Cetakan Pertama / First Printing, 2010 Hak Cipta / Copyright, 2010

Transcription

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3 Ministry of Higher Education Malaysia Putrajaya 2010

4 Cetakan Pertama / First Printing, 2010 Hak Cipta / Copyright, 2010 Hak cipta terpelihara. Tiada bahagian dalam terbitan ini tidak boleh diterbitkan semula, disimpan untuk pengeluaran atau ditukarkan ke dalam sebarang bentuk atau dengan sebarang alat juga pun, sama ada dengan cara elektronik, gambar serta rakaman dan sebagainya tanpa kebenaran bertulis terlebih dahulu daripada Jabatan Pengajian Tinggi, Kementerian Pengajian Tinggi, Malaysia. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from Department of Higher Education, Ministry of Higher Education, Malaysia. Dicetak/ di Malaysia oleh / Printed in Malaysia by PENERBIT UNIVERITI KEBANGSAAN MALAYSIA UKM Bangi, Selangor D.E., Malaysia e-mel: penerbit@ukm.my Perpustakaan Negara Malaysia Cataloguing-in-Publication Data Future directions of music education in Malaysia public higher education institutions. Bibliography : p.53 ISBN Music--Study and teaching (Higher)--Research--Malaysia Laporan ini diterbitkan oleh Penerbit UKM untuk Jabatan Pengajian Tinggi, Kementerian Pengajian Tinggi Malaysia. This report is published by UKM Press for Department of Higher Education, Ministry of Higher Education Malaysia.

5 Table of Contents List of Tables Preface Acknowledgements Study Committee Sub-committee Employability Study Committee Synopsis ix xi xiii xv xv xv xvii 1.0 Introduction Background Tertiary Music Education in Malaysia Objective of Study Scope of Study Methodology Review of Literature Employability Studies via a Quantitative Survey International Benchmarking Study Visits Programmes Music Programmes Curriculum Teaching and Learning of Music Recommendations Areas of Specialization Curriculum Educational Goals Learning Outcomes Music Assessment New University Focus Duration of Programmes Entry Requirements Resources Human Resources 18

6 3.1.1 Areas of Expertise Qualifications of Academic Staff Number of Academic Posts Job Assignment and Workload of Academic 21 Staff Support Staff Recommendations Facilities Musical Instruments Technical Instruments Educational Resources Creative Output and Research Definition of Research in Music Postgraduate Studies in Research Postgraduate Research in Performance Practice PhD in Music Composition or Any Creative Works PhD by Research Research Grants Research Strategies Research and Recognition in Music Management Introduction General Aspects of Management Organization Structure Recommendations Management Standards and Accreditation Recommendations Mechanism of Review Recommendations Purpose and Emphasis of Organization Recommendations Specific Aspects of Management Management of Quality in Teaching and Learning Curriculum Review Recommendations Teaching Evaluation Recommendations Student Enrolment Recommendations 42

7 5.4 Management of Human Resource Staff Recruitment Recommendations Staff Evaluation Recommendations Staff Development Recommendations Management of Facilities and Equipment Recommendations Financial Management Recommendations Linkages Recommendations Overall Recommendations Recommendations The Way Forward Conclusion 54 References 55 Bibliography 55 Appendix 56 Appendix A: Example of rubrics for listening skills and creative 56 writing /improvisational /compositional skills Appendix B: General reference for methods of teaching and 57 learning in the fields of specialization

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9 List of Tables TABLE 1 TABLE 2 TABLE 3 TABLE 4 TABLE 5 TABLE 6 Programmes offered by Malaysian public universities Examples of programme outcomes Music assessment aspects and related standards of best practice Areas of expertise at the public universities Qualifications of Academic Staff Academic positions of music lecturers

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11 Preface As music graduates enter the 21 st century, they enter a competitive global market which is information driven, technologically driven, mass-mediated, and increasingly multicultural. With the continuous advancement of new technologies and media, these music graduates must be equipped with multiple knowledge and skills in the music discipline for competent performance in their tasks. The music industry today demands not only traditional performance training skills but also creative skills, improvisation skills, the ability to play different genres, the use of appropriate contemporary technologies, analytical and pattern recognition skills, studio recording skills, entrepreneurialism, communications skills, collaboration and team work skills, and problem solving strategies. The changing demands of the music industry s needs renders it necessary for music academicians to review and identify the directions that music education in the country needs to take and the important knowledge and skills that musicians need to be equipped with. The current and future musicians and music educators need to generate creative and innovative ideas to fulfill society demands. Education needs to help shape culture and the direction society moves. Programmes offered at the tertiary level should enable graduates to take their place in the international music market. Currently, seven public higher education institutions offer music programmes. Universiti Teknologi MARA was the first public university to introduce tertiary music education when it began to offer the Diploma in Music programme in Eventually, other universities followed the lead namely Universiti Sains Malaysia (USM), Universiti Malaya (UM), Universiti Putra Malaysia (UPM), Universiti Pendidikan Sultan Idris (UPSI), Universiti Malaysia Sarawak (UNIMAS) and Universiti Malaysia Sabah (UMS). This study commissioned by the Ministry of Higher Education Malaysia in 2009 with the intention of charting the direction of music education in Malaysia is indeed very timely. In making recommendations on the future needs of tertiary music education, the study looked into the current status of music programmes offered in the seven public universities, issues relating to the development of music programmes and related issues such as curriculum development, learning outcomes and assessment in music, human resource, learning resources, creative works and research evelopment, management and quality assurance in tertiary music education. International trends and changes in the music profession and their implications for professional music training were also explored. The

12 xii Future Directions of Music Education scope of the study encompasses music progammes at all levels, i.e. Diploma, Bachelor s, Masters and PhD, offered by the universities. The Study Committee comprised representatives from six public universities offering music programmes namely UiTM, UM, UPM, UPSI, UNIMAS and UMS. Sub-committees for the respective areas of study and employer survey were formed to facilitate the implementation of the study. The main study committee met several times over the duration of the study to discuss findings and a workshop was convened to prepare the final report. Benchmarking visits and discussions with international parties were carried out with seven universities in Indonesia, Philippines and Australia, while some members of the committee took advantage of official duties to also visit universities in Thailand and Singapore. Interviews with key and eminent figures in the Malaysian music industry were also conducted to seek their views. One interim report and one final report were presented to the Department of Higher Education Management. In formulating the recommendations, the study committee has attempted to ensure that they are reasonably achievable and realistic within the context of the Malaysian scenario. It is hoped that the report will be useful to key stakeholders of Malaysian music education such as universities, ministries and professional bodies to chart their way into the complexities and uncertainties of the future.

13 Acknowledgements The Study Committee is greatly indebted to the Ministry of Higher Education Malaysia for selecting music to be one of the areas of study. The trust and confidence in commissioning the committee to carry out this important and timely study in music is indeed most welcome. Special thanks go out to members of the Malaysian music industry, employers who participated in the employer survey as well as to the universities and heads of music departments and faculties who opened their doors to the committee in the countries visited and for their invaluable insights and ideas. Finally, a special mention is extended to the Sub-Committee and Employability Survey Committee for their contribution of ideas which greatly assisted in the preparation of the report and those who have been directly or indirectly involved in the preparation of the report.

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15 Main Study Committee Associate Professor Dr. Shahanum Mohd. Shah (Universiti Teknologi MARA) - Chairperson Associate Professor Dr. Mohd. Nasir Hashim (Universiti Malaya) Dr. Hasnizam Abdul Wahid (Universiti Malaysia Sarawak) Dr. Chan Cheong Jan (Universiti Putra Malaysia) Dr. Mohd. Hassan Abdullah (Universiti Pendidikan Sultan Idris) Andrew Poninting (Universiti Malaysia Sabah) Sub-committee Nadia Widyawati Madzhi (Universiti Teknologi MARA) Dr. Valerie Ross (Universiti Teknologi MARA) Associate Professor Dr. Ramona Mohd. Tahir (Universiti Teknologi MARA) Dr. Ghaziah Mohd. Ghazali (Universiti Teknologi MARA) Phang Kong Chien (Universiti Teknologi MARA) Dr. Loo Fung Ying (Universiti Malaya) Dr. Loo Fung Chiat (Universiti Putra Malaysia) Ahmad Faudzi Hj. Musib (Universiti Putra Malaysia) Arif Ahmad Zain Yusof (Universiti Putra Malaysia) Resot Iggau (Universiti Malaysia Sabah) Chong Lee Suan (Universiti Malaysia Sabah) Y. M. Raja Azuan Nahar Raja Adnan (Universiti Pendidikan Sultan Idris) Associate Professor Zaharul Lailidin Saidon (Universiti Pendidikan Sultan Idris) Mohd Azam Sulong (Universiti Pendidikan Sultan Idris) Employability Study Committee Nadia Widyawati Madzhi (Universiti Teknologi MARA) Juriani Jamaluddin (Universiti Teknologi MARA) Sharifah Faizah Syed Mohammed (Universiti Teknologi MARA) Associate Professor Hanizah Hj. Musib (Universiti Teknologi MARA) Pang Chin Huey (Universiti Teknologi MARA)

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17 Synopsis This study commissioned by the Ministry of Higher Education Malaysia in 2009 with the intention of charting the direction of music education in Malaysia is indeed very timely. In making recommendations on the future needs of tertiary music education, the study looked into the current status of music programmes offered in the seven public universities, issues relating to the development of music programmes and related issues such as curriculum development, learning outcomes and assessment in music, human resource, learning resources, creative works and research evelopment, management and quality assurance in tertiary music education. International trends and changes in the music profession and their implications for professional music training were also explored. The scope of the study encompasses music progammes at all levels, i.e. Diploma, Bachelor s, Masters and PhD, offered by the universities. The Study Committee comprised representatives from six public universities offering music programmes namely UiTM, UM, UPM, UPSI, UNIMAS and UMS. Sub-committees for the respective areas of study and employer survey were formed to facilitate the implementation of the study. The main study committee met several times over the duration of the study to discuss findings and a workshop was convened to prepare the final report. Benchmarking visits and discussions with international parties were carried out with seven universities in Indonesia, Philippines and Australia, while some members of the committee took advantage of official duties to also visit universities in Thailand and Singapore. Interviews with key and eminent figures in the Malaysian music industry were also conducted to seek their views. One interim report and one final report were presented to the Department of Higher Education Management. In formulating the recommendations, the study committee has attempted to ensure that they are reasonably achievable and realistic within the context of the Malaysian scenario. It is hoped that the report will be useful to key stakeholders of Malaysian music education such as universities, ministries and professional bodies, for them to chart their way into the complexities and uncertainties of the future.

