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Popular Music Studies in Higher Education in Thailand: Case Study the Music Entertainment Programme at the College of Music, Mahidol UniversityThis research explored the popular music studies in Higher Education in Thailand, by using the case study of the Music Entertainment Programme at the College of Music, Mahidol University. Results from this research revealed that the arrival of Western music in Thailand had an important role in the spread of the area of music, which then led to big change in popular music in Thailand. Because of this, popular music has been developed, and has been well recognized by the public. The changes also made Thai popular music become significant in Thai music industry and this lead to the foundation of the studies of popular music in formal education in Thailand.From the results of interviews and questionnaires given to students and instructors on the programme, it was evident that there needed to be an improvement of the curriculum design and structure for the Music Entertainment programme at the College of Music, Mahidol University, which provided popular music studies. The discussions concerning students’ musical preferences and cultural background must take into account the specific educational value of the subjects concerned. Further, sufficient support from the college is necessary for the instructors in the programme in order to improve their teaching abilities. In addition, the facilities and extra-curricular activities provided in the programme were considered unsatisfactory.The results of this research will be beneficial for improvement of quality of the Music Entertainment programme at the College of Music, Mahidol University. Further, it will be valuable for development of courses in music institutions in Thailand, and then leads to the improvement of popular music studies in Thailand.
Citation preview
KINGSTON UNIVERSITY FACULTY OF ARTS AND SOCIAL SCIENCES
SCHOOL OF PERFORMANCE AND SCREEN STUDIES
POPULAR MUSIC STUDIES IN HIGHER
EDUCATION IN THAILAND: CASE STUDY- THE
MUSIC ENTERTAINMENT PROGRAMME AT
THE COLLEGE OF MUSIC, MAHIDOL
UNIVERSITY
KAEW ALIN PRASERTCHANG K0733740
SUPERVISOR: DR.CAROL A. GARTRELL
MA in MUSIC EDUCATION 2007/2008
Table of Contents:
Abstract…………………………………………………………………………… i
Acknowledgements………………………………………………………………. ii
Chapter 1: Introduction………………………………………………………… 1
1.1 Purpose of Research…...…………………………………………………... 2
1.2 Aims….………………………...………………………………………….. 3
1.3 Objectives.…………………………………………………………………. 3
1.4 Research Questions..………………………………………………………. 4
1.5 Dissertation Structure..………………………………..……………………. 5
Chapter 2: Methodology.………………….……………………………………. 7
2.1 Literature Review..……….………………………………………………... 9
2.2 Field Work Process.…………………………………………………….…. 13
2.3 Data Collecting and the Research Tools.……...…………………………... 14
2.3.1 Secondary Data……………………………………………………… 14
2.3.1.1 Data from the Documents…………………………………… 15
2.3.2 Primary Data…...……………………………………………………. 15
2.3.2.1 Data from the Interviews……..……………………………… 15
a.) Target Sample……………………………………………… 17
b.) Sample Size...……………………………………………… 17
2.3.2.2 The Observational Case Study…………..………………………… 19
2.3.2.3 The Self-Administered Questionnaire…..………………………… 20
a.) Questionnaire Design……………………………………… 20
b.) Pilot Study………….……………………………………… 20
a.) Target Sample.……...……………………………………… 21
2.4 Data Review…………………………………………………………….…. 21
2.5 Data Analysis……..…………………………………………………….…. 22
Chapter 3: Literature Review………………………………………………….. 24
3.1 The Arrival and Development of Western Music in Thailand…………….. 25
3.2 The Attitudes of Thai Culture towards the Western Music and Music
Studies in General…………………………………………………………
29
3.3 The History and Development of Western Popular Music and Thai
Popular Music in Thailand………………………………………………..
31
3.3.1 Before the Political Revolution (1932)……………………………… 33
3.3.2 After the Political Revolution (1932)……………………………...… 34
3.4 The Development of the Music in Higher Education in Thailand………… 37
3.4.1 The First Music Institute in Thailand…………………………...…… 38
3.4.2 The Improvement of Music in Higher Education in Thailand……….. 40
3.4.3 Popular Music Studies in Higher Education in Thailand……………. 41
Chapter 4: Research Finding: Preliminary Results and Analysis from the
Interviews………………………………………………………………...………
43
Analysis Data from the Interviews…………………………………………….. 44
4.1 Popular Music Studies in Thailand and The Music Entertainment
Programme…………………………………………………………..........
45
4.2 The Music Entertainment Curriculum…………………………………...... 46
4.3 The Students…………………..…………………………………………… 49
4.4 The Instructors………………..…………………………………………… 51
4.5 The College Facilities.………..…………………………………………… 54
4.6 The Extra-Curricular Activities…………………………………………… 55
Chapter 5: Research Finding: Preliminary Results and Analysis from
Questionnaires…………………………………………………………………...
57
Analysis Data from the Questionnaires……………………………………... 58
Chapter 6: Summary of the Research………………...……………………….. 89
6.1 Conclusions…...…………………………………………………………... 90
6.1.1 Western Music and Music Education in Thailand …...……………... 90
6.1.2 The Music Entertainment Curriculum………...………... …...……... 91
6.1.3 The Students…………………..……………………………………... 92
6.1.4 The Instructors………………..……………………………………... 94
6.1.5 The College Facilities……………………………………………….. 94
6.1.6 The Extra-Curricular Activities……………...……………………… 95
6.2 Recommendations………………………………………………………… 95
6.2.1 The Music Entertainment Programme and Curriculum…………….. 95
6.2.2 The Students..……………………………………………………….. 97
6.2.3 The Instructors ……………………………………………………… 98
6.3 Limitations of the Research ………………………………..……………... 99
6.4 Suggestions for Further Research ………………………………………… 100
Bibliography…………………………………………………………………….... 101
Appendices:
Appendix A: The History of the College of Music, Mahidol University, and the
Music Entertaiment Programme..…………………………………...
106
Appendix B: The Music Entertainment Curriculum……………………………. 118
Appendix C: The Official Letter from Kingston University……………………… 127
Appendix D: The Bachelor of Music Brochures at the College of Music, Mahidol
University……..………………………….........................................
129
Appendix E: Interviewees Name list………………………................................... 132
Appendix F: The Interview Questions Guide………………….............................. 134
AppendixG: Pictures from the Filed Work………………….................................. 137
Appendix H: The Self-Administered Questionnaire (in English)………………… 143
Appendix I: The Self-Administered Questionnaire (in Thai)…….……………… 147
Appendix J: The Profile of GMM Grammy Public Company Limited………… 151
Appendix K: Activities of the Music Entertainment Department....……………… 155
List of Figures:
1: Question number 1 ………………..……………………………………………… 59
2: Question number 2 ………………..……………………………………………… 60
3: Question number 3 ………………..……………………………………………… 62
4: Question number 4 …………………..…………………………………………… 64
5: Question number 5 ………………..……………………………………………… 65
6: Question number 6 ……………………………..………………………………… 67
7: Question number 7 ……………………………..………………………………… 69
8:1 Question number 8 (Rank 1)..........................…………………………………… 71
8:2 Question number 8 (Rank 2)...………...………………………………………… 72
8:3 Question number 8 (Rank 3).…...…………………..…………………………… 73
8:4 Question number 8 (Rank 4).…...……………………………………………….. 74
9:1 Question number 9 (Rank 1).…...……………………………………………….. 75
9:2 Question number 9 (Rank 2).…...……………………………………………….. 76
9:3 Question number 9 (Rank 3).…...……………………………………………….. 77
9:4 Question number 9 (Rank 4).…...……………………………………………….. 78
9:5 Question number 9 (Rank 5).…...……………………………………………….. 79
9:6 Question number 9 (Rank 6).…...……………………………………………….. 80
10: Question number 10………..…...……………………………………………….. 82
11:1 Question number 11 (1).…………...…………………………………………… 83
11:2 Question number 11 (2)..………..……………………………………………… 84
12:1 Question number 12 (1)………………………………………………………… 85
12:2 Question number 12 (2)………………………………………………………… 86
13:1 Question number 13 (1)………………………………………………………… 87
13:2 Question number 13 (2)………………………………………………………… 88
List of Tables:
1: Number of students in Music Entertainment Programme …………...…………… 49
i
Abstract:
This research explored the popular music studies in Higher Education in Thailand, by
using the case study of the Music Entertainment Programme at the College of Music,
Mahidol University. Results from this research revealed that the arrival of Western
music in Thailand had an important role in the spread of the area of music, which then
led to big change in popular music in Thailand. Because of this, popular music has
been developed, and has been well recognized by the public. The changes also made
Thai Popular music become significant in Thai music industry and this lead to the
foundation of the studies of popular music in formal education in Thailand.
From the results of interviews and questionnaires given to students and instructors on
the programme, it was evident that there needed to be an improvement of the
curriculum design and structure for the Music Entertainment programme at the
College of Music, Mahidol University, which provided popular music studies. The
discussions concerning students’ musical preferences and cultural background must
take into account the specific educational value of the subjects concerned. Further,
sufficient support from the college is necessary for the instructors in the programme
in order to improve their teaching abilities. In addition, the facilities and extra-
curricular activities provided in the programme were considered unsatisfactory. The
results of this research will be beneficial for improvement of quality of the Music
Entertainment programme at the College of Music, Mahidol University. Further, it
will be valuable for development of courses in music institutions in Thailand, and
then leads to the improvement of popular music studies in Thailand.
ii
Acknowledgements:
This dissertation could not be possible without the assistance of many people
involved. Firstly, I would like to express my grateful appreciation to Dr.Carol A.
Gartrell, my dissertation supervisor, for her valuable guidance and encouragement.
Secondly, I also would like to express my sincere gratitude to Mrs.Jane Masters for
providing academic support for the writing of this dissertation.
Thirdly, I would like to thank all those who have shared their valuable time giving me
the information for the dissertation. Thanks also to all of my instructors, friends, and
staffs at the College of Music, Mahidol University, Thailand for their help and
support.
Finally, I would like to express my deepest thanks to my parents and family for their
love, support, patience, understanding, and encouraging me to undertake this study.
The remaining errors and omissions are my sole responsibility.
Kaewalin Prasertchang 03 October 2008
1
CHAPTER 1: INTRODUCTION
1.1 PURPOSE OF THE RESEARCH
1.2 AIMS
1.3 OBJECTIVES
1.4 RESEARCH QUESTIONS
1.5 SUMMARY OF DISSERTATION STRUCTURE
2
Chapter 1: Introduction
1.1 Purpose of the Research
The main purpose of this research is to consider popular music studies in higher
education in Thailand. It consists of a case study from the Music Entertainment
programme at the College of Music, Mahidol University, Thailand.1 The provision of
popular music studies is an important issue in music education in Thailand; however,
there are not many institutes or universities offer this programme. At the
undergraduate level, there are a variety of programmes provided for students, such as
classical music, jazz studies, Thai traditional and oriental music, music technology,
music education, and music business.
Popular music studies in Thailand can be understood through the Music
Entertainment programme, which was one of the programmes of its kind. In addition,
the researcher studied in the Music Entertainment programme for four years. In fact,
during the study of that programme the researcher found that the written description
of the course was not delivered in practice. Moreover, this research aims to consider
the reason why this might be by using this programme as a case study. As previously
mentioned, the study and instructional system of the Music Entertainment programme
continues to change according to the desires and demands of society, which has
required certain educational conditions in order to plan the improvement of the study
and instruction of the programme.
1 With the reason to offer some general background, the history of the College of Music, Mahidol University and the Music Entertainment programme is presented in Appendix A (p.106)
3
In conclusion, the original contribution of this research is to analyse and find the
solution to developing popular music education in Thailand. Moreover, this research
is to identify in particular the problems, and obstacles of teaching the Music
Entertainment programme. The researcher hopes that the information contained in
this research paper will result in additional benefits that will increase the efficient
study and instruction of the Music Entertainment programme and will provide
guidance for the revision of the teaching plan.
1.2 Aims
The aims of this research are to identify the main issues that relate to popular music
studies in Thailand. Specifically, to study how the quality of teaching might be
improved and that this research will encourage and influence the development of
popular music studies in Thailand.
1.3 Objectives
With the purpose of attaining the aims of this study, research objectives are
encompassing several issues as follows:
• To demonstrate the circumstances of Western music, music education, which
related to popular music studies in Thailand. For this reason, there was the
study to explore the evaluative beliefs and attitudes of Thai people towards
music studies, and the effect in a cultural context.
• To investigate the circumstances of music in higher education in Thailand, for
example, the conditions of teaching, the abilities of the students and the
potential of music teachers.
4
• To examine the current curriculum design of the Music Entertainment
programme at the College of Music, Mahidol University.2 This includes the
student, quality of teaching, the facilities, the extra-curricular activities, the
support from the board of directors, and so on.
• To discuss regarding the strengths, weaknesses, problems, and obstacles of
teaching various aspects of the Music Entertainment programme.
1.4 Research Questions
Question 1: What are the main issues that effect Western and Thai popular music
studies in Thailand?3
The purpose of this question is to explores the main issues that relate to the study of
music, and in particular popular music in Thailand, with the question that why
popular music studies are not widespread in Thailand. Moreover, it aims to
investigate the influences of Western culture that effect Thai popular music. Thus, it
is to be found whether the arrival of Western music in Thailand has had an influence
on the attitudes of Thai culture toward music studies, and the obstacles to the
acceptance of Western music in Thailand.
Question 2: What are the circumstances of music studies in higher education in
Thailand?4
This question considers the nature of music education in Thai culture. It is aimed at
revealing the history of music education in Thailand from the past to the present. It is
interesting that while many universities providing music studies in higher education,
2 An example of the Music Entertainment curriculum is presented in Appendix B (p.118) 3 The discussions in detail are provided in Chapter Three (p.24) 4 The discussions in detail are provided in Chapter Three (p.24)
5
however, there are not many that concentrate on popular music studies.
Question 3: What is the current curriculum of the Music Entertainment programme at
the College of Music, Mahidol University?5
This question focuses on the Music Entertainment programme at the College of
Music, Mahidol University, which aims to provide popular music studies. Moreover,
it also observes how the curriculum is delivered to students, and investigates the
opinions of instructors and students, who study in the programme.
Question 4: How does this research helps to improve popular music studies in
Thailand?6
It is hoped that the results from this research will provide relevant ideas that can be
used to develop and improve the Music Entertainment programme. All of the
information gathered from the research will be used to find an answer to this question.
After all the data and information has been gathered it will be analysed, and then
evaluated to produce the results. This research will therefore make some suggestions
for further study.
1.5 Dissertation Structure
This dissertation is organized in a six-chapter format. Chapter 1 presents an overview
introduction to this research by providing a rationale of the research, aims, and
objectives. The specific research questions are also provided in this chapter.
Chapter 2 explains the methodology used in this research. The discussion consists of
5 The discussions in detail are provided in Chapter Four (p.43) and Chapter Five (p.57) 6 The discussions in detail are provided in Chapter Six (p.89)
6
the explanation of literature review, fieldwork, data collection method, target sample,
interview method, questionnaire design, data review, and data analysis.
Chapter 3 provides a review of literature. The information, which is related to the
area of the research, contained the answer for research question one and two. This
chapter includes information regarding the arrival and development of Western music
in Thailand, the attitudes of Thai culture towards the Western music and music
studies, the history and development of Western popular music and Thai popular
music in Thailand, and the development of music education in Thailand.
Chapter 4 examines the preliminary results of the data analysis from interviews,
which is in the form of descriptive analysis. This contained the answer for research
question three. The analyzed interview data is presented first in order to consider the
opinion from current instructors and students in the Music Entertinment programme.
Chapter 5 examines the preliminary results of the study of the data analysis from
questionnaire, which is in the form of descriptive analysis. This contained the answer
for research question three. The analyzed data from the questionnaires is presented in
order to provide a greater depth of detail, in regards to the students’ opinion of
learning in the Music Entertainment programme.
Chapter 6 concludes the research, and provides the implications, and limitation of the
research. This contained the answer for research question four. Moreover, it
addresses the recommendations, and suggests directions for further research.
7
CHAPTER 2: METHODOLOGY
2.1 LITERATURE REVIEW
2.2 FIELD WORK PROCESS
2.3 DATA COLLECTING AND THE RESEARCH TOOLS
2.4 DATA REVIEW
2.5 DATA ANALYSIS
8
Chapter 2: Methodology
Introduction
The aim of the methodology is to provide the method, in order to explore Popular
Music Studies in Thailand: A Case Study of Music Entertainment Programme at the
College of Music, Mahidol University, Thailand. Therefore, this research was using
the methodology engaged by the gathering of both quantitative and qualitative
methodology. In order to collect all the information, the triangulation with material
from literature review and both methodologies were used because of the various kinds
of research questions.
Varieties of qualitative methods have been used, including case study, individual
interviews, and participant observation. Similarly, the quantitative research,
comprising questionnaire, is the most appropriate method to collect factual data from
the experience of the respondents. However, qualitative research is more focused on
the specific situation.7 Moreover, the qualitative methods are normally used to
analyze the group of people and to have an understanding of problem. A qualitative
method is the most appropriate because detailed analysis is required concerning one
specific situation and the people involved. The process of the observation methods is
to participate in the activities of a group or person. Moreover, the quality of the data
is very important because it relates to the research question.
7 Liora Bresler, and Robert E. Stake, ‘Qualitative Research Methodology in Music Education’ in MENC handbook of research methodologies, ed. by Richard Colwell (Oxford: Oxford University Press, 2006), pp.270-311
9
2.1 Literature Review
In order to provide comprehensive conceptual support for the research, the literature
should be used in a manner consistent with the methodological assumptions;
specifically, it should be used inductively so that it does not direct the questions asked
by the researcher. Creswell notes that the one of the chief reasons for conducting a
qualitative study is that:
The study is exploratory; not much has been written about the topic or population being studied, and the researcher seeks to listen to informants and to build a picture based on their ideas.8
The literature review involved searching though a variety of textbooks, journals,
dissertations, magazines and academic document both in Thai and English, which
related to historical and musical subjects. The historical analysis is particularly useful
in order to obtain knowledge of unobserved areas and to rescan questions in which
answers are not as detailed as desired.9 Moreover, the data relevant to this study
concerned history and the circumstances of music education, the arrival of Western
classical and Western popular music in Thailand, and Thai popular music were gained
from reliable academic sources both in the UK, and in Thailand.
