Title: Music Education in : An Overview

Author(s): Johami Abdullah

Source: Abdullah, J. (1990, Winter). Music : An overview. The Quarterly, 1(4), pp. 44-53. (Reprinted with permission in Visions of Research in Music Education, 16(1), Summer, 2010). Retrieved from http://www-usr.rider.edu/~vrme/

It is with pleasure that we inaugurate the reprint of the entire seven volumes of The Quarterly Journal of Music Teaching and Learning. The journal began in 1990 as The Quarterly. In 1992, with volume 3, the name changed to The Quarterly Journal of Music Teaching and Learning and continued until 1997. The journal contained articles on issues that were timely when they appeared and are now important for their historical relevance. For many authors, it was their first major publication. Visions of Research in Music Education will publish facsimiles of each issue as it originally appeared. Each article will be a separate pdf file. Jason D. Vodicka has accepted my invitation to serve as guest editor for the reprint project and will compose a new editorial to introduce each volume. Chad Keilman is the production manager. I express deepest thanks to Richard Colwell for granting VRME permission to re-publish The Quarterly in online format. He has graciously prepared an introduction to the reprint series.

Music Education in Malaysia: An Overview

By Johami Abdullah Specialist Teachers Training College

Abstract: This article acquaints Ameri- of Malaysian life, including education, law, can music educators with the general medicine, civil administration, and politics. status of music education in Malaysia,' a Such British endeavors have been success- fast-developing Southeast Asian coun- ful in keeping a sizeable portion of Malay- try. Most of Malaysian music education sians tied psychologically to the United remains strongly influenced by the Kingdom, although this situation is slowly colonial legacy of the British, but many changing. These older , quite changes are occurring as more and understandably, have been apprehensive, more Malaysian music educators wary, and even pejorative of approaches and trained in America and elsewhere ideas that are not perceived to be from begin to update the formal music England. Non-English ideas on music education process. education have also been considered inferior, unsuitable, or without standards. For people alaysiais a nation involved in find- who think along these lines, England remains ing its own culture and traditions the Mecca of music education. Mafter over 400 years of varying Expectations of music educators have also degrees of European influence and domina- been influenced by perceptions of British tion. Known as Malaya prior to its independ- traditions, and music education has seldom ence in 1957, this fast-growing Indonesian been considered a specialized subdiscipline country includes in its population a number of music study. Many believe that anyone of distinct ethnic subcultures as well as the who has acquired some formal qualifications majority indigenous Malaysians, and each in Western music, and can playa standard group traditionally has provided schools at Western instrument in the classical tradition, various levels. Yet, although there is a long is fully qualified as a music educator. Even and rich tradition of education in Malaysia, practicing music educators do not regard as formal music education in the Malaysian important the knowledge of subdisciplines schools is a fairly recent development. such as music psychology, musicology, Some of the reasons for this may be found music therapy, and ethnomusicology. in our recent history. The chief function of Formal music education became a compul- education during the British rule was to sory subject in all elementary schools in provide a work force of English-speaking Malaysia only in 1983-some 26 years after locals to fill submanagerial and other super- independence from the British. Much of the visory posts in both the public and private curricular content in these courses is based sectors. Thus, a balanced education with an on the colonial British system of education, equal emphasis in the arts and the sciences or at least patterned along similar ideas. was not traditionally a concern of the Unfortunately, Malaysian traditional music Malaysian schools. Moreover, the Malaysian and the music of other non-European populace was systematically indoctrinated cultures receive inconsequential attention, with the notion that English ideas were even in the present curriculum. second to none in many important spheres Music has yet to enter the formal curricu-