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19 CHAPTER 1 Introduction 1.1 Background The potential for the music industry to contribute to a nation s economic wellbeing has long been recognized. As part of the creative industry, the position of music is expanding within the commercial and creative world and it has become extremely demanding. Developments in the field of music can be identified within the social, economic, and cultural context. University graduates in music will enter a competitive global market which is information driven, technologically driven, mass-mediated and increasingly multicultural. With the continuous advancement of new technologies and media, music graduates must be equipped with multiple knowledge and skills in the music discipline for competent performance in their tasks. The changing demands of the music industry s needs renders it necessary for music academicians to review and identify the directions that music education in the country needs to take and the important knowledge and skills that musicians need to be equipped with. The current and future musicians and music educators need to generate creative and innovative ideas to fulfill society demands. Education needs to help shape culture and the direction society moves. Programmes offered at the tertiary level should enable graduates to take their place in the international music market. It has been more than 25 years since music was first introduced as an academic field of study in a Malaysian public higher education institution. Since then, the number has increased to seven universities offering music programmes excluding those who may be in the midst of starting such programmes. Even private universities and colleges are looking towards music education as is the Ministry of Information, Communication and Culture. It is indeed very timely that such a study on the future of music education in Malaysia be conducted. 1.2 Tertiary Music Education in Malaysia Universiti Teknologi MARA was the first public university to introduce tertiary music education when it began to offer the Diploma in Music programme in Eventually, other universities followed the lead namely Universiti Sains

20 2 Future Directions of Music Education Malaysia (USM), Universiti Malaya (UM), Universiti Putra Malaysia (UPM), Universiti Pendidikan Sultan Idris (UPSI), Universiti Malaysia Sarawak (UNIMAS) and Universiti Malaysia Sabah (UMS). In addition to the public universities, the Ministry of Information, Communication and Culture, Malaysia also established the Akademi Seni Budaya dan Warisan Kebangsaan, ASWARA (National Academy of Arts, Culture and Heritage) which now offers diploma and undergraduate programmes in music among the other arts. Private universities offering music programmes include the International College of Music (ICOM), University College Sedaya International (UCSI), Lim Kok Wing University College of Creative Technology (LUCT), SEGi College-University, International University College of Technology Twintech University (IUCTT), Malaysian Institute of Art and Yamaha Academy of Music. The development of music however, whether in the education sector or the industry, continues to be hampered by many factors. Of major concern is the perception of music as an academic field of study. The effective implementation of music programmes in Malaysian tertiary institutions are hindered by various matters, among which include music not being considered by university management to be a priority. Many objected when it was first suggested that music be offered as a university course. Since then similar reasons for this objection continue with the perception of many that music does not require thinking but just feeling, that music is not a field of knowledge but is just entertainment. Affiliating music merely with the arts has also added to the perception that music is not important as the arts have always been considered as a frill and not a necessity such as the sciences. The overemphasis on science and technology has in fact, further relegated music s presence in tertiary education to the sidelines. Not only is this practice incorrect as development of the arts should move in tandem with the sciences and technology in light of the role of the arts in defining our culture and civilization, the perception of music as merely an art is also inaccurate as it is also as much a science. Strategically, the emphasis of music as a science can, not only improve the perception of many on the importance of music and lead to greater support for music, it can also rightly confirm the status of music in tertiary education and as a field of knowledge. Diminishing government or private funding is also adding considerable pressure on many music institutions. This additional pressure leads to rising student-staff ratios and insufficient resources and infrastructure for music training. Purchasing and maintaining musical instruments as well as instrumental study are the main reasons music programmes cost more than other programmes. In an effort to reduce costs, universities have opted to no longer offer private instrumental study, reduce the instrumental study time to half of what it was, require students to pay for their instrumental study, or offer group instrumental study instead. Likewise, basic studio facilities and equipment are made available for teaching and learning. These efforts, however, are done at

21 Introduction the expense of the quality of the programme and continue to be controversial decisions as they compromise the essence of music study itself. The lack of interest in music and the performing arts has resulted in the devaluing of arts and subsequently, the lack of performing opportunities and performing venues. This has also affected music education in the primary and secondary school level which directly affects tertiary music education as music education should be a continuous process. The inadequate music education in primary and secondary school has caused the lack of knowledge and relevant skills of secondary school leavers which in turn causes entry problems to universities. Another challenge to the implementation of music programmes in Malaysian universities is the structure of university administration and management practices in general in which decisions are made by the person in charge or in position rather than the subject matter expert. For example, the curriculum of a proposed new music programme forwarded by the music subject matter experts at the faculty which have also been endorsed by the relevant (music) industry experts can expect to have changes made to the essence of the subject matter by decision makers who have no knowledge of the subject matter itself. Policies made by university management to facilitate the masses which are non-arts based can be irrelevant or impede the implementation of music programmes. 1.3 Objective of Study This study was commissioned by the Ministry of Higher Education Malaysia in 2009 with the intention of charting the directions of music education in Malaysia. The aims of this study are to: 1. Study the current status of music programmes offered in the public universities. 2. Study issues relating to the development of music programmes including related issues such as curriculum development, learning outcomes and assessment in music. 3. Study issues relating to resources (human resources, facilities, instruments and equipment, learning resources), creative works and research development, management and quality assurance in tertiary music education. 4. Explore international trends and changes in the music profession and their implications for professional music training. 5. Make recommendations on the future needs of tertiary music education. Since this is the first major study conducted in this area, the document is partly intended as a guide to institutions who are developing new programmes or redesigning the curicula and suggests minimum standards required for music

22 Future Directions of Music Education programmes. The report also recommends policies for the action of the Ministry of Hgher Education, Malaysia. 1.4 Scope of Study The scope of the study encompasses issues relating to music progammes at all levels, i.e. Diploma, Bachelor s, Masters and PhD, offered by the seven public universities (UiTM, USM, UM, UPM, UPSI, UNIMAS, UMS). Specifically, this study addresses the following components: 1. Programmes areas of specialization, curriculum, learning outcomes, assessment, and teaching methodologies. 2. Employability study. 3. Resources human resource, facilities, equipment, educational resources. 4. Creative output and research. 5. Management. 1.5 Methodology The following strategies were adopted in conducting the study: 1. A review and analysis of related literature. 2. A quantitative study to solicit views from employers of music graduates. 3. International benchmarking study visits Review of Literature As there have been no studies conducted in this area, the main sources of literature were international guidelines for music programmes and a report of a study on the Malaysian music industry that had been conducted. Literature reviewed include: 1. Dasar dan Strategi Pembangunan Muzik Malaysia, Kementerian Kebudayaan, Kesenian dan Warisan Malaysia (2005). 2. National Associations of Schools of Music Handbook, USA (2009). 3. The International Recognition of Studies and Qualifications in Higher Music Education, Academies de Musique et Musichochschulen (AEC) (2007). 4. Handbooks of tertiary music education in national and international universities.

23 Introduction Employability Studies via a Quantitative Survey A quantitative survey of employers who have public university music graduates in their employment was conducted. The survey was sent to establishments that recruited music graduates throughout the country. In addition, the survey was also sent to establishments that although may not need music graduates specifically, had the possibility of hiring graduates in the humanities. A total of 100 survey forms were distributed but the response rate was very low at 25%. Results of the survey will be used in the document as necessary. The survey was also useful in providing information of establishments which do not employ music graduates. The objectives of the survey were to: 1. Investigate the perception of employers with regard to the personal and music abilities of music graduates. 2. Investigate aspects that employers look for in an applicant s resume. 3. Investigate the level of satisfaction with music graduates. 4. Elicit employers opinions on keeping the university curriculum relevant International Benchmarking Study Visits Visits to three countries were carried out to obtain first-hand information on the direction of music education in the respective countries. Interviews were also conducted during this time with key figures to provide insights into the situation and changes happening in the institutions. The institutions visited were: 1. Conservatory of Music, Universitas Pelita Harapan, Jakarta, Indonesia. 2. Institut Seni Indonesia, Yogyakarta, Indonesia. 3. University of the Philippines, Philippines. 4. Santo Thomas University, Philippines. 5. University of Newcastle, Australia. 6. Sydney Conservatorium of Music, University of Sydney, Australia. 7. University of Melbourne, Australia. During official visits to Thailand and Singapore, members of the committee also took the opportunity to visit several universities namely: 1. College of Music, Mahidol University, Thailand. 2. Yong Siew Toh Conservatory of Music, National University of Singapore. 3. La Salle College of the Arts, Singapore. 4. National Academy of Fine Arts (NAFA), Singapore.

24 CHAPTER 2 Programmes This chapter will discuss programmes offered at the public universities and related issues such as curriculum, learning outcomes, assessment and teaching and learning methodologies. 2.1 Music Programmes Currently, seven Malaysian public universities offer music programmes which basically revolve around the conventional music programmes such as music education, performance, and composition at the undergraduate level, while postgraduate programmes are offered in the fields of music education, ethnomusicology, musicology, music composition, music performances, music in consumerism, music industry and jazz arranging. Some programmes have business and technology components but not as a specific areas of specialization. Table 1 lists the seven universities and the programmes offered by these universities. Table 1. Programmes offered by Malaysian public universities UNIVERSITY Universiti Teknologi MARA (Faculty of Music) Universiti Malaya (Cultural Centre) Universiti Putra Malaysia (Department of Music, Faculty of Human Ecology) PROGRAMME Diploma in Music Bachelor of Music Education (Hons) Bachelor of Music Performance (Hons) Bachelor of Music Composition (Hons) Master of Music (Music Education) Master of Music (by Research) PhD in Music (by Research) Bachelor of Performing Arts (Music) Master of Arts (Performing Arts) PhD in Arts (Performing Arts) Bachelor of Music (Performance) Master of Science (Music)

25 Programmes Universiti Pendidikan Sultan Idris (Faculty of Music and Performing Arts) Universiti Malaysia Sarawak (Faculty of Creative and Applied Arts) Universiti Malaysia Sabah (School of Arts Studies) Universiti Sains Malaysia (Music Department, School of Arts) * Data as of April 2010 Bachelor of Education (Music) Hons Master of Education (Music Education) Master of Music (Composition) Master of Music (Improvisation) Master of Music (Performance) Master of Arts (Ethnomusicology) Master of Arts (Popular Music Studies) PhD (Music Education) PhD (Ethnomusicology) Bachelor of Applied Arts with Honours (Music) Masters (Music) PhD (Music) Bachelor of Arts (Music Studies) Master of Arts (Ethnomusicology) Master of Arts (Music Education) Master of Arts (Music Industry) Master of Arts (Music Technology) Master of Arts (Music Performance) Master of Arts (Jazz Arranging and Composition) PhD (Ethnomusicology) Bachelor of Music (Performance & Pedagogy) Master of Arts (Music) Doctor of Philosophy (Music) As indicated by the table above, programmes offered are mainly geared towards producing music educators, performers and composers. The profile of musicians in Malaysia is still very limited and lacking in areas to fill the needs of the industry considering the types of career opportunities available such as performance, composition, music education, arranging, music programming, producer for radio and television programmes recording, promotion, publishing, venue management, and broadcasting. The duration of music programmes offered at the diploma and undergraduate levels in Malaysian public universities are typically within the 3-4 year period. Due to the competitive nature of education today, some institutions are enforcing the minimum duration to make the package more attractive as students will require less time to graduate. While some institutions have been allowed to return to the 4-year undergraduate programme, some others are still bound by this regulation by the respective institutions.