The paper documents and e-resources gained from the Learning Resources Centre
(LRC), Kingston University in the UK, have provided a wide range of material, such
as in the first place, clear direction concerning the basic principles of writing
dissertations and research. Thus, Chan’s master dissertation (2006) was very useful to
8 John W. Creswell, Research Design: Qualitative & Quantitative Approaches (London, SAGE Publications, 1994), p.21 9 Catherine Marshall, and Gretchen B. Rossman, Designing qualitative research, 4th ed. (Thousand Oaks: Sage Publications, 2006)
10
provide a model for presenting questionnaire information.10 Moreover, Lebler’s
research (2007) on the development of popular music pedagogy provides a general
concept of doing research on popular music studies topic.11 Many interesting points
from his study were replicated to this research, for example the concept of presenting
collected data. Other useful information was derived from Miller’s (1998) study,
which has a great deal of interesting historical information, and explored several
important issues, particularly analyses the relationship of music history and the
culture of Thailand.12 Further, in the studies of Wong and Lysloff (1998), provides
material regard to Western popular music in Thailand.13
Furthermore, since the research concerns a situation in Thailand, most data was
gained from libraries in Thailand, such as those of the College of Music, Mahidol
University; Central Library, and Princess Sirindhorn Music Library, Mahidol
University; the National Library of Thailand, and the Central Library, Chulalongkorn
University. Again, information was collected from dissertations, and journal articles
about issue regarding to music education, and historical information in Thailand.
Indeed, those researches offered the variety of useful information, with full
descriptions that were easy to understand. This information falls into three clear
categories.
10 Violet Chan (Tzu-Ling), ‘How can the music curriculum best be used as a vehicle for the development of children’s musical appreciation skills from age 4-12 in Taiwan’ (unpublished master’s dissertation, Kingston University, 2006) 11 Don Lebler, ‘Student-as-master? Reflections on a learning innovation in popular music pedagogy’, The International Journal of Music Education 25 (2007), pp.205-222 12 Terry E. Miller, ‘Music Cultures and Region: Thailand’ in Southeast Asia: The Garland Encyclopedia of World Music, Volume 4, Ed. by Terry E. Miller and Sean Williams (London: Garland Publishing, 1998), pp.218-334 13 Deborah Wong, and Rene T.A. Lysloff, ‘Popular Music and Culture Politics’ in Southeast Asia: The Garland Encyclopedia of World Music, Volume 4, Ed. by Terry E. Miller and Sean Williams (London: Garland Publishing, 1998), pp.95-112
11
Firstly, it concerns the music education in Thailand, secondly popular music, and
lastly management and administration. In relation to music education, the doctorial
dissertation of Charoensook (1985) explores the problems that exist in Thailand
which affect the development of music curricular.14 He then compares the music
curricular in Thailand to the United States, in order to find the suggestions that may
help to improve music curriculum in Thailand. Further, Ngamsuti (1980)’s doctorial
dissertation investigates the attitudes of music teachers and administrators toward
music education in Thailand.15 He notes that the Thai public concerning music
education lacks a clear concept of this educational discipline, so that he aims to
provide the expanded and improvement of music education programme in Thailand.
Despite these two sources not being up-to-date, they were nevertheless of great use as
there is a general lack of information in this filed in Thailand. Moreover, the master’s
thesis of Suwansomboon (2005) considered the current situation and trend of music
studies in Thai higher education.16 There were four areas rise up from his study,
which are curriculum, work force, administration, and budget. In addition, Wyatt
(2003)’s book was used as primary source of information, since it provides extensive
information about the history of Thailand.17 Indeed, this book shows the development
of the country itself, as well as provides the relationship of Thailand and the Western
countries since the past decade. The researcher gained the general concept of Thai
culture and society, which enables to formulate a connection that lead to the
development of music education in Thailand.
14 Sugree Charoensook, ‘Undergraduate Music Curricula in Universities of Thailand and United States: A Comparative Study and Reccommended Curriculum for Thai Universities’ (unpublished doctor’s dissertation, College of Performing Arts, University of Northern Colorado, 1985) 15 Chaloempol Ngamsuti, ‘Attitudinal Survey of Thai Music Educators concerning Music Education in Thailand’ (unpublished doctor’s dissertation, University of Missouri-Columbia, 1980) 16 Wathit Suwansomboon, ‘Trend in Higher Education in Music in Thailand’ (unpublished master’s thesis, Mahidol University, 2005) 17 David Wyatt, Thailand: A Short History (Chiang Mai , Thailand: Silkworm Books, 2003)
12
Secondly, there were one article and three dissertations, which presented data
regarding popular music, the arrival of Western music in Thailand, and the history of
Thai popular music. The article of Lockard (2001) presents the general information
regards to popular music in Thai society.18 There is a great deal of example of many
popular musical styles in Thailand. Moreover, those dissertations were used in this
research are as follows, first, master’s thesis proposal of Intrakong (2007), which
aimed to examine the characteristics of the famous popular musical band in
Thailand.19 Additional, Patarasuk (2004)’s master’s thesis considered the influence of
Rewat Buddhinan, who has an influence on the development of Thai Popular Music.20
Moreover, the master’s thesis of Poobua (2000), examined the influence of American
music on Thai popular song.21 While they only provided indirectly relevant materials,
they were useful nevertheless in order to apply to this research.
Thirdly, there is the study regards to the management, and administration, which can
be relevant to this research. To take this further, the researcher examined the master’s
thesis of Songsakul (2003), which investigates the development of various aspects of
the current education, for example curriculum, orderly procedures, management of
studying, instruction design, and instructional environment of the college of Dramatic
Arts.22 Further, Changrian (2005)’s master’s thesis, which aimed to present an
important discussion of the relationship between internal and external factors that
relate to the academic achievement in Western music instrument of Pre-college
18 Craig A. Lockard, ‘Thailand: Songs for Life, Song for Struggle’ in Dance of Life: Popular Music and Politics in Southeast Asia (Chiang Mai, Thailand: Silkworm Books, 2001), pp.162-206 19 Natatun Intrakong, ‘The Musical Characteristics of The Grand EX’Band’ (unpublished master’s thesis proposal, College of Music, Mahidol University, 2007) 20 Prit Patarasuk, ‘Rewat Buddhinan’s Influence on Thai Popular Music (1983-1996)’ (unpublished master’s thesis, Chulalongkorn University, 2004) 21 Wittaya Poobua, ‘The Influence of American Music On Thai Popular Song’ (unpublished master’s thesis, Mahidol University, 2000) 22 Patummal Songsakul, ‘Education Management in the College of Dramatic Arts, Bangkok: A Case Study of Western Vocal Music’ (unpublished master’s thesis, Mahidol University, 2003)
13
student, at the College of Music, Mahidol University is then reviewed.23 Although the
research may not agree in all the issues raised in this study, anyway, the researcher
praise her studies for the information regards to the College of Music, Mahidol
University.
2.2 Field Work Process
In this research, the fieldwork was conducted in Bangkok, Thailand during 16th
December 2007 to 25th January 2008. The purpose of the fieldwork was to examine
and gain the data that relate to the research questions. After that, the researcher then
evaluates how effective data provide as a solution and shows the advantages and
disadvantages.
The process of the field study was made by sending the official letter from Kingston
University24 to introducing the researcher, explaining the purpose and objectives, and
asked for the permission and collaboration as the following methods:
1. Interview the instructors who work in Music Entertainment programme, at
the College of Music, Mahidol University.
2. Interview the music students who study in the Music Entertainment
programme at the College of Music, Mahidol University.
3. Observed the activities of the Music Entertainment programme which
organized by students. In addition, observing teaching private classroom in
order to receive in depth information as well.
23 Sasivimon Changrian, ‘Factors Related to Academic Achievement in Music Skill Learning of Western Musical Instruments of Pre-College Students (Mattayom 4-5-6) at College of Music, Mahidol Univeristy’ (unpublished master’s thesis proposal, College of Music, Mahidol University, 2005) 24 A copy of official letter and cover letter are provided in Appendix C (p.127)
14
4. Distributed the self-administered questionnaire to the target sample, who are
music students in the Music Entertainment programme.
2.3 Data Collecting and the Research Tools
The data were collected through documentary, in-depth interviews, observation, and
self-administrated questionnaire. Research methods such as interview, observation,
and content analysis collect qualitative data that provide information for this research
to identify the logistic programme operation and the principles that help to ensure the
quality of the programme.25
2.3.1 Secondary Data
In this research, secondary data such as the textbooks, dissertations, and articles were
used to facilitate the study. There are some secondary information with the aim of a
study of the music education, and popular music studies in Thailand. Moreover, there
are relevant and useful data in relation to this topic, which were applicable to this
research. Moreover, the secondary data that obtained were mostly up-to-dated and
accurate because it was done within these ten years, with only two data offered in
1980, and 1985.
2.3.1.1 Data from the Documents
Documents that provided background information about the selected programme were
collected before, during, and after the interview process and were subjected to content
analysis in order to identify with the history and context for the situation. The
25 Louis Cohen, and Lawrence Manion, Research Methods in Education, 4th ed. (London: Routledge, 1994)
15
documents used include brochures and promotional information about the Music
Entertainment programme, course catalogues, records of the programme such as
evaluation reports and summaries, materials about the programme found on the
College of Music, Mahidol University website, and documents from the College, and
agendas of meeting between the college and instructors.
Since the purpose of this research was to understand how the Music Entertainment
programme functioned and to evaluate the effectiveness of the educational
programme, evaluation reports were examined primarily to understand how the
programme functioned. Brochures and promotional material were reviewed so that
this information could be used as the stimulus for discussion during interviews.26
2.3.2 Primary Data
Even though the secondary research will generate the understanding of this study, the
primary research is necessitated because its procedure of collecting information is
particularly address the research and answers the research question.27 Definitely, by
applying with the secondary data, the time for starting doing the primary from the
draft was reduced the time and money needed to spend in this research.
2.3.2.1 Data from the Interviews
The interviews were intended to link to the aims and objectives of the research. There
are two main purposes for using interview methodology. Firstly, it was hoped that the
music instructors and music specialists could provide the first hand knowledge about
26 An example of the college’s brochure is provided in Appendix D (p.129) 27 Louis Cohen, and Lawrence Manion, Research Methods in Education, 4th ed. (London: Routledge, 1994)
16
music education in Thailand and the Music Entertainment programme. Secondly, it
was hoped that when collect the opinions of all interviewees can be provided the
information to encourage and improve the development of Music Entertainment
programme and popular music studies in Thailand.
Interviews are a most useful way of obtaining in-depth information and have been
defines as a conversation of two person for the specific purpose, which began by the
interviewer. The interview were phrased in order to obtaining research-relevant
information, and focused by the interviewer on content specified by research
objectives.28
In addition, the unstructured-informal interview has such advantages;
firstly, the respondents tend to expose their true feeling since there is no group
pressure. Secondly, the respondents tend to pay attention to the issue because it is the
personal one-to-one situation. Thirdly, the respondents obtain heightened state of
awareness in a personal interview since they are in close accompaniment with
interviewers. Fourthly, it is easier to get the detail of respondents’ feelings and
motivations underlying their statements regarding to the length of interview. Finally,
another advantage is that depth interview can generate insights to the main issue since
the structure is quite flexible to explore unexpected remarks and marginal points.
Therefore, in this research, the unstructured-informal interview was used because it is
an open situation, which provides the greater flexibility and self-determination for
respondents. It also presents a framework within which respondents can express their
28 Louis Cohen, and Lawrence Manion, Research Methods in Education, 4th ed. (London: Routledge, 1994)
17
own understandings in their own term. This may allow the researcher to capture the
complexities of the interviewees’ individual perceptions and experiences.29
a.) Target Sample
Since, the aims of the interviews were to obtain the necessary information concerning
music education, the Music Entertainment programme, and popular music studies in
Thailand. The sample was recruited from the person who has knowledge in the topic
for example Thai music educators, music specialists, music instructors, college
faculties, the board of director whose organized and set the curriculum, and students
whose studies in the programme.30 These people were selected from among those
who had direct links to the Music Entertainment programme at Mahidol University,
Thailand. The personal in-depth interviews lasted approximately one and one-half
hours for each person.
b.) Sample Size
The researcher categorized the interviewees into 3 groups:
1. Interviewees who are music educators and music specialists
2. Interviewees who are the music instructors, and college faculties at the
College of Music, Mahidol University
3. Interviewees who are students in Music Entertainment programme at the
College of Music, Mahidol University
Initial, unstructured interviews were conducted with four music instructors, from the
College of Music, Mahidol University. All of these were conducted face to face on an 29 Michael Quinn Patton, ‘Qualitative Evaluation and Research Methods’ 2nd Edition (Newbury Park, CA: Sage Publication, 1990) 30 An interviewees’ name list can be found in Appendix E (p.132)
18
individual basis, and an extra-interview was conducted with two instructors by
telephone, and email. Moreover, unfortunately, the researcher was unable to
interview the director of the College of Music, so further data was also gained from
others associated with the college and from reading magazines.
In addition, in order to collect information of greater depth there was considered
interviewing four college students currently studying on the Music Entertainment
programme. This was important because student opinion is an extremely important,
and can have considerable influence on the programme and universities. Then these
interviews can be compared with those of music instructors’ in order to influence the
design and development of the music curriculum. The rationale for choosing
interview the student was that all the students in the sample had experienced studying
on the Music Entertainment programme. Students were asked for general background
information, the individual experiences of general lesson and instrumental lesson, the
classroom environment, and their attitude toward the programme. Moreover, all
interviews were conducted in Thai, for clarity of communication.31 In addition, a
questions guide was created for all interviewees so that they could better understand
the questions and the topics under discussion.32
31 When presenting the resources from interview, the translations from Thai to English are made solely by the researcher, whose first language is Thai. 32 A list of interview questions can be found in Appendix F (p.134)
19
2.3.2.2 The Observational Case Study
The case study was used to test the circumstances of an individual unit, indeed, the
purpose of such observation was to explored in-depth, and to investigate intensively
the different overviews regards to the wider population to which that unit belong.33
Primarily, this research planned to observe the in-class learning, evaluation
procedures, participation activities, the private instrumental classroom, the students
and the classroom environment as well as identifying the difficulties and problem
related to the instruction of the Music Entertainment programme. Therefore, the
researcher has observed the “Entertainment Series II concert”, which is organized by
the students in the programme, and two instrumental classes.34 The observation
technique was used to identify the circumstances of the programme, to provide other
insights, and demonstrates some of the problems that the interviews could not
highlight.35
Additionally, participant observation was used to gain detailed information about the
aspects of the Music Entertainment programme. Definitely, participant observation
may be defined as the practice of doing research by associate into the social group or
institution that is being research. Consequently, during participant observation the
researcher has two goals, the first being “to take on the role of participant in a setting”
and the second, “to inquire into the ethnographic character of the setting”.36 This has
many advantages, principally that the researcher experiences the observed setting at
33 Louis Cohen, and Lawrence Manion, Research Methods in Education, 4th ed. (London: Routledge, 1994) 34 The pictures from the observation are provided in Appendix G (p.137) 35 Roger P. Phelps, and Lawrence Ferrar, A Guide to Research in Music Education 4th ed. (London: Scarecrow Press, 1993) 36 James Mckernan, Curriculum Action Research: A handbook of methods and resources for the reflective practitioner, 2nd ed. (London: Kogan Page, 1997), p.63
20
first hand, and involves the researcher noting down what is seen as it occurs, This
makes the observational data more likely to be accurate.37
2.3.2.3 The Self-Administered Questionnaire
The questionnaires are the way to gather data in order to help to understand the
opinion of the respondents and, by definition answers a one hundred percent response
rate. It also ensures that sampling is accurate and less bias than interview. This
method were used because it ensures a high response rate, accurate sampling, and a
minimum of interviewer bias, while permitting interviewer assessments, providing
necessary explanations and giving the benefit of a degree of personal contact.38
a.) Questionnaire Design
The questionnaire was divided into two parts. The first part contains the questions
about the personal status of the respondent, who were asked to fill in details such as
gender, and instrument played. The second part contains the questions about their
attitudes concerning the programme, for example the reason for studying in the Music
Entertainment programme, the music curriculum, the learning and teaching process,
the value of the subjects covered, and reinforcement of the learning environment.39
b.) Pilot Study
The questionnaire was designed during November and December 2007, and first
tested in a pilot study of ten respondents from the target sample in order to correct all
the mistakes. Once it had been returned, the researcher adapted the questionnaire, in
37 Peter, Foster, Observing school: a methodological guide (London: Paul Chapman, 1996) 38 Anneliese N. Oppenheim, Questionnaire Design, Interviewing and Attitude Measurement New Edition (London: Continuum, 2005) 39 An example of the questionnaire design in English is provided in Appendix H (p.143)
21
order to improve it before it was used for the main study. Moreover, since the target
sample is Thais, the questionnaire was translated into Thai in order to ensure the
correction of communication. The researcher then distributed the self-administered
questionnaire in Thai in January 2008.40
c.) Target Sample
This research focuses on students engaged in the popular music studies by using the
case study of the Music Entertainment programme, during the academic year 2007-
08.41 Ninety questionnaires were distributed overall, with ten of these had been used
as a pilot study to shape the final questionnaire, for which a sample of eighty
respondents was used.
2.4 Data Review
Firstly, the data from documents were reviewed by categorizing and comparing data
in order to observe similarity and difference of data in various aspects. Then the
conclusion was made in order to be a guideline for analytic study. Secondly, data
from interviews was accumulated by recording the interviews and transcribing the
interviews. The transcriptions were then categorized according to the questions and
the relation too research questions, and the opinion concerning the instructional
procedures. Then, to provide a general picture of its condition and opinions
concerning condition, that data was used to study, analyze, describe, and summarize
the development of the curriculum of the Music Entertainment programme at the
College of Music, Mahidol University.
