Proceedings of the International Music and Performing Arts Conference
The Proceedings of the International Music and Performing Arts Conference (IMPAC Proceedings) is an annual peer-reviewed open-access publication featuring selected papers presented at the International Music and Performing Arts Conference (IMPAC), organised by the Faculty of Music and Performing Arts, Universiti Pendidikan Sultan Idris (UPSI), Malaysia. The proceedings provide a scholarly platform for interdisciplinary research that critically engages with music, theatre, dance, and other performing arts within local, regional, and global contexts. It reflects current academic discourse in performance studies, ethnomusicology, ethnochoreology, cultural studies, and arts education. Each volume showcases original research contributions that examine contemporary issues, theoretical frameworks, and artistic practices in the performing arts. The proceedings welcome innovative methodologies and diverse perspectives from scholars, practitioners, and cultural researchers committed to advancing the understanding of performance as a site of cultural expression, heritage, and transformation. All submissions undergo a double-blind peer review process to ensure academic integrity and quality. The IMPAC Proceedings follows a gold open access policy, allowing immediate free access to all published content. Each published article is assigned a Digital Object Identifier (DOI) through Crossref, ensuring persistent online accessibility, accurate citation tracking, and metadata integration with global indexing platforms. Metadata for all published papers are deposited with Crossref and synchronised with indexing databases for discoverability and long-term archiving. Published annually by Universiti Pendidikan Sultan Idris (UPSI), the IMPAC Proceedings aims to foster intellectual exchange and contribute to the sustainability, visibility, and global dissemination of performing arts scholarship. Title: Proceedings of the International Music and Performing Arts Conference eISSN: 2773-5745 Publication Frequency: Annually (Continuous publication model from 2026) Publisher: Universiti Pendidikan Sultan Idris (Sultan Idris Education University) Address: 35900 Tanjong Malim, Perak Darul Ridzuan, Malaysia Tel: +605-4506000 Fax: +605-4595169 Website: UPSI Official Website; UPSI Press Official Website E-mail (Publisher): penerbit@upsi.edu.my E-mail (Editor-in-Chief): impacproceedings@upsi.edu.my The Proceedings of the International Music and Performing Arts Conference is currently indexed in Google Scholar, Crossref, Index Copernicus International (ICI), and the Asian Science Citation Index (ASCI).
Universiti Pendidikan Sultan Idris, Malaysia
Authors retain copyright and grant the Proceedings of the International Music and Performing Arts Conference (IMPAC Proceedings) the right of first publication. This licence permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
Technology, Mediation, and Performance Ecologies in Indian Classical Music
The rapid integration of digital technologies has transformed the cultural and aesthetic landscape of Indian Classical Music, creating new forms of mediation between performers, audiences, and pedagogical traditions. This paper, titled Technology, Mediation, and Performance Ecologies in Indian Classical Music, examines how performance practices are being reshaped within digital ecologies that blur the boundaries of liveness, intimacy, and authenticity. The objective of the study is to analyse the impact of technological mediation on the aesthetics, dissemination, and reception of Indian Classical Music while exploring how musicians negotiate the balance between preserving tradition and adapting to emerging digital platforms and audience expectations. Methodologically, the research adopts a qualitative approach that combines ethnographic interviews with musicians, teachers, and connoisseurs alongside content analysis of online concerts, digital pedagogy platforms, and AI-driven tools. Case studies of livestreamed performances, virtual festivals, and online teaching are used to understand how the dynamics of performance are shifting in the digital era. The findings indicate that technology has enabled greater accessibility and global circulation of Indian Classical Music, democratizing engagement across geographical boundaries. Yet, this digital turn has also reconfigured the experiential core of performance, as immediacy and embodied presence are mediated through screens and recording technologies. Performers increasingly adapt to algorithmic visibility, audience interaction in virtual spaces, and new aesthetics suited to online consumption, while questions of authenticity, continuity of guru–shishya pedagogy, and preservation of intangible heritage emerge with renewed urgency.
Indian classical music performance practices
Copyright (c) 2025 Dr. Samidha Vedabala (Author) https://creativecommons.org/licenses/by-nc/4.0
An Observation on Selected Malaysian Western Art Music Organisations’ Audience Development Efforts During Pre- and Post-COVID Era
Faced with financial constraints and sustainability concerns, many organisations implemented adaptive measures following the COVID-19 pandemic, which led to the suspension of live concerts. As live Western art music in Malaysia regains momentum, organisations are building new audience bases and re-engaging prior audiences through creative strategies. Such strategies, namely alternative programming, personnel changes, and expanded artistic horizons, reflect a shift towards aligning with post-pandemic audience interests. This study examined the audience development efforts of four Malaysian Western art music organisations before and after the COVID-19 pandemic. Using an observational approach, data were collected from publicly available online resources. The findings indicate that alternative programming, personnel changes, and expanded artistic horizons played a crucial role in aligning organisational practices with post-pandemic audience interests.