26 Future Directions of Music Education 2.2 Curriculum As is the norm of all programmes offered in Malaysian public universities, the curriculum of music programmes are generally subdivided into three major components comprising of university, faculty/programme and minor/elective requirements, each with a specified range of credit hours and percentage. Courses which fulfill the university requirements usually consists of courses specified by the Ministry of Higher Education, while faculty/programme requirements would be unique to each faculty and programme offered by the university. Currently, although the curriculum of tertiary music programmes at the undergraduate and postgraduate levels tend to follow the western educational patterns and systems, a unique feature of Malaysian music programmes is the inclusion of the traditional music components in the curriculum. Ensembles and performing groups, such as the gamelan, cak lempong, angklung, asli, keroncong and music of other Malaysian cultures provide opportunities for students to be exposed to various traditional genres. Requirements for students to be a part of traditional ensembles vary from university to university, differing in whether these courses are offered as part of the faculty or programme requirements or as minor or electives. The emphasis on local, national or international musical traditions or the balance of the emphases on the respective traditions will be in the purview of the institution. In general, most universities offering music face difficulties not only in student recruitment but also in implementing the curriculum due to the small number of musically qualified candidates. In contrast to the many students enrolled into music programmes at the international level who have ample training and proficiency in instrumental/vocal music performance before entering tertiary education in music, students in local universities are more limited in their musical training. Informal musical experiences with minimal knowledge and music literacy seems to be a common factor found in most candidates applying into the music programmes. In order to overcome this, the music curriculum in most universities needs to provide fundamental courses in music to ensure that those with minimal musical background are catered for. Basically the music curriculum in most universities (international and local), depending on the type of specialization and emphasis, comprise courses which focus on core skills and knowledge in music (applied instrumental/vocal music, performing skills in ensembles); general study of music fundamentals (music history, theory, aural skills) and other courses which make up the electives or minor in music (music technology, conducting, pedagogy/methods courses, etc). Music graduates need to be equipped with necessary skills in order to compete in the market. Whether these skills are highly specialised or a blend of various skills, in either case, students must be totally aware of the market niche within which they wish to operate (Vella 2007). Information gathered via

27 Programmes the Employability Survey indicate that the most important attributes and abilities needed by a graduate depends on the actual position the employee is holding. For performance oriented positions, the major attributes identified are performance skills, be it in solo and ensemble/orchestral playing, the ability to appreciate and perform all genres of music, and music reading abilities. Other skill include the ability to arrange music, and business and production aspects. Professionalism is also expected in terms of inter- and intra-personal skills, proficiency of the English language, computer skills and research skills. As indictated by the responses and summarized by Vella (2007), the music industry today needs graduates who not only have traditional performance training skills but also have creative skills, improvisation skills, the ability to play different genres, analytical and pattern recognition skills, are able to use appropriate contemporary technologies, have studio recording skills, management, business and communications skills, collaboration and team work skills, and problem-solving strategies. Hence, music education must incorporate various aspects of specialization as well as to emphasise on artistic expression and communication skills. Music graduates need to be equipped with critical, analytical and creative skills to meet the challenges of the industry and academic demands which need to be reflected in the main focus of the course of studies. 2.2 Teaching and Learning of Music The educational delivery system in music has not undergone much change. For instrumental/vocal studies, the master-apprentice model at conservatoriums continues to be used in the training of musicians. The nature of music education continues to be over-specialized. Traditional methods of delivery are still the order of the day. Considering the profile of the new musician, this method of delivery is no longer adequate. The shift towards Student Centred Learning which indicates a shift from teaching to learning; learning how to learn and lifelong learning will need new delivery methods to be introduced in the classroom. Otherwise, the cycle of inadequate education will continue from generation to generation. Changes in the structure of the delivery system is needed starting with changes in how music students learn their courses in university. While teaching methods such as lecturing and demonstrating are appropriate for the early level of knowledge comprehension, higher levels of skill such as organizing and characterizing (in affective domain) and the analysis, synthesis and evaluation (in cognitive domain) should incorporate much more creative and reactive teaching methods such as hands-on practical problem-solving studies, discussion for synthesis of ideas, and critical analysis of cases. Music should be studied in a more integrative manner, for example, where students learn music history, theory and performance of music of various of cultures around the world in context with each other.

28 10 Future Directions of Music Education 2.4 Recommendations Reflecting on the various research findings and developments in the areas of teaching, learning and performance, tertiary music institutions could consider the following recommendations Areas of Specialization To support the needs of the industry at the national and global level, there are various areas of specialization which need to be offered. In line with the national landscape and cultural policy, programmes in Malaysian traditional music/ ethnomusicology performance is of vital necessity. Among the areas of specialization which are recommended in the future include: 1. Traditional music/ethnomusicology. 2. Music technology. 3. Audio engineering/synthesis and audio design. 4. Music industry/music business/music production/music entrepeneurship. 5. Jazz studies. 6. Film scoring. 7. Conducting. 8. Musical theatre. 9. Community music. 10. Instrumental/vocal pedagogy. 11. Management/band directing. 12. Music therapy. 13. Music psychology. 14. Piano accompaniment Curriculum 1. The curriculum of programmes offered should not only emphasise the specific area of specialization but also ensure the development of a multiskilled musician in terms of musicianship, creative thinking, personal skills and entrepeneurship to meet the challenges of the industry. The curriculum should always be kept relevant. 2. In order to promote the musics of Malaysia, the curriculum should also emphasise Malaysian music. In addition, a unique and profound form of Malaysian music education should be created to fullfil our own cultural and educational purposes. As is evident, international musicians have changed their direction of study to Asian music since the 18 th century. By

29 Programmes 11 combining the western and Malaysian educational systems, a meaningful music education system can be developed to contribute to what is truly needed by the young generations in a wider global sense. 3. Depending on the area of specialization, industrial attachment/practical training period should be extended for students to get more experience. Where possible, training conducted in international music institutions would be beneficial to students. 4. Soft skills in relation to professionalism needs to be emphasised. Related skills such as computer skills, research skills, music assessment skills are also important. 5. The development of technology needs to be included in the curriculum either as a separate course or absorbed within a course. The fast changing pace of technology also requires universities to keep up with the latest developments. 6. The emphasis on performance based courses, whether solo or ensemble, is required to enhance the students experiences. With more experience, music graduates can compete for places in orchestras Educational Goals The educational goals and learning outcomes for music programmes of all levels should adhere to national and international best practices in accordance to Outcome-Based Education approach to learning and teaching. This includes the establishment and matrix relationships/measurement in relation to: 1. Programme Educational Objectives (PEO). 2. Programme Outcomes (PO). 3. Course Outcomes (CO). 4. Lesson Outcomes. 5. Calculation of Student Learning Time (SLT) (by week & by semester). The following are some music educational goals which can be considered: 1. To train and provide musicians and other personnel who are creative, innovative and knowledgeable to serve the society and meet the needs of the various sectors of the music and performing arts industry. 2. To produce professionals who are creative, innovative and analytical. 3. To provide specialist knowledge and understanding in the development of creative skills in musical expression and communication. 4. To enable students to develop effective problem-solving skills within different learning situations, and create an environment which encourages expressive, analytical and creative exploration of ideas as well as the acquisition of evaluative skills.

30 12 Future Directions of Music Education 5. To foster the ability to work efficiently and apply acquired skills at the appropriate level within a relevant context, consistent with the broad spectrum of employment within the music industry. 6. To equip graduates with research strategies and independent learning for continued academic and professional development in the promotion of life-long learning. 7. To foster aesthetic, artistic and cultural sensibilities. 8. To provide interdisciplinary experiences that foster a broad understanding of the performing arts in the social context Learning Outcomes Learning Outcomes represent a set of common musical standards that specify the academic outcomes of a programme and individual courses within the programme. In music, learning outcomes may be categorised as: 1. Practical (skill-based) outcomes. 2. Theoretical (knowledge-based) outcomes. 3. Generic outcomes. 4. Communication skills. 5. Entrepreneurial skills. 6. Research skills. 7. Global competitiveness. Learning outcomes generally incorporate a suitable action word that captures a means of demonstrating the acquisition of knowledge, skill or competency and they are couched in quite broad and generic terms so as not to be unnecessarily restrictive. Learning outcomes can help academics to choose appropriate teaching, learning, and assessment strategies, commonly known as critical alignment. When there is alignment, course content reflects learning outcomes, teaching methods are chosen to reach outcomes, and assessment is designed specifically to judge if and how well the learning outcomes have been achieved by the students. Therefore, aligned learning outcomes offer students insight into the methods of teaching and assessment they can expect on a programme or module and allows for more informed choices regarding which programmes and modules will suit their interests, strengths, and needs. The following are examples of Programme Outcomes of various music programmes.

31 Programmes 13 TABLE 2. Examples of programme outcomes AREA PROGRAM OUTCOME STATEMENTS GENERAL CORE OUTCOMES OF ANY MUSIC PROGRAMME PEDAGOGY MAJOR 1. Have writing skills and ability to conduct research. 2. Understand and be able to apply the basics of music theory, aural, and keyboard proficiency. 3. Have a working knowledge of the historical basis of the development of musical forms and genres. 4. Have a knowledge and understanding of music in its cultural context. 5. Be familiar with music technology in its various forms for teaching, composition, and scholarly pursuits. 6. Have a practical knowledge of performance practice in their particular ensemble performing areas. 7. Have knowledge of repertoire and technical studies in their major area of study. 8. Use skills of performance, aural analysis, score analysis, improvisation, and composition to solve musical problems. 9. Use knowledge of history, musicology, and ethnomusicology to solve musical problems. 1. Have the competencies delineated in the Music Major General Outcomes. 2. Have a knowledge of pedagogical methods and materials in the appropriate discipline and the ability to evaluate the appropriateness of those methods with respect to individual teaching situations. 3. Be able to apply appropriate pedagogical knowledge and prepare effective lesson plans in a variety teaching situations. 4. Be able to establish and articulate a philosophy of music teaching and learning. 5. Demonstrate knowledge, experience and teaching skills for further graduate study in pedagogy or a career in music studio teaching. 6. Demonstrate competency in evaluating various music software and/or technologies as they relate to pedagogy. 7. Demonstrate knowledge, skills, and rehearsal techniques of piano accompanying in a variety of settings. 8. Demonstrate knowledge of literature styles and performance practice in the student s major performance area. Vocal majors will be able to sing in foreign languages. 9. Be able to demonstrate a high quality of performance competence in the student s major area of study. 10. Have the skills necessary to prepare for performance independently in the student s major performance area.

32 14 Future Directions of Music Education COMPOSITION 1. Apply knowledge in theoretical and practical aspects of music. 2. Recognize, identify and notate musical sounds. 3. Synthesise social, cultural and historical knowledge within the context of music. 4. Assess, analyse and evaluate music and musical sounds. 5. Perform competently in at least one instrument. 6. Compose and arrange music. 8. Apply technology in music creation. 9. Plan, conduct and apply research activities. 10. Interact, collaborate and work in a group environment. 11. Demonstrate creativity and originality in music compositions. MUSIC EDUCATION 1. Have the competencies delineated in the Music Major General Outcomes. 2. Have a working knowledge of music education in schools. 3. Be able to articulate a philosophy of music education. 4. Be familiar with standard music curricula, particularly the National Standards for Music Education. 5. Be able to prepare effective lesson plans for music classes and ensemble rehearsals. 6. Diagnose and prescribe appropriate content and techniques according to the music learning sequence for all levels and types of learners. 7. Have competent conducting techniques and rehearsal techniques for a variety of ensemble situations. 8. Have a working knowledge of instrumental and vocal techniques appropriate for teaching. 9. Have a working knowledge of appropriate instructional materials and their use. 10. Develop skills in the administration of the school music program. 11. Understand and be able to use effective classroom management skills. 12. Be able to demonstrate performing competence. 13. Use skills of performance, aural analysis, score analysis, improvisation, and composition to solve problems of music teaching and learning. 14. Use knowledge of history, musicology, and ethnomusicology to solve problems of music teaching and learning. Rubrics are especially useful to for measuring musical attainment. There is a need to establish specific rubrics for learning outcomes according to music specializations (eg. performance, composition, music education, music technology, music business). Refer to Appendix A for an example of a rubric for listening skills and creative writing /improvisational /compositional skills.

33 Programmes Music Assessment Music assessments represent a major component of any music programme. This is an area which has been accorded increasing focus and attention, especially in light of the national agenda to revamp the national higher education curriculum in accordance to the cognitive, affective and psychomotor learning domains of outcome based education. The following are some areas to be developed. Essentially musical assessments may be categorized under the framework of: 1. Theoretical studies. 2. Practical/Performance-based (Individual & Group) studies. 3. Practicum (at work site) studies. Music assessments may be examined under various assessment standards. The following represent some assessment aspects in relation to standards of best practice. TABLE 3. Music assessment aspects and related standards of best practice ASPECT RELATIONSHIP BETWEEN ASSESSMENT AND LEARNING ASSESSMENT METHODS MUSIC ASSESSMENT STANDARDS To ensure that the principles, methods and practices of student assessment are aligned with learning outcomes. To ensure that music assessments are consistent with the levels defined in the Malaysian Qualifications Framework (MQA), which are: Certificate, Diploma, Degree, Post Graduate Diploma, Masters, PhD. To ensure that assessments are consistent with the eight domains of learning outcomes and programme standards. To ensure that the link between assessment and learning outcomes are reviewed periodically (at least once in 3 years) or preferably continuously to ensure its effectiveness. To ensure that there is a variety of methods and tools used to assess specific learning outcomes and expected competencies. Standardised music assessments include quiz, tests, practical exams, presentations, portfolio. To ensure assessment methods are formative and summative in nature. To ensure that there are mechanisms in place to ascertain, verify and validate student assessments to maintain consistency, currency and fairness of student assessments.