44 Tbe Quarterly lum in Malaysian high schools and universi- cultures were excluded, as were research ties, where it is treated only as an educa- procedures in music study. Some of these tional frill. Also, issues in music education teachers went on to acquire music-teaching like "utilitarian function" and "aesthetic certificates, which were primarily geared education," which have been debated and toward individualized teaching of European discussed in the United States, are unknown art music and not for teaching music in in Malaysia.' schools. The aforesaid, however, in no way Overseas Training for Malaysian means that such pedagogically oriented Music Educators subjects were not available for study at British universities. It is simply that, among The Malaysian government, especially Malaysians studying music in Britain, the under the leadership of our present prime main focus leaned towards performance minister, began in the late 1970s to counter rather than other areas. Malaysian overdependence on Britain. To diversify educational exposure for Malaysians Music Education in Colonial Times in all fields, the government began sending Malaysia attained independence on August students to study in countries such as the 31, 1957, after having been under varying de- United States, Japan, Korea, Germany, and grees of colonial dominion, influence, or rule India. Selected music educators in the by several European maritime powers since government service were offered scholar- 1511: Portugal, the Netherlands, the United ships to study music education at the post- Kingdom, and Japan. The British first secondary level in the United States. Several established formal public schools in Malaya of music educators in Malaysia have earned during the early part of the nineteenth masters degrees from American universities century. The English language was the noted for quality music education programs medium of instruction in these public like Northwestern University, Indiana Univer- schools. The chief function of education sity, and the University of Iowa. during the British era, as mentioned earlier, Earlier, all significant music educators in was to equip the Malayan civil service with Malaysia had been trained in England in a English-speaking locals primarily to serve performance-oriented system of music study British political and economic interests. at music conservatories. These Malaysians The Free School, established by were rigorously trained for a period of about the British in 1816, was the first public four years to sing or to playa classical school in Malaya. Musical activities, if any, instrument to required proficiency levels. "in these early English schools were on a This musical training was coupled with the very modest scale and in the form of singing usual ensemble requirements, ear training, English folk and/or light classical songs, sight singing, Western music theory, and usually outside the formal curriculum. Any European music history. Diploma-level such activity very often depended on degrees in music were then earned from whether any member of the staff played the prestigious music schools like the Royal piano or had any other formal musical College of Music, the Trinity College of background.'? These musical activities were Music, or the Birmingham School of Music. then presented at some auspicious school The focus of this system of musical educa- event such as the Speech Day, the Annual tion was, of course, on exacting standards of Sports Day, or at an official visit of a digni- performance. Pedagogical concerns in music tary. This utilitarian tradition of music education like curriculum development, remains strong in almost all educational teaching methods and strategies, music institutions and official ceremonies. psychology, evaluation procedures, and Music was seldom taught for its own sake. foundations of music education appear to If any musical activity were conducted in the have received little or no focus. Also, music classroom, it was often part of the language appreciation courses covering ethnic music program in the earlier grades; children sang and the music of non-European musical standard nursery rhymes and folk songs in