40 An example of the translated questionnaire in Thai is provided in Appendix I (p.147) 41 Ninety students studied on the Music Entertainment programme, in the academic year 2007-08
22
Finally, due to the limited of time during fieldwork, the researcher had opportunity to
observed the concert which organized by the student in the programme and only two
instrumental classrooms. Consequently, the data gained from the observations can
give only some point of view, so in this research may not consider using the data to
find out about the completely teaching process of the Music Entertainment
programme. For this reason, based on the limited data available, this research cannot
be containing used of the data from observation, but, will use it as the part of the
finding. As an alternative, there will be used the data from the self-administered
questionnaire to answer the related research questions.
2.5 Data Analysis
The analyses were based on social characteristics, and behaviors of people in the
society. The analyses were also based on culture of family, economy, politics,
government, religions/beliefs, education, and other factors indicating the uniqueness
and reflecting the occupations of the target group. Bogdan and Biklen describe
qualitative data analysis as:
The process of data analysis is like a funnel: Things are open at the beginning (or top) and more directed and specific at the bottom. The qualitative researcher plans to use part of the study to learn what the important questions are. He or she does not assume that enough is known to recognize important concerns before undertaking the research.42
From the research objective, the analytical scope was categorizes into four parts as
follows:
1. Analytical topics for the arrival of Western music in Thailand
a. The arrival of Western music in Thailand
42 R.C. Bogdan, and S.K. Biklen, Qualitative research for education: An introduction to theory and methods, 4th ed. (Boston: Allyn and Bacon, 2003), p.7
23
b. Factored that relates to the development of Western Music
2. Analytical topics for music education in Thailand
a. The development of music education in Thailand
b. Factored that relates to an improvement of music education
3. Analytical topic for popular music studies in Thailand
a. The development of Western popular music and Thai popular music
b. Factor used that related to the popular music studies in Thailand
4. Analytical topics for Music Entertainment at Mahidol University
a. The quality of teaching in the view of instructors and students
b. The factors of the programme
In addition, the data from fieldwork was a main source of analysis. The searcher will
carefully check the similarity and differences of data from individuals and documents.
It will be emphasized on description of characteristics of the popular music studies
and the music curriculum. Then the analysis of the factor influence to teaching the
entertainment programme is done. Then the conclusion is drawn along with
suggestion with problem.
24
CHAPTER 3: LITERATURE REVIEW
3.1 THE ARRIVAL AND DEVELOPMENT OF WESTERN
MUSIC IN THAILAND
3.2 THE ATTITUDES OF THAI CULTURE TOWARDS THE
WESTERN MUSIC AND MUSIC STUDIES IN GENERAL
3.3 THE HISTORY AND DEVELOPMENT OF WESTERN
POPULAR MUSIC AND THAI POPULAR MUSIC IN
THAILAND
3.4 THE DEVELOPMENT OF THE MUSIC IN HIGHER
EDUCATION IN THAILAND
25
Chapter 3: Literature Review
Introduction
This chapter presents a historical review of music education and the arrival of
Western classical music and Western popular music in Thailand. The process of data
analysis was studied and the literature review related to the research topic was
addressed, in order to provide guidance for this study. For this reason, the review of
the general background and the arrival and development of Western music in
Thailand are presented first to stress the significance of Western music in Thailand.
Second, the information concerning the attitudes of Thai culture toward music studies
and the obstacles to the acceptance of Western music in Thailand is then reviewed.
The third section covers the study of the history of Western popular music and Thai
popular music in Thailand. Finally, there will be the historical information regarding
the origin and the improvement of music in higher education, and the popular music
studies in Thailand.
3.1 The Arrival and Development of Western Music in Thailand
The researcher begins with a summary of the wide-ranging history of the Western
music in Thailand. Definitely, the goal here is only to highlight the historical path the
researcher believes that are most important in the story that could be link to popular
music, even though, a city itself will have many histories.
At first stage, Western music was first introduced in Thailand in the reign of King
Phra Narai around 1511. Moreover, during that time it was noted that there was a
little impact from Western country in Thai society. Western music began to reappear
26
in the society because of the renewed European contact with Thai royalty.43 Looking
back on this history, however, some scholars realize that Western music was
originated in Thailand in the reign of King Chomklao Jaoyuhhua (King Rama IV) of
the Chakri dynasty (1851-1868).44 In around 1852, there was the European military
training existed in Thailand, and due to the tradition of military service that uses to
have music in use for several occasions. For this reason, King Chomklao Jaoyuhhua
employed Captain Impey and Captain Thomas G. Knox from British military in order
to train the soldiers and buglers for military.45 This was the starting point of the
improvement and development of Western music in Thailand.
In addition, there were many Western scholars, who studied on this issue for example;
Western music influenced in Thailand can be identified since in the 1890s.46 Besides,
in around 1876, there were military bands playing for ceremonial parades and other
important events. This was also a significant contributor to the early development of
classical Western music in Thailand and Thai popular music.47 However, it was noted
that the first military band was formed in Thailand in around 1877, in the reign of
King Julajomklao Jaoyuhhua (King Rama V) (1868-1910). This military band trained
to play a variety of royal music, and some March music for military used. He aimed
to improved the military band, for this reason, he hired the trainers from abroad, and
43 Sugree Charoensook, ‘Undergraduate Music Curricula in Universities of Thailand and United States: A Comparative Study and Reccommended Curriculum for Thai Universities’ (unpublished doctor’s dissertation, College of Performing Arts, University of Northern Colorado, 1985), p.4-5 44 Patummal Songsakul, ‘Education Management in the College of Dramatic Arts, Bangkok: A Case Study of Western Vocal Music’ (unpublished master’s thesis, Mahidol University, 2003) 45 Natatun Intrakong, ‘The Musical Characteristics of The Grand EX’Band’ (unpublished master’s thesis proposal, College of Music, Mahidol University, 2007) 46 Craig A. Lockard, ‘Thailand: Songs for Life, Song for Struggle’ in Dance of Life: Popular Music and Politics in Southeast Asia (Chiang Mai, Thailand: Silkworm Books, 2001), pp.162-206 47 Terry E. Miller, ‘Music Cultures and Region: Thailand’ in Southeast Asia: The Garland Encyclopedia of World Music, Volume 4, Ed. by Terry E. Miller and Sean Williams (London: Garland Publishing, 1998), pp.218-334
27
since then, a marching band have become popular in the country.48
Furthermore, many royal family members were sent to study in European countries
during the reign of King Julajomklao Jaoyuhhua. Their studies concerned European
culture, including Western classical music, and some of them returned to Thailand
with their own music teacher to teach the other royal family members and palace
officers.49 Additionally, Western music further developed during the reign of King
Monkutklao Jaoyuhhua (King Rama VI) (1910-1925).50 He was educated at the
Royal Military Academy in Sandhurst and graduated from Christ Church, Oxford
University, England. When he returned to Thailand, he applied his observation of the
success of the British democratic system of government and education, in order to
help to transform an old-fashioned system to one that is modernized in Thailand.51
Upon his accession to the throne, in 1912, he established the first western music
orchestra, which called The Court’s String Orchestra for Western Music. Most of the
members of the orchestra were Thai classical musicians who retrained to play
Western musical instruments. Indeed, an Italian teacher, who was teaching in the
Thai Army’s Brass Orchestra, was asked to help with the teaching in this string
orchestra. Later on, in 1914 King Monkutklao Jaoyuhhua sent Piti Vadhyakorn to
help in organize the orchestra.
48 Prit Patarasuk, ‘Rewat Buddhinan’s Influence on Thai Popular Music (1983-1996)’ (unpublished master’s thesis, Chulalongkorn University, 2004) 49 Sugree Charoensook, ‘Undergraduate Music Curricula in Universities of Thailand and United States: A Comparative Study and Reccommended Curriculum for Thai Universities’ (unpublished doctor’s dissertation, College of Performing Arts, University of Northern Colorado, 1985) 50 Patummal Songsakul, ‘Education Management in the College of Dramatic Arts, Bangkok: A Case Study of Western Vocal Music’ (unpublished master’s thesis, Mahidol University, 2003) 51 David Wyatt, Thailand: A Short History (Chiang Mai , Thailand: Silkworm Books, 2003)
28
Piti Vadhyakorn (1883 - 1968) was a German, who was working as an official in the
Railway Department. He was the son of an immigrant German trumpet musician,
Jacob Fiet, and gained his musical skill in stringed instruments, and piano from his
father.52 At first, his name was Peter Fiet, but then later changed to Thai name as Piti
(delightful). Moreover, it was at this time that the use of a surname system was
introduced in the country.53 The King Monkutklao Jaoyuhhua gave him Vadhyakorn
(a conductor) as a surname. Finally due to his success in work, he was given an
official title as Phra Jen Duriyang (the person who is keen in music), and then
deserved to be remembered as the first person to “pioneer and lay the foundation for
the instruction and performance of Western music in Thailand”.54 Definitely, it was
his aim to achieve Western musical standards, and suggested that a student of Western
music in Thailand must study the theory of classical music so that they could truly
understand the style of music and become successful in the performance of Western
music. Furthermore, he felt that the students be supposed to take time to listen to both
classical and popular Western music so as to obtain a thorough understanding of
them, which would then lead them to an appreciation of the music and to an ability to
express an appropriate emotional response.
Finally, through Phra Jen Duriyang’s discerning insight, Western music became
established in Thailand by the increase population of people who study music, even it
is only restricted to the capital’s elite and the expatriate society.55 Nevertheless, it can
52 Patummal Songsakul, ‘Education Management in the College of Dramatic Arts, Bangkok: A Case Study of Western Vocal Music’ (unpublished master’s thesis, Mahidol University, 2003), p.29 53 David Wyatt, Thailand: A Short History (Chiang Mai , Thailand: Silkworm Books, 2003) 54 Patummal Songsakul, ‘Education Management in the College of Dramatic Arts, Bangkok: A Case Study of Western Vocal Music’ (unpublished master’s thesis, Mahidol University, 2003), p.30 55 Terry E. Miller, ‘Music Cultures and Region: Thailand’ in Southeast Asia: The Garland Encyclopedia of World Music, Volume 4, Ed. by Terry E. Miller and Sean Williams (London: Garland Publishing, 1998), pp.218-334
29
be said that it was through his efforts that, in time, Western classical music achieved a
status equal to that of Thai classical music in Thailand. For this reason, Phra Jen
Duriyang was considered by many scholars to be the greatest teacher of Thai Western
classical music of the modern era. His highly honoured works and his imaginative
and original contributions have become an important heritage for the generations of
Thai students that have followed. These works have earned him the name of “The
Father of Western Music in Thailand”.56
3.2 The Attitudes of Thai Culture towards the Western Music and
Music Studies in General
Since music is, a valuable source that has helped improves the health, emotions,
abilities, and wisdom of human beings. Throughout the history of humanity, music
has been used to express emotions such as love, sadness, joy, and triumph. Moreover,
while popular music has changed significantly in the past few decades, the music
itself would not have developed without the involvement of societal influences. All
the way through musical history, there has been a link between the wider historical
context of musical styles and many factors, such as, changes in the society, political
and economic issues, and culture. These factors are important as they place an
emphasis on beliefs, attitudes, and the living conditions of people in society, as well
as making an important contribution to developing the kinds of music.
Historically, in Thailand, the people considered careers in music, art, and dance with
contempt and condemned them as of low class status and even of immoral intent. As
56 Patummal Songsakul, ‘Education Management in the College of Dramatic Arts, Bangkok: A Case Study of Western Vocal Music’ (unpublished master’s thesis, Mahidol University, 2003), p.31
30
a result, training in the performing arts had no formal educational basis. Furthermore,
Chareonsook claims, “Music was not studied as a profession, but only to serve
political, religious and entertainment purposes”.57 In addition, he also states that:
For many generations, Thai families believed that music was a hobby, not a professional career with which a child could earn a living. The Thailand education system also has music in school solely as an entertainment subject to support other activities. Music is not considered to be a serious subject of study.58
Indeed, according to observations of foreign people living in Thailand, such as Jacob
Feit, Thai people showed little genuine interest in the art of music, and he forbade his
son, Phra Jen Duriyang to make music as career in Thailand.59 Besides, there was a
change of attitude towards music education and music careers in Thailand from
around 1925, after the death of King Monkutklao Jaoyuhhua. This was largely
because of the economic depression caused by World War I, and King Pokklao
Jaoyuhhua (King Rama VII) (1925-1935) abolished the Entertainment Department
and the Pranluang School.60 However, late in 1926, King Pokklao Jaoyuhhua
resurrected the Entertainment Department but to the less important status of Gong
(Section) rather than Department. The Western music orchestra was also moved from
Arts Division to a private house belonging to the Royal Cavalry Regiment.
During the reign of King Pokklao Jaoyuhhua, the orchestra received no
encouragement or support from the high-ranking officers in command of the cavalry
57 Sugree Charoensook, ‘Undergraduate Music Curricula in Universities of Thailand and United States: A Comparative Study and Reccommended Curriculum for Thai Universities’ (unpublished doctor’s dissertation, College of Performing Arts, University of Northern Colorado, 1985), p.6 58 Sugree Charoensook, ‘Music Talk’ special edition – Solo Night No.3 “The Four Season” (2004, p.4), p.4 59 Prit Patarasuk, ‘Rewat Buddhinan’s Influence on Thai Popular Music (1983-1996)’ (unpublished master’s thesis, Chulalongkorn University, 2004) 60 Patummal Songsakul, ‘Education Management in the College of Dramatic Arts, Bangkok: A Case Study of Western Vocal Music’ (unpublished master’s thesis, Mahidol University, 2003)
31
regiment, who were against adopting Western music for the country. In 1932, the
nation changed its form of government from an Absolute Monarchy to a Democratic
Monarchy.61 The Fine Arts Department was re-established as part of the Ministry of
Ecclesiastical Affairs and Education, and the Entertainment Section became part of
the Fine Arts Department with Luang Wijitwatakarn as its first Director. In 1934, the
Western Music Orchestra was place under the supervision of the Fine Arts
Department and renamed as the Fine Arts Western Music Orchestra.62
Nevertheless, despite some improvements, the orchestra having been held in high
status in the reign of King Pokklao Jaoyuhhua had been gradually losing prestige
largely because budget cutting by the Budget Allotment Committee, which was both
ignorant and unappreciative of the worth of music. For them, music was useful only
for entertaining the government’s honorable guests and, only once in a while, for the
enjoyment of the public.
3.3 The History and Development of Western Popular Music and
Thai Popular Music in Thailand
Western music came to represent the music from the various nations present since
there were many European foreigners living in Thailand. Western popular music is a
focus in this research, in order to highlight first, the long-standing history of
cosmopolitanism in Thailand and second, to show that the variety of the
characteristics that are now classified as features of globalization, are deeply rooted in
the history of the country. However, Wong and Lysloff state that:
61 David Wyatt, Thailand: A Short History (Chiang Mai , Thailand: Silkworm Books, 2003) 62 Patummal Songsakul, ‘Education Management in the College of Dramatic Arts, Bangkok: A Case Study of Western Vocal Music’ (unpublished master’s thesis, Mahidol University, 2003), p.32
32
A comprehensive history of Thailand’s popular music has not yet been written. Thai scholars and critics have begun to write about them (mostly in Thai), but scholarship in Western languages is scattered and sketchy.63
At this stage, this research has also found that, to date there is not much information
available on Western and Thai popular music in Thailand. This indicates that there is
little interest in this field in Thailand, although there is considerably more information
on Thai popular music in the West. Indeed, Lockard notes that:
It is clear that popular music has become a significant sociocultural force and enjoys extraordinary influence all over the world. While scholars have long analyzed the roles of folk and classical music, the value of studying popular music or oven popular culture generally has been more controversial.64
For this reason, this research presents an overall historical view of the issues related to
the development of Western and Thai popular music. According to Miller, the
development of popular music in Thailand can be traced back in the 1800s, which was
the time when Western classical music was introduced to Thailand.65 Western powers,
such as popular music and other forms of European and American music have
become extremely influential in Thai music industry. Indeed, in a history of Thailand
the country has never experienced colonization. Therefore, there was no benefited
from the influence from the Western countries, although Thai popular music was
influenced by the popular music of Europe and America.66 Moreover, popular music
became known in Thailand during the war period, as can be seen from a small dance
63 Deborah Wong, and Rene T.A. Lysloff, ‘Popular Music and Culture Politics’ in Southeast Asia: The Garland Encyclopedia of World Music, Volume 4, Ed. by Terry E. Miller and Sean Williams (London: Garland Publishing, 1998), pp.95-112, p.95 64 Craig A. Lockard, ‘Thailand: Songs for Life, Song for Struggle’ in Dance of Life: Popular Music and Politics in Southeast Asia (Chiang Mai, Thailand: Silkworm Books, 2001), pp.162-206, p.xiii 65 Terry E. Miller, ‘Music Cultures and Region: Thailand’ in Southeast Asia: The Garland Encyclopedia of World Music, Volume 4, Ed. by Terry E. Miller and Sean Williams (London: Garland Publishing, 1998), pp.218-334 66 Wai-chung Ho, ‘A cross-cultural study of preferences for popular music among Hong Kong and Thailand youths’, Journal of Intercultural Communication, (2004)
33
orchestra, which became popular in Thailand during Word War I, whereas interest in
the larger dance orchestra was widespread during World War II and the Korean War.67
3.3.1 Before the Political Revolution (1932)
Many scholars highlight the importance of the development of Thai popular music
and notes that there was the new form of music that emerge before 1932.68 These
were known as phelng luk thung69, and phelng luk krung70. Likewise, during 1903-
1904 HRH Boripad Sukhumphan, one of the sons of King Julajomklao Jaoyuhhua,
who graduated in Europe, also introduced a new kind of music to Thai people, and he
was regarded as “the father of modern Thai music”.71 The reason is that he was the
first person who introduced the study of international music including notations,
techniques, and harmonization, as well as provided knowledge to compose in modern
Western style Thai people. However, the real birth of Thai popular music according
to Lockard, was in 1931 when the new type of song called phleng neua tem72 was first
played by a local band.73 Further, the use of westernized composition in the film
industry also became more prevalent in late 1920s and 1930s.