Copyright (c) 2024 Stephen Tseu, Alwin Ru Kiet Wong (Author) https://creativecommons.org/licenses/by-nc/4.0
Where is the Line? Reflections on the Performer’s Creative Space in Contemporary Practices
In contemporary performance practice, the question of where to draw the line between fidelity to the composer and the performer’s creative freedom remains a subject of ongoing debate. Performers face the challenge of balancing the authority of the score with their own artistic instincts, navigating a space shaped by historical traditions, evolving cultural norms, and the expectations of modern performance contexts. While historical recordings and scores offer valuable insights, treating them as unchanging authorities risks reducing performance to passive reenactment. By contrast, artistic creativity rooted in the performer’s co-authorial role, central to nineteenth-century traditions of score recomposition, is often restricted when so-called “correct” standards are prioritised over interpretive individuality. In addition to these challenges, the so-called moral dimension of interpretation is not intrinsic but created through ethical perspective. This raises questions about how performers should engage ethically with works created by others, particularly when tensions arise between historical fidelity and personal artistic agency. At what point does adherence to tradition become a moral imperative, and when might this very fidelity suppress the performer’s “right” to individual expression? By reconceptualising tradition as a living, evolving framework rather than a rigid set of rules, this paper proposes an eclectic approach to performance that engages with the past while embracing the performer’s voice from a contemporary perspective.
Copyright (c) 2024 Óscar Caravaca González (Author) https://creativecommons.org/licenses/by-nc/4.0
This paper focuses on the interdisciplinary nature of art and what helps it blend. Art, as observed, is not singular. Any art form is backed up by elements of other forms. The most overlapping among all the art forms seem to be the visual and performing arts. Whenever a body is performing, the aspects of the same become dominant, yet they cannot exist without the visual stimulation of the audience. Or, if we change places, isn’t any visual art a performance itself? This paper explores how the visual arts blend with the body of performance, leading to a creative space and its relevance and contribution to the development and expansion of the spectrum of arts. The inquiry navigates this confluence, reflecting on how one medium feeds into another, how paint finds motion in the body, and how the body, in turn, becomes a canvas. The lines between performer and artist, between object and subject, between ephemeral and permanent begin to blur, allowing for a space that is expressive, inclusive, and reflective of deeper aesthetic and psychological states. The purpose of this paper is to propose an interdisciplinary approach towards designing a pedagogy to train artists that is inclusive of certain human limitations. How can artists with visual and physical limitations be cultivated? This pedagogy aims to reach every human being who wishes to be an artist or is passionate about it. Through practice-based observations and conceptual analysis, this paper asks: What is the role of gaze in this interplay? Can performance exist without the visual? Can a painting be experienced kinesthetically? If a body holds a visual memory, is it art when recalled in movement? These questions drive the exploration, inviting further dialogue between movement, the body, and art. Ultimately, the paper hopes to provoke thought around the integrated nature of the arts and the necessity of transcending disciplinary boundaries in both art-making, witnessing, and training.
Copyright (c) 2025 Sramana Banerjee (Author) https://creativecommons.org/licenses/by-nc/4.0
Immersive Theatre: Learning and Performance Countering Diffusion of Responsibility
This study aims to explore the impact of transforming immersive experiences into a process that can facilitate social behavioural learning. Learning can occur by observing a behaviour and by observing the consequences of the behaviour. This qualitative research study investigates the impact of vicarious reinforcement in the form of immersive theatre on promoting active bystander intervention in incidents of violence against women. By investigating the relationship between performance, interactivity, and learning, the research examines the active involvement of audiences, emphasising the use of instinctive emotions to create introspective experiences within a dynamic immersive environment. This research investigates how immersive experiences can empower audiences to intervene and prevent violence against women, highlighting the role of collective responsibility in creating a safer and more proactive society.
Copyright (c) 2025 Takreema Aurooj, Deerak Minhaj, Amna Aurooj (Author) https://creativecommons.org/licenses/by-nc/4.0
Pendekatan Aleatorik dalam Penciptaan Komposisi Muzik Moden dan Muzik Klasikal
Tujuan kajian ini adalah untuk mencipta karya komposisi muzik dengan menggunakan pendekatan kaedah penciptaan komposisi muzik yang berbentuk Aleatorik. Kaedah penciptaan ini merupakan sebuah kaedah yang mula digunakan sejak akhir abad ke-15. Kemudian, kaedah Aleatorik ini mula diperkenalkan sebagai salah satu teknik penciptaan karya komposisi muzik yang sering digunakan oleh komposer-komposer terkenal pada abad ke-20 dan sehingga kini. Dalam kaedah Aleatorik ini, berbagai medium yang digunakan didalam penghasilan karya tetapi untuk kajian ini, penggunaan dua butir dadu akan digunakan sebagai medium. Kajian ini juga akan menghasilkan karya komposisi Aleatorik di dalam gabungan gaya muzik Klasikal dan gaya muzik Moden. Karya-karya yang terhasil di dalam kajian ini adalah dengan menggunakan dua butir dadu untuk memilih melodi, tanda nada, tanda masa, pemilihan alat muzik utama dan durasi karya. Karya-karya di dalam kajian ini juga menggabungkan gaya muzik moden dan gaya muzik klasikal. Gabungan kedua gaya muzik ini merupakan konsep sampingan yang menjadi teras di dalam penciptaan karya untuk kajian ini. Kajian ini juga menerangkan tentang proses-proses pengkaryaan yang menggunakan kaedah Aleatorik serta mengenalpasti pendekatan Aleatorik yang sesuai untuk diterapkan kedalam karya komposisi muzik. Implikasi kajian ini, mengelakkan sekatan idea kreativiti seseorang pengkarya didalam penghasilan karya serta memupuk semangat para pengkarya untuk terus mencipta karya yang kreatif dan berinovatif. Abstract The aim of this study is to create a music composition using the Aleatoric method of music composition. This method has been in use since late 15th century. The Aleatoric method was introduced as one of the composition techniques frequently used by renowned composers in the 20th century and continues to be used today. In the Aleatoric method, various mediums are employed in the creation of the composition work, but for this study, the use of two dice will be employed as the medium. The study will also produce an Aleatoric composition combining Classical and Modern music style. The composition in this research uses a pair of dice to choose the melody, time signature, key, highlighted instrument and the duration of the composition. All the composition in this research also combined a modern music style and classical music style. The fusion of these two music style is a central concept in the creation of a work for this study. The study will explain the creative processes using the Aleatoric method and identify the suitable Aleatoric approaches to be able to applied in music composition. The implications of this study include avoiding restriction on the creative ideas of a composer in producing a work and fostering the spirit of creators to continue crafting a creative and innovative works.