Volume 1, Number 4 45 the English language. It was not uncommon made up of the indigenous Malay races, with to include some accompanying movement or the Chinese and the Indians constituting the fingerplay activities in efforts to dramatize the other two major "minority" groups.' lyrical content of the songs. Educators felt The vernacular schools of colonial times that these musical activities helped the were attended mostly by the children of the children to acquire a better "feel" of the lower socioeconomic classes, who usually English language and reduced the degree of sought employment after six years of primary stress and unfamiliarity usually associated education. Very few were able to attend the with the process of learning a new or foreign urban English schools to continue their language. Many of the larger urban schools education through the high school level, and included some additional measure of music the educational elitism almost always associ- in extracurricular activities such as marching ated with the English schools by the local bands, recorder ensembles, and choirs using inhabitants caused many to believe that the British musical literature. When the Japanese vernacular schools were inferior. occupied Malaya 0941-1945), they promoted Music education in the colonial vernacular the singing of folk songs as a method of schools was quite different from that in the assisting students to learn the Japanese British schools. In many Malay and Tamil language, but this occupation left no observ- schools, traditional and religious songs were able impact on Malaysian music education. sung, as were other songs containing moral- Music education in Malaya after World War oriented lyrics. Monophonic singing was II improved to a degree. At school assem- carried out in association with the language blies, children sang the school song, the arts or religious programs, but there were respective state anthems, and "God Save The few opportunities for public performance. Queen." Musical activities were still mostly Malay schools of colonial times had lessons vocal with the modest addition of children's in Qu'ranic recitation coupled with the percussion instruments. Children also singing of the nasyid (the generic Malay term listened to school broadcasts of music for Islamic religious songs). Such activities, lessons over the radio station, Radio Malaya. were never termed "music" nor thought of as During this time, the larger and better such, because the term "music" usually equipped English schools often organized evokes a secular association in the traditional choirs and marching bands that helped to Malay Muslim's mind. (In Malaysia, every distinguish them as "exceptional." Military Malay is also a Muslim, and thus the two band personnel, mostly retired, instructed words were often used synonymously.) and drilled the British-style marching bands The late and noted ethnomusicologist Lois in such schools. This is still a prevalent Ibsen al Faruqi has described Qu'ranic practice, as Malaysian music educators are recitation as cantillation combined with not yet trained in marching-band techniques. "improvised monophonic melody and Christian missionary schools in Malaysia also parlando rubato durational texture.'? In any placed a strong emphasis on European-style case, sufficient musical elements exist in choral singing and continue their strong Qu'ranic recitation and nasyid for them to be traditions and leadership in this field. considered musical activities. Thus, some Vernacular Schools forms of musical activity existed in Malay schools, but they were limited in nature and In addition to the prestigious British scope. As in the English schools, no "formal" schools, three other types of primary schools music programs existed. were also available during the colonial In the Chinese schools, there was much period: the Malay, Chinese, and Indian more vocal activity, coupled with a fair (Tamil) schools. In each, the medium of measure of small-scale instrumental music instruction was the respective vernacular making. Music reading was combined with tongue; consequently, they are called ver- the Cheve system of musical notation that nacular schools. About 58 percent of the combines numbers and certain symbols. current Malaysian population of 17 million is Solfege singing was an integral part of music

46 The Quarterly programs in Chinese schools. These two ized instruction in European classical music. trends probably paralleled developments in Today, the piano has become the most mainland China and Taiwan-at that time a popular classical instrument in Malaysia. A common practice of the Chinese community 1983 estimate by piano teachers "puts the in Malaya. These Chinese schools placed figure of between 5,000 and 10,000 students greater emphasis on singing (though not who sit for the Associated Board of the Royal necessarily in the European bel canto style) Schools of Music (ABRSM,London) external than most of the other vernacular schools. examinations for the piano each year."? The Chinese community was very supportive Probably as many or more sit for music of these schools, both morally and finan- theory examinations which are conducted, cially, and such support allowed many of the supervised, and evaluated by ABRSMperson- Chinese schools to organize prestigious and nel in Malaysia and England. The rudiments costly choirs and marching bands. This of western musical notation, theory, and tradition continues in many Chinese schools. literature from about the time of Bach and Today, these vernacular schools exist at the Beethoven constitute the main content of the primary level but have been very much ABRSMsyllabus, which is sequentially homogenized and integrated under the graded for children from grade I to grade 8; purview of the Ministry of Education. Song children usually study about eight years to books containing Chinese lyrics and the achieve a grade 8 certificate. Some rudimen- Cheve system of musical notation are readily tary ear training and sight reading is also available to the general public, thereby done in this system. The highest qualifica- bearing continued testimony to the success tion that may be acquired locally after grade of the sight singing music programs in the 8 is the licentiate diploma from the ABRSM. Chinese schools. The ABRSMqualifications, which are highly In the 70s, English was removed as the prized and respected in Malaysia, are ac- medium of instruction and the Malay lan- quired mostly through private study that is guage, Bahasa Malaysia, which is also our offered by literally thousands of ABRSM- national language, became the norm at trained music teachers and hundreds of nearly all levels of Malaysian education. private music "schools" in the country. For However, English is still taught as a compul- many, particularly women, private music sory second language in all educational instruction is a lucrative vocation. institutions, and Malaysians who are conver- The ABRSMsystem has produced a share sant in the English language are looked up to of positive influence in Malaysia. It has kept and are much sought after for employment in some Malaysians continually acquainted with many fields, particularly in the private sector. and highly appreciative of European classical Private Music Instruction music and increased the number of classical piano players in this country. A few have Personal instruction at the piano and other gone on to excel in music studies overseas European musical instruments has been and have "become successful classical available outside the public schools since the musicians in Europe and the United States." beginning of this century. In the early 1900s, The ABRSMinfluence has also brought musicians from India and the Philippines about a significant negative influence. who were trained in Western musical nota- Because of the high costs involved, this tion and theory were brought to Malaysia to system of music education has almost always boost the manpower needed for military- excluded children from the rural population styled marching bands that were being and most of those from the lower socioeco- formed in Malaya by the British." These nomic classes. It has also encouraged a bands were used in the ceremonial functions conservative and narrow musical outlook, in for which the British are very well known. It that some ABRSM-trained Malaysians tend to is believed that these imported musicians, view all music worth knowing as a homoge- particularly those from Goa, initiated the neous, monolithic, European structure. tradition of providing private and individual-