67 Sugree Charoensook, ‘Undergraduate Music Curricula in Universities of Thailand and United States: A Comparative Study and Reccommended Curriculum for Thai Universities’ (unpublished doctor’s dissertation, College of Performing Arts, University of Northern Colorado, 1985) 68 Terry E. Miller, ‘Music Cultures and Region: Thailand’ in Southeast Asia: The Garland Encyclopedia of World Music, Volume 4, Ed. by Terry E. Miller and Sean Williams (London: Garland Publishing, 1998), pp.218-334, p.331 69 Phelng luk thung is one of several kinds of traditional popular music in Thailand, which refers to a working-class music that crosses rural-urban lines. 70 Phelng luk krung refers to a distinctly and middle class people. This form of song uses new texts for both Thai classical melodies and newly composed Western melodies accompanied by Western instruments. 71 Wittaya Poobua, ‘The Influence of American Music On Thai Popular Song’ (unpublished master’s thesis, Mahidol University, 2000) 72 Phleng neua tem or known as ‘completely worded song’ is one of the modern Thai songs, which were similar to Western songs. However, the melody was adapted from Thai traditional songs. 73 Craig A. Lockard, ‘Thailand: Songs for Life, Song for Struggle’ in Dance of Life: Popular Music and Politics in Southeast Asia (Chiang Mai, Thailand: Silkworm Books, 2001), pp.162-206, p.167
34
3.3.2 After the Political Revolution (1932)
In 1932, Thailand had a political revolution, which then transformed the government
from absolute monarchy to constitutional monarchy.74 After the revolution period,
there were many changes in the country. In music, Thai popular music was increasing
in popularity engendered by nationalistic songs, and the use of popular music in the
film industry.75 Eventually, there was also the first newly composed Thai song, which
became known as phleng thai sakon76. Although, it has many similarities with phelng
luk krung, however, it now considered as part of the same categorize.77 In addition, the
modernizing government planned to promote the country and had a programme of
modernization and Westernization.78 Therefore, the state radio received permission
from the government to broadcast phleng thai sakon and phleng sakon79 instead of
Thai traditional music.
In 1933, jazz music was introduced in Thailand by Luang Sukhumnaipradit, who
graduated from the United States of America, he brought jazz music recordings, and
the musical scores back to Thailand. Later in 1934, Luang Sukhumnaipradit and
some Western musicians formed the first jazz Big Band in Thailand called Rainbow
and played lot of musical styles, but mostly jazz music.80 In a long run, jazz music
became famous among Thai society. There was the performing of jazz music in
Swing style by the Jazz Big Band around 1934-1945. Moreover, in 1936, Luang
74 David Wyatt, Thailand: A Short History (Chiang Mai , Thailand: Silkworm Books, 2003) 75 Natatun Intrakong, ‘The Musical Characteristics of The Grand EX’Band’ (unpublished master’s thesis proposal, College of Music, Mahidol University, 2007) 76 Phleng thai sakon or known as ‘Western Thai popular song’ is the modern Thai song, which have Western melodies and accompanied by Western instruments. 77 Craig A. Lockard, ‘Thailand: Songs for Life, Song for Struggle’ in Dance of Life: Popular Music and Politics in Southeast Asia (Chiang Mai, Thailand: Silkworm Books, 2001), pp.162-206, p.181 78 Kitchana, Lersakvanitchakul, ‘A virtuoso- “35 Most Influential Thais”’, The Nation, (July 2006, p.106) 79 Phleng sakon is the name of an international songs or popular music of the West that called in Thai 80 Prit Patarasuk, ‘Rewat Buddhinan’s Influence on Thai Popular Music (1983-1996)’ (unpublished master’s thesis, Chulalongkorn University, 2004)
35
Sukhumnaipradit and Eua Sunthornsanan, who graduated from the ‘Pran luang
School’ also initiated the first Thai popular music big band, Suntraporn. It was the
band under the Krom Kosanakarn (Public Relations Department), which found a
wider audience, at that time.81
Furthermore, in relation to the change in the history of Western popular music in
Thailand, American film musicals that achieved wide popularity among Thai people
in the late 1930s, was another issue that has to be concern.82 There was the
acculturation between Thai and American, because the influences from American
music were settled in Thailand.83 Later on, there were many changes in the Thai
popular music industry, largely influenced by the works of Western musicians, and
American soldiers serving in the Vietnam War, who were encamped in Thailand.
They bought over Rock and Roll music and Western Rock music in around 1965-
1975. Popular music from America became widespread, and it was because of the
need of and American soldier, who was living in Thailand. At the beginning of the
1960s, Western popular music and Thai popular music dominated the radio, club, and
the recording industry.84 Nonetheless, the emergence of the recording industry and
the expansion of the urban middle class were made by radio, cassettes, television,
movies, and compact discs with the industrialization and Western influence.85
Eventually, Thai people have become more interested in Western rock music. Indeed,
81 Kitchana, Lersakvanitchakul, ‘A virtuoso- “35 Most Influential Thais”’, The Nation, (July 2006, p.106) 82 Wai-chung Ho, ‘A cross-cultural study of preferences for popular music among Hong Kong and Thailand youths’, Journal of Intercultural Communication, (2004) 83 Wittaya Poobua, ‘The Influence of American Music On Thai Popular Song’ (unpublished master’s thesis, Mahidol University, 2000) 84 Craig A. Lockard, ‘Thailand: Songs for Life, Song for Struggle’ in Dance of Life: Popular Music and Politics in Southeast Asia (Chiang Mai, Thailand: Silkworm Books, 2001), pp.162-206 85 Deborah Wong, and Rene T.A. Lysloff, ‘Popular Music and Culture Politics’ in Southeast Asia: The Garland Encyclopedia of World Music, Volume 4, Ed. by Terry E. Miller and Sean Williams (London: Garland Publishing, 1998), pp.95-112
36
the Thai teenagers and musicians became interesting in an electrical instrument,
which called String combo band more than the old style Big Band music. At that
time, there were an influence of the Western popular music through electronically
mediated forms such as film and recording, although there have been occasional visits
of major Western popular music star such as The Shadows, Cliff Richard, to
Thailand.86 Mostly, since the 1960s, visiting of the artists have left a lasting
impression on local musicians who see such starts as models and inspiration for the
potential celebrity, wealth, and freedom to be harvested from popular music.87
As many people in the Thai music industry will say that, popular music as it is known
today in Thailand would not have been possible without the involvement of the
Western professional musicians who working in Thailand from the turn of the century
to the present period. The establishment of new era of music in Thailand took an
important role as well.88 The reason that the issue what rise up was when the Grammy
Music Company89 under the cooperated of Rewat Buddinan and Paiboon
Damrongchaitham was establish in 1983. Since then, it marked a new era for the
popular music business in Thailand.90 Moreover, while the popular music scene has
changed significantly in the past few decades, although the old-style phelng luk krung
are still favoured by a small group in Thai society, but with the immediate increase of
86 Prit Patarasuk, ‘Rewat Buddhinan’s Influence on Thai Popular Music (1983-1996)’ (unpublished master’s thesis, Chulalongkorn University, 2004) 87 Natatun Intrakong, ‘The Musical Characteristics of The Grand EX’Band’ (unpublished master’s thesis proposal, College of Music, Mahidol University, 2007) 88 http://www.youtube.com/watch?v=0eKYXZIPPkc 89 The company profile of the Grammy Music Company is provided in Appendix J (p.151) 90 Wai-chung Ho, ‘A cross-cultural study of preferences for popular music among Hong Kong and Thailand youths’, Journal of Intercultural Communication, (2004)
37
the population and the developing affluence of the younger generation, American and
British styles of popular music have come to the fore.91
3.4 The Development of the Music in Higher Education in Thailand
This research aims to investigate the study music education in Thailand from the past
to present. To this end, it found that in general public of Thailand regards music
education by lacking a clear concept of the educational discipline. Nevertheless, there
was lacking of perception of the music education, as it does not exist in the mind of
the person, who works with the programme.92 In addition, Charoensook presents the
good general background of the main issues. He notes that:
Several problems exists in Thailand which affect the development of music curricula: the stage of musical development, the particular version of nationalism existing in the country, the difficulty of obtaining modern instruments, the lack of acceptance of professional musicians as teacher, and the absence of the very popular Western music influence in the schools.93
Moreover, he also states in the same dissertation that before 1976 there were no music
degrees available in Thai higher education, whereas by 1985 there were five courses
operated in colleges and universities. Furthermore, it is clear that by 2005 there were
major music curriculums in fifty-nine higher education institutes throughout the
country.94 Consequently, it is interesting that the demonstrating considerable increase
in interest.
91 Terry E. Miller, ‘Music Cultures and Region: Thailand’ in Southeast Asia: The Garland Encyclopedia of World Music, Volume 4, Ed. by Terry E. Miller and Sean Williams (London: Garland Publishing, 1998), pp.218-334 92 Chaloempol Ngamsuti, ‘Attitudinal Survey of Thai Music Educators concerning Music Education in Thailand’ (unpublished doctor’s dissertation, University of Missouri-Columbia, 1980), p.1 93 Sugree Charoensook, ‘Undergraduate Music Curricula in Universities of Thailand and United States: A Comparative Study and Reccommended Curriculum for Thai Universities’ (unpublished doctor’s dissertation, College of Performing Arts, University of Northern Colorado, 1985), p.8 94 Wathit Suwansomboon, ‘Trend in Higher Education in Music in Thailand’ (unpublished master’s thesis, Mahidol University, 2005)
38
3.4.1 The First Music Institute in Thailand
The first music institute in Thailand was called as the ‘Pran luang School’. It was
operated under the King Monkutklao Jaoyuhhua (King Rama VI) and was managed
and organized by Phra Jen Duriyang.95 In addition, there is no exactly information
regards to the birth of this school, however, the researcher assumes that it was
originate in around 1914 and 1919. The school aimed to teach both dramatic and
musical arts, and at that time, the school admitted only boys.
In the ‘Pran luang School’, there were six grades, and the curriculum consisted of
both general subjects and fine art subjects. The general subjects were the same as
those prescribed for the public secondary school under the Ministry of Education
including Thai language, mathematics, Thai history, and physical education, whereas,
the fine arts subjects consisted of Thai Classical music and Western music. In
training for Western music, Phra Jen Duriyang emphasized both theory and practice,
and promoted the art of arranging sounds into musical compositions. He also
developed theories concerning the playing of musical instruments, and the art of
vocalizing in order to provide the learners with the ability to perform or compose
music correctly. From that time onwards, the music schools were established both in
governmental and private organizations and so “classical music in Thailand had been
much prospered at that period”.96
King Monkutklao Jaoyuhhua’s intention was that palace officials should study both a
general curriculum and a curriculum including the dramatic art such as Thai Classical
95 Wittaya Poobua, ‘The Influence of American Music On Thai Popular Song’ (unpublished master’s thesis, Mahidol University, 2000) 96 Prit Patarasuk, ‘Rewat Buddhinan’s Influence on Thai Popular Music (1983-1996)’ (unpublished master’s thesis, Chulalongkorn University, 2004), p.8
39
and Western music. Indeed, the main purpose of the school was to produce young
people who would work in ‘The Court’s String Orchestra for Western Music’, in
order to improve the quality of the orchestra. This was because two main reasons,
firstly, many of musicians of this orchestra had been conditioned for so long to the
Traditional Thai Classical tonality. It had found that adapting to Western music
tonality was extremely difficult to most of them. Secondly, many of them were
getting too old to play fluently. In order to improve this situation, young students
from the age of twelve to fourteen years old were recruited to study Western music in
‘Pran luang School’, with the result that within two to three years, the former
members of the ‘Thai Classical Music Orchestra’ were permitted to return their
normal duties and play Thai classic music just as before. Within five year, the newly
recruited young students were able to take part in a performance presented by the
Cavalry’s orchestra.97
3.4.2 The Improvement of Music Education in Thailand
The education of Western music, both the practical and theoretical contents, began to
change and have been combined into the school music curriculum, from the
elementary through the higher education levels in Thailand.98 Moreover, the music
class was increased until it became nearly as important as the other subjects studies in
educational institutions, from the elementary through the higher education levels.
Furthermore, since 1934, there has been a huge development of music in the higher
education in Thailand. The significant improvements to music education in Thailand
97 Patummal Songsakul, ‘Education Management in the College of Dramatic Arts, Bangkok: A Case Study of Western Vocal Music’ (unpublished master’s thesis, Mahidol University, 2003) 98 The National Identity Board Office of the Prime Minister ‘Thailand into the 2000's’ (2000, p.153-155)
40
in the 1970s were initiated in the Conservatory of Music and Drama.99 After that, the
music degrees became established in a few universities, offering concentrations in
both Western and Thai music.100 However, at that time higher music education in
Thailand lacked of music teachers, and for this reason, the Department of Teacher
Education began the first music teacher curriculum in Bansomdejchaopraya Teacher
College.
In addition, the study of trends in higher music education is concerned with the
educational policy of the Ministry of Education Affair. Some institutions, which offer
higher education for music teacher, have been opened for more than thirty years.
However, at present, the music curriculum, administration, and higher music
education policy are in the control of the Ministry of Educational Affairs and Ministry
of Cultural Affairs. Government organizations and universities have opened music
schools and faculties starting with the School of Fine Arts under the auspices of the
Fine Arts Department. Since then, many more have followed, for example
Chulalongkorn University, Kasetsart University, Mahidol University, and Silapakorn
University.101 However, in comparison with other areas of study, there is not much
information on music higher education in Thailand. There are no government reports
that help to provide the detail. The students who would like to study music have to
seek and collect the information by themselves. Indeed, at present, there is little
discrete music in the curriculum for young people, therefore those who would like to
99 Wathit Suwansomboon, ‘Trend in Higher Education in Music in Thailand’ (unpublished master’s thesis, Mahidol University, 2005) 100 Terry E. Miller, ‘Music Cultures and Region: Thailand’ in Southeast Asia: The Garland Encyclopedia of World Music, Volume 4, Ed. by Terry E. Miller and Sean Williams (London: Garland Publishing, 1998), pp.218-334 101 The National Identity Board Office of the Prime Minister ‘Thailand into the 2000's’ (2000, p.153-155)
41
continue to study music in higher education face serious problems.102 The knowledge
that schools provide for students is not enough to provide a background for study in
higher education.
3.4.3 Popular Music Studies in Higher Education in Thailand
Most Western countries were offered popular music studies in the music education
institutions since early 1970s.103 It is interesting that when dealing with popular music
in music education, it has been rationalized in many ways. First argument is concern
the social importance by compared popular music to the Western classical and folk
music. Furthermore, they believes that popular music should included into the music
education programme since various type of popular music are often used in
commercial, music education institutions should provide the students with the abilities
to interpret and work in this field. Hence, in past few decades in Thailand, many Thai
musicians who graduated in Western classical music with refined skills and
knowledge have passed the issue concern an importance of popular music and in the
production of music business.104 They believe that the important object is that the
society should pay more attention to produce the people who are keen on this field in
order to work for popular music industry. Indeed, they suggest that the knowledge
and fundamental method of Western classical music can be adapted and help to
improve the production of popular music.105
102 Jiradej Setabundhu, ‘Where should you study music in undergraduate’s programme in Thailand?’ College of Music, Mahidol University, Music Journal 12:2 (June 2006, p.65-80) 103 Alf Björnberg, ‘Teach You to Rock'? Popular Music in the University Music Department’, Popular Music 12:1 (Jan,1993), pp. 69-77 104 <http://www.youtube.com/watch?v=lyYT5-IhWTs&feature=related> 105 Jiradej Setabundhu, ‘Where should you study music in undergraduate’s programme in Thailand?’ College of Music, Mahidol University, Music Journal 12:2 (June 2006, p.65-80)
42
In conclusion, based on the literature review described above, for this reason, this
research was reviewing the teaching of the first programme, which aim for popular
music studies in Thailand. The Music Entertainment programme, at College of
Music, Mahidol University was used as the case study, in order to discover the
circumstances of popular music studies in Thailand.
43
CHAPTER 4: RESEARCH FINDING: PRELIMANARY
RESULTS AND ANALYSIS FROM THE INTERVIEWS
ANALYSIS DATA FROM THE INTERVIEWS
4.1 POPULAR MUSIC STUDIES IN THAILAND AND THE
MUSIC ENTERTAINMENT PROGRAMME
4.2 THE MUSIC ENTERTAINMENT CURRICULUM
4.3 THE STUDENTS
4.4 THE INSTRUCTORS
4.5 THE COLLEGE FACILITIES
4.6 THE EXTRA-CURRICULAR ACTIVITIES
44
Chapter 4: Research Finding: Preliminary Results and
Analysis from the Interviews
Introduction
This chapter presents results of the data analysis from interviews with music
instructors and music students in the Music Entertainment programme. The Music
Entertainment programme is one of the programmes offered by the College of Music,
Mahidol University, Thailand. It is necessary for the College of Music to differentiate
the uniqueness of the Music Entertainment programme from other music institutions
by improving its quality and performance. On completion of this research, it will then
provide some recommendations to improve the quality of teaching on the Music
Entertainment programme. Since this research aimed to analyze the current
positioning of the Music Entertainment programme, which is aimed at popular music
studies, the questions from the interview were phrased to answer the research
questions.
Analysis Data from the Interviews
The interviews contained were done with a deep and longstanding concern in
questions that addressed all types of information, curricula, activities, and events
carried out by the college of music, whether official or unofficial. The interviewees
were asked regards to several issues covering the music education, especially the
Music Entertainment programme, and the opinion of instructors and students
concerning the quality of teaching on the programme. Questions were also asked
regards to a number of different aspects of teaching, including assessment and support
45
provided by the programme and the university. After completion of data analysis,
several issues can be identified, regards to a selection of questions as follows:
4.1 Popular Music Studies in Thailand and The Music Entertainment
Programme
Q:1 In your opinion, what do you think of popular music studies in Thailand?