34 16 Future Directions of Music Education MANAGEMENT OF STUDENT ASSESSMENT To ensure assessment methods are reviewed periodically. To ensure methods of student assessment are documented and communicated to students at course commencement. To ensure that assessment methods are comparable to international best practices. To review the assessment system periodically in consultation with local and international external examiners and industry professionals. To ensure student assessment outcomes are communicated to the student within a reasonable time. To ensure changes to student assessment adhere to established procedures and communicated to students prior to implementation. To ensure programme and course grading, assessment and appeal policies are made known and publicised. To ensure independent external scrutiny to evaluate and improve student assessment New University Focus In order to increase marketability of music graduates, trends which are not currently used by any institution and can be considered are: 1. Concept of double major or major-minor degrees which are interdisciplinary or cross-disciplinary in nature, e.g., music and business, music and mathematics, music and law, music and medicine, music and sports, music and information science etc. 2. Cross institutional efforts in double degree or twinning programs and links with overseas institutions Duration of Programmes Institutions offering music programmes need to consider that with music, the maturity period of an artist may take longer than other areas and as such, any particular area in music requiring a higher level of skill development should be allowed to extend the duration of the programme. In addition, the lack of music entry qualifications of candidates further contributes to the problem of producing music graduates with required skills within a short period of time.

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

36 CHAPTER 3 Resources The focus of this chapter will be on human resource, facilities, instruments and equipment and educational resources. 3.1 Human Resource It is inevitable not to mention that both academic and supporting staffs are equally important in running music programmes at higher institutions. Both play their own specific roles which complement each other in achieving institutional goals Areas of Expertise In general, the expertise that exists in the seven universities is rather limited. Table 4 presents a summary of the areas of expertise fields of academic staff at each of the seven universities. The number of academic staff who specialize in a particular area depends partly on the programmes offered. However, as indicated in the table, the field of ethnomusicology, music technology, composition, jazz, popular music, music therapy, music industry and music management are still limited. Prior to this, most of areas of expertise listed above have not been offered at local universities. Students who wanted to pursue their studies in these fields had to go to foreign institutions Qualification of Academic Staff The following table presents a summary of the qualifications of academic staff at each of the seven universities. As can be seen, a majority of the lecturers have Masters qualifications. Universiti Malaya has the most PhD qualified music lecturers due to the university s recruitment policy. Other universities are only now beginning to appoint lecturers with PhD qualifications. However, due to the small numbers, the universities still have to appoint Masters qualified lecturers. The number of academic staff shown include contract lecturers who are either Malaysians who are now retired or foreign lecturers appointed on contract.

37 Resources 19 Academic staff with bachelor s degrees are mostly tutors or young lecturers who will be sent for further studies in various fields. TABLE 4. Areas of expertise at the public universities AREA OF UiTM UM UPM UPSI USM UNIMAS UMS EXPERTISE Music Education Performance Ethnomusicology Musicology Music Technology Composition Jazz/Improvisation Popular Music Music Therapy/ Psychology Music Industry Music Management * Data as of April 2010 TABLE 5. Qualifications of academic staff QUALIFICATION UiTM UM UPM UPSI USM UNIMAS UMS PhD Masters Bachelors Total * Data as of April 2010

38 20 Future Directions of Music Education Number of Academic Posts Table below shows total number of academic posts at each university. These numbers also include contract/temporary academic staff. As can be seen in the table, the number of academic staff who holds higher academic posts (Professor and Associate Professor) is very small. TABLE 6. Academic posts of music lecturers ACADEMIC POST UiTM UM UPM UPSI USM UNIMAS UMS Professor Assoc. Prof Senior Lecturer Lecturer Teacher Tutor Total no. of academic staff *Data as of April 2010 While many positions are held commonly among the institutions, only one institution (which is an education institution) has the position of music teacher and only two institutions have the positions of musicians. Institutions have different concerns over their structure of organizations. Some institutions, however, have to employ a large number of part time lecturers due to the shortage of lecturers with Master qualification especially in the field of performance, Malay traditional music and conducting, and the huge sum of emolument for part time lecturers has burdened the management budget of the faculty. All the universities are employing their own strategies to increase the capabilities of the academic staff. Such strategies include appointing and sending academic staff for further studies. In addition, universities are also appointing part time lecturers and tutors to fill the needs of the courses offered. This poses a problem to the universities whose location is far from the Klang Valley as well as the problem of having to increase the management costs to pay their salaries. In addition, the renumeration offered by the university is comparatively lower than what they would receive from their involvement in the industry thus causing fewer practitioners and music educators who are willing to contribute their expertise to the university. In order to fulfill the needs of higher qualified lecturer in music department, universities appoint foreign lecturers from various countries. For short-term

39 Resources 21 planning, such strategy needs to be implemented by all institutions to overcome the shortage of higher qualified music lecturers. However, it is not easy to attract foreign lecturers to work in Malaysia due to the lower salary as compared to the salary they can request in their countries. Thus, in order to attract more highly qualified foreign lecturers, offering a higher salary and better incentives would be necessary Job Assignment and Workload of Academic Staff The job desription of music lecturers in the local public universities adheres to that common of a lecturer, which covers teaching, research, professional work, administration, extention activities as well as social service. Depending on the emphasis and practice of the institution, a lecturer is expected to devoted 40-60% of their time in teaching (6-18 hrs), 30-50% in research, and 20% in administrative and other duties. In reality, situations differ in each institution. The teaching load assigned to each lecturer varies according to each institution. In reality, lecturers in some institutions teach up to 18 hours per week. Some of the research universities implement maximum teaching loads where it should not exceed 12 credits in a year, in order to provide enough time for research activities. The assignment of workload shall take into consideration that music lecturers need time to develop their personal excellence in artistry and scholarship. Faculty members, according to their title and job description, shall have adequate time to provide effective instruction, advise and evaluate students, supervise projects, research, and dissertations, continue professional growth, and participate in service activities. Recommendations regarding job assignment and workload in local music institutions are as below Support Staff Of importance to an institution is also the support staff whose purposes, size, and scope are required of programmes offered. Support staff can include technicians, musicians, cultural artists, and production officers and sound engineers to assist in music activities such as recitals, concerts, managing labs and practice studios. Most of the public universities have only supporting staff to assist in administrative duties. However, there are some universities who not only have administrative staff but also positions such as musician, librarian, cultural artist, technician, and production technical team. These positions can help lecturers and students in running their teaching and learning activities as well as musical activities on campus. The shortage of the assistant registrar position that is specifically assigned to the music programme as well as the lack of a position that are specific to the field music like musician, program editor and storekeeper are also the concerns held in some institutions.

40 22 Future Directions of Music Education Recommendations Based on the discussion above, recommendations regarding staff recruitment in local music institutions are presented as below. 1. Institutions need to maintain academic lecturers and support staff whose qualifications can support the department/faculty and the specific educational programmes offered to accomplish their purposes. Academic staff should be qualified by earned degrees and/or professional experience and/or demonstrated teaching competence for the subjects and levels they are teaching. 2. While it is important for academic staff to hold academic degrees, it should be considered that appointments based on experience, education and expertise at a level equivalent to that required for the master s degree is also needed especially for those in the field of traditional music. 3. Student-lecturer ratio must be consistent with the size, scope, goals and the specific purposes and requirements of the music programmes offered. It should also be considered that one-on-one training for individual instrumental and vocal studies is very much an important component of music programmes. 4. The number of lecturers offered scholarships to do the doctoral degrees need to be increased. It is suggested that the lecturers be sent overseas due to the limited areas of specialization of doctoral degrees offered in Malaysia. The short term plan to overcome this shortage is to outsource foreign lecturers. 5. More opportunities for training and attending short courses need to be made available. Due to the limited number of music courses conducted in Malaysia, increased budget allocation is necessary to implement this strategy. 6. The renumeration of part time lecturers according to their qualifications and experience needs to be increased to attract experts and practitioners from the industry to teach at universities. 7. Positions for support staff such as technicians, cultural artists, musicians, producer to assist in the running of music programmes need to be created. 8. The two types of instructional responsibilities classroom instruction in lecture/seminar format should be weighed diferently from private studio lessons in calculating the teaching component of faculty loads. With respect to workload, the National Association for Schools of Music (NASM) differentiates the requirements between lecture and lab hours, whereby the upper limit for lecture/seminar format is approximately 12 hours per week while 18 hours per week is the limit for private studio instruction.

41 Resources Music faculty should have sufficient time for artistic, scholarly, and professional activity in order to maintain excellence and growth in their respective areas of expertise. 10. For long term development of music programmes, there is an urgent need to recruit and develop lecturers specialized in traditional music performance with postgraduate academic qualifications. 11. Staff recruitment of a music institution should be carried out according to the nature and needs of the music program offered. Flexibility should be allowed in creating positions like (music) program planner (penerbit rancangan), musicians and teachers to fill the gaps of the applied duties that fall between the music lecturers and the support staff. 12. Institutions should carefully plan and arrange that lecturers do not take on non-academic duties more than what is designated in job description. For this purposes, it is helpful to employ music administrators to conduct duties that require musical judgment but not directly related to teaching and research in the institution. Music administrator can take the position title as program planner (penerbit rancangan) or musicians. 13. All staff should be informed of the expected outcome of an academic staff in music. In this regards, institution should recognize and make clear the two functional modes of a lecturer in music, which is the applied based and research based function. The institution should discuss with the lecturer whether he or she should take either one of the functional modes or mixed modes in their long term service. In principle, a doctorate in music such as D. Mus or DMA is appropriate to take on the mode of applied based, whereas a holder of PhD by research shall take on the research based mode in their service. The professional outcome of an applied based lecturer shall be applied works, and research publications for the research based. 3.2 Facilities In line with the nature of the field, institutions offering music programmes need to ensure the availability of the following facilities for teaching and learning that needs to be provided according to the size and scope of the department and programmes offered and to support artistic endeavours. The availability of specialized rooms that are conducive for teaching-learning provides a great impact. Where necessary, studios should be acoustically treated. Currently, several universities are lacking in facilities exclusive to a music programme such as an acoustically treated recital hall. General and specific facilities required are: 1. Administrative offices. 2. Faculty teaching studios and offices.

42 24 Future Directions of Music Education 3. Classrooms/Lecture rooms which are technologically enabled. Lecture rooms of variable sizes are needed in keeping with the nature of the courses. 4. Postgraduate rooms Separate rooms for undergraduates and postgraduates are essential as the method and culture with regards to teaching and learning is different. 5. Individual practice rooms A small and sound proof room is a basic requirement in a music faculty. It is mainly used to enable students to practice either individually or within a small group. 6. Chamber/Ensemble rehearsal rooms (traditional and western ensembles) Rooms of various sizes are needed to house small and large ensembles such as the gamelan, cak lempong, asli music, ghazal, keroncong, Chinese classic music, Indian classic music, Malay percussions, wayang kulit and makyong, and western ensembles. 7. Combo rehearsal rooms These rooms are needed for rehearsals for combos as the room is equipped with electrical music instruments and PA system and generally used by 3 to 10 musicians and singers. 8. Orchestra room A larger room is required for the orchestra. This is necessary to accomodate the large number of musicians and instruments, including music stands and a PA system. 9. Keyboard Labs The keyboard lab houses a few keyboards which is used for group instruction and is therefore more economical. 10. Computer laboratories There are two types of computer laboratories required which are the music computer laboratories and the computer music workstations. Both have different functions but are equally important. 11. Recital Hall/Concert Hall A main feature of any music programme is the need for a recital hall and/or concert hall for individual and group performances to be held. The recital/concert hall is usually equipped with recording facilities and is connected to the waiting/dressing rooms and the box office. It is imperative that this hall be acoustically treated. 12. Recording studio 13. Storage facilities As music departments/faculties require music instruments which are fragile, expensive and in large numbers, technical equipment and other related equipment, a proper storage room of ample size and design is essential and a priority.