Volume 1, Number 4 47 The ABRSM influence has also brought The current Malaysian national philosophy about another significant negative result for for education aspires to produce citizens some Malaysian parents who aspire to the who are not only well-educated, united, point of obsession to obtain ABRSM certifi- patriotic, and progressive in their thinking, cates for their children. This parental but who also possess good morals and a firm pressure, coupled with the rigorous training, belief in the Almighty." Music education in competitive testing, and narrow scope of the Malaysian public schools has been patterned ABRSM system of musical study, may have to support these and other ancillary goals. "turned off" many musically inclined and Through improved music education, it is talented children. This much-undesired anticipated that students will make wiser use outcome can also be attributed to the fact of their leisure time and become better able that many key concepts in music education to enjoy music both now and in the future. like creativity, improvisation, and other It is also expected that musical potential in student-centered activities are considered the young will be detected early, and that unimportant in the present ABRSM system. participation in musical activities will provide Many Malaysians do not seem to realize that children with another healthy avenue for the ABRSM approach to music education their creativity and enjoyment. Music is also may not be totally suited to the contempo- expected to enhance students' academic rary Malaysian context, for the ABRSM performance in other subjects through the system essentially functions with rationales inclusion of some interdisciplinary material in and objectives that are designed to perpetu- the music program. Thus music serves a ate only European classical music traditions. utilitarian purpose in Malaysian education. Other music examinations with certification The main vehicle for the delivery of formal have also been conducted locally by private music education in Malaysian public schools music schools, primarily for the organ and continues to be the vocal medium. "Rote the guitar. Most of these local music schools before note" is the rule rather than the and establishments are peripheral develop- exception through grade 3. Some effort is ments of highly successful marketing strate- made to acquaint children with musical gies employed by international corporations notation from grades 4 through 6, but this to boost the sale of musical instruments such has met with only minimal success. Some- as pianos and electronic organs for the times students play the recorder and percus- home. Although the motives of these sion instruments. Performance opportunities schools may prove to be suspect, in all arise mainly through annual interschool fairness they have demonstrated more competitions at the district and state levels or interest in innovative teaching strategies and during an important school event. Student approaches than can be found in the ABRSM achievement in music is evaluated with school of thought. The musical content in cognitive tests and other cumulative assess- this system includes popular music and jazz ments throughout the six years of primary and has therefore successfully attracted an education, but these scores are not taken into appreciable number of students, including consideration when the student's overall those from middle-class homes. academic progress is determined. Curricular Content in Malaysian At the secondary level, music education is Schools Since 1983 not compulsory but is offered as an elective at two of the national-level examinations Content and methods in education are which all Malaysians take in the ninth and closely tied to national aspirations, ideology, eleventh years of schooling. The syllabi for and philosophy. Music education was these examinations are patterned along the introduced as a regular subject in the primary lines of the ABRSM content, with some traces schools' curriculum in 1983. The goals and of Malaysian traditional music added on to objectives for music education at this embry- the music appreciation areas. The syllabi for onic stage are based on what the govern- these examinations are centrally regulated ment, in consultation with Malaysian educa- and prepared by the Ministry of Education. tors, deems beneficial for the people."