Puengpreeda argues that, “The market of Thai popular music and music industry was
increasingly popular among people in society. There are many singers, and
musicians, who released their albums to the public. However, most company
promotes the external issue of the singers or bands and concern the marketing more
than concentrates on the quality of music or the product itself”.106 Therefore, this is
probably be the reason that at present, the higher education institute realize how
important of the music industry and popular music. It leads to the initiated of the
popular music curriculum in Thailand, and certain that the Music Entertainment
established because this reason as well.
Q:2 What were the aims when the Music Entertainment programme was
established?
“The College of Music aims to provide general information to enable students to
perform and produce good music.107 Once they have graduated, students should then
be able to work in any music fields whether classical, jazz or popular music”.108 It is
clear that the Music Entertainment programme was established in order to provide
popular music studies109; however, it is because of the view of the Board committees
106 Interview with Somphop Puengpreeda, was in person on 8th January 2008 107 See Appendix A (1.1 College Philosophy and 1.2 The Mission and Objectives, p.107) 108 Interview with Somphop Puengpreeda, was in person on 8th January 2008 109 See Appendix A (2 The Music Entertainment programme, p.116)
46
towards popular music, since they believe that the academic curriculum for higher
education institutes should be specific. Therefore, “The College uses the title as
Music Entertainment instead of Popular Music”.110
Q:3 Can you tell me about the opinion of the Music Entertainment Committee,
regarding the way to manage the class and curriculum?
When asking questions concerning the evaluation assessment, Prapatrangsi claims
that, “It is the responsibility of a college examination board committee. It consists of
the subject instructions from the departments, separated by instrument, such as the
piano department, the voice department, and the electrical instrument department,
which include the electric guitar, the electric bass, and the drum set”.111 Moreover, the
committee takes a responsibility in the evaluation of students’ performance through
examination, although each department and instructors have their own criteria. The
marks given by each member of the examination committee would then be added
together and divided to arrive at symbolic academic results112, which would use a
criteria-based grading system. In the examinations, the student would do a solo
performance, scales, technique, and sight-reading, according to the committee’s
specifications.113
4.2 The Music Entertainment Curriculum 114
Despite the strengths of the Music Entertainment curriculum, there are nevertheless a
number of small but important weaknesses, such as a clear focus about what to teach
110 Interview with Surat Prapatrangsi, was in person on 9th January 2008 111 Interview with Surat Prapatrangsi, was in person on 9th January 2008 112 See Appendix A (1.9 Symbolic Academic Result, p.109) 113 Academic affairs, College of Music, Mahidol University, ‘Music Entertainment course outline and module description’ (2007) 114 An example of the Music Entertainment curriculum is presented in Appendix B (p.118)
47
in the programme. The instructors and students were asked regards to a selection of
question, for example:
Q:4 What do you think about the current music curriculum of the Music
Entertainment programme?
According to Prapatrangsi, “At present, the Music Entertainment course outline
changes in every academic year, then leading some students to believe that it does not
reach the required standard”.115 There is the evidence to support this argument since
Rungruengphol states, “I do not gain enough knowledge from attending the Music
Entertainment course subjects”.116
Q:5 Could you give me any suggestions to improve popular music studies in
Thailand?
Q:6 In your opinion, how can we help to improve the quality of teaching in the
Music Entertainment programme?
Most instructors assume that the current Music Entertainment curriculum and the
study requirements should be more specific. Referring to Puengpreeda, “It should be
revised both in order to reach the college goals and to improve the quality of
teaching”.117 Similarly, concerning instrumental lessons, Sukkantaraks states, “The
requirement of the teaching in Music Entertainment should be varied and up to date in
order for the curriculum to be relevant to changing styles of music. Besides, the
specific practice pieces should be specified in order to discourage teachers who do
115 Interview with Surat Prapatrangsi, was in person on 9th January 2008 116 Interview with Sirinda Rungruengphol, was in person on 8th January 2008 117 Interview with Somphop Puengpreeda, was in person on 8th January 2008
48
only what they prefer or what they want to do, or teach only what is within their
capacities or aptitudes”.118
Further, Khaiseang affirms, “The curriculum needs to be evaluated to ensure that the
prescribed material is covered completely. Moreover, scales, arpeggios, and
techniques should be performed regularly and be included in the curriculum”.119 In
addition, Dangintrawat states, “The curriculum should include a variety of musical
styles, for example, classical music, jazz, popular music, Thai traditional folk songs,
songs from various occasions, musical and film songs”.120 It is possible that most
instructors believe that the repertoires, which required in the programme should be
graded to fit into the sequence of class level and to suit each student’s ability. This
ensures that student understand the fundamentals of music.
Q:7 How do you design the curriculum or requirement for the student?
Q:8 How do you organize the standard of your class?
Concerning the instrumental classes, Puengpreeda notes, “Some students have the
wrong attitude towards study in the programme. They would like to study only the
things that interested”.121 Moreover, Khaiseang presented an interesting point that “In
spite of the fashion for teenagers to play the modern popular songs, some students do
not understand the teaching concepts within their subjects. As an alternative, they
want to follow the current fashions in the styles and show unwillingness to learn the
required styles”.122 Therefore, there is a strongly possibility that when teaching the
instrumental class, if the students are allowed to practice and learn the pieces they
118 Interview with Suttipant Sukkantaraks, was in person on 27th December 2007 119 Interview with Tawan Khaiseang, was in person on 27th December 2007 120 Interview with Benjapa Dangintrawat, was in person on 8th January 2008 121 Interview with Somphop Puengpreeda, was in person on 8th January 2008 122 Interview with Tawan Khaiseang, was in person on 27th December 2007
49
enjoy, this will motivate them to practice more. Clearly, this benefits the learning
process.
4.3 The Students
According to the records of the Academic Affair, it can be seen that the number of
students who would like to attend the Music Entertainment programme increased each
year. The number of students is presented in the table below:
The Applicants The successful Applicants
Admission Admission Enroll Graduated Academic
Year 1st 2nd 3rd Total 1st 2nd 3rd Total Total Total
2002 - 6 7 13 - 3 5 8 5 4
2003 5 6 16 27 - 6 16 22 16 5
2004 5 5 9 19 1 1 5 7 12 10
2005 6 12 19 37 1 2 8 11 N/A N/A
2006 18 27 30 75 11 7 13 31 N/A N/A
2007 70 114 91 275 4 8 27 39 N/A N/A
2008 97 105 94 202 1 11 32 44 N/A N/A Source: Academic Affairs, College of Music, Mahidol University (2008)
Table 1: Number of students in Music Entertainment Programme
As can be seen from above, the number of students in the Music Entertainment
programme continues to increase steadily. Presently, in the academic year of 2007,
there were as many as ninety. In addition, the fact that “there are too many students
being admitted to the Music Entertainment programme makes it exceedingly difficult
for the instructors to give them the close personal attention that they require”.123
123 Interview with Suttipant Sukkantaraks, was in person on 5th June 2008
50
Q:9 From your teaching experience in the College of Music, what is the potential
of the students in Music Entertainment programme?
It is possible that there are two groups of students with two ability levels. Firstly,
there are those who serious about the desire to study music and who are dedicated to
the study various kinds of music, included Western classical, jazz, and popular music.
This group has the abilities and motivation to study and understand more about the
course. Secondly, there are those who have been pushed to join the programme
because they believe it is the easiest programme to study, or because they cannot get
in anywhere else; therefore they lack drive, do not practice, and cannot learn.
Along these lines, Prapatrangsi claims that, “The first group of students tends to have
more success in their study and graduation from the Music Entertainment programme,
while the other group tends to derive less enjoyment from their study and frequently
moved to study in other programmes at the college”. 124 There is a strong possibility
that at present most students are capable of persevering in their practice. However,
those students who are forced by their parents to study in the programme, or who are
unable to find seats at other universities or other programmes are found to be
uninterested and unmotivated.
Q:10 Can you tell me your opinion about the students’ achievements from your
instrumental class?
Q:11 Could you give me any suggestions to improve the quality of students in the
Music Entertainment programme?
124 Interview with Surat Prapatrangsi, was in person on 9th January 2008
51
Since music study requires students who have good study habit, which is an action
and behavior of a student regarding the study. In order to get ready and improve the
benefit that student will be gained from study on the programme, most instructors
suggest that in order to get ready and improve the benefit that students will be gained.
Sukkantaraks suggests that, “They should prepare themselves before study, for
example, it can be something concerning study plan, paying attention to the lesson,
being on time for the class, consistency in attending a class. Moreover, music study is
a practice subject, so that before going to class a student has to prepared, which means
well practicing, has to have a systematic practice plan and has to practice in a correct
way”.125
4.4 The Instructors126
The College of Music at Mahidol University has more than 60 full-time instructors,
many of whom are recognized nationally and internationally for their achievements as
performers, composers, and scholars in the profession, as well as for their
commitment to teaching.127 Moreover, there is a definite possibility that the college
executives tried to provide as many music instructors as possible.
Q:12 How did you first come to teach in the College of Music?
Q:13 Who is the instructors of the Music Entertainment programme?
Q:14 Can you tell me what you think about the instructors’ abilities to teach in the
class?
Most of the instructors who work for the Music Entertainment programme graduated
in the field of performance and pedagogy. For this reason, “they have little 125 Interview with Suttipant Sukkantaraks, was by email on 5th June 2008 126 See Appendix A (1.11 The Instructors, p.112) 127 http://www.music.mahidol.ac.th/en
52
enthusiasm or much experience in management and academic administration.
Therefore, this is possibly one of the reasons that the Music Entertainment department
cannot manage their own music curriculum”.128 Moreover, it is interesting that
presently there are only five full-time instructors in the programme.129 This situation
arises because there were only a few specialist instructors in music education in
Thailand with knowledge a popular music and music industry. “The main reason is a
limited amount of music training in most instructors’ educational backgrounds, since
they were trained to play in Western classical music style”.130 Consequently, because
of the lack of sufficient numbers of full-time instructors, the Music Entertainment
programme was forced to hire part-time instructors. It is probable that most
instructors in Music Entertainment work as part-time instructors.
Furthermore, from the two groups of instructors, it can be seen that there are not many
full-time instructors in the Music Entertainment programme. On the other hand, the
number of part-time instructors has increased steadily in the past few years in order to
handle the steadily growing number students in the Music Entertainment programme.
The majority of part-time instructors in the Music Entertainment programme are
mostly electric guitar instructors. Khaiseang mentions that, “At present, six electric
guitar instructors are responsible for teaching the Music Entertainment students, two
of them being full-time, and the rest part-time. Most of the instructors are the alumni
who graduated from the College of Music, Mahidol University, in many programmes,
for example Music Technology, and Jazz Studies; they were later hired by the
college.131 Those part-time instructors “taught not only students in the Music
128 Interview with Surat Prapatrangsi, was in person on 9th January 2008 129 http://www.music.mahidol.ac.th/en 130 Interview with Surat Prapatrangsi, was in person on 9th January 2008 131 Interview with Tawan Khaiseang, was on telephone on 3rd March 2008
53
Entertainment programme, but also other programmes, for example Music Business,
and Music Technology”.132
According to Sukkantaraks, “The part-time instructors tend to work according to the
hours of their course only, and they tend to come and go rapidly as they find other,
higher paying positions at other universities. Moreover, they are paid on an hourly
basis, only being paid when they teach classes. This may suggest that they have no
time for the students’ individual needs”.133 Furthermore, the teachers are
overburdened both by their own work schedule, as a result, the teachers themselves
lack opportunities to practice their arts and fail to prepare their lessons properly.
Thus, the progress and development of the Music Entertainment programme is very
slow and uneven.
From the view of the student, most of them are pleased to study in the programme.
Since Napalai claims that, “The increasing number of students mean that the class size
tend to be large, making it almost impossible for the instructors to control students or
give personal attention, however, they tried their best in order to helps all of
students”.134 Moreover, Saibunmi demonstrates that “classroom have sometimes
become big group, which making it difficult for student to communicated with the
instructor when they have a problem. Anyway, most instructors provide the extra
meeting time, as their teaching studio always welcome for students who face the
problems”.135
132 Interview with Somphop Puengpreeda, was in person on 8th January 2008 133 Interview with Suttipant Sukkantaraks, was in person on 27th December 2007 134 Interview with Tin Napalai, was in person on 9th January 2008 135 Interview with Skowrung Saibunmi, was in person on 8th January 2008
54
4.5 The College Facilities136
Q:15 From your teaching experience, what is the most difficult aspect of teaching
the instrumental to students?
Q:16 From your study in the College of Music, what do you think about their
facilities and equipments?
The primary problem is that there are not enough songbooks for Music Entertainment
students and instructors in the library; the teachers have to try to find their own
equipments. Khaiseang confirms that, “The College should provide enough books,
CDs, and other facilities to enable instructors in every programme to provide
continuity in the teaching programme”.137 This means that the books and all stuffs
should be in good quality and up-to-date. Furthermore, “There is a great need for all
types of electronic sound equipment, from computers, recorders, tape cassettes, CD
players and discs, video players and video cassettes as well as microphones and
amplifiers’.138
Currently, there is a shortage of classrooms in the College of Music, Mahidol
University; the classrooms for the Music Entertainment programme are shared by
other programmes. Moreover, there are insufficient private rooms for instrumental
instructors. They have to teach in the practice rooms and do not have their own
offices. This clearly demonstrates that there is not enough room to accommodate the
large number of students in college. Dangintrawat argues that, “Some classrooms are
substandard, as they are too small, and also that the practice rooms need to be
soundproofed to prevent external noises from disrupting the students’
136 See Appendix A (1.12 The College Facilities, p.113) 137 Interview with Tawan Khaiseang, was on telephone on 3rd March 2008 138 Interview with Somphop Puengpreeda, was in person on 8th January 2008
55
concentration”.139 Additionally, “The practice rooms are too small, and the external
noises make it impossible to concentrate, leading to the students’ tendency to play or
sing incorrect notes”.140 Moreover, Saibunm declares that, “presently there is only one
‘in-class performance room’ provided for the Music Entertainment student, in order to
study and practice the small ensemble”.141
4.6 The Extra-Curricular Activities 142
Q:17 What do you think about the music activities that are provided to students in
Music Entertainment programme?
Q:18 From your study in the College of Music, what do you think about the extra-
curricular and activities on offer for the students on the Music Entertainment
programme?
Even though the College of Music has hosted numerous concerts, recitals, workshops,
activities, and seminars throughout the academic year, however, “the current
extracurricular activities provide little help towards the improvement of the Music
Entertainment students’ performance abilities”.143 In addition, although Chitrangsan,
activity manager at the college indicates that, “We’re very supportive of our students’
activities”.144 However, they tend only to afford students the opportunity to perform
in front of audiences and no more. Therefore, some instructors think, “The students
should be allowed to think independently and to be creative”145, “The College should
provide some more support on the activities of the Music Entertainment
139 Interview with Benjapa Dangintrawat, was in person on 8th January 2008 140 Interview with Tin Napalai, was in person on 9th January 2008 141 Interview with Skowrung Saibunmi, was in person on 8th January 2008 142 See Appendix A (1.13 The Extra Curricular Activities, p.114) 143 http://www.music.mahidol.ac.th/en 144 Yanapon Musiket, ‘The College of Music at Mahidol University is certainly not for ‘losers’’, The Bangkok Post: Outlook, (27 March 2008) 145 Interview with Tawan Khaiseang, was on telephone on 27th December 2008
56
department”146, and “They could put on their own productions with the teacher acting
as adviser.147
Furthermore, Napalai notes that, “The opportunities for students in the Music
Entertainment programme to perform publicly are rare”.148 Dangintrawat states that,
“There is the only occasions when we do get an opportunity to perform and
management outside the classroom. It was during the concert that we organized by
ourselves at the end of semester, once a year”.149 Additionally, the students have
opportunity to perform in “The Music Entertainment Concert Series I and II in 2006,
and 2007.150 There is a definite possibility that in comparison to the other programme
such as Music Business, Music Technology, and Jazz Studies, there are more
activities provided for the student. According to Prapatrangsi, “The reason is because
in those programmes, they have somebody who helps to organize and manage the
activities for students. Indeed, it was nearly impossible to do anything when there is
nobody to work or help with management”.151
146 Interview with Suttipant Sukkantaraks, was in person on 27th December 2007 147 Interview with Somphop Puengpreeda, was in person on 8th January 2008 148 Interview with Tin Napalai, was in person on 9th January 2008 149 Interview with Benjapa Dangintrawat, was in person on 8th January 2008 150 The brochure of the Music Entertainment Concert Series I and II are presented in Appendix K (p.155) 151 Interview with Surat Prapatrangsi, was in person on 9th January 2008
57
CHAPTER 5: RESEARCH FINDING: PRELIMANARY
RESULTS AND ANALYSIS FROM THE
QUESTIONNAIRES
THE ANALYSIS DATA FROM THE QUESTIONNAIRES
QUESTION 1-13
58
Chapter 5: Research Finding: Preliminary Results and
Analysis from the Questionnaires
Introduction
This chapter presents the results of the data analysis of the questionnaires, which
aimed to investigate the students’ opinion about learning in the Music Entertainment
programme. Indeed, the questions were devised to answer the research questions
underpinning this study. Moreover, useful suggestions have been derived which may
possibly help to provide a means by which the teaching methods in the Music
Entertainment Programme might be improved.
The Analysis Data from the Questionnaire
Initially the number of respondents was sixty-five, however, after completion of the
data review, there was found to be some error in five questionnaires because the
respondents did not answer all the questions required. In a consequence, these
responses were eliminated from the data and so the total of the responses used
numbered only sixty.
In addition, the gender proportion was very unbalance (male 86.67%, female 13.33%),
because the vast majority of those on the course, and thus the respondents were men.
Therefore, analysis using gender separation had to be considered with this in mind.
Indeed, the graphs below need to be read with care. For this reason, the data
presented both in terms of the separated genders and also of the whole population.
59
Question 1: What is your gender? (Figure 1)
Gender
86.67
13.33
0.00
10.00
20.00
30.00
40.00
50.00
60.00
70.00
80.00
90.00
100.00
- Male - Female
Percentage
Male
Female
Figure 1: Question number 1
As demonstrated in figure 1, from sixty respondents, there were fifty-two males and
eight females. It was interesting to notes that 86.67% of students in the Music
Entertainment programme are male students, whereas only 13.33%, who are female.