Copyright (c) 2024 Farhan Izzudin James Narte, Kamarulzaman Mohamed Karim (Author) https://creativecommons.org/licenses/by/4.0/
Langue and Parole Analysis on Aesthetic Setting of ‘The Last Emperor of Tang Dynasty’ Musical Theatre
A theatrical performance on a large-scale open stage needs a sound visual appearance in all its scenography elements such as the backdrop, costume, lighting and props. Due to its distance between the audience and stage is quite far, strong aesthetic elements with profound symbolic meaning are needed to ease the audience to understand and engage with the story. ‘The last Emperor of Tang Dynasty’ is a musical theatre performed daily in Xi’an recites the historical tragedy between Emperor Xuanzong of Tang and her favourite concubine, Yang Guifei. It is staged at Huaqing Hill, the original site of the ancient palace built in 723rd c. The backdrop includes the actual hill at the back of the stage, a large screen in the middle that displays different montage for different scenes. In front of the stage that acts as the middle stage shows the depth and scale of the castle, whereby the pool in front is also used as a ‘wet’ stage. The wet stage represents the bathing ground for the concubine and sometimes used as water curtain during scene change replacing curtains. In this study, the researcher will analyse the aesthetic elements displayed throughout the show that contain semiotic meanings of langue and parole in its design elements like colours and form. As the theatre performance has limited time to present the details of each character or events, it is vital to represent emotions or scene using impactful visuals to assist audience’s understanding about the story or characters. Thus, this study is made to analyse on how these elements works as the langue and parole to emphasize the two. The combination of langue and parole derived from other cultures had enhanced the storyline and enhanced the audience understanding towards the whole performance. The deviation of meaning from the original context in Chinese culture to universal parole of visual language evident the acceptance of Chinese culture to other visual langue and parole which had elevated the musical theatre to a higher level.
Copyright (c) 2025 Hanisa Hassan, Nerosti Adnan, Muhammad Fazli Taib Saearani, Sun Zenyu (Author) https://creativecommons.org/licenses/by/4.0/
Development of Performing Arts Education Module to Improve Self-Regulation Skills among Students with Exemplars at Guizhou Vocational College, China
Literature reveals students in vocational schools frequently encountered difficulties to develop self-regulation skills that are a crucial factor in achieving academic success and personal growth. This article reports part of a bigger scale study aiming improving self-regulation skills and emotional management among vocational college students through development of a performing arts sustainable development education training module using ‘Design and Development Research’ (DDR) using mixed-research method but only qualitative data collection and analysis (including findings from observation rubric, reflective journal, informal interviews or open-ended responses collected from validated survey questionnaire) are reported in this paper. The key elements of the performing arts education module integrating ASSURE instructional model will be elaborated. The integration of quality educational music therapy (EMT) with teaching methods such as Orff-Schulwerk music therapy (OSMT) and ‘Nordoff-Robbins’ Method of Music Therapy’ (NRMMT) will also be reported. This includes illustration of evidences of improvement in ‘Learning’ (Level 2 of Kirkpatrick’s evaluation model) among vocational students' emotional regulation. Discussions of findings include the positive effects of performing arts education training module on the improvement of students' self-regulations, impulse control, and emotion regulation skills.
performing arts as ‘educational music therapy’ (EMT)
Copyright (c) 2025 Qiao Pan, Ng Khar Thoe, Hou Hui Hui, Luo Jun Jie, Chen Fanying, Ke Xing Fan, Jin Jin, Xing Zhi Guan, Qiao Suying (Author) https://creativecommons.org/licenses/by/4.0/
Idealisation through the Conceptualisation of Traditopia Album: Nukilan Etnografi
Malaysian music has continuously evolved, flourishing locally and globally from both independent and mainstream labels, developing a positive transformation and serving as a platform for artist reflection and musical perspectives. It has become a well-known musical identity, showcasing musical nuances that blend the idea of modernisation and preserving culture. On the contrary, language and cultural practices may be a challenge for international listeners, making it daunting to connect or fully understand and appreciate the music. This disadvantage may interfere with the aptitude for cross-cultural recognition. The Traditopia album positions itself within this continuum, demonstrating how modernisation preserves and reshapes cultural identity through an insightful approach from the project director, shaping the direction of musical nuances in nine original tracks. Traditopia examines the conceptual framework of Nukilan Etnografi, an innovative Malaysian music project that combines traditional Malaysian, western classical, and jazz elements to highlight the country’s cultural diversity, with the purpose of affirming the belief that modernisation need not erase tradition; instead, it can provide a platform for traditional sounds to resonate within a broader, contemporary context within the performing arts. This study reviews the objectives of the creative intentions behind the project, focusing on how the compositional works reflect the director’s vision. Drawing on literature reviews and primary sources, the research reveals that Traditopia serves as both a tribute to traditional Malaysian sounds and a reinterpretation of these sounds through a modern lens, intended to bridge traditional and contemporary musical forms.
