary school has caused the lack of knowledge
and relevant skills of secondary school leavers which in turn causes entry problems to universities.

Basically the music curriculum in most universities (international and local), depending on the type
of specialization and emphasis, comprise courses which focus on core skills and knowledge in
music (applied instrumental/vocal music, performing skills in ensembles); general study of music
fundamentals (music history, theory, aural skills) and other courses which make up the electives or
minor in music (music technology, conducting, pedagogy/methods courses, etc).

Music graduates need to be equipped with necessary skills in order to compete in the market.
Whether these skills are highly specialised or a blend of various skills, in either case, students must
be totally aware of the market niche within which they wish to operate (Vella 2007)

Information gathered via the Employability Survey indicate that the most important attributes and
abilities needed by a graduate depends on the actual position the employee is holding. For
performance oriented positions, the major attributes identified are performance skills, be it in solo
and ensemble/orchestral playing, the ability to appreciate and perform all genres of music, and
music reading abilities. Other skill include the ability to arrange music, and business and
production aspects. Professionalism is also expected in terms of inter- and intra-personal skills,
proficiency of the English language, computer skills and research skills.

As indictated by the responses and summarized by Vella (2007), the music industry today needs
graduates who “not only have traditional performance training skills but also have creative skills,
improvisation skills, the ability to play different genres, analytical and pattern recognition skills, are
able to use appropriate contemporary technologies, have studio recording skills, management,
business and communications skills, collaboration and team work skills, and problem-solving
strategies”

Hence, music education must incorporate various aspects of specialization as well as to emphasise
on artistic expression and communication skills. Music graduates need to be equipped with critical,
analytical and creative skills to meet the challenges of the industry and academic demands which
need to be reflected in the main focus of the course of studies.

Teaching and learning of music

master-apprentice model at conservatoriums continues to be used in the training of musicians

shift towards Student Centred Learning which indicates a shift from teaching to learning; learning
how to learn and lifelong learning will need new delivery methods to be introduced in the
classroom. Otherwise, the cycle of inadequate education will continue from generation to
generation. Changes in the structure of the delivery system is needed starting with changes in how
music students learn their courses in university. While teaching methods such as lecturing and
demonstrating are appropriate for the early level of knowledge comprehension, higher levels of
skill such as organizing and characterizing (in affective domain) and the analysis, synthesis and
evaluation (in cognitive domain)

should incorporate much more creative and reactive teaching methods such as hands-on practical
problem-solving studies, discussion for synthesis of ideas, and critical analysis of cases. Music
should be studied in a more integrative manner, for example, where students learn music history,
theory and performance of music of various of cultures around the world in context with each
other.

Recommendation curriculum
programmes offered should not only emphasise the specific area of specialization but also ensure
the development of a multiskilled musician in terms of musicianship, creative thinking, personal
skills and entrepeneurship to meet the challenges of the industry. The curriculum should always be
kept relevant.

to promote the musics of Malaysia, the curriculum should also emphasise Malaysian music. In
addition, a unique and profound form of Malaysian music education should be created to fullfil our
own cultural and educational purposes. As is evident, international musicians have changed their
direction of study to Asian music since the 18 century. By combining the western and Malaysian
th

educational systems, a meaningful music education system can be developed to contribute to what
is truly needed by the young generations in a wider global sense

Depending on the area of specialization, industrial attachment/practical training period should be

extended for students to get more experience.

Where possible, training conducted in international music institutions would be beneficial to

students
Soft skills in relation to professionalism needs to be emphasised. Related skills such as computer
skills, research skills, music assessment skills are also important.

development of technology needs to be included in the curriculum either as a separate course or

absorbed within a course. The fast changing pace of technology also requires universities to keep
up with the latest developments.

emphasis on performance based courses, whether solo or ensemble, is required to enhance the
students’ experiences. With more experience, music graduates can compete for places in orchestras.