43 Resources Music library/resource room A diversified collection of reference material is necessary, be it in the form of books, journals, scores etc. Such materials are usually combined with a resource room where recorded materials in the form of audio-visual products are stored. This room is essential as it provides a conducive environment for teaching and learning and non-disruptive for the students. 3.3 Musical Instruments In addition to space requirements, music programmes also require the provision of certain instruments and equipment to facilitate the teaching-learning process especially those which are immobile and not personal in nature. The music departments in Malaysian universities are quick and aggressive in its efforts to develop both availability of instruments and technology parallel to that of western universities. This reflects the readiness and interest shown by the universities and students alike in wanting to excel in the instrumental field. The university is also prone towards western music as the instruments that are provided are largely western in origin. Western music instruments surpass in terms of number and variety; they are also more expensive when compared to the traditional music instruments. This however, should not be regarded as a negative development. As with other departments and faculties, music is ready to come forward and be recognized/acknowledged internationally from the diversity of instruments provided and the curricula. The music curricula in Malaysia is often regarded as being unique as there is preservation of traditional Malaysian musics in both curricula and cocurricula activities. There are also universities that offer academic courses in traditional Malaysian music inclusive of Chinese and Indian orchestra. Although the inventory of these traditional instruments are less as compared to western instruments, the readiness and interest of students should not be dismissed. The instruments required include: 1. Grand and upright pianos The piano is the most popular and often regarded as the main instrument. This is not only because the piano is selected as the main instrument by the majority of students but also because most music subjects such as composition, arrangement, computer and musical analysis require the use of a chord instrument such as the piano. 2. Organs/Electones 3. Orchestral and band instruments: a. String instruments The universities generally do not provide enough string instruments.

44 26 Future Directions of Music Education This is because these instruments are considered as being personal in nature and not suitable for sharing. However, larger string instruments such as the cello and double bass still need to be provided as most students are not able to purchase them on their own. Furthermore, the provision of these larger instruments will ease the logistic process of transportation especially for those involved in large ensembles such as the orchestra. b. Wind instruments The provision of these instruments is usually regarded as being supportive to ensemble such as the orchestra, brass band, symphonic band and smaller brass and woodwind ensembles. These instruments are not particularly popular unless they are readily provided. Most of these wind instruments are provided on a loan basis each semester; this measure has proven to be fruitful to the faculty with the establishment of small and large brass ensembles as mentioned above. c. Percussion instruments The percussion has also shown tremendous development as a result of diversity in the inventory. It may be regarded as a good development in the field of music. One of the reasons underlying this is the overall development from the curricular aspects. As a result of this, most universities now offer the study of percussion in two parts, i.e. western classical and modern. The presentation and role differs thus producing a more diverse composition. 4. Traditional music instruments One of the unique features of the music curricular within a local university is the inclusion of traditional music courses and instruments. Some of the popular examples are Malay asli music, ghazal, keroncong, gamelan and the cak lempong. Other examples include the gendangan silat, wayang kulit, rebana ubi and the kompang. These instruments are usually provided by the university. Other instruments such as the accordion, harmonium, flute, violin, gambus, ukulele, cak, gamelan, cak lempong amongst others are difficult to obtain and require special care. A special room is allocated for each ensemble. 5. Combo instruments For popular music programmes, combo instruments such as the drum set and keyboards are essential. Supporting equipment such as amplifiers and monitors are also necessary as in indicated in the following section.

45 Resources Technical Equipment In addition to musical instruments, certain types of technical equipment are also required for teaching and learning in music programmes. These include: 1. Electronic equipment Equipment such as mixers, amplifiers, speakers, microphones amongst others play a crucial role in a music programme particularly programmes in popular music. Such equipment is necessary as it enhances the quality of a music performance. Several universities also incorporate the study of such technical equipment into its curricula. Such courses should be regarded as being an investment as it produces students who are more sensitive towards the needs and quality of a particular production. 2. Recording equipment The need to have a recording studio has basically branched out from two exisiting fields i.e., laboratory music and the PA system where equipment such as mixers, amplifiers and speakers are used. The merging of both technologies has transformed the digital world; this field is particularly popular in the study of music it is known as music technology. This field is essential for those who wish to pursue music technology as a separate degree. 3. Audio and video playback equipment The emphasis of effective learning is indeed a priority. Additional equipments such as the television, DVD player, cassette and CD player, headphone, projector are necessary. Reference material no longer exists in standard textbooks but also in the form of audio-visual material. 4. Computers Computers are an essential component in the study of music. Although its use predominates in the field of arrangement and music composition, the availability of a variety of music software makes the computer equally necessary. As such, the use of computers in the music laboratory is a necessary trend for all music programmes. The availability of diversified software and hardware is an important factor to ensure the smooth running of any music laboratory. 3.5 Educational Resources Integral to any programme is library space and holdings which are important to the teaching-learning process and need to be in line with the nature and levels of the programmes offered. Besides books, journals, periodicals and electronic access to databases, music programmes also require the purchase of musical

46 28 Future Directions of Music Education scores, audio and visual recordings and an archive of research and performance output of the institution) specific in the field of music, fulfilling the requirement of each different programs is necessary. Besides the appropriate facilities needed in a library such as the listening room, it is desirable that a small size museum of music instruments (organology museum) be established in each institution for teaching and learning purposes.

47 CHAPTER 4 Research and Creative Output 4.1 Definition of Research in Music Research in music should naturally complement and support the music and creative industries in addition to helping towards the conservation, preservation, dissemination and the advancement of knowledge to the society as well as scholarship. In order to intensify research in music, a conducive environment is needed which includes: 1. Infrastructure a. Studio facilities. b. Concert hall. c. Experimental theatre. 2. Human resource a. Inviting experts from other national or international institutions for research collaborations. b. Inviting national and international artists-in-residence to facilitate research. 3. Funding a. Promoting high quality fundamental and applied research. b. Research grants specifically for research in music. 4. Research Culture a Promoting research culture among academicians within the institution or between institutions. Research in music should also be able to promote the involvement of internationally renowned researchers to share and impart their knowledge to local music industries. Research should be broad and aiming at supporting local communities and needs of society particularly in Malaysian music and creative industries. Research should comprise three major approaches, i.e., fundamental or basic research, applied and experimental research. Fundamental research refers to research which is basic and to acquire new knowledge with short-term solution

48 30 Future Directions of Music Education but useful discoveries. There is also the need to explore applied research with specific application in view. In this respect, the application of findings from basic or fundamental research may be explored to achieve specific objectives or perhaps towards the evolution or innovation of new materials, creative works, processes, systems or services. Research in music should not be limited to music applications only but should be cross-disciplinary in nature and supportive of other creative areas. Research in music should also be defined as any creative work produced, executed and documented or the processes involved throughout the production of the creative works. Every Higher Education Provider (HEP) may naturally establish their niche area(s), identify and prioritize their areas of studies, but at the same time, research areas should also be multi- and inter-disciplinary. Collaboration in terms of human resource and expertise as well as establishing cluster research groups among HEP(s) will help ensure that resources are fully maximized to its full potential as well as complement each other. 4.2 Postgraduate Studies and Research Music programmes should also offer a number of postgraduate programmes, including research-based Masters of Arts (MA)/Masters of Music (MMus) or PhD programmes. This is important to ensure the sustainability of lifelong learning as well as to encourage more research perspectives in music. Research proposals should also be specifically tailored to research interests of the academic staff in order to ensure the quality of the research outcome. It is suggested that students who are registering for MA or MMus programmes are required to attend modules for research training including research seminars specifically designed for postgraduate studies in music. The establishment of postgraduate discussion groups or circles should also be encouraged among the HEP(s) through colloquiums or postgraduate seminars. The submission of an MA or MMus dissertation can be in the following forms: 1. Dissertation. 2. Portfolio of compositions of a suitable time duration without commentary. 3. Portfolio of compositions of a suitable duration with commentary. 4. A performance or recital of a suitable time duration as soloist or as director of an ensemble with written commentary where students are required to illustrate ideas developed through research into performance and written document. In any case, the performance can also be replaced by the submission of a CD or CD ROM, the contents which are equivalent in substance to the above mentioned dissertation.

49 Creative Output and Research Students can also be assessed on the submission of a portfolio of compositions depending on the nature and size of the forces used and a commentary, to be agreed by the supervisor Postgraduate Research in Performance Practice The principle aims of research in performance practice are to equip potential students with high standards of competency and professionalism in performance studies with outstanding levels of ability to present, discuss and to show evidence relating to performance practice. Students are assessed through a dissertation on performance practice together with a recital with a minimum of one hour performance time. The assessment should also account for quality of the executed performances PhD in Music Composition or Any Creative Works The degree intended for research students (in composition or creative works) involves producing works of international standing through research. The degree should be evaluated through a substantial portfolio of works with range of genres and resources agreed by the supervisor and contains original creative works as much as possible that are worthy of performance at a professional level and publication. The portfolios should be accompanied by a written commentary PhD by Research This form of research degree should be an original contribution to knowledge, worthy of publication, and with unlimited form of research subjects on music and other related creative areas. 4.3 Research Grants At present, there are no specific research grants as well as expert panels, specifically to provide external peer review for research proposals submitted from HEP(s) for Fundamental Research Grant Scheme (FRGS) applications. At present, research proposals are submitted under the Social Sciences and Humanities research expert panels. In order to ensure quality research proposals as well as to be more reflective on research areas at HEP(s) as well as to be internationally recognized in research, there is a need to establish research expert panels specifically in music due to the nature of the area.

50 32 Future Directions of Music Education HEP(s) should encourage researchers to apply for external research grants either from official government sources or from other academic institutions, both local and abroad. However, it is important to note that researchers are encouraged to establish their networks and collaborate either with local or international counterparts. 4.4 Research Strategies Research should have significant contribution towards the establishment of new or existing knowledge. In so doing, research should be systematic. It is also important to acknowledge and recognize the importance of interdisciplinary and cross-disciplinary research as well as collaborative and smart partnership approaches in research between HEP(s). This will also encourage researchers to widen their access to internal and external research grants as well as to enhance the researcher s reputation as well as University s research standings. 4.5 Research and Recognition in Music Research should be evaluated through the following performance indicator to show evidence of quality research output: 1. Refereed publications as articles or technical papers, nationally or internationally recognized as well as web-based journals. 2. Monograph, books, chapters in books and proceedings. 3. Successful registration of intellectual property and copyrights. 4. Presentation of research in the form of a concert, exhibition, installation works, conferences, seminars and workshops either national or internationally. 5. Recognition received national or internationally. 6. Accreditation and awards. 7. Appointment as an editor or a member of editorial board of any journal, proceeding or review panel. It is also important to recognize the importance of comprehensive documentation on any creative output derived from research, particularly in a form of scores, programme notes, portfolio of works and commentary as well as audio and video documentation for any compositions presented and executed through concerts as well as peer-reviewed seminars or conferences. Credit should also be given to any creative works particularly musical composition which received national and internationally recognition through invitation to perform, presented or executed in festivals either as soloist or group performances.

51 Creative Output and Research 33 Creative works, particularly musical composition, should not be limited to any duration as long as it is substantial to be recognized and evaluated by the audience.