Siti Nur Hajarul Aswad Shakeeb Arsalaan Bajunid
Copyright (c) 2025 Siti Nur Hajarul Aswad Shakeeb Arsalaan Bajunid, Rizal Ezuan Zulkifly Tony (Author) https://creativecommons.org/licenses/by/4.0/
Contemporary Echoes of Chinese Quyi: A Study of Audience Development and Identity Construction among University Students
This research explores the manners in which the Chinese performing art of Quyi attracts and developments its audience base of university students in contemporary society. A further aim is to determine the construction of identity that is realised in the process. By linking the relevance of Quyi to the identity construction of university students, this study reveals the significant role of this art as part of the identity of the said target group. The students’ acceptance and cognition of Quyi are studied in depth, and its characteristics and needs are clarified. Based on this foundation, it continues to explore the innovation and development of Quyi in contemporary times, as well as the ways in which the construction of identity is formed through strategies such as campus activities, social media, and interactive experiences. Through case studies, targeted transmission strategies and suggestions are proposed, aiming to strengthen campus education on the art of Quyi to effectively expand the audience base of university students. The results of this research indicate that Chinese Quyi plays an important role in the expansion of university-targeted audience and the construction of identity. This not only contributes to the inheritance and development of Chinese Quyi, but also promotes the shaping of university students’ cultural identity and values. This research thus provides new ideas and strategies for the legacy and advancement of the art of Chinese Quyi, which is of great theoretical and practical consequence.
Copyright (c) 2025 Bowen Zhang, Shahnaz Mohd Baldev Shah, Marlenny Deenerwan (Author) https://creativecommons.org/licenses/by/4.0/
Sound Personalisation in Counselling: Bridging Creative Sound Design and Mental Health Support
Sound personalisation represents a promising approach in the design of therapeutic environments, particularly in mental health and counselling contexts. This paper proposes a conceptual framework for integrating creative sound design with personalised ambient soundscapes to support emotional regulation, relaxation, and client engagement. Drawing on theories from soundscape ecology, user-centred design, and sound therapy, the paper outlines how personalised sound environments can enhance the counselling experience. Although the deliberate use of sound in therapy is gaining attention, it remains underexplored, particularly in Southeast Asian contexts. Personalised sound interventions offer a non-pharmacological and culturally adaptable means of enriching therapeutic settings, yet they also present challenges in terms of implementation and interdisciplinary collaboration. This paper aims to establish a conceptual foundation for future research and practice in this area. By reviewing key literature and proposing a framework, it seeks to guide the development of tools, environments, and sound-based interventions that support mental well-being through user-responsive audio experiences.
Copyright (c) 2024 Nazimin Nazeri, Mohamad Kamal Sabran (Author) https://creativecommons.org/licenses/by/4.0/
Performing Identities in Flux: The Erhu as a Cultural Mediator in the Dynamics of Tradition, Modernity, and Globalization
Erhu, as one of the representatives of traditional Chinese bowstring instruments, has long been a symbol of Chinese cultural heritage. However, in the context of the rapid development of modernization and globalization, its role has been greatly impacted and transformed. Considering the ongoing academic debate on the future development of erhu performance, this paper constructs a theoretical model, the Erhu Cultural Mediation Framework, to explore the mediating role of the erhu in the intersection of tradition, modernity, and globalization. This theoretical model challenges the static concept of cultural identity, showing that the erhu is a place where different cultures encounter, and its cultural identity is constantly reconstructed in each performance. By situating the erhu within a discussion of identity, performance, and globalization, this paper provides a new theoretical perspective for understanding how traditional music adapts to the forces of modernity and globalization, and mediates the tension between preserving heritage and embracing the effects of globalization. Therefore, the Erhu Cultural Mediation Framework provides a valuable way to examine the complexity of cultural identity in the era of globalization and provides a research basis for other traditional arts in similar situations.
Copyright (c) 2024 Wang Xizhong, Camellia Siti Maya Mohamed Razali (Author) https://creativecommons.org/licenses/by/4.0/
Music Teachers’ Readiness to Teach Artificial Intelligence in Schools in Kedah
Artificial Intelligence (AI) represents a significant recent development in the education sector, with the potential to transform the traditional role of teachers. Despite controversies regarding its use in content creation—such as writing, art, and music composition—AI offers substantial benefits to the teaching and learning process.. Among the benefits of AI in education is its ability to stimulate conversation, thereby increasing learners' interest and engagement. It can also be used for pedagogical planning and analysing students' data. AI helps make the learning experience more personalized, engaging, and effective, providing learning opportunities that suit students' individual styles and paces. This is because AI uses algorithms to analyse and identify data patterns. By doing so, AI can predict outcomes that assist educators in shaping students' learning experiences. However, AI could present both technical and ethical challenges for teachers interested in incorporating it into their teaching practices. This paper aims to lay the foundation for research that examines the factors influencing the readiness to adopt AI among music teachers in Kedah. This will be done by reviewing relevant literature and proposing suitable methods for measuring teachers' readiness. This conceptual paper is intended to enable the researcher to develop a comprehensive literature review, formulate appropriate hypotheses, and identify suitable methods to measure AI readiness among music teachers in Kedah.