Educational goals
The following are some music educational goals which can be considered:
1. To train and provide musicians and other personnel who are creative, innovative and
knowledgeable to serve the society and meet the needs of the various sectors of the music and
performing arts industry.
2. To produce professionals who are creative, innovative and analytical.
3. To provide specialist knowledge and understanding in the development of creative skills in
musical expression and communication.
4. To enable students to develop effective problem-solving skills within different learning
situations, and create an environment which encourages expressive, analytical and creative
exploration of ideas as well as the acquisition of evaluative skills.
5. To foster the ability to work efficiently and apply acquired skills at the appropriate level within a
relevant context, consistent with the broad spectrum of employment within the music industry.
6. To equip graduates with research strategies and independent learning for continued academic and
professional development in the promotion of life-long learning.
7. To foster aesthetic, artistic and cultural sensibilities.
8. To provide interdisciplinary experiences that foster a broad understanding of the performing arts
in the social context.

Entry requirement
Certain universities are facing the problem of student numbers as potential candidates do not want
to sit for the Sijil Tinggi Pelajaran Malaysia (STPM) examination in order to enter a local
public university. Hence, these universities lose out on candidates who opt to go to private
institutions. Some degree of flexibility should be considered to allow these candidates entry in the
music programmes. One consideration to overcome this problem is to allow for a minimum
qualification of the Sijil Pelajaran Malaysia with a few years experience in lieu of STPM for entry
into the undergraduate degrees.

Recommendations
1. It must be noted that the standard number of students in a music institutions is comparatively
small compared to other disciplines. This is because the nature of the program that requires heavy
and diverse mode of practical instruction which cover one to one instruction, small ensemble,
large ensemble, practical based class, and lab based class. In the case of the United States, for
example, the NASM has set 25 as the minimum total number for one institution that offers
undergraduate and postgraduate programs and 15 for institution that offers postgraduate program
only

2. Relevant measures should be taken to improve the general music education in school and to
provide more opportunities for specialized music training to children at their young age. Due to the
serious and evident lacking of pre tertiary music education as well as the social environment in
Malaysia, candidates that come with adequate readiness in musical skills and knowledge to pursue
a tertiary music program are extremely limited.

3. Candidates who are applying to study music in Candidates who are applying to study music in
IPTA should be briefed well about the various specializations that are available in the field of
music, and, the focus and emphasis of different music institutions. Efforts should be made to
facilitate the candidates so that they apply to the music programs that are in accordance with their
aspiration and suitable to their musical readiness. The application process must be made more
transparent
and students’ will must be respected to the best in order to minimise difficulties in their studies
later.

Recommendations
6.1 The Way Forward
Malaysia is a country with many opportunities; this may be seen from various aspects including
education. The number of students who are eligible for enrolment into the university increases
steadily each year; not to mention the number of foreign students which has also increased
exponentially. This has inevitably resulted in an increase in the number of public and private
institutions of higher learning to cater for the demand.

The music faculties in the Malaysian universities need to be clear in its vision. There ought to be
uniformity in terms of the mission and need in order to produce graduates that are versatile and
well-rounded, fulfilling the aspirations of both the graduates themselves and the industry. In view
of this, there need to be a structured policy and vision so that the music faculties in Malaysia is seen
as having a strong foundation, is of high standard and appeals to a wider market on the global front.
The following are summaries of recommendations presented in the preceding chapters:

1. Profile of Musicians
The changing profile of the 21 century musician needs to be addressed. Students need to be
st

equipped for life in a global society and for work in a global economy. As such, students have to be
provided with the necessary skills for a sustainable career path in the music industry. Constructive
pedagogy needs to be more highly utilized to produce the desired graduates. To address the issue of
musicians who can appreciate and play different genres of music, students should not be taught
musical genres in silo and students should be allowed to experience and understand these different
genres.

2. Promoting the Musics of Malaysia

Tertiary music education needs to play its role in preserving and promoting the identity of the
nation’s music. A Malaysian music curriculum that focuses on both traditional and indigenous
musics of all ethnic groups within Malaysia will help create sustainability for the various cultural
groups. This can in turn create local music graduates who are more aware and sensitive of
Malaysian music. This can also indirectly attract foreign students to learn and share these music in
addition to what they already
know of their own music.

3. Boosting the Nation’s Economy

In the era of globalization, Malaysian traditional music can be introduced in a contemporary
context to attract modern day music consumers’ needs while at the same time, preserving and
promoting Malaysian music. This could lead to an influx of interest in Malaysian music which can
directly
boost the Malaysian music industry.

