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The Effects of Globalization on the Status of Music in Thai Society

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The Effects of Globalization on the Status of Music in Thai Society The Effects of Globalization on the Status of Music in Thai Society Primrose Maryprasith Thesis submitted for the Degree of Doctor of Philosophy at the University of London Institute of Education 1999 Abstract Globalization tends to be accompanied by two contrary processes: the one a celebration of newly opened international communications, the other, resistance to what is seen as an invasion of foreign culture. This research examines such processes in terms of perceptions of the status of music in Bangkok. The focus is on three main musical categories each of which, if vocal, uses Thai language in its lyrics: Thai classical, Thai country popular and Thai popular music. These musical categories, and the changing relationships between them, are examined in terms of three interconnected areas of perceptions of musical value: the position of music in education, the status of musical careers and the role of music in affirming national identity. Two sets of questionnaires were completed by 100 undergraduate students from 5 universities and 108 secondary-level school music teachers from 108 schools; and interviews were held with 10 respondents from 9 record companies. Whilst the students valued Thai classical music and country popular music as national symbols, they identified themselves with Thai popular music, which has become the main local musical product as a result of the globalization of the music industry. Contrastingly, the teachers understood Thai popular music as a capitulation to foreign culture. They used Thai classical music as the most common extra-curricular activity, but they nonetheless incorporated Thai popular music most often in classrooms. Careers involving Thai classical music were perceived as offering fewer rewards compared to other types of music. Very recently the nationalist campaign following the 1997 economic crisis in Thailand has drawn attention to national cultures, with `modernization' as the key word. This has led to an adapted form of Thai classical music which has been used in official ceremonies. Historically a low ranking career, but a hobby of the upper classes, music has been upgraded to a higher career status and as a hobby, it has become available to a larger proportion of the population. The educational value of music continues to be related to cultural conservation and to the status of music in general. The findings suggest that despite the tension between modernization and conservation, globalization has improved the status of music in education, in career terms and as a symbol of national identity. J Acknowledgements This thesis could never have been completed without a number of helpful people. First of all, I would like to thank those who between them assisted with gathering background information and further information, and introduced me to some of the respondents. These people include Poonwilai Piriyapongrat, Cleopatra Chittaran, Prisana Rattanakuakul and Kaiwan Kulavadhanothai, who also made copies of CDs as illustrative material for my thesis. I am very grateful to all the respondents who answered the questionnaires or participated in the interviews. Thanks are also due to Pensmith School, where I used the office as the collection centre for teacher questionnaires. Finally, last but not least, special thanks to Dr Lucy Green, my supervisor, who gave valuable comments during the process of thesis writing, to my fellow students and tutors in the music department, who always shared their ideas for research studies, and my parents who give me financial support and encouragement throughout my studies in the United Kingdom. 4 Table of Contents Abstract 2 Acknowledgements 3 Preface on Romanization 10 Glossary 11 Chapter 1 Research Area 1.1 The Research Problem and its Background 15 1.2 Aims of the Research 17 1.3 Main Research Questions 18 1.4 Literature Review and Background to the Fieldwork 18 1.5 Originality and Contribution of the Thesis 19 Chapter 2 Theoretical Framework 2.1 Types of Cultural Interaction 20 2.2 Globalization and Transculturation 22 2.3 The Global & Local Nexus 25 2.4 The Effect of Global Music upon the Local Arena 27 2.4.1 Local Popular Music 28 2.4.2 Local Music Identities 29 2.5 Status of Music 32 2.5.1 Music in the Wider Society 34 2.5.2 Music in Education 36 2.6 Music Audiences 39 2.7 Globalization & Music and Music Education in Thailand 41 2.7.1 The Forms of Popular Music in Thailand 41 2.7.2 The Musical Identity of Thailand 43 2.7.3 The Effect of Globalization on Thai Music in the Capital 43 Chapter 3 Music & Music Education in Thailand: A Socio-historical Background and a Contemporary Scene 3.1 Thai Classical Music 47 3.1.1 Music History Before the Bangkok Period 47 3.1.2 Thai Classical Music in the Early Bangkok Period 49 3.1.3 The Golden Age of Thai Classical Music 49 3.1.4 The Dark Age of Thai Classical Music 51 3.1.5 The Revival Period of Thai Classical Music 52 5 3.1.6 The Traditional Style of Music Teaching 54 3.1.7 Beliefs in Supernatural Power 55 3.1.8 "Change": Decay or Development? 