This probably indicated that male students tend to had more interest in popular music
than female. Moreover, this maybe largely associated with the type of instruments
used and also the trend of music, including pop and rock culture, which in
performance, is predominantly male.152
152 See Chapter Four (Q.7 and Q.8 p.48)
60
Question 2: What is your major instrument? (Figure 2)
Instruments
5.77
63.46
23.08
5.771.92
50.00
25.00 25.00
11.67
3.33
58.33
20.00
5.001.67
0.00
10.00
20.00
30.00
40.00
50.00
60.00
70.00
- Piano - Voice - ElectricGuitar
- ElectricBass
- Drum set -Woodwind - Brass
Percentage
Male
Female
Total
Figure 2: Question number 2
It is evident from figure 2 that the majority of male respondents in this population
studied the electric guitar (63.46%), and a further 23.08% studied the electric bass.
Moreover, 5.77% studied the piano, and another 5.77% studied the drum set. Lastly,
only 1.92% of male respondents who studied a brass instrument and despite the
course offering woodwind instrument or voice, no respondents studied these areas.
However, 50.00% in the female population studied the piano, 25.00% studied the
electric guitar, and 25.00% studied voice. Indeed, no female respondents studied the
electric bass, the drum set, a woodwind instrument, or a brass instrument.153
153 In relation to gender, it should be noted that these populations were very unbalanced (See p.58)
61
As a result, this may inferred that the majority of male respondents are prefer to
studied the electric guitar, where as the majority of female respondents are prefer to
studied piano. It seems to be that the electrical instrument is the most popular
instrument among students in the Music Entertainment programme. Whether these
proportions would be replicated with more even populations is a moot point, however,
the general trends would be likely to remain similar.
62
Question 3: What are your favorite musical genres? (Figure 3)
Music Listening Preferences
3.66
13.41
29.27
46.34
7.32
22.73 22.73
36.36
18.18
7.69
15.38
30.77
40.38
5.77
0.00
5.00
10.00
15.00
20.00
25.00
30.00
35.00
40.00
45.00
50.00
- Classicalmusic
- Jazzmusic
- Pop music - Rockmusic
- ThaiTraditional
music
- Others
Percentage
Male
Female
Total
Figure 3: Question number 3
As exemplified in figure 3, the respondents were free to give as many responses as
they wished for this question. For this reason, the answers show what percentage of
students listen to each style of music. Rock music (40.38%) and pop music (30.77%)
are the musical style which respondents found most interested in. In addition, other
reason included church music, hip-hop, and heavy metal (5.77%). The most notable
feature is that most male respondents listened to rock music, and whereas most
females listened to pop music.
63
It can be concluded that because the respondents were interested in rock music and
pop music, so this is the reason why they decided to study on theprogramme. Again,
this maybe principally related with the pop and rock culture, so that respondents who
interested in this type on music tend to choose to study on the programme, which they
think will provided the popular music studies.154
154 See Chapter Four (Q.9 p.50)
64
Question 4: What is your reason for studying on the Music Entertainment
programme at the College of Music, Mahidol University? (Figure 4)
Reason for studying on the Music Entertainment programme at the College of Music, Mahidol Universi ty?
76.92
7.6915.38
62.50
37.50
75.00
6.67
18.33
0.00
20.00
40.00
60.00
80.00
100.00
- The qualityand reputationof the College
of Music,Mahidol
University
- The qualityand reputationof the Music
Entertainmentprogramme
- The qualityand reputationof the musicinstructors
Other reasons
Percentage
Male
Female
Total
Figure 4: Question number 4
As demonstrated in figure 4, the response fall into two distinct categories, thus, while
75% of respondents made their decision because of the quality and reputation of the
College of Music, Mahidol University, none of them chose because of quality and
reputation of the programme itself. Therefore, it seems that the reputation of the
College of Music was an important element in students’ decisions to study in the
institute. In addition, other reasons (18.33%) included respondents who opted for this
programme because they had failed to get a place in other programme, who had the
impression that the Music Entertainment programme was an easy option, and who
were interested in studying the variety of music that this programme offered.
65
Question 5: What is your reason for studying on the Music Entertainment
programme? (Figure 5)
Reason for studying on the Music Entertainment programme?
19.23
63.46
50.00
16.67
61.67
17.31
50.00
21.67
0.00
10.00
20.00
30.00
40.00
50.00
60.00
70.00
- Would like togain the
knowledge aboutpopular music
- Would like togain the
knowledge andthe musical skill
- Other reasons
Percentage
Male
Female
Total
Figure 5: Question number 5
It is noticeable from figure 5 that there are 61.67% of the respondents decided to
study because they would like to gain more knowledge and the musical skill in
instrumental playing, however, 16.67% wanted to gain knowledge about popular
music history, theory, and so on. It is interesting to note that other reasons (21.67%)
included respondents who failed to get a place in other programme, who would like to
play and study popular music style, and who would like to study various kinds of
music.
66
Therefore, this finding reflects that the aims of most respondents admitted to study
because they would like to have knowledge in playing an instrument. However, some
of them were failed to study in other programme.155 Finally, it seem that there is a
clear link between question 1, 2, and 3 that most students on the programme are the
group that aims for the study in popular music style.
155 See Chapter Four (Q.9 p.50)
67
Question 6: What have you found to be the most positive aspects while studying
on the Music Entertainment programme? (Figure 6)
Possitive aspects while study on the programme
2.50
25.00
35.83
15.83
2.50
18.33
11.11
16.67
33.33
5.56
33.33
3.62
23.91
35.51
14.49
2.17
20.29
0.00
5.00
10.00
15.00
20.00
25.00
30.00
35.00
40.00
- TheEntertainment
CourseSubjects
- The CoreCourse
Subjects
- The IndividualInstrumental
Lessons
- TheEnsembleLessons
- The MusicActivities for
students
- TheInstructors
Percentage
Male
Female
Total
Figure 6: Question number 6
As illustrated in figure 6, the respondents were free to give as many responses as they
wished for this question. Notably, individual instrumental lessons (35.51%) were the
most positive aspect. Moreover, it was also found that 23.91% of respondents liked
the core course subjects, and 20.29% of them, liked the instructors.
68
Further, it is interesting to note that only a small percentage (3.62%) of all
respondents disliked the entertainment course subjects, and the lack of good music
activities on the programme led to the lowest percentage (2.17%) giving a positive
response.
69
Question 7: What have you found to be the most negative aspects while study on
the Music Entertainment programme?
Negative aspects while study on the programme
29.73
2.70 2.70
16.22
43.24
20.00
10.00
5.00
20.00
35.00
5.00 5.00
27.66
4.263.19
17.02
41.49
5.41
1.06
5.32
0.00
5.00
10.00
15.00
20.00
25.00
30.00
35.00
40.00
45.00
50.00
- TheEntertainment
CourseSubjects
- The CoreCourseSubjects
- TheIndividual
InstrumentalLessons
- TheEnsembleLessons
- The MusicActivities for
students
- TheInstructors
- Anotherreasons
Percentage
Male
Female
Total
Figure 7: Question number 7
As exemplified in figure 7, the respondents were free to give as many responses as
they wished for this question. Notably again, the music activities were least favoured
(41.49%). Moreover, 27.66% of respondents disliked the entertainment course
70
subjects, and 17.02% of them, disliked the ensemble lessons. Other reasons
concerned the tuition fees and equipment (5.32%).
A comparison with the responses to question 6, confirms the dissatisfaction with the
music activities, and the entertainment course subjects.156
156 See Figure 6 (p.67)
71
Question 8: What are the most useful subject to uses for your real life?
The respondents were asked to rank their answers from the most useful (rank 1) to the
least useful (rank 4). The results were as follows:
The most useful subject for real life
9.62
90.38
25.00
62.50
12.5011.67
86.67
1.670.00
10.00
20.00
30.00
40.00
50.00
60.00
70.00
80.00
90.00
100.00
- TheEntertainment
Course Subjects
- The CoreCourse Subjects
- The IndividualInstrumental
Lessons
- The EnsembleLessons
Rank 1
Percentage
Male
Female
Total
Figure 8:1 Question number 8 (Rank 1)
Figure 8:1 demonstrated that a majority of respondents (86.67%) considered the
individual instrumental lessons as the most useful subject to use in real life. However,
none of them considered the entertainment course subjects as being the most highly
ranked.
72
9.62
26.92
62.50
25.00
12.5011.67
25.00
63.4663.33
0.00
10.00
20.00
30.00
40.00
50.00
60.00
70.00
- TheEntertainment
Course Subjects
- The CoreCourse Subjects
- The IndividualInstrumental
Lessons
- The EnsembleLessons
Rank 2
Percentage
Male
Female
Total
Figure 8:2 Question number 8 (Rank 2)
Figure 8:2 exemplified that the core course subjects (63.33%) ranked as the second
most useful subject to use in the real life. It is interesting to note that again, none of
respondents believes in the entertainment course subjects.
73
48.08
26.9225.0025.00
12.50 12.50
50.00
45.00
25.00
1.67
28.33
0.00
10.00
20.00
30.00
40.00
50.00
60.00
- TheEntertainment
Course Subjects
- The Core CourseSubjects
- The IndividualInstrumental
Lessons
- The EnsembleLessons
Rank 3
Percentage
Male
Female
Total
Figure 8:3 Question number 8 (Rank 3)
Figure 8:3 illustrated that the entertainment course subjects (45.00%) ranked as the
third most useful subject to use in the real life, whereas 28.33% of respondents placed
the ensemble lessons at this level.
74
51.9248.08
75.00
25.00
55.00
45.00
0.00
10.00
20.00
30.00
40.00
50.00
60.00
70.00
80.00
- TheEntertainment
Course Subjects
- The Core CourseSubjects
- The IndividualInstrumental
Lessons
- The EnsembleLessons
Rank 4
Percentage
Male
Female
Total
Figure 8:4: Question number 8 (Rank 4)
Figure 8:4 demonstrated that the entertainment course subjects (55.00%) also ranked
as the fourth useful subject to use in the real life, whereas the 45.00% of respondents
were concerned the ensemble lessons. This confirm the outcomes of the previous
figure (Figure8:3) in relations to these true areas as being the least profitable in the
estimation of the respondents.
Therefore, the individual instrumental lessons were considered the most useful
subjects that the respondents believe they could use in their real life, while, the
entertainment course subjects were found to be the least useful.
75
Question 9: What is the most important area that has to be improved in Music
Entertainment programme?
The respondents were asked to rank their answers from the most important (rank 1) to
the least important (rank 6). In some ways, the responses given to this question could
provide the answers for the whole research study. The results were as follows:
The most important area that has to be improved
28.85
5.773.85
57.69
3.85
50.00
12.50
37.50
31.67
6.673.33
55.00
3.33
0.00
10.00
20.00
30.00
40.00
50.00
60.00
70.00
- TheEntertainment
CourseSubjects
- The CoreCourse
Subjects
- The IndividualInstrumental
Lessons
- TheEnsembleLessons
- The MusicActivities for
students
- TheInstructors
Rank 1
Percentage
Male
Female
Total
Figure 9:1 Question number 9 (Rank 1)
It is evident from figure 9:1 that from the view of current students, most male
respondents indicated that the music activities (57.69%) were the most important area
that should be improved, whereas, most female respondents were concerned the
76
entertainment course subject (50%).157
Indeed, when compared with the results from questions 6, and 7, there is a definite
possibility that most respondents in the programme probably feel disappointed with
the activities provided by the college, and the entertainment course subjects that was
taught in the programme.
61.54
5.77
23.08
9.62
37.50
12.50
50.00
58.33
5.00
21.67
15.00
0.00
10.00
20.00
30.00
40.00
50.00
60.00
70.00
- TheEntertainment
CourseSubjects
- The CoreCourse
Subjects
- TheIndividual
InstrumentalLessons
- TheEnsembleLessons
- The MusicActivities for
students
- TheInstructors
Rank 2
Percentage
Male
Female
Total
Figure 9:2 Question number 9 (Rank 2)
It is noticeable from figure 9:2 that the entertainment course subjects (58.33%) ranked
the second most important area to be improved. Indeed, again, as can be seen from
the results of questions 6 and 7, there is strong evidence that respondents were also
disappointed with the entertainment course subjects that was taught in the programme.
157 In relation to gender, it should be noted that these populations were very unbalanced (See p.58)
77
5.77 5.77
69.23
19.23
50.00
25.00 25.00
5.0011.67
63.33
16.67
3.33
0.00
10.00
20.00
30.00
40.00
50.00
60.00
70.00
80.00
- TheEntertainment
CourseSubjects
- The CoreCourse
Subjects
- The IndividualInstrumental
Lessons
- TheEnsembleLessons
- The MusicActivities for
students
- TheInstructors
Rank 3
Percentage
Male
Female
Total
Figure 9:3 Question number 9 (Rank 3)
It is clear from figure 9:3 that the ensemble lessons (63.33%) ranked the third the
most important area that should be improved. There is a very high percentage
(69.23%) of male respondents concerned with this issue, whereas, only 25% of female
respondents showed concern. Therefore, it is possible that males seem to be
interested more than females on playing in ensemble.158
158 In relation to gender, it should be noted that these populations were very unbalanced (See p.58)
78
3.85
40.38
48.08
5.771.92
12.50
25.00
50.00
12.50
5.00
35.00
45.00
6.67 5.00 3.33
0.00
10.00
20.00
30.00
40.00
50.00
60.00
- TheEntertainment
CourseSubjects
- The CoreCourse
Subjects
- The IndividualInstrumental
Lessons
- TheEnsembleLessons
- The MusicActivities for
students
- TheInstructors
Rank 4
Percentage
Male
Female
Total
Figure 9:4 Question number 9 (Rank 4)
It is evident from figure 9:4 that the individual instrumental lessons (45%) ranked the
forth most important area that should be improved. This confirms the data gained
from questions 6, and 7, which certain that the respondnets were fulfilled from the
lesson.
79
44.23
23.08
3.857.69
21.1525.00
12.50 12.50
50.00
41.67
21.67
3.33
8.33
25.00
0.00
10.00
20.00
30.00
40.00
50.00
60.00
- TheEntertainment
CourseSubjects
- The CoreCourse
Subjects
- The IndividualInstrumental
Lessons
- TheEnsembleLessons
- The MusicActivities for
students
- TheInstructors
Rank 5
Percentage
Male
Female
Total
Figure 9:5 Question number 9 (Rank 5)
It is clear from the figure 9:5 that the core course subjects (41.67%) ranked the fifth
most important area that should be improved, which also confirms the finding from
questions 6, and 7. It may conclude that from the view of respondents, they were
already benefiting from the core course subjects.
80
15.3811.54
73.0875.00
12.50 12.50
23.33
10.00
1.67
65.00
0.00
10.00
20.00
30.00
40.00
50.00
60.00
70.00
80.00
- TheEntertainment
CourseSubjects
- The CoreCourse
Subjects
- The IndividualInstrumental
Lessons
- TheEnsembleLessons
- The MusicActivities for
students
- TheInstructors
Rank 6
Percentage Male
Female
Total
Figure 9:6 Question number 9 (Rank 6)
It is evident from figure 9:6 that the instructors (65%) were considered to be the least
important area to be improved. Again, as found in is questions 6, and 7, it may infers
that the quality of instructors in the programme already met the respondents’
satisfaction.159
Thus, it can be concluded from all the responses that there is a difference between
preference in the areas of interest of male and female. It seems that male respondents
were more concerned with extra-curricular activities than females, who were
concerned more with the taught modules.
159 See Chapter Four (4.4 The Instructors, p.51)
81
Moreover, in comparison to answers from the question 6, and 7, the results may infer
that most respondents want to have more activities while they study in the
programme. There is no doubt that the music activities for students is the issue that
the college has to improve immediately Moreover, the respondents tend to be willing
to broaden their knowledge and skill in the entertainment course subjects and
particularly, to gain more ensemble experience.
82
Question 10: Which college activities that you participate in? (Figure 10)
Type of activities that participate in
25.00
3.13
53.13
18.75
50.00
20.00
30.0028.38
5.41
45.95
20.27
0.00
10.00
20.00
30.00
40.00
50.00
60.00
- Choir/Chorus - PopOrchestra
- Did notparticipate inany activities
- Other
Percentage
Male
Female
Total
Figure 10: Question number 10
As demonstrated in figure 10, the largest response was from those who did not
participate in any activities at all (45.95%). In addition, 28.38% of respondents
attended choir or chorus, whereas, only 5.41% participated in the Pop Orchestra. It is
interesting to note that other response concerned small ensemble (20.27%).
This may infer that the college had attempted to provide many extra-curricular
activities for students, however, as can be seen, there were still many student from
Music Entertainment programme who did not attend any of the college activities.
Most of them participated in small ensemble, which is a not extra-curricular activity
as it is one of the core subjects of the programme itself.160
160 See Chapter Four (4.6 The Extra-Curricular Activities, p.55)
83
Question 11: Do you play in the String Combo Band? / If ‘Yes’, what kinds of
music do you play?
Do you play in the String Combo Band?
51.9248.08
37.50
62.50
50.00 50.00
0.00
10.00
20.00
30.00
40.00
50.00
60.00
70.00
- Yes - No
Percentage
Male
Female
Total
Figure 11:1: Question number 11(1)
It is evident from figure 11:1 that there is not much difference between the male
respondents, who play in the string combo band (51.92%) and those who did not play
(48.08%). However, most female respondents (62.50%) did not play in the string
combo band.161
161 In relation to gender, it should be noted that these populations were very unbalanced (See p.58)
84
If ‘Yes’. What kinds of music do you play?
23.53
47.06
2.94
11.7614.71
60.00
40.00
28.21
41.03
7.6910.26
12.82
0.00
10.00
20.00
30.00
40.00
50.00
60.00
70.00
- Pop music - Rock music - Jazz music - Heavy Metalmusic
- Others
Pencentage
Male
Female
Total
Figure 11:2 Question number 11 (2)
As illustrated from figure 11:2, those male students who played in the band tended to
play more rock music (47.06%), pop music (23.53%), and other popular styles
(fusion, and classic rock) (14.71%). On the other hand, most of the female students
enjoyed playing pop music (60.00%), and jazz music (40.00%).