4. Institutional Links
Malaysian public universities offering music programmes need to develop cooperative links and
greater support not only between public institutions but also between private institutions as this will
lead to increased awareness and understanding of the differences between tertiary music curricula
across Malaysian institutions which is critical to preserving the sustainable diversity of Malaysian
tertiary music programmes into the future. Niche areas in music for each university is potentially
another way to preserve sustainability.

5. Human Resource
In the face of the challenges faced by music departments and faculties in Malaysian public
universities to hire qualified music lecturers in certain areas of expertise, the Ministry of Higher
Education Malaysia can play a role in solving the problem by holding discussions with various
bodies
such as the Malaysian Philharmonic Orchestra or the National Symphony Orchestra for their
musicians to be affiliated with these departments and faculties as lecturers.

Another issue relating to academic staff is the possible need for retraining in order for lecturers to
be multiskilled and able to keep abreast with current needs.

6. Infrastructure
The Ministry of Higher Education Malaysia can again assist by holding discussions with various
bodies such as the Petronas Philharmonic Hall, Istana Budaya, Dewan Bandaraya Kuala Lumpur,
the Kuala Lumpur Performing Arts Centre, and the Actors Studio to hold music activities
especially where such facilities are not available in a particular institution.

7. Continuous Music Education

The Ministry of Higher Education, the Ministry of Education and the Ministry of Information,
Culture and Heritage need to join forces in developing a plan which will see a continuous process
in music education from pre-school through tertiary education in order to develop a cultured and
well-rounded citizen. This will also assist in improving the quality of candidates entering tertiary
music programmes which will then improve the quality of music and musicians in the nation.

8. Funding for Music Research and Creative Works

At present, funding for research at HEPs is drawn from the same single pool where researchers are
expected to apply or bid for funding from these sources. However, this has been a problem for
research in music. Music is a very highly technical subject and the way research is being conducted
from a musical perspective is very different. It is suggested that a panel of experts in music be
appointed to specifically evaluate research proposals in music.

9. New Research Areas

New research areas need to capitalize on the interdisciplinary and crossdisciplinary nature of music.
To help realize the the nation’s economic policy, research and development in music and the
sciences can play a very big role. Research potentials can be seen in the technological aspects (e.g.,
music technology, sound design, acoustics, instrument making, software development), medical
aspects (music therapy), educational aspects and of course the creative arts industry itself. A further
study to investigate the feasibility of such studies would be recommended.

If music is understood as an art and a science, music’s potential to lock into the nation’s agenda and
knowledge economy can be met.

Developing high school marching band

Shahanum Mohamad Shah Zaharul Lailiddin Saidon

Although the Ministry of Education, Malaysia and other organizations have made consistent efforts to organize competitions as
an avenue for bands to showcase their abilities, many issues have arisen due to the nature of the competition.

The system in use then appeared to discourage creativity in performance and hence the development of bands in line with current
trends of marching show bands and drum corps

Beach (cited in Austin, 1990) felt that the goal of competition was “not to win a prize but to pace one
another on the road to excellence” and advocated using competition as a tool of educational
progress.
Competition in music is also thought to help generate student interest, stimulate higher achievement levels,
measure
achievement in comparison to peers, and to prepare students for the real world
(Austin, 1990).

Rogers (1985) conducted a study:

study found that principals view marching band contests as a way to improve public relations for their schools
band directors were found to perceive marching band contests as a way for students to gain personal benefit in
terms of self-discipline, responsibility and pride.

results of the study also show that band directors rated the musical benefits of marching band competitions
lower than principals.

Another study on attitudes of band directors towards band competitions was conducted by Banister (1992).:
Results from her survey show that band directors whose band participated in marching band and concert band
competitions had a more positive outlook towards marching band competitions compared to those directors who
participate solely in concert band contests.

Results of the study also show that band director believed participation in band competition improves students’
musicianship, builds character, and helps to sustain a successful and viable instrumental music program.

Yahl (2009) conducted a study to determine the attitudes of high school band directors and students regarding the
Ohio Music Education Association (OMEA) Large Group Adjudicated Events.:

Based on the data gathered from the survey, Yahl concluded that both directors and students agreed that Large
Group Adjudicated Events are an important part of high school band programs.

Both directors and students agree that making music and receiving comments from adjudicators are of higher
importance than the ratings earned at a contest.

marching band was first introduced in Malaysia during the British colonial period

marching band is a co-curricular activity in schools which have the necessary means to establish and maintain a
band
There has been increased interest in marching bands due to the participation of various schools in marching band
competitions.