Copyright (c) 2024 Muhamad Hafifi Mokhtar (Author) http://creativecommons.org/licenses/by-nc-sa/4.0
Popular Singing in Chinese Original Musicals: An Acoustic Analysis of Vocal Characteristics and Emotional Expression
This study investigates the vocal characteristics of popular singing in Chinese original musicals, focusing on the differences in acoustic parameters between mixed voice and falsetto. Using acoustic analysis, the study systematically quantified the performance of the two different vocal styles in terms of pitch, resonance peaks and timbre, revealing the role ofpopular singing in emotional expression and artistic performance. It was found that the mixed voice possesses treble stability and dynamic expressiveness, and is suitable for expressing strong emotions, while the falsetto adapts to soft situations with its gentle timbre, giving the performance multi-layered emotional depth. By analysing the specific acoustic characteristics of popular singing in Chinese original musicals, this study provides a technical basis for its application in modern musical theatre, demonstrating the innovativeness of popular singing in enhancing emotional resonance and artistic expression. The results of the study not only provide new perspectives for vocal teaching and musical theatre performance practice, but also help to further enrich the vocal expression techniques of Chinese original musicals and bring more profound emotional experiences to the audience.
Copyright (c) 2024 Zhenglujing, Sumathi Maniam Raj, Cehnhao (Author) http://creativecommons.org/licenses/by-nc-sa/4.0
The Cross-Cultural Expression of Elderly Music Performances in the Digital Age: A Comparative Analysis of Audience Comments on Short Video Platforms
This study focuses on the music performances of elderly individuals in the digital age, explicitly analyzing viewer comments on YouTube and Douyin short video platforms regarding elderly music performances. The study employs thematic analysis to compare audience comments across both platforms. The findings reveal that YouTube audiences emphasize individual achievement and active aging, viewing music performances as a way to maintain quality of life and foster personal growth. In contrast, Douyin audiences place more importance on emotional connections within the collective and family harmony, perceiving music performances as a means to enhance social value and provide emotional support. Additionally, both platforms' audiences exhibit shared cross-cultural themes regarding emotional resonance, recognition of vitality, and respect for personal artistic achievements. These findings indicate that, despite cultural differences, music functions as a universal language that transcends cultural boundaries, acting as an emotional bridge for audiences through elderly music performances. This study sheds light on the cross-cultural reception of elderly music performances in the digital age, offering a new perspective on understanding elderly art activities within a global context. The study holds significant implications for music education, active aging, and the transmission of cultural capital.
Copyright (c) 2024 Jingjing Wu, Sumathi Maniam Raj (Author) http://creativecommons.org/licenses/by-nc-sa/4.0
A Comparative Study the ‘Tukang Karang’ of Previous and Present Era in Boria Performance at Penang
One of the traditional performing arts originating from Penang is Boria, which has undergone various changes since the 19th century. Originally, Boria was performed to lament the historical events at Karbala, but it has since been adapted to address current issues. Boria performances consist of two segments: a sketch or acting segment (first segment) and singing accompanied by music and dance (second segment). One of the key components of Boria is the tukang karang, who serves as the lead singer and brings the performance to life in the second segment. This study aims to compare the role of the tukang karang from a historical perspective, showing how changes over time have affected Boria performances. A qualitative approach is employed by examining historical sources, conducting interviews with Boria practitioners, and observing Boria performances. The results indicate significant differences in the approach of the tukang karang between the past and the present. In the past, the tukang karang created rangkap karangan spontaneously, whereas now, the rangkap karangan are prepared in advance. This change reflects the need to adapt to contemporary times. By understanding the comparison between the tukang karang of the past and present, this study provides readers with a valuable historical perspective, ensuring that important knowledge and experiences are not lost. It also serves as a useful reference for other researchers, offering in-depth data and analysis on the role of the tukang karang in Boria.
Copyright (c) 2024 Noor Rafizal Paharul Rozi, Muhammad Faisal Ahmad (Author) https://creativecommons.org/licenses/by-nc-nd/4.0
Research on the Integration Strategy of Drama Education and Primary School Chinese Curriculum
This study adopts a deep qualitative research method to systematically explore effective strategies for integrating drama education into primary school Chinese curriculum management. By collecting practical experience and insights from eight frontline teachers through semi-structured interviews, Excel software was used to analyze the interview data thematically, revealing the challenges faced by teachers in time management, resource allocation, and parent communication during the integration process. Strategies such as utilizing spare time, seeking school support, and strengthening home school cooperation were also extracted. There are evidences of students' language expression ability, thinking vitality, and emotional cognition and promotion of interdisciplinary integration of Chinese language curriculum in this study that emphasizes the integration of drama education. Hence, not only has this study enriched the theory of interdisciplinary education management, but it also provides a specific implementation path for integrating drama education with primary school Chinese curriculum, which has practical guidance significance for optimizing the curriculum system and improving teaching quality.