48 Tbe Quarterly Basic Music Teacher Education in the early 70s and then studied music From 1957, when Malaysia attained inde- education at Northwestern University in pendence from the British, music was Evanston, Illinois, where he earned his M.A. introduced in teacher training institutions as in 1977. Thus, he also became the first a self-enrichment program. All student Malaysian music educator to study music teachers were required to sing and play the education in the United States. recorder as well as to learn the rudiments of Major curricular changes in teacher educa- traditional Western music theory. tion were made in 1988, when keyboard Beginning in the early 1960s, student skills, music appreciation, music pedagogy, teachers were trained to teach music at the and music history were added to the existing Maktab Perguruan Lembah Pantai (Lembah areas in the teacher-training program in the Pantai Teachers' College) in the capital city colleges. This writer sat on the Ministry's of Kuala Lumpur, although music was still committee to revise the music syllabus for not included in the formal curriculum of teacher-education colleges in February 1988. public schools. The content of this new There was some disagreement about the course was a slightly modified form of the changes, particularly from music lecturers self-enrichment program first introduced in trained in the ABRSMsystem, and another teacher training institutions in 1957. In committee continued work on the syllabus in addition to basic singing, recorder, and May 1989. The final syllabus is a version of theory, there was also some choral work the original syllabus of February 1988, in included. During this period, an Englishman, which the new areas are retained, as there Harold Ashcroft, was quite prominent in seemed no convincing reason to remove Malaysian music education. Many of them. It appears that the new areas are here Ashcroft's students speak of the passion and to stay, and the curricular innovations made love that he had for music-European in February 1988 will result in a major shift classical music-and the rigorous work that away from the traditional ABRSM-based he required of them. approach to music education in Malaysia. The leaders in music education throughout In Malaysia there are many teachers who the 1970s, however, were all Malaysians may be considered pioneers in the teaching trained in Britain or in the ABRSMschool of of music as a formal subject in the schools. thought. The key figures were Khoo Soon Some had taken music only as an elective Teong, Basil ]ayatilaka, Ranji Knight, and subject in their basic teacher-training pro- Nazri Ahmad. They were centrally involved grams, and others were regular classroom in planning the curricular content for music teachers who could playa musical instru- education programs in the public schools ment and were consequently looked upon as and teacher training colleges through the 70s, music educators by their school principals and may be credited for the earliest attempts and required to teach music in the schools. to include Malaysian music, such as patriotic Together, these teachers played an important and traditional songs, as part of the reper- role in efforts to establish music in the public toire taught in the schools. school curriculum. In 1970, the role of providing basic teacher The rapid increase of the school popula- training for music teachers was taken over by tion is challenging these teachers, as well as the Maktab Perguruan Ilmu Khas in Kuala the teacher training institutions, to keep up Lumpur. The curricular content for the basic with students' needs for music education. music teacher education program remained The school population has more than static until 1980, when guitar study became quadrupled since independence, from compulsory for all student music teachers. 870,362 in 1956 to 3,414,175 in the mid Nazri Ahmad, who headed the Music Depart- 1980s.11 The enrollment of music students ment of the Maktab Perguruan Hum Khas into teacher training colleges has steadily between 1979 and 1987, was largely respon- increased also: In 1980, there were fewer sible for this innovation. He had graduated than 80 music students enrolled in basic from the Royal College of Music in London teacher training. Today, there are about 550.