52 CHAPTER 5 Management 5.1 Introduction In any learning organization, there exists a relationship between what is termed as the operations (goals, objectives, resources, policies, etc.) and the programs (curriculum, presentations, research, scholarship, etc.). As stated in the Handbook of NASM 2009, Evaluation and management of this relationship are crucial to the effectiveness with which the music institution shapes its programs, relates them to the mission and goals of the institution, and produces educational results. This chapter focuses on the operation aspects, i.e. the managerial aspects of music institutions in IPTA. It reviews the setting of goals, objectives and policies of the music institution, the mechanism or system used in the units to implement these goals and objectives, and the ways each institution evaluates the effectiveness of their management by relating the achievement to the operations set. In so doing, a general picture of the management systems and styles used in the music institutions in IPTA in Malaysia will be obtained. In addition, the areas for improvements concerning various management aspects in these music institutions will be determined. The underlying view for the discussion in this chapter is that the management systems and styles in music institution should be relevant and effective in supporting the development of artistry and scholarship in the field of music. In the following sections, the general aspects of management will be presented, followed by the specific aspects of management. Financial management will be presented as an independent section due to its importance in managing music programs. Discussion of each section begins with general statement about the subtopic under focus, explaining its relation to the management system as a whole. The description of the present situation in relation to the subtopic will then be presented. Most, but not all, of the sections will end with a statement of recommendations, to be used as a guide for further improvement in the management of music institutions in IPTA.

53 Management General Aspects of Management The general aspects of management consists of items that affect the organization as a whole; they cover organisation structure, management standard and accreditation, mechanism of review, and purpose and emphasis of each institution Organization Structure Music institutions in local public universities come in various form and size, covering various scopes. Some universities have a designated faculty for music, which has more than one academic department for the field of music. Others operate as either a department or unit within a faculty of performing arts or even within a faculty of mixed disciplines. At present, the names of these institutions include the following: Faculty of Music, Faculty of Music and Arts, Cultural Centre (with a music program), Faculty of Creative and Arts (with a music program), School of Arts (with a music program), and a Department of Music (in a social science faculty). All institutions offer undergraduate and postgraduate programs majoring in various fields of music. Through the survey of both local and foreign music institutions, it is found that a tertiary music institution is either established as an independent entity, or is placed in association with non music disciplines. At present in Malaysia, the non music disciplines which are now associated with music in its organization structure include performing arts, education, visual arts, humanities and social science. There are also variants with regards to whether a program offering music institution is associated with the utility and common functions related to music in the campus such as co-curriculum music activities for students as well as cultural performance for university s events and ceremony. Many universities, in Malaysia as well as abroad, have a separate entity to handle the utility and common music functions, and these utility music institution and the music institutions may share some of the facilities, equipments and staffs in their core activities Recommendations There are advantages and challenges both for a music institution to be established as an independent entity OR in association with non music disciplines. Recommendations regarding organization structure of local music institutions are as below. 1. In the case where an institution is to be established independently, the music institution must be adequately functioning in most of the core

54 36 Future Directions of Music Education aspects of the organization, including number of full time staffs, number of students, expertise in artistry and scholarship in music, as well as managerial experience. 2. In the case of considering placing a music institution in association with other disciplines, the selection of which disciplines to be associated should be carefully considered. Specialisations that have music component like theatre, dance and drama, are appropriate. The combination of music with specialization that has no direct relation, with the visual arts for example, may cause difficulties and inefficiencies in management as the requirement of the two disciplines are considerably different Management Standards and Accreditation As public universities, these music institutions conform to the common management structure and style of a public university. There are aspects in the management system of the music institutions where the authority does not rest in the music institution but at the higher management level. The allocation of budget, for example, is not within the control of the music institution. Local public universities adopt various internal as well as external management standards in managing and improving quality of service of the organization. The music institutions in IPTA, as part of the larger organization, are obliged to conform and comply to these standards. Beside the MQA s and MOHE s requirements on the structure of program of study which is common to all IPTA, many institutions comply to the management standard of ISO9001:2008. Individual institution takes up other standard requirements under their own initiatives in order to improve the quality in management, these includes QMEC (Quality Management & Environmental Certification), COPIA (Code of Practice for Institutional Audit) which prepares for APA (Academic Performance Audit), OSIA for safety, workplace organization methodology of 5S, and those requirements that are related to management awards such as the Vice Chancellor Quality Awards and others Recommendations It is observed that the frameworks and styles of management applied in the music institutions are mainly that of the university which is set to be complied for all faculties. The local music institutions are yet to apply any management standard that is specifically designed to evaluate the effectiveness of music programs. The general framework used by the universities such as the ISO 9001:2008 and APA can only determine general aspects of the management but not the specific ones for music program. This is because the field of music has its specific requirements on curriculum, human resource, facilities, equipments, student enrollments and

55 Management 37 staff development which differ greatly from other disciplines. Recommendations regarding accreditation standard of local music institutions are as below. In the future, it is advisable to have some form of guide, reference or even accreditation standard that is created specifically for the implementation of tertiary music program, like the Handbook of National Association of School of Music in the United States. A comprehensive and detail system of accreditation specifically for tertiary music programs will help to ensure the minimum quality of the management in the local music institutions Mechanism of Review Periodical reviews are essential in an effective management system without which the actual achievements of the organizational goals and objectives will not be known in clear. The major reviews involved in a music institution are the management review which relooks the effectiveness of the entire management system, and, the curriculum review which evaluates the relevance of curriculum content and delivery method used in instruction. It is observed that not all local music institutions practise a regular and periodical (for example, annual) review towards the management system apart from the regular management meetings, internal and external audits. In some universities, it is probably not a requirement for a faculty or department to hold management review of its own apart from the university as a whole. For music institutions that adopt the management standard of ISO 9001:2008, management review becomes necessary. There are also institutions where empowerment is given to department to plan and review their directions and strategies in the next five years as an autonomous entity Recommendations It is observed that the practice of management review can be further enhanced and improved. A weak review practice among the music institutions indicates that there are possibilities where the actual conduct of the programs aspects (curriculum, presentations, research, scholarship, etc.) deviates from the operations aspects (goals, objectives, resources, policies, etc.). Music institutions may be caught up by day to day routine work of teaching but not serving the set purpose for the institutions effectively. Staff can be exhaustively engaged in their duties but not producing result in the right form, type or nature that are desired and aspired in the mission, purpose and objectives of the organization. Recommendations regarding mechanism of review of local music institutions are as below. 1. It is essential for all music institutions to systematically practise management review in a consistent pace, e.g. annually or bi annually,

56 38 Future Directions of Music Education where the present condition of the music institutions can be evaluated and the mission, purpose and objectives of the organization can be refined and updated according to the development of that time. 2. It is important that the chief officer that leads the management review, irrespective whether he/she is a faculty member or an externally appointed person, must be a person that holds qualification with specialization in music, and has substantial experience serving as a faculty member in tertiary music institutions. The frequent misconception that a person from a neighboring or related field (like fine arts, social science for example) can evaluate the management of a music institution must be corrected to prevent the mistakes where recommendations are made out of the context of the music discipline Purpose and Emphasis of Organization A clear statement of the purpose of a music institution is important, as it is the guide and point of reference for decision-making, analysis, and planning to determine the effectiveness of the music program offered. The purpose of organization and academic program should be clearly stated, identifying areas of specialization and the nature of program whether it is fine arts or professional program. There are common, fundamental purposes for all music institutions, as part of public universities, which is to produce human resource in the field of music for the country, which shall lead to the accumulation of wealth for and improving the living of the society as well as for the advancement of knowledge in the field of the arts. With respect to the curricular offered, the standardized schemes requested by the MOHE and MQA ensured that all programs, irrespective of they are theoretical based or practical based programs, cover a comprehensive list of learning outcomes and human skills. Music institutions in local public universities had respectively developed their purpose and objectives of their organizations as well as for their academic programs. Apart from the common purpose and objectives as a public institution, the statement of purpose determines the specific scope or area of emphasis that are unique for each institution. These may include the philosophy behind the program, the immediate purpose of the program, the targeted students, the method of implementing the curriculum, and the aspiration of the institution towards the development of the field. Emphases as observed in statements of purpose in some of the local music institutions include the following.

57 Management 39 MUSIC INSTITUTION A B C D E EMPHASES AS OBSERVED IN STATEMENTS OF PURPOSE Professional training: performance and research (undergraduate), research (postgraduate) Music education, research, practitioners Professional training: research and performance (undergraduate), research (postgraduate) Arts and Cultural studies Academic competence, professional skills, critical and creative abilities, research Recommendations Although each music institutions have its statement of purpose and objectives, to which extent the purpose, emphasis and focus of the institutions is understood and shared among the institution members are unknown. Recommendations regarding the purpose and emphasis of local music institutions are as below: 1. Music institutions should strategically align their purpose statements, identifying niche areas for each institution in order to have a more diversified content in program offering and expertise development. 2. The statement of purpose and emphasis of a music institution should be published as printed materials and webpage and be conveyed to all institution members. Efforts should be made so that the institution members have a common and clear understanding of the purpose and emphasis of the institution. 3. Music institutions should have a long-term strategy to develop area of expertise in a more global view of the needs of the region and in promotion the local artistic strength and niche for the country. 4. In order to promote freedom and excellence in artistry and scholarship in the field of music, it is vital for each music institutions to be given the maximum authority to creatively derive and shape their own purpose, objectives and policies. 5. On the other hand, the music institutions in local public universities, when put together, shall be able to serve the diverse needs in or that are related to the field of music, as well as the needs of students with different aspirations, training background and preference. 6. The statement of purpose shall also reflect the desire of the institution to contribute towards the fulfillment of local, current needs in the music marketplace or the solution of certain problems in the area of music education in the country. Ideally, it should also depict or imply the aspired

58 40 Future Directions of Music Education vision or direction of the development of music in the future for Malaysia. Among the current issues that are evident are: a. A lack of interest among the students as well as public towards local traditional and folk music. b. A lack of public awareness and appreciation towards the potential of music of various culture and the appreciation towards music professionals. c. Limited exposure of literature and performance of various music cultures (both western and local) as well as serious lacking of systematic documentation and accessible archives of music and related literature. d. A lack of expertise in certain fields like music technology, therapy, music business, etc. 5.3 Specific Aspects of Management The specific aspects of management cover management of quality in teaching and learning, management of human resources, and management of facilities and equipments Management of Quality in Teaching and Learning Various efforts are made in music institutions to ensure and improve the quality of teaching and learning, many of which are done together under the instruction of the university. The application of ISO standard in teaching itself is a comprehensive means to ensure teaching and learning quality. Discussion of management of quality in teaching and learning comprises curriculum review, teaching evaluation and student enrollment Curriculum Review All institutions conduct curriculum review periodically, though the designated period that requires review varies between two to five years. External reviewers were involved in curriculum reviews, where some institution employed reviewers from overseas.

59 Management Recommendations Systematic practice of curriculum review is essential to ensure the curriculum content is up to date with the development of the marketplace. Recommendations regarding curriculum review of local music institutions are as below. 1. Review of a curriculum offered must be conducted in a consistent pace. The review should cover all aspects of the curriculum including course syllabus, students achievements and support towards teaching and learning. 2. To ensure objective and valid evaluation of the curriculum, at least an external reviewer should be engaged. 3. The external reviewer should be a person well-qualified in the field of music and has substantial experience in teaching and administrating tertiary music program. 4. There should be a mechanism to verify measures that are taken according to the recommendations made in the review report Teaching Evaluation All institutions conduct teaching evaluation at the end of semester or after the last lecture week using respective schemes such as C-Test, etc. Some conduct teaching evaluation online while others were done manually. Some institutions set a benchmark for teaching evaluation score, and will identify the reasons for low scores of teaching evaluation for a lecturer. Measures are taken to rectify the problems of low scores like talking to the lecturer as well as obligating the lecturer to attend pedagogy courses as a measure to improve his/her teaching quality. Part time lecturers with low teaching evaluation scores are normally replaced with other lecturers Recommendations Teaching evaluation is essential to see the effectiveness of the delivery of curriculum content to the students. Students feedback on the instruction of lecturer, however, can be obtained through many forms. The method of teaching evaluation used must be appropriate to that multidisciplinary and heavily practical based nature of the music program. Recommendations regarding curriculum review of local music institutions are as below. 1. Other than questionnaire survey, group discussion with students is also effective to obtain students feedback about the teaching of the course. This is relevant especially for classes that have a small number of students.