Copyright (c) 2024 Huang Zeng, Yang Meng, Khar Thoe Ng, Wang Zexin, Lu Ping (Author) http://creativecommons.org/licenses/by-nc-sa/4.0
Practical Guidelines for Choral Singing in the Elderly
Choral singing involves the performance of two or more vocal parts. This article summarizes the synthetic results of practical guidance for choral singing among a senior group, including three vocal parts: soprano, alto, and tenor. This practical guidance derived from the synthesized analysis of the melodic characteristics of the song "Let’s Play with Me". This song was especially composed for the elderly. The composer categorized the characteristics of harmonic melody into four types: (1) identical lyrics and rhythms at different pitches; (2) identical lyrics at different times and pitches; (3) distinct lyrics and melodies occurring simultaneously; and (4) disparate melodies that engage with one another. Choral singing poses challenges for novice groups, particularly for senior individuals without prior experience in this discipline. Consequently, the conductor had to identify various approaches to enhance the vocal skills of senior singers. During the choral singing practice of elderly singers from January to July 2023, it was determined that practical guidelines may be categorized into five concerns grounded in music theory and practice, including (1) rehearsing melodies using the solfeggio technique, (2) learning rhythmic accuracy, (3) studying lyric pronunciation, (4) practicing singing in two- and three-part harmonies, and (5) training auditory capacity while singing. These guidelines function as an approach for seniors and beginners to improve essential choral singing skills, establishing a basis for advanced skills enhancement.
Copyright (c) 2024 Nutthan Inkhong (Author) https://creativecommons.org/licenses/by-nc-nd/4.0
The SOUL of Culture and Performing Arts in Silliman University: A Study on Strength, Outstanding Performance, Unity, and Legacy in Cultural Education
This ethnographical study explores the cultural dynamics of Silliman University’s Culture and Performing Arts, focusing on how the institution’s performing arts community embodies the principles captured by the acronym SOUL—Strength, Outstanding Performance, Unity, and Legacy. Through an ethnographic approach, the study investigates the everyday realities, experiences, and practices of performers, staff, and administrators, offering insights into the institution’s rich heritage and global competitiveness. Data were collected over a one-year using in-depth interviews and vignettes from 40 participants, including performing artists (dancers, singers, instrumentalists, and actors), administrators, and support staff. The findings reveal that the culture of Silliman’s performing arts community is grounded in a solid academic foundation, supported by high-quality resources and iconic performance venues that nurture growth and innovation. Key findings highlight the community's ability to harmonize tradition and modernity, fostering alumni contributions to global cultural landscapes. The study underscores the strong unity among faculty, staff, and students, driving collaboration and collective success. Silliman's adaptability ensures the performing arts program's legacy endures as a dynamic force in local and global contexts. Silliman’s ability to adapt to changing trends while preserving its cultural heritage ensures the legacy of its performing arts program as a dynamic force within both local and global contexts. This research illustrates that the performing arts culture at Silliman University is defined by its strength, excellence, unity, and adaptability—factors that sustain and amplify its influence on the global cultural community. The findings highlight the necessity of merging tradition with innovation to maintain the institution's performing arts legacy's relevance and impact in the challenges of globalization difficulties.
Copyright (c) 2024 Diomar C. Abrio (Author) https://creativecommons.org/licenses/by-nc-nd/4.0
Dance Curriculum Reform Based on the Concept of Outcome-Based Education: Enhancing Students' Creativity and Social Adaptability
This study investigates the effects of an Outcome-Based Education (OBE) framework on enhancing creativity and social adaptability among undergraduate dance students. A quasi-experimental design was employed with 60 students from Qilu Normal College, divided equally into experimental and control groups. The experimental group participated in a 16-week OBE-focused dance curriculum, while the control group followed traditional teaching methods. Pre- and post-assessments using the Torrance Tests of Creative Thinking (TTCT) and the Social Adaptability Questionnaire (SAQ) were conducted to measure changes in creativity and social adaptability. The findings revealed that the experimental group showed significant improvements in both creativity and social adaptability compared to the control group, confirming the effectiveness of the OBE curriculum. Moreover, a strong positive correlation was identified between creativity and social adaptability, suggesting that fostering creative thinking also enhances students' ability to adapt to complex social situations. This study provides valuable insights into the role of OBE in dance education and its potential to foster holistic student development, offering practical recommendations for curriculum reform.
Copyright (c) 2024 Li Jianping, Lena Farida Hussain Chin (Author) https://creativecommons.org/licenses/by-nc-nd/4.0
Ngringkes: Garap's Adaptation on Jemblungan Music
This paper delves into the adaptation and transformation of Jemblungan music within the traditional cultural of the Selo community, located in Boyolali Regency, Indonesia. Traditionally, Jemblungan was performed by 30-35 musicians and served as a medium for religious expression, facilitating communal harmony and spiritual communication. Over time, however, Jemblungan's role has shifted due to various factors, such as advances in technology, changes in information dissemination, and the growing influence of tourism in the region. These changes have led Jemblungan to evolve from its religious origins into a form of entertainment that caters to a broader audience, including visitors and tourists. A key element in this adaptation is the concept of Ngringkes, a community-led effort to streamline Jemblungan performances in response to modern needs. The process of Ngringkes reduces the number of performers from 30-35 to 12-15 and shortens the duration of performances, making the art form more suitable for modern, fast-paced settings. This adjustment has allowed Jemblungan to remain relevant, balancing its traditional cultural roots with the entertainment demands of contemporary audiences, particularly in tourist hotspots. The study analyzes how Ngringkes functions as an adaptive strategy, focusing on both internal factors (such as community attitudes and traditional practices) and external factors (like audience preferences, market demands, and tourism pressures). Furthermore, it explores how these adaptations impact the symbolic meaning and cultural value of Jemblungan within the community, considering how its transformation reflects broader societal changes. By examining the role of Ngringkes, this research provides insight into the ways in which cultural traditions can evolve while maintaining their essential identity, ensuring that Jemblungan continues to thrive as both an art form and a living tradition.