Volume 1, Number 4 49 This increase has primarily been a conse- ninth and eleventh years of their schooling. quence of music entering the formal primary In the early 1970s, many educators and school curriculum in 1983. parents spoke out against the old curriculum, Specialized Music Teacher which was criticized as being too rigid, too Education academic, and too examination-oriented. After some difficult planning and a number A major development in the history of of recommendations from the Cabinet Malaysian teacher education was the estab- Committee on Education, the New Primary lishment of the Maktab Perguruan Ilmu Khas Schools Curriculum was tested in various in Kuala Lumpur in 1959. This college was Malaysian schools in 1982 and implemented established to train specialized teachers in throughout the country in 1983. various areas such as physical education, art Of note, the new curriculum included education, and special education (counsel- music as a compulsory subject at the primary ing, remedial, teaching the handicapped.. A school level for the first time. The inclusion one-year music education course for certified of music as a regular subject in the New teachers who have had at least five years Primary School Curriculum may be viewed as general teaching experience was added to a crucial milestone in the history of Malay- the program in 1971; teachers must have an sian music education as every school-age ABRSMqualification or other proven musical Malaysian child, irrespective of socioeco- skill to be eligible. Since 1983, another nomic background, now has the opportunity teacher college, the Maktab Perguruan to learn music as a matter of right rather than Perseketuan in Pulau Pinang, has also been of privilege. involved in the task of training both basic and specialist music teachers. Teaching Methods The syllabus for this one-year music Because of a dire shortage of music education course, first designed in 1970, teachers, many general classroom teachers includes singing, music theory, recorder, have been required to teach music since children's percussion ensemble, scoring, 1983. The content for music classes is composition, and music appreciation. In provided to teachers in the form of sequen- 1980, the guitar was introduced as a compul- tial lessons recorded on cassette tapes with sory instrument for all specialist music accompanying text books and work sheets; teacher-trainees. all are prepared, distributed, and regulated An average of 20 specialist music teachers by the Ministry of Education. While this are trained annually at the Maktab Perguran practice helps classroom teachers who are Ilmu Khas. Most of the graduates have untrained in music, those teachers who are served as itinerant music teachers in schools, capable of teaching music find very little music lecturers in teacher-training institu- opportunity to digress from these centrally tions, and as music administrators in state regulated materials. education departments. Thus, the college Thus a significant number of classroom has become known as a leader in Malaysian teachers have seldom done more in music music education. classes than switch on and turn off the Music in the Formal Curriculum cassette player. This is an unfortunate result of an enthusiastic effort to get music into the The growing size of the Malaysian middle curriculum, coupled with inattention to the class and the general well-being of the lack of trained music teachers. To attempt to people in the 1970s signaled the establish- ensure the success of the new music classes, ment of music as a regular subject in the many general classroom teachers attended school curriculum. In 1972, music was music courses lasting from three to four introduced as an elective subject for the weeks each over a period of three years at Lower Certificate of Education and the teacher training colleges throughout the Malaysian Certificate of Education examina- country. About 5,000 such music teachers tions, which are important public examina- were trained between 1982 and 1984 and tions taken by all Malaysian children in the