Efforts have been made by the Ministry of Education, Malaysia to organize annual band
competitions.

In these competitions, the format has typically been for each band to Compete first at the country’s state
level and subsequently upon winning, to represent their state at the national level marching band
competition. Judges are appointed from the various music fraternities at both the state and national level. However,
this system does not allow the best bands in the country to compete even though a particular band might be better
than a winning band from another state.

The Ministry of Education, Malaysia and other organizations have made consistent efforts to organize band
competitions as an avenue for bands to showcase their abilities

system in use then appeared to discourage creativity in performance and hence the development of bands in line
with current trends of marching show bands and drum corps

The questionnaire included an open-ended question in which respondents were requested to provide their own
suggestions for the development of bands. The summary of responses is given below:

Equal opportunity should be given to all bands in the country, be it from government, government-aided or private
schools to enter band competitions. There are several private schools with good bands that cannot enter band
competitions due to the conditions set by the Ministry of Education, Malaysia.

. The band is a uniformed body that needs high capital to establish and maintain. Many premier schools and day
schools have bands that are immobile due to financial constraints and limited musical instruments. The system of
sharing pitched percussion instruments among schools as practiced in Indonesia could be implemented in Malaysia
and this can encourage knowledge sharing.
3. International judges should be brought in to judge the competitions.
4. Band competitions should be established at the primary school levels to create feeders for secondary school
bands.
5. A strong management system is necessary to organize band competitions.
6. Bands should be categorized into divisions to give opportunities to inexperienced and young bands to compete.
The categorization of divisions should be based on the size of the band and the number and type of instruments or
sections available.
7. Judges need to have wide experience in their respective areas of judging and should have been coaches or have
had direct experience in performances and activities related to the band.
8. Participation at the national level should be open to institutions of higher education, uniformed bodies, or
statutory bodies to raise the level of performance and competition to be at par with that at the international level.
9. Media exposure is needed to attract attention and interest in bands and for general support. In view of the effort,
time and cost involved in preparing a band for competition, it is discouraging to see only a handful of Malaysians
who are able to witness the events.
10. Prizes should consider the time, cost and effort put into preparing for competition.
11. Bands that achieve international standing should be given the opportunity to participate in international
performances, competitions, festivals or workshops for international exposure.

Mr. Rashid bin Mean and Datuk Zulkifli Ishak identified the following issues and challenges in developing
marching bands and organizing band competitions:
1. Lack of funding.
Organising national and international level band competitions and related events (eg. Judges college) require large
amounts of funding. However, getting sponsorship for such activities is not easy. Previous sponsors of the band
competitions are withdrawing their funding while most companies are only willing to donate in the form of in-kind
sponsorship rather than in monetory form.
2. Acceptance of local judges.
Despite having a group of certified local judges and the availability of certified judges from Indonesia, Thailand
and the Philippines, most band directors and managers are more confident with judges from Europe and the United
States of America. As such, there is a need to develop the band directors’ and managers’
confidence in local judges. In addition, inviting international judges will incur higher cost, which
will then increase the budget needed to organize
band competitions.
3. Setbacks of the DCE judging system.
The DCE philosophy and system, which encourages the freedom for creativity and innovative ideas, has its
setbacks. Bands with strong financial support will have the advantage over bands with less support in terms of
instruments, props, uniforms, and training. As a result, bands with limited funding may shy away from
participating in competitions. With the contemporary Drum Corps showconcept, expensive costumes, hand props
(flags, rifles, sabers etc), hiring the music and design staff will require more funds to stage a performance.

Malaysia has very few good music arrangers, visual designers and instructors for bands. The desire to win
competitions has prompted elite bands to hire foreign experts particularly from Indonesia and Thailand to design
programs as well as to train their band members. While this exercise of importing experts may be considered a
good strategy, it should be taken only as a short-term solution. There needs to be a systematic plan to train the
locals for this purpose in the near future.

As the new judging system requires the same set of judges to adjudicate at all the different zones during
preliminary rounds, this will not only incur additional cost but also create difficulty for judges who hold full time
positions
at their respective places of employment.