This clearly shows that male respondents have more interested playing in ensemble
more that female students. In addition, the rock and pop music is the style that most
students are interest in. A comparison with the responses to question3, confirms the
respondents’ music preference.162
162
See Figure 3, p.62
85
Question 12: Do you work in the field of music at present? / If ‘Yes’, what kinds
of work do you do?
Do you work in the field of music at present?
34.62
65.3862.50
37.5038.33
61.67
0.00
10.00
20.00
30.00
40.00
50.00
60.00
70.00
- Yes - No
Percentage
Male
Female
Total
Figure 12:1: Question number 12(1)
As exemplified from figure 12:1, a gender analysis revealed widely differing
experience. Thus, while 62.50% of the female respondents were working in the field
of music at present, 65.38% of male respondents were not.163
163 In relation to gender, it should be noted that these populations were very unbalanced (See p.58)
86
If ‘Yes’. What kinds of work do you do?
42.11
36.84
21.05
71.43
14.29 14.29
50.00
3.85
30.77
15.38
0.00
10.00
20.00
30.00
40.00
50.00
60.00
70.00
80.00
- Teach aninstrument
- Teach musictheory/ Ear
training course
- Play in thepub/bar/restaurant
- Compose musicand MusicProduction
Percentage
Male
Female
Total
Figure 12:2 Question number 12 (2)
It is evident from figure 12:2 that it details the nature of such work. This, 50.00% of
respondents were teaching an instrument, and 30.77% were playing in the pub, bar, or
restaurant. In addition, 15.38% of respondents compose music and work in the filed
of music production. However, it is interesting to note that there were only 3.85% of
respondents, teaching music theory, and ear-training course.
This clearly shows that female respondents have more interest in working in music
than male respondents, although the disparity in numbers may well distort these
percentages. Certainly, opportunities to work may be limited. Additionally, this
indicates that most respondents tend to work in connection with the area of
performance.
87
Question 13: Do you use the skill that you gain from the Music Entertainment
programme in your area of work? / If ‘Yes’, what kinds of knowledge that you
use?
Do you use the skill that you gain from the Music Entertainment programme in your area of work?
77.78
22.22
100.00
82.61
17.39
0.00
20.00
40.00
60.00
80.00
100.00
120.00
- Yes - No
Percentage
Male
Female
Total
Figure 13:1 Question number 13 (1)
As demonstrated from figure 13:1, there was a marked result as 82.61% of
respondents used the skill that they gained from their study when they work, while,
17.39% of respondents did not use those skills.
88
If ‘Yes’. What kinds of knowledge that you use?
54.17
45.83
40.00
50.00
10.00
50.0047.06
2.94
0.00
10.00
20.00
30.00
40.00
50.00
60.00
- TheEntertainment
Course Subjects
- The CoreCourse Subjects
- The IndividualInstrumental
Lessons
- The EnsembleLessons
Percentage
Male
Female
Total
Figure13:2 Question number 13 (2)
As exemplified from figure 13:2, a majority of respondents (50.00%) were used the
knowledge gained from the core course subjects when they work, as well as that from
the individual instrumental lesson (47.06%). 2.94% of respondents were used the
knowledge from ensemble lessons. However, it is very interesting that none of
respondents used the knowledge from the entertainment course subjects.
However, when the respondents did not using knowledge in work did not necessary
mean that those kinds of knowledge had no value. Indeed, this confirms other finding
in questions 6, 7 and 8, as it clearly shows that students in the Music Entertainment
programme had much concern as regards to the entertainment course subjects. There
is no doubt entertainment course subject are the dissatisfied in the students’ opinion.
89
CHAPTER 6: SUMMARY OF THE RESEARCH
6.1 CONCLUSIONS
6.2 RECOMMENDATIONS
6.3 LIMITATIONS OF THE RESEARCH
6.4 SUGGESTIONS FOR FURTHER RESEARCH
90
Chapter 6: Summary of the Research
6.1 Conclusions
According to this preliminary result, the researcher hopes that the information
contained in this research paper will result in additional benefits that help to improve
the quality of teaching, and increase the efficient study and instruction of Music
Entertainment programme and will provide guidance for the revision of the teaching
plan. In conclusion, based on the collective data, this research can be summarized in
terms of several main points concerning the way to improve the programme.
6.1.1 Western Music and Music Education in Thailand
The result of the analysis reveals that Western music in Thailand first thrived under
the patronage of the early king of Thailand, but fell out of favor and was neglected by
the governments under the Democratic system who failed to acknowledge its worth.
Even the Fine Arts Department itself gave neither support nor encouragement to the
development of Western music. This may concluded to be one of the reasons that
why music education and music career are not widespread in Thailand. However,
recently Charoensoon, as cited in Musiket affirm that “From now on, music should be
known as a science of philosophy, it should never again be a career ‘from the street’
like they used to call it”.164
Nowadays the numbers of higher education institutes in Thailand are increasing in
quality and quantity. There is much study and instruction of music present both
164 Quoted in Yanapon Musiket, ‘The College of Music at Mahidol University is certainly not for ‘losers’’, The Bangkok Post: Outlook, (27 March 2008)
91
within the education system and outside the formal education system with the purpose
of improving the academic quality and proficiency of music. This is because music
has becomes a valuable elements in people’s daily live. It provides entertainment,
encouragement, and the opportunity to express oneself. All of this has led to music
being recognized as a fundamental school subject and an important activity for the
development of peoples and the societies. In addition, since music education has
changed from studying for fun and enjoyment to study to learning theory and
fundamentals of music, therefore, this makes this subject no less important than any
other school curriculum.
Historically, in Thailand, musical careers have been socially unacceptable. The
public regarded music with disparagement, considering it as an inferior career.
Nevertheless, many institutes are now providing music programmes. As a result,
training in the field of music has become one of the formal educational foundations,
and many different forms of music can be studied as a career. Indeed, at present,
music can be a highly rewarding career both financially and artistically for the
successful performer. In addition, with a numbers of middle class people becoming
professional musicians, the Western musician’s presence is still a palpable part of the
musical culture of present day in Thailand. When considered in this manner, one can
see that music is an important element in the development of the nation as well as the
global community.
6.1.2 The Music Entertainment Curriculum
Generally, in the music community in Thailand popular music has been considered
less academic than Western classical music and jazz studies. Even where there were
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increasing integration of music curricula, and other curricula, such as music
technology, and music business.165 Nevertheless, it is interesting that most
universities provide the other kind of music studies, while excluding the concentration
on the popular music studies. The indecision about what to teach in the programme is
the main problem that occurs in many universities that offer this kind of programme.
It seems often that the existing curriculum is not appropriate to meet the aims and
objectives of each university.
From the preliminary results, it is clear that students from the Music Entertainment
programme still feel that they are ill prepared to graduate and be successful in their
music careers and did not receive enough knowledge regards to the entertainment
course subjects while study on the programme.166 As a result, the current
circumstances of the Music Entertainment at the College of Music, Mahidol
University, Thailand, as it stands remain slightly unsatisfactory from most points of
views, should be clearer to understand. As previously mentioned, the study and
instructional system of the Music Entertainment programme continues to change
according to the desires and demands of society, which has required certain
educational conditions in order to plan the improvement of the study and instruction
of the Music Entertainment succeed.
6.1.3 The Students
An emphasis on quantity for the Music Entertainment programme makes the selection
of good students almost impossible. Moreover, students of inadequate musical
knowledge and still admitted to the programme. Further, added to this are students 165 Wathit Suwansomboon, ‘Trend in Higher Education in Music in Thailand’ (unpublished master’s thesis, Mahidol University, 2005) 166 See Chapter Five (Q.7, p.69)
93
who enroll only to comply with the desires of their parents and who mistakenly
believe that this programme is an easy subject that the poorly prepared can learn and
succeed at. Hence, they either lack dedication to their studies, or do not persevere in
their practice. This area of the admission policy, for example an applicant
qualifications, needs to be modified so that only qualified and genuinely interested
students are admitted to the Music Entertainment programme. In addition, the
excessive number of students over the capacity of the college leads to increasing
investment by the acquisition of more resources such as, human resources,
classrooms, practice rooms, chairs, music instruments, and equipment.
Currently, the admission policy167 regards to the applicant qualifications is creating
problems, especially for students who would like to be admitted to the Music
Entertainment programme. Newcomers have never had any experience whatsoever in
Western music theory or ear training, because this subject is not taught in the normal
Thai National Curriculum. There is presently a new fashion for teenagers to play
modern popular songs, and most students assume that the Music Entertainment
programme will be the best provider of popular music studies. However, because the
students do not understand the teaching concepts of the programme, they find that
when they start to study in the academic year, most face problems, which in turn
become troublesome for both themselves and the college. The reason is that when
they cannot play in the style they want, they then show unwillingness to learn any
thing else.
167 See Appendix A (1.10 The Admission Policy p.110)
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6.1.4 The Instructors
Even though there are enough full-time instructors in many universities, there is a lack
of both part-time instructors, and instruments specialists.168 Nevertheless, the case
study at the Music Entertainment programme shows that there is a shortage of full-
time instructors specializing in the fields of popular music, and individual private
tuition, this makes it necessary to hire part-time instructors.169 The fact that the
instructors keep changing contributes to slow progress in the improvement of the
discipline.
It is definitely possible that the main structure of the Music Entertainment department
is still not clear. As a result, it is difficult for the head of the department to organize
the programme and plan to invite specialists in the fields of popular music and music
industry to teach in the programme.
6.1.5 The College Facilities
Practice rooms and other facilities should be available at the college to make the
students consider them as part of their every day lives. Students have a definite
expectation that the College of Music should provide well-equipped buildings and
facilities. Although there are numerous practice rooms, classrooms, recording rooms,
and ensemble practice rooms, and a music library, however, the students in the Music
Entertainment programme consider that all these facilities are insufficient for the
increased number of students in college and inferior to other programmes.170
168 Wathit Suwansomboon, ‘Trend in Higher Education in Music in Thailand’ (unpublished master’s thesis, Mahidol University, 2005) 169 Chapter Four (Q.13, p.51) 170 Chapter Four (Q.16, p.54)
95
However, the College of Music opened the new building in June 2008, which contains
numerous practice rooms, instructor studios, laboratories, and so on. This might
helped to provide more facilities for the increasing number of students.
6.1.6 The Extra-curricular Activities
The results suggest that most students in the Music Entertainment programme believe
that there are not enough activities provided specifically for the Music Entertainment
students. As a result, some students never have the opportunity to demonstrate the
skills that they are developing. It seems that funding and personnel are lacking in the
Music Entertainment programme, especially when organizing activities such as
concerts and musical performances.171
6.2 Recommendations
The most important aspect for consideration is the improvement of popular music
studies in Thailand. While the argument about this issue remains a problem, there are
many solutions that can help the College of Music, Mahidol University to improve the
Music Entertainment programme as follows:
6.2.1 The Music Entertainment Programme and Curriculum
Useful suggestions have been obtained from the interviewees, which could help to
improved teaching methods in the Music Entertainment Programme.172 Moreover, the
issues on the current curriculum, which still not delivered in practice, should be
considered urgently.173 In addition, the College Board committee should work with
171 See Chapter Four (Q.17 and Q.18, p.55) 172 See Chapter Four (Q.5 and Q.6, p.47) 173 See Chapter Five (Q.9, p.75)
96
the Music Entertainment department in order to improve the curriculum structure.
The department should allocate appropriate duties to each staff and instructor. It is
possible that this will lead to a better, clearer, and more accurate curriculum. In
addition, they have to set clear job description for the Music Entertainment
department staff, which will then lead to the improvements in the organization. If
they can set up a plan for the department, such as arranging annual student study
programmes, the head of the department can then effectively manage the curriculum.
The image and reputation are key success factors for higher education institutions.174
In light of this, the researcher believes that the core value of teaching quality, the
Music Entertainment curriculum, including the facilities, should be sequentially
improved to concur with the college’s perceived image.175 If there is a difference of
opinion between the image and actual values perceived, it can lead to negative word
of mouth from current students and alumni. Indeed, this can damage the reputation
and the credibility of the programme.
In addition to this, the researcher recommends that what has to be addressed is
repositioning the image of the Music Entertainment in outsiders’ perceptions. Image
repositioning will focus mainly on modifying the public perception of the programme.
If the college cannot transforms this issue at the time of increasing study demands in
the Music Entertainment programme, negative word of mouth from displeased
students, who expect the high quality of study and service, will be erode the college’s
reputation and image.
174 J. Ivy, ‘Higher education institution image: a correspondence analysis approach’, The International
Journal of Educational Management 15:6 (2002), pp.276-282 175 See Chapter Five (Q.4, p.64)
97
Furthermore, they need to address concerns regarding both the education system and
extra-curricula activities, especially the effectiveness of the Music Entertainment
curriculum, which provides the basis for each lesson in order to improve the quality of
teaching. Moreover, the Music Entertainment programme curriculum should provide
specific subjects, compositions, and musical style to be taught. At a minimum, some
examples of compositions, which are of similar difficulty, should be provided.
6.2.2 The Students
The College of Music should improve its performance urgently in some areas, for
example, quality of teaching, value added study, entry procedures, and feedback.
Moreover, the College of Music should control the number of students in each year
because more students required more resources to maintain the standard of
educational services. The quality of services supplied to students should be
maximized by careful management of resources.
As for students who would like to study on the programme, the interviewees had
suggested some useful information, which could students to achieve succeed in the
study.176 Personally, the researcher assumes that there are several ways, which can be
lead to the academic success. Firstly, the students should set serious aims, and
practice continuously to achieve skill and fluency in performing music. Secondly,
they need to know their own weaknesses and strengths and find ways to improve
those weaknesses as well. Thirdly, since music study needs conscientiousness and
perseverance in practice, one of the important things is to love and be happy with
study and practice, and not to get bored easily. Finally, being on time and paying
176 See Chapter Four (Q.10 and Q.11, p.50)
98
attention to the class are extremely important, as it is a way to train students to be
disciplined and punctual. If the student behaves as mentioned, certain that their study
habits will lead to higher academic achievement
6.2.3 The Instructors
Personally, the researcher suggests that the College Board of Committee should
furnish enough support for the instructors in the Music Entertainment programme to
help it succeed. Furthermore, the present administration of personnel should be
revised, ways and means should be found to retain good part-time instructors for
longer periods of time, and permanent teachers should be encouraged and supported
in their attempts to improve their teaching abilities.
The researcher also believes that the instructors in the Music Entertainment
department should pay more attention to problems that occur and try to solve those
problems. For example, they should discuss the management procedures in the
department among themselves to meet the standard of the college. Moreover, it might
be helpful if the department organizes the annual meeting, to follow-up the results
from the improved programme. All of the instructors should have acquired skill and
knowledge, and they should have the same standard and methods in order to teach in
the programme.
Moreover, the instructors in the programme should complete the university’s
requirements for a degree in music or music education and must demonstrate
knowledge of various musical subjects, for instant, the history of music and literature,
music theory, composition, improvisation, orchestration and conducting. In addition,
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they should have good communication skills, professionalism, and musicianship.
6.3 Limitations of the Research Although this research provides the vision regard to the study of popular music
studies in Thailand, there are some problems in undertaking it. Firstly, there are
problems concerning accumulating information of music education and the arrival of
Western music in Thailand. In general, there are few researches provided both in
Thai and in English. Therefore, the information is scattered and comes from few
sources, for example previous researches, articles, and books. In addition, some of
the documents and researches were done since past ten to twenty years, this may
cause the not up-to-date information.
Secondly, due to lack of printed information, it is necessary to interview a person who
has knowledge about this topic in order to get information sufficient for the analysis.
Yet again, the problem is not many people who have knowledge; as a result, it has an
effect on the completion of this research.
Finally, the focus of this research is to study regards the popular music studies in
Thailand. However, there are not many studies concerning the teaching of this kind.
For this reason, the researcher planned to conduct the research by using the case study
in the College of Music in Thailand. The single case study designs may be limited the
population because the numbers of students in Music Entertainment programme are
rare. Therefore, the research sample was reasonably very small.
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6.4 Suggestions for Further Research
The further research should be studied on other type of musical, for example, Western
classical music, jazz, and Thai Traditional music, for the sake of comparison with the
findings of this research. Furthermore, it can be done by comparative between
universities that have the same teaching methods in popular music studies. In
addition, bigger sample sizes could be possible investigated in the future in order to
reflect more on the real situation.