50 The Quarterly given attendance certificates which brought Because foreign-trained music educators are them very little financial reward or academic working to emphasize it, however, it should recognition. Some of these teachers recog- not be long before musical literacy becomes nized that they had neither musical aptitude accepted as a major goal. nor the inclination to teach music but were Only since 1988 have student music merely following directives of their superiors. teachers been exposed to major approaches Today, many of these teachers still use the to music education like Kodaly and Orff. pedagogical strategies they learned in these They are also being given more exposure to courses, for there has been no significant pedagogical approaches that emphasize effort to provide more complete courses for student-centered activities. them. The musical material first provided by Conclusions the Ministry in 1983 has not been revised or updated. The government and top educational Essentially, music teachers in Malaysia are administrators have always shown positive trained to teach singing with solfege and attitudes towards criticism and change, notation. A typical lesson begins with especially if such criticism came from music breathing exercises and solfege singing. The educators with tertiary qualifications. How- two methods often used to teach a song are ever, such criticism has had to be made the "patterning" method and the "whole" through the proper channels of governmental method. In the former, used in the lower bureaucracy, and sometimes valid ideas and grades, the teacher models a phrase of the suggestions are "shot down" by middle- song repeatedly. Children echo along until ranking supervisors who disagree with inno- the phrase is satisfactorily learned and then vative suggestions. An ad hoc committee move on to the next phrase. This process spearheaded by mostly American-trained' continues until the entire song is learned. In music educators, is now working on the the whole method, the teacher sings (or constitution of the yet-to-be registered plays the piano) through the whole song Malaysian Music Educators Association (MMEA).12 The MMEAaspires to address again and again while the children sing along with increasing familiarity (and volume) until many professional problems in the arena of the song is deemed satisfactorily sung. music education as well as acting as a When the teacher determines that the "watchdog" for the music education profes- children have learned the melodic line, the sion in the country. action literally begins. Teachers are taught Another interesting development in how to make use of action songs (like "Skip Malaysian music education is the fact that an to my Lou"), fingerplay songs (like "Eency increasing number of people are beginning Weency Spider"), and simple rounds and to see the importance of our own folk and canons. Actions and games also dramatize traditional musics." The vast array of the lyrical content of songs. Clapping the Malaysian traditional music extant today, rhythm of the song is a popular interpreta- including the folk and traditional musics of tion of "action," and walking, running, the migrant races, certainly bears ample skipping, or playing games to music are also testimony to the fact that the folk and highly recommended and encouraged. traditional musics of all Malaysians were very Other songs contain texts designed to teach much kept alive throughout the years of children good morals and personal hygiene, colonial dominion in Malaysia. The govern- stressing societal norms and values, and a ment's "Visit Malaysia Year 1990" campaign sense of patriotism. also indirectly revived local interest in Much of the classroom teaching, however, Malaysian traditional music and other tradi- barely skims the cognitive aspects of musical tions. Almost daily, traditional music and learning. This is glaringly apparent in other cultural fare are presented in Kuala Malaysian teaching methods, and the main Lumpur and elsewhere, albeit for the benefit reason lies in the fact that musical literacy is of tourists. Efforts are now underway to not among the stated goals or objectives. include the study of Malaysian traditional