4. Support from the Ministry of Education, Malaysia, school authorities and

parents.
Many band managers and instructors lament on the issue of not getting enough support from the Ministry of
Education, Malaysia, school administrators, teachers, and parents in order to successfully maintain and sustain their
bands.
Malaysians in general are very much an exam-orientated society whereby studying and achieving good
examination results are more important than co-curriculum activities. Music activities are often perceived as
unimportant as it
deviates students’ focus on examinations. As such, more understanding and support for band
activities is greatly needed. Financial support is also important for the purchase and maintenance of instruments.

More needs to be done to develop not only bands in Malaysia, but also the knowledge and expertise of band
members, band directors, band managers and judges.

DCE judging system, if the philosophy behind the system is understood, bands should look at the outcome of
competitions as a mechanism to strive for greater achievement not only in terms of musical skills and knowledge,
but also in terms of self-discipline, responsibility, pride, and character building (Banister, 1992; Rogers, 1985).
Does school band kill creativity by Michael Patrick wall (2018)
Robinson defines creativity as “the process of having originalideas that have value”

schools discourage children from taking chances and effectively educate children out of
their inherent creative abilities.

Robinson argues that schools should not prioritize math and English over art, music, drama,
and dance in order to give students who may excel in learning in the arts a chance to
explore their talents and creativity.

Pamela Burnard, a music education and creativity researcher, defines creativity as “the
process ofgenerating ideas that are novel in a particular context and bringing into
existence a product that is appropriate and of high quality.”

In schools, music is often seen as a creative counterbalance to the prevalence of

standardized testing and the emphasis on quantification. However, this is not always the
case. While there are many wonderful and creative arts programs, there are some that are
product driven, as in band programs with an overreliance on competitions and
performances.

Many of these types of traditional instrumental music programs focus primarily on method
books and leave little, if any, room for creative work

Teaching is one of the only professions where we “apprentice” for our job (by being
students) for sixteen or more years before we assume the role full-time.

Daniel Isbell, a professor and researcher in music education, suggests that students begin
to identify
with music teacher roles while still in high school.

many students “enter teacher education programs certain there is very little to think about,
discuss, or challenge throughout their preservice education.

They generally rely on their experience as students in band to inform their understanding
of teaching school band and may be resistant to reflection and the idea of changing the
way school bands are structured and function. Their experience in band has gone beyond
training to conditioning.

They know what their experience was, so they think they can predict exactly what to
expect when they assume the role of teacher. Later, when in the classroom, “teachers
typically base their curricula on their own goals and the way they were taught.”

Furthermore, they may not be able to envision any other way of being in band; alternatives
do not occur to them. In short, this is the way band goes

The traditional model of band involves a teacher-centered classroom where the band
director is in charge and makes all the major decisions

The director creates the seating arrangement for the ensemble, selects the performance
literature, decides on musical interpretations, and makes many other decisions unilaterally
that affect the ensemble.
The director may meet with the ensemble only once or twice a week and may be lucky to
see students for lessons two or three times a month because of tests, assemblies, trips,
and other interruptions to class. This may leave little, if any, time for students to engage in
creative endeavors, such as improvisation, composition, or other music-making activities.

Randall Everett Allsup of Teachers College, Columbia University, refers to this master–
apprentice model of music teaching as a closed form and argues that this model is steeped
in tradition, is hierarchical and canonical, and privileges a powerful or talented few.

Contrasting with this are open forms, which are flexible, embrace change and creation,
involve uncertainty and risk, and are generally student-driven

In the traditional, closed-form model, leadership, obedience, and products are prized above
all else, as is the “spirit of American competitiveness, efficiency, exceptionalism, and
means-ends pragmatism.”

Students were routinely late, and rehearsals ran into or through homeroom, so students
very often missed important announcements or information. I did not meet with students
nearly as often as I would have liked because of nonmusical school obligations, tests that I
was forced to administer or assist, and other
school-sanctioned disruptions to learning.

I have taught in districts where band was highly competitive and the district curriculum
revolved around the “drill-and-kill” study of method books. Creative activities, such as
improvisation, composition, and electronic music-making, were heavily frowned upon.

Although there are multiple paradigms for music learning, many educators agree with
researchers, such as Christopher Azzara of the Eastman School of Music, who think of music
learning and expression as analogous to language.