Copyright (c) 2024 Galih Suryadmaja, Dewi Puspita Ningsih (Author) https://creativecommons.org/licenses/by-nc-nd/4.0
Thinking of Musicians on Music Industry Landscape in Thailand
Innovative thinking of musicians encompasses the capacity to generate novel ideas and techniques for addressing or enhancing music works across several dimensions. Musicologists have determined that innovative thinking has been present since the medieval period of Western music and continues to the present day, revolutionizing every aspect of the music landscape. Through the combination of documentary evidence and interviews in the research entitled “Desirable Characteristics of Musical Innovators in the 21st Century,” the researcher delineated the geographical focus as Thailand and identified participants as individuals with experience in music or innovation. It was found that innovative thinking influences the evolution of the music industry landscape in Thailand, categorized into four main issues: (1) Developing the manufacturing processes for mainstream music companies; (2) Creating musical genres for niche markets; (3) Developing commercial musical instruments; and (4) Formulating the curriculum of music for colleges and universities. The evolving music industry landscape necessitates that artists and associated professionals adapt to new concepts and methods. Their objective is to cultivate their talent, sustain their careers, generate innovative music concepts, etc. Consequently, innovative thinking is a crucial element driving the changing landscape of the music industry globally, including in Thailand.
Copyright (c) 2024 Sutthiphong Ruangchante (Author) https://creativecommons.org/licenses/by-nc-nd/4.0
Being Bimusical in the Era of Globalization: The Case of Four Folk Brass Musicians of Younger Generation in Greece
Brass instruments hold a central place in various folk music traditions of Greece. Although foreign to Greek music, these instruments began being introduced to specific regions (e.g., Central and Western Macedonia, Lesvos Island) in the mid-19th century. Interestingly, despite their “foreign western origin,” locals today consider them an integral part of their cultural identity. In this paper, we examine the profiles of four young musicians (trumpet, trombone, euphonium, and tuba performers) who are professionally engaged in traditional music. The qualitative data collected through semi-structured interviews with the participants highlight the significant impact of globalization and technology on the development of a bimusical profile. All four participants demonstrated remarkable comfort in playing various types of music (e.g., classical music, jazz) beyond the traditional folk music of their homeland. In addition, it is worth noting the importance they attributed to technology—particularly audio recording tools—as a means of developing their musicality. These tools can be considered as instruments of “secondary orality,” adopting Walter Ong’s term.
Copyright (c) 2024 Antonis Ververis (Author) https://creativecommons.org/licenses/by-nc-nd/4.0
Music Education Stimulate: An Innovative Orff-Based Learning Model to Stimulate Students' Creativity
This article describes the innovation of the Music Education Stimulate (MES) learning model developed based on the Orff method as an effort to improve musical creativity. The Music Education Stimulate (MES) learning model was developed by compiling learning stages that are adjusted to the needs of the creativity aspects of elementary school students. Imitation, exploration, literacy and improvisation are used as indicators in the development of the Music Education Stimulate (MES) learning model based on the Orff method. Creativity aspects such as Fluency, Flexibility, Originality, Elaboration, and Sensitivity are used as references for making assessment rubrics. The research method used is Research and Development (RnD) which focuses on the define, design and develop stages (limited to the validation stage). From the results of the study, it can be seen that the development process has produced a valid and practical music education stimulate learning model, which can later be implemented so that it can have a positive influence on music education learning, especially improving students' creativity aspects.
Copyright (c) 2024 Try Wahyu Purnomo, Sri Mustika Aulia, Herna Hirza (Author) https://creativecommons.org/licenses/by-nc-nd/4.0
An Analytical Exploration of Soundscapes in Malaysian Chinese Independent Cinema
The emergence of Malaysian independent filmmakers around the year 2000, particularly prominent Chinese directors such as James Lee, Tan Chui Mui, and Liew Seng Tat of Da Huang Pictures, has resulted in films that are artistically innovative, culturally expressive, and often controversial. This study focuses on analyzing the soundscape in their works, chosen for their critical acclaim, popularity, and the distinctiveness of their sound design. The analysis explores various sound elements; including character dialogue, soundtrack, sound effects, and ambient sound, while also examining the interaction between sound and visuals in conveying meaning and emotion. The findings reveal that sound design in these films is regionally and ethnically specific, with character dialects serving as a means of cultural expression and identity. Ambient sounds reflect the industrialization of Malaysian cities and the influence of diverse ethnic and religious practices on everyday life. Furthermore, the integration of Western jazz and Chinese musical elements in popular songs highlights the role of music in fostering cross-cultural dialogue, promoting ethnic cohesion, and facilitating a broader cultural imagination.