60 42 Future Directions of Music Education 2. In order to evaluate the teaching of music program which is highly practical in nature, the set of questions used must be valid to the nature of the various teaching mode. Ideally the questions used shall be appropriately designed for each of the mode of teaching in a music program, which are normal lecture, lab based classes (music technology, studio recording), practical based class (aural, conducting, composition, harmony, etc), large group ensemble (orchestra and choir), small group ensemble, individual lesson and project supervision. 3. Any conclusion to be made in relation to a low teaching score for a course should be done after verification with some of the students and the teaching lecturer. Low teaching score does not necessarily mean sole inadequacy of the lecturer s teaching ability and efforts. Difference in expectation (which is frequently observed between coach and trainee relationship in music lesson), misunderstanding, and difference in communication culture can lead to miserable feeling of a student Student Enrolment Student enrollments in local public universities are carried out by adhering to the policies and procedures set by the MOHE, and are managed through a centralized enrolment system under MOHE except for UiTM and university with Apex status. The entrance requirements for music program vary according to institutions, as well as the specialization of a particular program. Some of the local music institutions set music theory and practical proficiency of ABRSM Grade 5 or equivalent as entrance requirements. Most institutions conduct audition to select candidates with the appropriate readiness and aptitude for the program. The student enrollment process in UPSI and UiTM differ slightly due to the specific focus and purpose of the university. NASM has emphasised that music institutions recruit and admit students only to programs or curricula for which they show aptitudes and prospects for success (NASM 2009). In this regard, professional training program in performance should select candidates with exceptional talent and high level of competencies. In Malaysia, not many applicants come with such talent and readiness to pursue a performance degree. Taking in students with inappropriate aptitude for performance degree leads to underachievement in their study Recommendations Recommendations regarding student enrollments of local music institutions are as below. 1. It must be noted that the standard number of students in a music

61 Management 43 institutions is comparatively small compared to other disciplines. This is because the nature of the program that requires heavy and diverse mode of practical instruction which cover one to one instruction, small ensemble, large ensemble, practical based class, and lab based class. In the case of the United States, for example, the NASM has set 25 as the minimum total number for one institution that offers undergraduate and postgraduate programs and 15 for institution that offers postgraduate program only (NASM 2009:15). 2. Relevant measures should be taken to improve the general music education in school and to provide more opportunities for specialized music training to children at their young age. Due to the serious and evident lacking of pre tertiary music education as well as the social environment in Malaysia, candidates that come with adequate readiness in musical skills and knowledge to pursue a tertiary music program are extremely limited. 3. Candidates who are applying to study music in IPTA should be briefed well about the various specializations that are available in the field of music, and, the focus and emphasis of different music institutions. Efforts should be made to facilitate the candidates so that they apply to the music programs that are in accordance with their aspiration and suitable to their musical readiness. The application process must be made more transparent and students will must be respected to the best in order to minimise difficulties in their studies later. 5.4 Management of Human Resource The discussion of management of human resource comprises staff recruitment, staff evaluation and staff development Staff Recruitment The administration position in local public music tertiary programs consists of a dean or director, several deputy deans which is assigned to certain area such as academic and student development or quality assurance, research and postgraduate students, assistant registrar or senior assistant registrar, head of department and coordinator or program coordinator. Some institutions have additional administrative officers such as executive officers and assistant officers. A university has a unit called service and activity unit within its management structure with a head of unit and officers under that unit. While many positions are held commonly among the institutions, only one institution (which is an education institution) has the position of music teacher

62 44 Future Directions of Music Education and only two institutions have the positions of musicians. Institutions have different concerns over their structure of organizations. Majority are contented with the allocation of position within the present structure. In some institutions, however, they have to employ many part time lecturers due to the shortage of lecturers with Masters qualifications especially in the field of performance, Malay traditional music and conducting, and the huge sum of emolument for part time lecturers has burdened the management budget of the faculty. The shortage of assistant registrar who is specifically assigned to the music program as well as the lacking of position that are specific to the field music like musician, program editor and storekeeper were also the concerns held in some institutions Recommendations Based on the discussion above, recommendations regarding staff recruitment in local music institutions are presented as below. 1. Staff recruitment of a music institution should be carried out according to the nature and needs of the music program offered. Flexibility should applies where positions like (music) program planner (penerbit rancangan), musicians and teachers should be created in order to fill up the gaps of the applied duties that fall between the music lecturers and the support staff. 2. Judging that a music program involves heavy budget to purchase and maintain facilities and equipments and to hire part time instructors, it is ideal to have a decision-making administrative position (deputy registrar) placed within the music institutions. 3. For longterm development of music programs, there is urgent need to recruit and develop lecturers who specialized in traditional music performance with postgraduate academic qualifications Staff Evaluation A lecturer in public university is expected to publish certain number of their research output in a year, usually in the form of journal article, book and proceedings. Research universities have stronger emphasis in research and publication. There is yet a clear and detailed description of insitutions expected outcome on music lecturers on their professional and artistic work. Recommendations regarding staff evaluation in local music institutions are as below.

63 Management Recommendations 1. MOHE should acknowledge that the research outcome of a faculty member in music institution can take the form of either publication or professional works. In view of the nature and purpose of music institutions where arstistic education and development is the core component beside academic scholarship, a faculty member should be recognised to choose professional work in subsitute for the research publication in their work expectation and evaluation. 2. Expectations on the artistic outcome of lecturer who specialised in professional work like composer, performer, and sound engineer should be stated in detail, in order to set a clear pathway for the lecturer to develop their experties. 3. The training of musical skills requires complex methodology and much effort and enthusiasm of the educator. This is more true in the current context of our country where the discipline of relatively new and resources are scarce. It is therefore important that faculty members who are devoted in teaching and training be rewarded and supported so that they can concentrate in teaching. This is especially true for lecturers who are teaching courses that build the foundation of music skills of a student like individual lessons, harmony, aural and so on. Without attentive and consistent teaching, students may not develop solid foundation of their musical skills Staff Development Measures that have been taken to improve work quality in local music institution includes: 1) award giving, celebrating excellent workers in award giving ceremony such as the awards given in Bulan Kualiti (quality month), excellence service award, the Vice Chancellor s Award, as well as institutional awards like the Prime Minister Award; 2) use of suggestion box; and 3) conduct of in-service training such as the training for music notation and programming software, teambuilding as well as training for research skills. Recommendations regarding staff development in local music institution are as below. Note that recommendations made regarding staff evaluation presented above are closely related to staff development as well. The two recommendations should be read together.

64 46 Future Directions of Music Education Recommendations 1. One of the area of expertise that is to be developed urgently is that of traditional music performance. The vast treasures of local traditional music in Malaysia, with immense uniqueness and diversity, is the vital source to build competitiveness for the country in the regional and global music industry. Unlike the western music education system which is well-established, the local traditional music as an area in tertiary music education is yet to be established. Therefore, it is recommended that young traditional music players to be recruited and trained with both academic and practical training up to doctorate level, so that a generation of academically qualified traditional music faculty can be produced. 2. In relation to the recommendation above, an institution that focuses specifically on traditional music performance should be established. It is important that the curriculum and the management structure for tradtional music disciplines are not placed together with western music disciplines as the two require different standard for human resource, pedagogy and facilities. 3. In order to promote excellence in music performance and composition, provision should be made to appoint exceptional musical experts to be faculty member. For certain areas like traditional music and commercial music, the academic requirements for recruitment should be considered with flexibility. 4. There is also a huge area of expertise in music technical support to be developed in the local music institution. Efforts should also be made to train and upgrade the support staff in music institution in areas that are related to the maintenance of resources, music instrument, and technical equipments. Expertise in music library, piano tunning, orchestral instrument mantenance, concert management, concert hall maintenance, sound reinforcement, and studio maintenance are relevant Management of Facilities and Equipment In all institutions, the management of infrastructure like lecture hall, practice rooms, and studio falls under a collaboration between the centralized asset and development division of the university and the faculty. On operation level, the technicians and the program editor supervise the usage of the facilities. The management of equipment comes under the responsibility of the technicians or the program editor, under the supervision of the assistant registrar. Only in one institution, the maintenance of equipments are handled under a special unit called Service and Activity Unit.

65 Management 47 Among the concerns towards the management of infrastructure and equipments are inadequate allocation for high maintenance cost and staff, lack of training in management and maintenance of musical equipment. Some institutions face severe problems in lack of space and proper infrastructure as they are using buildings that are originally built for other purpose. Recommendations regarding the mangement of facilities and equipments in the local music institutions are as below Recommendations 1. It is vital for the music institution to ensure the facilities built fulfilled the specifications required by a music program. This includes sound proofing, adequate space for performance, audience, rehearsal, sound reinforcement, archive and storage. 2. Music institution must have a long-term, systematic planning for the maintenance of facilities and equipments, taking into considerations the costs and human resources that are needed. 3. Projection for updating technological equipments and replacing exhausted instrument must be carefully made as this incurs reasonable amount of cost as well. Music institution should have the right projection of the lifespan of the equipments and instrument, judging from the frequency of usage and the development of technology. 4. Institution shall also look into possibilities to be more autonomous in making decision concerning building infrastructure within the university, as well as in the purchase of equipments. 5.5 Financial Management When a music institution is established within a university, it is done through various considerations made by the university management concerning its function, purpose and emphasis. Besides the purpose to advance the discipline of music and music education, the music institution is, at some cases, also expected to bring some colours to the campus by making the campus life more lively and colourful through music activities. Very often, the financial implications of maintaining a music institution have not been thoroughly studied by the management. When decision is made by persons who are not familiar with the discipline, the financial needs are often underestimated. The financial requirements of a tertiary music institution differ vastly from any social science, humanities and even from other arts programs. Compared to other programs, music program requires far more allocation in the four aspects

66 48 Future Directions of Music Education of human resources, spaces, facilities, and equipments. While the building of the infrastructure has high financial needs, the expenses for maintenance of the facilities and equipments are equally high. The present situation of financial management in each local music institutions varies. Only three out of the seven institutions can be considered as having adequate space and facilities equipped with recital hall, recording studios and the whole range of necessary facilities and equipments. Other institutions are operating at building formerly used for other purpose such as public schools, student affair buildings, and residential houses. The inadequate facilities and space for the music institutions have affected the teaching and learning quality of the program as well as caused much frustration among the full time, part time and guest lecturers. The cause of this situation is partly due to lack of understanding of the university towards the huge financial implication that come with the decision of holding a music institution Recommendations In recognising the huge financial impact of a music institution, each music institution should discuss well with the university management of their longterm strategies to plan and secure financial allocation. In order to have a sound practice of tertiary music programme, the financial management of music institutions in the future should look into all the aspects below. 1. The university management should recognise the need of music institution that offers professional training program in performance will constantly need extensive numbers of part time instructors even when there are sufficient full time faculty members. This is due to the fact that a professional training prorgam requires experties from various areas which the faculty members alone could not provide in terms of time and ability. The areas that need part time instuctors include individual lessons for students major instrument, lessons for each instrument in the symphony orchestra, choir, conducting, ensembles, music therapy, traditional music, music technology, commercial music, jazz music, world music and other relevant areas. 2. Enumeration of the part time instructor shall be paid as equivalent to the enumeration of an academic lecturer rather than as demonstrator. Part time instructors for music lessons consists of experienced and qualified musicians in the marketplace. 3. There should be long-term financial planning to secure consistent allocation for maintenance and replacement of music instrument and equipments.