In this scenario, beginning instrumental music students first make utterances, then listen to
more advanced players and copy what they hear until they themselves are able to speak
the language.

Students in traditional band programs might spend the majority, if not the entirety, of their
experience reading music that someone else wrote. This is not unlike sitting in English class
and reading works by various authors. However, in English class, students are asked to
write essays supporting or critiquing ideas, drawing parallels between themes, generating
new interpretations of literature, and so on. Students in English class may also be asked to
speak extemporaneously or take a stance on a topic being studied in class and offer their
opinion.

How often, if ever, are band students asked to “write” or “speak extemporaneously” in
class? Students are asked to read music but in most cases are never asked to explore what
they have read or to transform it into something new.

Often there are no opportunities for students to compose or improvise. Playing in a

traditional concert band becomes reduced to correctly executing musical interpretations
decided on by the band director and successfully navigating a mandated list of lesson
books. This autocratic way of teaching is not reflected in any other school subject.

In this relationship, researchers such as Brazilian educator and philosopher Paolo Freire
would argue that
the students are the oppressed and the teachers the oppressors

The students have no agency and are merely passive recipients of whatever “knowledge”
the teacher imparts upon them. Students here are not active participants in their learning.

Educational philosopher and author Maxine Greene suggests that it is “an honor and a
responsibility to be a teacher in such dark times—and to imagine, and to act on what we
imagine,what we believe ought at last to be.”

David A. Williams of the University of South Florida suggests that there are two commonly
held beliefs that hold back music education—that schools must include traditional
ensembles and that anything else is an “add-on,” “not the serious music-making business
found in the band and choir.”

When introducing students to chamber ensembles, teachers could have students research
the pieces they are performing and create program notes and oral introductions of the
pieces to inform the audience

Teachers and students can have both traditional and nontraditional ensembles.
Students want to play in rock bands and in the wind ensemble.

Teachers could offer students a songwriting club and have students compose popular
music. This setting requires a fluid student– teacher relationship, since the teacher acts
more like a music producer and less like a band director.

Students and teachers are each invited to contribute as well as explore. Allsup suggests
that this is
when teachers are at their best—when they are on the edge of knowing and
unknowing, learning and unlearning.
Lori Custodero of Teachers College, Columbia University, suggests that music teachers
“who ask why a student may be performing in a certain way will be developing tools for
their own understanding of what it means to musically educate.”

When engaging students in creative activities, teachers would need to include space for
silence as ideas germinate and develop, and then allow students to explore their
musicality, have discussions, and get frustrated.

For example, if rehearsing Robert W. Smith’s “The Great Locomotive Chase,” a teacher may
ask a percus
sion class, “What can we do to make the snare drum really sound like a moving train?” The
teacher should then allow space for silence as students consider options and let them try
out different sticking patterns or accents without comment.

Becoming comfortable with classroom silence allows students space to think or experiment
without the feeling of needing to answer immediately

The role of the teacher shifts from the all powerful band director and holder of all
knowledge to the wise music teacher, coach, and guru who is responsive to students’
learning needs and who can help students develop a more comprehensive understanding of
music and themselves as musicians.

Teachers can move between Allsup’s open and closed forms in the classroom—directing
when
necessary and also providing space for exploration—and blend old and new ways of
teaching.
that music education has become disconnected from the prevailing culture and that too
many teachers try to turn schools into museums by desperately trying to protect the things
they love.

Look into successful programs and examples, such as Laura Sindberg’s (of the University of
Minnesota) Comprehensive Musicianship through Performance and David Williams’s iPad
ensemble at the University of South Florida

Traditions can be wonderful things, but blindly following traditions and traditional ways
without question can lead to stagnation, boredom, and ultimately inferior musical
experiences for teachers and students. Imagine a new way. Try something different.
Embrace new traditions.

Music educator journal.

Economic impact of the Malaysian music industry report has been
prepared for the Recording Industry Association of Malaysia (“RIM”)

Perceived lack of overall national strategy and direction specific to music

Stakeholders perceive a lack of direction at the national level to support the industry. Despite
“Dasar dan
Strategi Pembangunan Industri Muzik Negara” under “Dasar Industri Kreatif Negara”, there is no
champion ministry responsible for overall direction and implementation of initiatives. Instead,
there are several ministries and Government agencies involved in driving the growth of the
music industry through different competencies. Consequently, this may lead to information
disconnect, resulting in lower impact and limited effectiveness.