Copyright (c) 2024 International Music and Performing Arts Conference https://creativecommons.org/licenses/by-nc-nd/4.0
[RETRACTED] The Application and Development of Chinese Folk-Bel Canto Vocal Techniques in Chinese Coloratura Vocal Works
This article has been retracted due to duplicate publication. Please refer to the retraction notice for full details.
Copyright (c) 2024 Yu Peilu, Yap Jin Hin (Author) https://creativecommons.org/licenses/by-nc-nd/4.0
Aesthetic Politics: The Tendency of Anti-Visual Rationality and its Political Potential in Jean Genet's The Balcony
Greek philosophy emphasizes an eternal present, where the immediacy of vision fixes fleeting appearances into a static essence of existence. Particularly during the Renaissance, the invention of perspective placed the eye focused on the vanishing point at the center of absolute viewing, initiating the process of privileging modern vision. Descartes posited that seeing is knowing, asserting that the fixed images observed visually represent the inherent essence of reality, leading to a dualistic epistemology. Perspective art has always dominated the theater, positing that by creating illusion, inactive vision allows audiences shrouded in darkness to grasp the nature of things directly through their eyes, forming a rational consensus that reinforces identification with political ideology. The politics of Genet’s theater is aesthetic politics, emphasizing the dual potential through sensory redistribution. However, in studies of Genet's The Balcony, prioritizing visibility has become a dominant strategy, leading to a representation of politics in the theater as something recognizable and solvable, establishing a hierarchy in which theater subordinates itself to political functions. This study argues that in The Balcony, Genet reconfigures the tradition of perspective in theater through a Baroque visual arrangement, showcasing a tendency to degrade visual rationality while enhancing visual perception through dazzling effects. Drawing on Deleuze’s and Benjamin’s theories of the Baroque, combined with Rancière’s theory of aesthetic politics, this study will utilize textual data and analysis to discuss how Genet’s theater in The Balcony redistributes the visual regime of the stage, disrupting the fixed relationship between things and meanings within the power dynamics of the visible and the invisible, and achieving a democratic visual construction of theater amidst uncertainty. The discussion will focus on the visual configurations of perspective and allegory, offering new possibilities for realizing aesthetic politics in Genet's theater.
Copyright (c) 2024 Xiaoran Wang, Rosdeen Suboh, Farideh Alizadeh (Author) https://creativecommons.org/licenses/by-nc-nd/4.0
Developing an Online Music Theory Module for Adults Based on Multiple Intelligences
Education is undergoing a significant transformation due to digital technology, especially accelerated by the COVID-19 pandemic, which has made remote and hybrid learning more prevalent. In this context, adult participation in online music theory classes demonstrates how digital learning can complement lifelong education. This study aims to develop and validate an online music theory module for adults using the ASSURE learning model and principles of Multiple Intelligences Theory. Qualitative research was conducted in two phases: needs analysis and content validation. Ten experienced music teachers identified module requirements based on the ABRSM Grade 1 to Grade 3 Music Theory Syllabus, which was then validated by three experts. The final module consists of ten units, emphasizing Multiple Intelligences Theory to create engaging online learning experiences. The needs analysis revealed key challenges, including limited student engagement and difficulties with interaction. While tools like video conferencing and collaborative platforms were effectively utilized, students generally responded positively, appreciating the flexibility but desiring more interactive support. Expert reviews confirmed the module’s alignment with educational best practices and suggested enhancements to improve clarity and engagement. This study contributes to online music education by providing a validated framework that enhances adult learners’ engagement and addresses their diverse learning needs.
Copyright (c) 2024 Low Xue Wen , Yumi Yoshioka, Pravina Manoharan (Author) https://creativecommons.org/licenses/by-nc-nd/4.0
Soundscapes in Selected Tang Poetries (shi 詩) and Song Lyrics (ci 詞)
Since the emergence of the term “soundscape” in the late 1960s and early 1970s, ethnomusicologists have drawn inspirations from cultural anthropology and approached music beyond its sound environment as a product of various human activities. Sinologists and scholars of classical Chinese music have suggested a way to read poetry and song lyrics as not just performances, as they were originally intended, but as textual performances and cultural phenomena. This study introduces the practices of textual production and the cultivation of artistic tastes through selected Tang (618–906) poetry and Song (960-1126) lyric (ci 詞). The author argues in her forthcoming monograph with Indiana University Press, Dunhuang Expressive Arts and China’s New Cosmopolitan Heritage (2024) that these classic literary productions are indispensable for understanding the construction of China’s Northland frontier culture and the Southland urban/metropolitan culture that continue to shape the country’s music and performing arts culture.
Copyright (c) 2023 International Music and Performing Arts Conference http://creativecommons.org/licenses/by-nc-sa/4.0
Ronggeng Singapura: Early Stages of Dance Revivalism and Activism
This paper is an autoethnographic and action research documentation of an initiative by a newly formed collective ‘Arki-Gen’ that is made up of artists, researchers, and educators. Their project, Ronggeng Revival: Ground Sensing Phase 1, aims to revive the social practice of a music/dance form through conducting research, documenting and formulating a training curriculum. Through the focus group discussions with four selected segments of the arts community, Ronggeng still bears the taboo and stereotypes of social histories. As an initial phase, this project is part of a larger expectation to create a community of Ronggeng activism and the eventual integration of Ronggeng to be an Intangible Cultural Heritage (ICH). This paper supports the need to recognise the social aspects of Ronggeng as a choreomusicological practice, and as part of a Nusantara revival movement.