67 Management The urgent needs for the four universities that are operating in inappropriate premises must be addressed and relevant action must be taken immediately to provide the neccesary infrastructure for these institutions. 5. Other than depending on the allocation from the government, music institutions can be creative in finding ways to secure their financial aids through various activities, for example, operating a recording studio, music schools, working in collaboration with music companies, and so on. 5.6 Linkages A Memorandum of Understanding (MoU) is designed for two or more institutions of higher learning to enter into a formal joint venture in academic knowledge enhancement, exchange of staffs and students, research works etc. Generally, all Malaysian Public Higher Education Institutions have signed memorandums with local or overseas and industries. The purposes of the memorandum include: 1. Exchange of undergraduate and graduate students. 2. Exchange of non-teaching and post-doctorate fellows and lecturers. 3. Exchange of junior and senior faculty members. 4. Exchange of information and materials in those fields which are of interest to both universities. 5. Joint conference and academic programmes. 6 Joint research activities and publications Recommendations Sharing of knowledge and skills among local and foreign universities are very essential to ensure and maintain the excellent quality of our music education. Exchanges of highly qualified lecturers such as professors with doctorate degree may benefit the university lecturers and students, as well as improve the quality of teaching and learning in the programs. Exchanges of knowledge and teaching materials such as orchestration scores, music performances, research resources etc. may enrich the teaching and learning syllabuses. On the other hand, extensive collaborations among the local and foreign universities in music research works may achieve profound and outstanding academic knowledge and wisdom towards true global contributions. Cooperations in musical performances such as orchestra, big band and ensemble performances (modern/classical/ traditional) need to be increased to provide the university students a wider musical exposures, to elevate the qualities of music and musicianship among university students, and to enhance the good relationships among all university students and lecturers in Malaysian Public Higher Learning Institutions.

68 50 Future Directions of Music Education Furthermore, every Malaysian Public Higher Learning Institution need to be clear of the music educational qualities and directions that they should achieve, including the vital roles they may be able to play within own country and the world. Each university should also ensure the good morality, integrity and humanity of both the university students and lecturers and set a wise and well music tertiery academic system to reach the highest quality of music education from time to time. Academicians in Malaysia need to take on a more proactive role to create linkages with the industry and with other intitutions with or without MOUs/ MOAs. Areas of opportunity include: 1. Exchanges and visits in the following categories: undergraduate and graduate students, non-teaching and post-graduate fellows, and junior and senior faculty members. 2. Exchange of information and materials in those fields which are of interest to both universities. 3. Organization of joint conference and academic programs. 4. Joint research activities and publications. 5. Student exchange programmes. 6. Opportunity for post-doctoral research. 7. Visiting lecturer/artist in residence programmes. 5.7 Overall Recommendations The perceptions of music lecturers towards the effectiveness of the present management methods used in their insitution are relatively unknown. While some acknowledged that the quality management system is firm and systematic and has brought good effect to administration, teaching and learning in the institution, there is also opinion that the appropriateness and effectiveness of complying to ISO9001:2000 /2008 shall be relooked. Other auditing requirements like the APA and the MQA are found relevant to maintain the academic wellbeing, infrastructure and management in local public institutions. In general, it seems to be relevant to have some kind of management standard specifically for music programme in Malaysia. This will not only ensure the minimum quality of education in the music institutions, but will also help the institutions to implement a more mature management system, with periodical reviews, clear statement of purpose and emphasis, and a systematic planning for its financial needs for human resource, facilities and equipments. The management styles and systems must also be responsive in answering the needs of the music and music education field in general in this country. The development of new expertise, new areas of study and new facilities must be supported and facilitated by the management system. It is hoped that the

69 Management 51 management of music institutions can eventually be more stable, without frequent changing of policies and requirements, and provide condusive environment so that individual staff and student can concentrate fully on their artistic and academic development.

70 CHAPTER 6 Recommendations 6.1 The Way Forward Malaysia is a country with many opportunities; this may be seen from various aspects including education. The number of students who are eligible for enrolment into the university increases steadily each year; not to mention the number of foreign students which has also increased exponentially. This has inevitably resulted in an increase in the number of public and private institutions of higher learning to cater for the demand. The music faculties in the Malaysian universities need to be clear in its vision. There ought to be uniformity in terms of the mission and need in order to produce graduates that are versatile and well-rounded, fulfilling the aspirations of both the graduates themselves and the industry. In view of this, there need to be a structured policy and vision so that the music faculties in Malaysia is seen as having a strong foundation, is of high standard and appeals to a wider market on the global front. The following are summaries of recommendations presented in the preceding chapters: 1. Profile of Musicians The changing profile of the 21 st century musician needs to be addressed. Students need to be equipped for life in a global society and for work in a global economy. As such, students have to be provided with the necessary skills for a sustainable career path in the music industry. Constructive pedagogy needs to be more highly utilized to produce the desired graduates. To address the issue of musicians who can appreciate and play different genres of music, students should not be taught musical genres in silo and students should be allowed to experience and understand these different genres. 2. Promoting the Musics of Malaysia Tertiary music education needs to play its role in preserving and promoting the identity of the nation s music. A Malaysian music curriculum that focuses on both traditional and indigenous musics of all ethnic groups within Malaysia will help create sustainability for the various cultural

71 Recommendations 53 groups. This can in turn create local music graduates who are more aware and sensitive of Malaysian music. This can also indirectly attract foreign students to learn and share these music in addition to what they already know of their own music. 3. Boosting the Nation s Economy In the era of globalization, Malaysian traditional music can be introduced in a contemporary context to attract modern day music consumers needs while at the same time, preserving and promoting Malaysian music. This could lead to an influx of interest in Malaysian music which can directly boost the Malaysian music industry. 4. Institutional Links Malaysian public universities offering music programmes need to develop cooperative links and greater support not only between public institutions but also between private institutions as this will lead to increased awareness and understanding of the differences between tertiary music curricula across Malaysian institutions which is critical to preserving the sustainable diversity of Malaysian tertiary music programmes into the future. Niche areas in music for each university is potentially another way to preserve sustainability. 5. Human Resource In the face of the challenges faced by music departments and faculties in Malaysian public universities to hire qualified music lecturers in certain areas of expertise, the Ministry of Higher Education Malaysia can play a role in solving the problem by holding discussions with various bodies such as the Malaysian Philharmonic Orchestra or the National Symphony Orchestra for their musicians to be affiliated with these departments and faculties as lecturers. Another issue relating to academic staff is the possible need for retraining in order for lecturers to be multiskilled and able to keep abreast with current needs. 6. Infrastructure The Ministry of Higher Education Malaysia can again assist by holding discussions with various bodies such as the Petronas Philharmonic Hall, Istana Budaya, Dewan Bandaraya Kuala Lumpur, the Kuala Lumpur Performing Arts Centre, and the Actors Studio to hold music activities especially where such facilities are not available in a particular institution.

72 54 Future Directions of Music Education 7. Continuous Music Education The Ministry of Higher Education, the Ministry of Education and the Ministry of Information, Culture and Heritage need to join forces in developing a plan which will see a continuous process in music education from pre-school through tertiary education in order to develop a cultured and well-rounded citizen. This will also assist in improving the quality of candidates entering tertiary music programmes which will then improve the quality of music and musicians in the nation. 8. Funding for Music Research and Creative Works At present, funding for research at HEPs is drawn from the same single pool where researchers are expected to apply or bid for funding from these sources. However, this has been a problem for research in music. Music is a very highly technical subject and the way research is being conducted from a musical perspective is very different. It is suggested that a panel of experts in music be appointed to specifically evaluate research proposals in music. 9. New Research Areas New research areas need to capitalize on the interdisciplinary and crossdisciplinary nature of music. To help realize the the nation s economic policy, research and development in music and the sciences can play a very big role. Research potentials can be seen in the technological aspects (e.g., music technology, sound design, acoustics, instrument making, software development), medical aspects (music therapy), educational aspects and of course the creative arts industry itself. A further study to investigate the feasibility of such studies would be recommended. 6.2 Conclusion Tertiary music education can and needs to play a bigger role in developing the creative industry of the nation. If music is understood as an art and a science, music s potential to lock into the nation s agenda and knowledge economy can be met. New and innovative practices abound. A paradigm shift is needed; a change in mindset is required.

73 References National Associations of Schools of Music Handbook, USA (2009) Vella, R The 21st Century Conservatorium: Developing a Theory of Repertoire. Inaugural Lecture. Bibliography Dasar dan Strategi Pembangunan Muzik Malaysia, Kementerian Kebudayaan, Kesenian dan Warisan Malaysia (2005) University web pages on research policy from which part of the report has been sources of guidance for research policies, borrowed and adapted to form part of this report are from: University of Bir mingham. htt p://w w w.music.bham.ac.uk/documents/ handbook0910/handmaid_2009.pdf Universiti Malaysia Sarawak. Handbook. The International Recognition of Studies and Qualifications in Higher Music Education. asp?id=310&lang=en (accessed 24 April 2010)

74 Appendix A Example of rubrics for listening skills and creative writing /improvisational /compositional skills. LEVEL 1-2 LEVEL 2-3 LEVEL 3 5 Through listening, students will develop the ability to: identify and describe sounds identify and respond to changes in music identify, describe, and respond to musical elements describe the features of music from different contexts share personal responses to live and recorded music. Through listening, students will develop the ability to: identify, describe, and respond to contrasts within musical elements describe how musical elements are used to create particular moods and effects identify and describe the characteristics and purposes of music from different contexts identify and describe the characteristics of different styles of music share and explain personal responses to live and recorded music. Through listening, students will develop the ability to: identify and describe a range of patterns, effects, sound qualities, and structural devices transcribe music by ear and by using instruments and technologies identify and describe the characteristics and purposes of music from different contexts identify and compare the characteristics of different musical styles and genres share and explain personal responses to, and evaluations of, live and recorded music. Through creating and representing music, students will develop the ability to: explore sounds and improvise with them to create an effect create soundscapes in response to different sources of motivation share ideas about their compositions, using appropriate vocabulary use graphic symbols to represent sounds represent soundscapes as simple graphic scores. Through creating and representing music, students will develop the ability to: explore sounds and musical ideas and improvise with them to create moods and effects create soundscapes, using repetition and contrast present and discuss their compositions, using appropriate vocabulary use graphic and conventional notation to represent sounds and musical ideas represent soundscapes as graphic scores. Through creating and representing music, students will develop the ability to: experiment with sounds and musical ideas and improvise with them to create moods, patterns, and effects create simple musical pieces using structural devices use appropriate notation to represent musical ideas and compositions present, discuss, and evaluate their compositions using appropriate vocabulary.

75 Appendix B General reference for methods of teaching and learning in the fields of specialization PERFORMANCE COMPOSITION MUSIC EDUCATION MUSIC BUSINESS/ MANAGEMENT AUDIO TECHNOLOGY 1. Studio/ individual lesson (concentrated or in groups) 2. Demonstration 3. Hands-on practise 4. Lectures (performance practice issues) 5. Critique and discussion 1. Studio lab (compositional software and devices) 2. Lectures (theoretical, esthetical and compositional issues) 3. Work presentation 1. Handson school practicum (practical experience) 2. Lectures (relevant music education and curricular topics) 3. Studio lesson (on individual instrument) 1. Field attachment to the outside music industry (stage and event management) 2. Lectures (on basic music business related issues) 1. Studio/live (audio engineering) 2. Lab (synthesis and audio design) 3. Lectures MUSIC THERAPY 1. Hands-on practicum (in relevant medical and psychiatric centers) 2. Studio lab (on relevant practice of cases) MUSICOLOGY/ ETHNOMUSICOLOGY 1. Field study 2. Lectures (on techniques to conduct musicological studies, social and cultural issues in music) 3. Documentation

76 Department of Higher Education Ministry of Higher Education Malaysia Floor 1-3, Block E9, Complex E, Presint 1 Federal Government Administration Center Putrajaya, Malaysia Tel: Fax: webmasterjpt@mohe.gov.my Website: Penerbit Universiti Kebangsaan Malaysia UKM Bangi, Selangor D. E., Malaysia Tel: Fax: penerbit@ukm.my Website: www. ukm.my/penerbit MINISTRY OF HIGHER EDUCATION