Volume 1, Number 4 51 music in the formal music curriculum for all Rationale for Music Education in Malaysian primary schools. Schools from an Islamic Perspective." Un- It might well be that the many develop- published Independent Project Thesis ments that have occurred in the music C7E:193), School of Music, University of Iowa, education scene in recent years augur well Iowa City. Spring, 1987, 3. for the future of music education in Malaysia. 4. See Fifth Malaysia Plan (1986 - 1990). The tide is certainly changing. However, it Kuala Lumpur: National Printing Depart- appears that solutions to problems pertaining ment, 129. to rationale and pedagogy for music educa- 5. Lois Ibsen Al Faruqi. "The Status of tion would, initially and to a great degree, Music in Muslim Nations: Evidence from the rest primarily on the leadership of foreign- Arab World," Asian Music, XII (1), 1979, 261. trained music educators and in their ability to 6. James S. Chopyak, "Music in Modern interpret realistically and pragmatically Malaysia: A Survey of the Musics Affecting Western ideas from a Malaysian perspective. the Development of Malaysian Popular To succeed, these efforts should respect the Music," Asian Music, XVIII 0), 1986, p. 132. financial constraints, expectations, and 7. Ibid. societal values of Malaysians. 8. Ibid. Many challenges are in store for the entire 9. Johami Abdullah. "Returning Home: A music education community in Malaysia in Malaysian Music Educator Leaves Iowa," the years ahead. A major concern is to get Iowa Music Educator, XLI (1), September music education into all levels of Malaysian 1987, p. 34-35. education, including the tertiary levels. 10. Taken from a speech made by the There may be no drastic change in the Malaysian Minister of Education, at the national educational philosophy, but most national launching ceremony of "Teachers' certainly innovations in teaching strategies, Day" Celebrations at PWTC in Kuala Lumpur objectives, evaluation procedures, ap- on June 8, 1990. proaches and curricular content can be 11. Figures quoted from Federation of expected in the near future. Malaya Annual Report, Kuala Lumpur: Govt. Notes Press, 1936; and Malaysia: Yearbook of Statistics, Kuala Lumpur: Govt. Publications, 1. See N. J. Ryan's The Making of Modern 1984. Malaysia and Singapore, London: Oxford 12. This writer is the chairperson of the ad University Press, 1970, for a comprehensive hoc committee currently working on the history of Malaysia. During the British reign MMEA registration requirements. Most of the prior to September 16, 1963, the Federation other members of this committee are also of Malaysia was generally known as Malaya music lecturers from the Maktab Perguruan and did not include the East Malaysian states Ilmu Khas. MMEA membership will be open of Sabah and Sarawak in Borneo. Malaya to all music educators in Malaysia. was also known as the Federated Malay 13. A symposium on "Malaysian Tradi- States since 1896. tional Music" was organized by the Music 2. Observations of this nature are based Department of the Maktab Perguruan Ilmu upon the personal experiences of this writer Khas between February 23 and 25, 1990, in as an educator in Malaysia since 1960. Other Kuala Lumpur. It was jointly sponsored by observations are based upon informal the Ministry of Education, the Ministry of research on the subject conducted by the Culture and Tourism, and Radio Television writer through interviews and conversations Malaysia. It was attended by music educa- with selected Malaysian educators, both tors from both public and private schools, former and current. As only scant literature academicians from the universities, and exists on the subject at hand, this writer professional musicians and other representa- bears complete responsibility for all such tives from the music industry. Some 400 observations noted. people from all over Malaysia participated in 3. johami Abdullah. "A Philosophy and the symposium. The three papers that were

52 The Quarterly presented at the symposium were related to Acknowledgements Malaysian traditional music and addressed The author wishes to thank his many historical, pedagogical, and curricular colleagues and friends who have patiently perspectives. A two-hour authentic tradi- read through this article. In particular, I tional music performance was presented in thank my immediate superior, Ms. Nik Faizah conjunction with the symposium. This show Mustapha, the principal of the Maktab was recorded and telecast nationally by Perguruan Ilmu Khas, who also read the final Radio Television Malaysia. The symposium's draft of this article and offered some very findings have been sent to the relevant useful suggestions. All their most valued authorities. comments, suggestions, and encouragements have made this modest effort possible. ~

CALL FOR PAPERS The American Orff-Schulwerk Association will sponsor research poster sessions at its 1991 National Conference in San Diego, California, November 13-17,1991. Research reports dealing with any aspect of music learning through movement, speech, singing, playing, improvisation, or composition in general music or music therapy settings would be particu- larly appropriate. A poster presentation format will be utilized, and the author(s) of each accepted paper will be expected to be present at the poster session in order to discuss the project with interested music educators. The author(s) also will be asked to furnish 100 copies of a report summary of two pages or less, as well as 10 copies of the complete report. The following guidelines will be in effect for the paper selection process: 1. Submit seven copies of the completed study and seven copies of a 250-word abstract to: Cindi Wobig, Executive Secretary American Orff-Schulwerk Association P.O. Box 391089 Cleveland, Ohio 44139 Include both a self-addressed, stamped, letter-size envelope and a self-addressed, stamped postcard with the submission. 2. The author's name and institutional affiliation should appear only on a separate cover page for each copy of both the paper abstract. 3. Papers submitted for the conference must be comply with the "Code of Ethics" published in each issue of the Journal of Research in Music Education. 4. Submissions must be postmarked by May 1,1991, and received by May 15, 1991. 5. A qualified group ofjudges will screen the submitted reports, and notification letters will be mailed by June 15, 1991. The abstracts and reports will not be returned.

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