57 3.1.9 A Symbol of National Identity 59 3.2 Thai Popular Music 60 3.2.1 Early Western Influence: Introduction and Integration 60 3.2.2 Advent of Thai Popular Music 63 3.2.3. Political Interference and the Arrival of Folk Culture 64 3.2.4 The Split in Thai Popular Music 65 3.2.5 Thai Country Popular Music (Phleng luk-thung) 67 3.2.6 Thai Popular Music (Phleng Thai-sakon) 69 3.3 Western Music in Thailand 73 3.3.1 Western Classical Music 73 3.3.2 Western Popular Music 74 3.4 The Music Industry and Music Education in Bangkok, 1996 76 3.4.1 Music in the Wider Society 76 3.4.1.1 The Music Industry 76 3.4.1.2 Music in Public 82 3.4.1.3 Public Media 87 3.4.2 Music in Education 92 3.4.2.1The National Music Curriculum 93 3.4.2.2 Extra Music Education 96 3.5 Summary 97 Chapter 4 Methodology 4.1 Observation and Documentation 98 4.2 Pilot Studies 98 4.3 Main Data Collection 99 4.3.1 Undergraduate Students 100 4.3.2 School Music Teachers 102 4.3.3 Record Company Staff Members 107 4.4 Data Analysis & Presentation 109 Chapter 5 Music in the Wider Society 5.1 Attitudes Towards Each Type of Music 110 5.1.1 Thai Classical Music (Phleng Thai-derm) 110 5.1.2 Thai Country Popular Music (Phleng Luk-thung) 115 5.1.3 Thai Popular Music (Phleng Thai-sakon) 119 5.1.4 Western Popular Music (Phleng Sakon) 124 6 5.1.5 Western Classical Music (Phleng Classic) 128 5.1.6 Comparison of Music Preferences 131 5.1.7 The Musical Identity of Thailand 135 5.2 Teachers' Perspectives on Music in the Wider Society 137 5.3 Summary 140 Chapter 6 Music in education 6.1 Music in the School Curriculum 146 6.1.1 Music in Classrooms 146 6.1.2 Types of Music for Class Teaching 149 6.1.3 Attitudes Towards Music in Classrooms 154 6.2 Music Outside the School Curriculum 160 6.2.1 Extra-curricular Activities 160 6.2.2 Extra Music Tuition 162 6.2.3 Music in Higher Education 166 6.3 Evaluation of Music in Education: Teachers' Perspectives 167 6.3.1 Teachers' Perspectives on Music Education 167 6.3.2 Teachers' Opinions about the Music Curriculum 174 6.4 Additional Opinions: Teachers' Requests 181 6.5 Summary 183 6.5.1 Music in the Classroom 183 6.5.2 Extra-curricular Activity and Extra Music Tuition 184 6.5.3 Music in Education and its Future 185 6.5.4 The Effect of Globalization on Music Education 185 Chapter 7 The Music Business and Careers in Bangkok 7.1 The Music Business in Thailand during its Peak 188 7.1.1 The Changing Role of the Media 188 7.1.2 The Growth of the Market 190 7.1.3 The Development of the Music Business 191 7.2 The Improving Status of Musicians 192 7.3 Summary of Music's Status Before the Economic Crisis 204 7.4 Further Information in 1998 206 7.4.1 "Amazing Thailand" & Patriotism in Music 206 7.4.2 Thai Classical Music and Modernization 209 7.4.3 The Music Business 211 7.4.4 Music Careers and Education 213 7.5 Summary 215 7 Chapter 8 Final Conclusion 8.1 Effects of Globalization on Music in Thailand: from Past to Present 217 8.2 Status and Value of Music 220 8.3 Findings and Implications 223 Bibliography 225 Appendices 235 Appendix I Research questionnaires Questionnaire for undergraduate students 236 Questionnaire for lower-secondary school music teachers 242 Questionnaire in the semi-structured interview for record company staff members 248 Appendix II Pilot study 250 Appendix III Music provided on the compact diskette 270 Illustrative Material A compact diskette providing samples of Thai music is at the back cover of the thesis 8 List of Tables 2.1 The effect of globalization on Thai music 44 3.1 Music on radio stations (Bangkok, September 1996) 88 3.2 Number of weekly music programmes broadcast on public television 91 ("Media TV guide" August 96) 4.1 Quantity of questionnaire respondents in each university 101 4.2 Numbers of teachers and their specialization 103 4.3 Numbers and percentages of teachers who completed the questionnaires 104 4.4 Teachers and their teaching experience 105 4.5 Subjects of interviews 108 5.1 Thai classical music (Thai-derm): students' preferences & prejudices 112 5.2 Thai country popular music (luk-thung): students' preferences & prejudices 116 5.3 Thai popular music (Thai-sakon): students' preferences & prejudices 120 5.4 Western popular music (sakon): students' preferences & prejudices 126 5.5 Western classical music (classic): students' preferences & prejudices 130 5.6 Students' reasons for choosing the best representation of Thai music 136 5.7 Types of music and their association 144 6.1 Comparison of the quantity of use of types of music in classrooms 150
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