Economic downturn
In recent years, the amount of sponsorship for live music events from public and corporate
organisations have deteriorated due to uncertainties in the global economy. Live music events
typically depend on sponsorship to offset the significant costs of organising and running a
concert. Due to deteriorating sponsorship, spending on music events has been scaled down, in
particular marketing and promotion.

For live music events featuring international artists, a high percentage of the costs goes to
securing the artist (usually about 50% of total costs of organising the event). This international
artist fees has increased considerably in recent years because of the weakening Ringgit, leading
to a gradual shift from Malaysia to Singapore and other countries as a location for the artist
performance tour.

Uncertain financial support from the Government

No programme currently in place to provide financial assistance exclusively to the music
industry. From
2012 to 2014, RM200 million of funding for the creative industries was disbursed through Dasar
Industri Kreatif Negara (DIKN), of which RM6.5 million was specifically for the music industry.
However, since 2014, there has been no programme to serve the same purpose, with no
information
on future programmes for funding.

Funds available from Content Malaysia Pitching Centre (CMPC), but there has been a low number
of fund receivers.

Funding from Ministry of Tourism and Culture (MOTAC) is principally granted for events with
substantial cultural elements, but not for music festivals or live music events in general.

The music industry requires innovation and new talent to continue driving the local music industry.
Hence, generating sufficient interest among the young generation and providing adequate avenues
to develop relevant skills are fundamental to the future of the music industry.
• Review and revise restrictions imposed on higher education music instructors vis-à-
visprohibition on part-time employment in music performance.
• Strengthen support for effective schemes that assist apprenticeships in the music industry and
collaboration with schools, colleges and universities to provide relevant information and tools to
develop careers in the music industry.

A conducive ecosystem and adequate supporting infrastructure is needed to enable the continued
growth of the core and associated music industries.
• Review current mandate for the Creative Content Association Malaysia (CCAM) and include
music as one of the key focus areas of the organisation. CCAM may look into functions undertaken
by KOCCA in South Korea. KOCCA’s roles include advancing industry through production support,
global expansion strategies and training for content creators.
• Build more infrastructure appropriate for the different requirements of live music events,
including varying audience capacity.
• Adopt strategies to cultivate a vibrant music economy within the local community, such as the
‘Music City’ concept. A successful Music City will leverage on various components in the industry
such as artists and musicians, music-related businesses, spaces and facilities for music and
receptive audience.

There are issues and challenges in the music

industry impeding growth
Besides lack of awareness of copyright infringement, the Malaysian music industry has issues and
challenges impeding further growth. For example, the general public perception that international
content is superior to local content. A key challenge is the perceived lack of overall national strategy
and direction for the music industry, with no single champion ministry driving growth. In the live
music sector, there have been inconsistent rulings on event approval. The talent development
industry has restrictions in existing labour laws that are unconducive to higher education music
instructors.
The music industry is hindered by a lack of appropriately sized and equipped venues for live music
events. The issue of inadequate talent management is partly related to the economic downturn and
funding constraints. This has also led to lower spending on sponsorship, marketing and promotion.
While the Government has provided financial support for the music industry, in some cases it is
irregular, and future support is uncertain. Certain companies are not aware of available
financial support, highlighting ineffective dissemination of information.

Nevertheless, there are opportunities for the growth

and development of the Malaysian music industry
New consumer trends and changing demand patterns create both challenges and opportunities for
further development of the music industry. This ought to be done by leveraging strengths, and
improving existing structures and systems in place.
The Malaysian music industry is relatively competitive in the live music sector, especially in terms
of the cost of venues as compared to other countries such as Singapore. However, the industry
needs to resolve inconsistencies in the approval process. There is also a gap to be addressed in
terms of venues for live music events.
Current Government financial support for effective existing programmes should be maintained.
Distribution channels for public funds could be streamlined, and information should be effectively
disseminated to relevant stakeholders. To this end, it would be prudent to have strong strategic
direction at the national level to support the long-term development of the music industry.
For talent development, there is a need to review restrictions on part-time employment in music
performance. In addition, efforts should be taken to educate the public on responsible music
consumption, and reinforce existing regulations to combat end-user music piracy.