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Bibliography (by MHRA):
Books:
Bridging the gap : popular music and music education edited by Carlos Xavier Rodriguez (Reston : MENC, 2004) Bogdan, R.C., and Biklen, S.K., Qualitative research for education: An introduction to theory and methods, 4th ed. (Boston: Allyn and Bacon, 2003) Bresler, Liora and Stake, Robert E., ‘Qualitative Research Methodology in Music Education’ in MENC handbook of research methodologies, ed. by Richard Colwell (Oxford: Oxford University Press, 2006), pp.270-311 Cohen, Louis, and Manion, Lawrence, Research Methods in Education, 4th ed. (London: Routledge, 1994) Creswell, John W., Research Design: Qualitative & Quantitative Approaches (London, SAGE Publications, 1994) Foster, Peter, Observing school: a methodological guide (London: Paul Chapman, 1996) Key terms in popular music and culture edited by Bruce Horner and Thomas Swiss (Oxford: Blackwell, 1999) Lockard, Craig A., ‘Thailand: Songs for Life, Song for Struggle’ in Dance of Life: Popular Music and Politics in Southeast Asia (Chiang Mai, Thailand: Silkworm Books, 2001), pp.162-206 Longhurst, Brian, Popular music and Society (Cambridge: Polity Press, 1995) Marshall, Catherine, and Rossman, Gretchen B., Designing qualitative research, 4th ed. (Thousand Oaks: Sage Publications, 2006) Miller, Terry E., ‘Music Cultures and Region: Thailand’ in Southeast Asia: The Garland Encyclopedia of World Music, Volume 4, Ed. by Terry E. Miller and Sean Williams (London: Garland Publishing, 1998), pp.218-334 Patton, Michael Quinn, ‘Qualitative Evaluation and Research Methods’ 2nd Edition (Newbury Park, CA: Sage Publication, 1990) Phelps, Roger P., and Ferrar, Lawrence, A Guide to Research in Music Education 4th ed. (London: Scarecrow Press, 1993) Oppenheim, Anneliese N., Questionnaire Design, Interviewing and Attitude
102
Measurement New Edition (London: Continuum, 2005) Wong, Deborah, and Lysloff, Rene T.A., ‘Popular Music and Culture Politics’ in Southeast Asia: The Garland Encyclopedia of World Music, Volume 4, Ed. by Terry E. Miller and Sean Williams (London: Garland Publishing, 1998), pp.95-112 Wyatt, David, Thailand: A Short History (Chiang Mai, Thailand: Silkworm Books, 2003)
Articles:
Björnberg, Alf, ‘Teach You to Rock'? Popular Music in the University Music Department’, Popular Music 12:1 (Jan,1993), pp. 69-77 Charoensook, Sugree, ‘Music Talk’ special edition – Solo Night No.3 “The Four Season” (2004, p.4) Green, Lucy, ‘Popular music education in and for itself, and for ‘other’ music: current research in the classroom’, International Journal of Music Education 24 (2006), pp.101-119 Ivy, J., ‘Higher education institution image: a correspondence analysis approach’, The International Journal of Educational Management 15:6 (2002), pp.276-282 Lebler, Don, ‘Student-as-master? Reflections on a learning innovation in popular music pedagogy’, The International Journal of Music Education 25 (2007), pp.205-222 Lersakvanitchakul, Kitchana ‘A virtuoso- “35 Most Influential Thais”’, The Nation, (July 2006, p.106) Musiket, Yanapon, ‘The College of Music at Mahidol University is certainly not for ‘losers’’, The Bangkok Post: Outlook, (27 March 2008) Setabundhu, Jiradej ‘Where should you study music in undergraduate’s programme in Thailand?’ College of Music, Mahidol University, Music Journal 12:2 (June 2006, p.65-80) The National Identity Board Office of the Prime Minister ‘Thailand into the 2000's’ (2000, p. 153-155)
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Documents:
Academic affairs, College of Music, Mahidol University, ‘Evaluation report 2007’ (2007) Academic affairs, College of Music, Mahidol University, ‘Music Entertainment course outline and module description’ (2007)
Thesis and Dissertation:
Chan, Violet (Tzu-Ling), ‘How can the music curriculum best be used as a vehicle for the development of children’s musical appreciation skills from age 4-12 in Taiwan’ (unpublished master’s dissertation, Kingston University, 2006) Charoensook, Sugree, ‘Undergraduate Music Curricula in Universities of Thailand and United States: A Comparative Study and Reccommended Curriculum for Thai Universities’ (unpublished doctor’s dissertation, College of Performing Arts, University of Northern Colorado, 1985) Changrian, Sasivimon, ‘Factors Related to Academic Achievement in Music Skill Learning of Western Musical Instruments of Pre-College Students (Mattayom 4-5-6) at College of Music, Mahidol Univeristy’ (unpublished master’s thesis proposal, College of Music, Mahidol University, 2005) Intrakong, Natatun, ‘The Musical Characteristics of the Grand EX’Band’ (unpublished master’s thesis proposal, College of Music, Mahidol University, 2007) Maryprasith, Primrose, ‘The Effects of Globalization on the Status of Music in Thai Society’ (unpublished PhD Thesis. London: Institute of Education, University of London, 1999) Ngamsuti, Chaloempol, ‘Attitudinal Survey of Thai Music Educators concerning Music Education in Thailand’ (unpublished doctor’s dissertation, University of Missouri-Columbia, 1980) Patarasuk, Prit, ‘Rewat Buddhinan’s Influence on Thai Popular Music (1983-1996)’ (unpublished master’s thesis, Chulalongkorn University, 2004) Poobua, Wittaya, ‘The Influence of American Music On Thai Popular Song’ (unpublished master’s thesis, Mahidol University, 2000) Songsakul, Patummal, ‘Education Management in the College of Dramatic Arts, Bangkok: A Case Study of Western Vocal Music’ (unpublished master’s thesis, Mahidol University, 2003) Suwansomboon, Wathit, ‘Trend in Higher Education in Music in Thailand’ (unpublished master’s thesis, Mahidol University, 2005)
104
Internet Resources:
Ho, Wai-chung, ‘A cross-cultural study of preferences for popular music among Hong Kong and Thailand youths’, Journal of Intercultural Communication, (2004) Available from <http://www.immi.se/intercultural/nr7/waichung.doc> [Accessed Date 29 February 2008] “Rawat-The man who revolted Thai popular music” Ruang Kaung Ruang TV programme 19.11.07 (1/3) Available from <http://www.youtube.com/watch?v=0eKYXZIPPkc> [Access date 23 February 2008] “Rawat-The man who revolted Thai popular music” Ruang Kaung Ruang TV programme 19.11.07 (2/3) Available from <http://www.youtube.com/watch?v=lyYT5-IhWTs&feature=related> [Access date 23 February 2008] “Rawat-The man who revolted Thai popular music” Ruang Kaung Ruang TV programme19.11.07 (3/3) Available from < http://www.youtube.com/watch?v=fmvxebn1Tx8&feature=related> [Access date 23 February 2008] The Official website of the College of Music, Mahidol University, Thailand. Available from <http://www.music.mahidol.ac.th/en> [Accessed Dated 20 April 2008] The official website of the GMM Grammy Puclic Company Limited Available from <http://www.gmmgrammy.com/en/corporateinfo-milestone.asp> [Accessed Dated 08 August 2008]
Interviews: Dangintrawat, Benjapa, Interview was on 8 January 2008 (in person) Khaiseang, Tawan, Interview were on 27 December 2007 (in person) and 3 March 2008 (on telephone) Napalai, Tin, Interview was on 9 January 2008 (in person) Prapatrangsi, Surat, Interview was on 9 January 2008 (in person) Puengpreeda, Somphop, Interview was on 8 January 2008 (in person) Rungruengphol, Sirinda, Interview was on 8 January 2008 (in person) Saibunmi, Skowrung, Interview was on 8 January 2008 (in person) Sukkantaraks, Suttipant, Interview were on 27 December 2007 (in person) and 5 June 2008 (by email)
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APPENDICES:
A: THE HISTORY OF THE COLLEGE OF MUSIC, MAHIDOL
UNIVERSITY, AND THE MUSIC ENTERTAINMENT PROGRAMME
B: THE OFFICIAL LETTER FROM KINGSTON UNIVERSITY
C: THE BACHELOR OF MUSIC BROCHURES AT THE COLLEGE O F
MUSIC, MAHIDOL UNIVERSITY
D: INTERVIEWEES NAME LIST
E: THE INTERVIEW QUESTION GUIDE
F: PICTURES FROM THE FIELD WORK G: THE SELF-ADMINISTERED QUESTIONNAIRE (IN ENGLISH)
H: THE SELF-ADMINISTERED QUESTIONNAIRE (IN THAI)
I: THE PROFILE OF GMM GRAMMY PUBLIC COMPANY LIMITED
J: THE MUSIC ENTERTAINMENT CURRICULUM
K: ACTIVITIES OF THE MUSIC ENTERTAINMENT DEPARTMENT
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Appendix A: The History of the College of Music, Mahidol
University, and the Music Entertaiment Programme
1. The College of Music, Mahidol University, Thailand
The College of Music is one of the faculties in Mahidol Univeristy, Thailand. The
College of Music offers a broad range of music programmes including Pre-College,
Undergraduate, Masters and Doctoral. According to the official website of College of
Music (2008), they claim its positions, as ‘is the first complete music conservatory in
Thailand’.
The College of Music originated from a Master’s degree programme in cultural study,
with the emphasis on music, which was offered by the university in 1989. Then three
year later, in 1992, the programme was expanded and renamed as the Master of Arts
in Music, concentrating on Music Education and Musicology areas. The
Undergraduate programme, started in 1998, offers various kinds of studies in music
areas, for example Music Performance, Jazz Studies, Thai and Oriental Music, and
Music Technology. In addition, Music Entertainment and Music Business
programme was first established in 1999. In 2001, the College of Music offered the
Pre-College programme to provide high school students with proper knowledge in
music, suitable for further studies in the college level. Moreover, it aims to discover
and nurture talented musicians from a young age. The Doctorate degree in Music, the
first degree in Thailand, was offered in 2005 with an emphasis in the philosophy of
Thai and Eastern music (Changrian, 2005; The official website of College of Music,
2008).
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1.1 College Philosophy
Music is a course for philosopher. College is responsible for elevating the status of
the music course, from a low-class course to one that must be studied by all
philosophers, and making the music course an honorable vocational study. The
college must make a person competent and cultivate benevolence into a person, then
mold the competent person and the benevolent person into one. This is to put
emphasis on having music develop a person’s quality so that the person helps to build
the country. The college is an institute of people with music competence, a place
where good people live in, and a place for performance of those competent in
professional, national, and international levels (the College of music website, 2008).
1.2 The Mission and Objectives
Missions
The Bachelor of Music Programme is established to strengthen students’musical
potential both in vocal and performance areas, and to provide musical knowledge in
music theory, history, composition, and research
Objectives
• To produce competent graduates with wide range of musical knowledge and
with ability in performance in standard level, capable of performing with
international performers.
• To produce graduates with an academic excellence, in order to establish
professional music occupation with responsibilities, morality, and good
interrelationship in working with others.
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1.3 Name of Music Curriculum
Bachelor of Arts Programme in Music
1.4 Name of the Certificate
Bachelor of Arts (Music): B.A. (Music) (1998-2004)
Bachelor of Music: BMus (since 2005)
1.5 Course Duration
The duration of the whole course contains last 4 academic years and not more than 8
academic years.
1.6 Course Structure
Since 2002, the candidates for the Bachelor of Arts in Music degree must complete a
minimum of 128 semester credits. However, recently in academic year 2007,
candidates must complete a minimum of 139 semester credits (Academic Affair,
2008). The programme is organized around a core of courses in basic musicianship,
historical and theoretical aspects of music as well as general education studies, for
instance, Academic English, Statistic, Physical Education, and Social and Humanities
1.7 Education System
1 period = 50 minutes, within 1 semester there must be 1 study unit and 1 subject
must contains not less than 15 periods per a semester.
Theoretical subject 1 credit: 2 study periods per week (2-0)
Skill-learning subject 1 credit: 2 study periods per week (0-2)
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1.8 The Curriculum and Instructional (Class and Teaching) Organization
The instruction of music programme at each level has focused on making the students
knowledgeable, skilled in their chosen major fields of study, and capable of making
good living by using their knowledge and skills in appropriate manners.
1.9 Symbolic Academic Results
1. Symbols with fixed point
The academic result of each subject may be showed through symbols with fixed point
as follows.
Symbols Fixed Point Definition
A 4.00 Very Good
B+ 3.50 Good
B 3.00 Good
C+ 2.50 Fair
C 2.00 Fair
D+ 1.50 Poor
D 1.00 Poor
F 0.00 Fail
2. Symbols without fixed point
The academic result of each subject may be showed through symbols with definitions
as follows:
Symbols Definition
S Satisfactory
U Unsatisfactory
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I Incomplete
P In Progress
W Withdraw
AU Audit
X No Report
1.10 The Admission Policy
Applicant Qualifications:
• Education qualification:
- Applicants must have graduated high school or equivalent or still
studying in Mattayom 6
• Applicants must be able to play the instrument or be able to sing well.
• Applicants must have basic knowledge of theory of international music or
Thai music and hearing skill.
• Applicants must have basic knowledge of special subject for the applicant who
selects to take examination in the subject of Music Technology and the subject
of Business Music.
• Applicants must have good behavior and confirm to the college that she/he
will concentrate on studying as much as they can and will follow the rule of
the college strictly.
• Applicants must have good health, no infectious or contagious disease that
will effect to education.
The qualification of the applicant who pass the examination:
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• Applicants who have the right to study in The College of Music must pass all
examinations included verbal interview, and all subjects that the college has
provided.
• The college will record all applicants who can pass each examination and the
applicant can use their rights to apply and take examination in the subject that
they cannot pass according to each subject that the college provides in their
next application. (The result of the subject that they can pass can only use in
the examination in the same academic year)
Aural Skill
The content in examamination will cover as follows:
• Rhythmic Sight Singing: to 'clap' to the sample song which consist of the
music notation of the semiquaver (sixteenth note), quaver (eighth note), dotted
quaver (dotted eighth note), dotted crotchet (dotted quarter note), minim (half
note), rest and tie.
• Melodic Sight Singing: Sing Solfege (Do Re Me Fa etc) follow the sample
song by using the Movable Do system. The examination contains the melodic
lines in Pentatonic scale (less than 2 sharps or 2 flats)
• Rhythmic Dictation: write rhythmic notation after the sounds heard, consisted
of semiquaver (sixteenth note), quaver (eighth note), rest, and tie.
• Melodic Dictation: write melody from the sounds heard , which consisted of
melodic lines in Pentatonic scale (less than 2 sharps or 2 flats)
Remarks: To pass the exam, the student must get 75% up.
Western Music Theory Subject
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The content in examamination will cover as follows:
Clefs Intervals
Scales and Scale Degree Key Signatures
Triads Ratio of music note
Time Signature
Remarks: To pass the exam, the student must get 75% up.
Interview examination
After the applicant pass the written examination for all subjects and music
performance the college will announce the name list on the schedule.
1.11 The Instructors
The College of Music is the centre, which gathers together Thai and International
College staffs from all over the world. The college, therefore, is an intense academic
institution, which contains the cultural difference and diversity. The college staffs are
all experts of the field, well experienced in music performance. The works of many
of the staff are widely acclaimed as exceptional and deserving of the many
international awards. Music compositions of the staff, with profound background
concept, are admired and regarded as quality works in the music circle.
The college staffs come from quality educational background and, therefore, are able
to handle curriculum in many levels, from that of pre-college to the doctoral degree.
The College of Music encourages the staff to produce academic research and, at the
same time, supports the staff in their music performances. The college administers an
academic journal and encourages the staff to contribute articles, textbooks, books on
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practical subjects. Students will be given opportunity to be closely monitored by the
staff and to improve themselves with the help of experts in the field.
1.12 The College Facilities
All subject courses that open at the College of Music will be taught at the College of
Music, Mahidol University, Salaya Campus, Budhamonthon, Nakhonpathom
Province. According to the college website (2008), there are four mains building in
the college, which are Building A, B, C and a newly constructed building D.
Moreover, the College building complexes are a modern facility with modern
equipments, which comprising of four areas that provide for various kind of purpose.
Those four areas consist of
1.) Performance Areas: Music Auditorium of College of Music, Mahidol
University (MACM Hall), ‘Phra Jen Duriyang Hall’, ‘State-of-the-art’,
Open Stage, Cafét Stage, and ‘Musica Arboretum’
2.) Music Resources Areas: Music Library, Ensemble Library, E-Music
Resources Center, and Audiovisual Room
3.) Instructional Areas: Instrumental Rehearsal Room, Practice Rooms,
Choral Rehearsal Room, Thai and Orientals music Rehearsal Room, In-
Class Performance Room (for Music Entertainment, and Jazz Studies
students), Small Ensemble Room, Large Ensemble Room, Teaching
Studios, Lecture Hall, MIDI Lab, Music Business Lab, Music Therapy
Lab, and Recording Studio
4.) Auxiliary Areas: College Shop, Multipurpose Pavilion, Conference Room,
Meeting Room, Guestroom, Cafeteria
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1.13 The Extra Curricular Activities
The College of Music administers a curriculum, which supports students to gain
practical experience through a curriculum, which contains subjects on many different
types of music band. The college, therefore, is one of the educational institutions
which form the most diverse and competent music bands in Thailand, capable of
performing in many functions both within the college or when requested from outside
agencies.
The college, under the Evening Concert Program, organizes weekly recitals and
concerts by many different types of band at the college’s auditorium almost everyday
during term time. This is to give students opportunities to train their professionalism
on stage. Furthermore, special bands are also formed to enter many different
competitions both in Thailand and abroad.
Large Ensemble
There are many different types of large music ensembles of The College of Music.
Firstly, The Choir, which are auditions to select students for the Choir A, B, C, D and
the Chamber Choir. Each choir is consisted of about 70 members. There are regular
concert, such as concerts during term time, concerts outside of the university. Some
of the Pop Orchestra members are constantly invited to perform with the Choir in
many events. The performance ranges from classical music, operas, and pop music.
Secondly, The String Chamber Orchestra, which are auditions to select students for
the orchestra, which is consisted of string instruments. The performances are, for the
most part, classical music and light classical music. Thirdly, The Symphonic Band,
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which are auditions to select students for the A-B band, a full-size wind ensemble.
The band has been invited to perform in formal functions and to receive The Royal
Family in various occasions. The performances are contained light classical music,
His Majesty the King’s compositions, and ceremonial songs.
Fourthly, The Jazz Big Band, which is belongs to the type of “festival band”. This
band is the combination together of many musical bands. The performances are jazz
songs and pop songs. In some occasions, vocalists or guest vocalists are invited to
join in the band. Lastly, The Pop Orchestra, which is the band that gathers together
vocalists and musicians in all fields and is comprised of every type of musical
instruments. The band has been invited to concerts organized on special occasions
such as celebration of an institution’s establishment, concert of revolutionary songs.
In addition, the band has been invited to function as accompaniment for musical
theatres, etc. Special preparation in every function is emphasized when it comes to
performances of this band. Each process is meticulously arranged as the band is
comprised of a large number of members and as the band tends to be invited to
perform mostly in special occasions.
Small Ensemble
There are many different types of small music ensembles of The College of Music.
Those small ensembles perform in many different occasions. Students gain
membership of the band by voluntarily gather and practice, develop their performing
skills, and participate in many competitions both in the national and international
levels. Presently, the forming of small ensembles is categorized, for example, The
String Quartet, which performs classical, light classical and pop songs. The
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Saxophone Quartet, which performs numbers of pop songs, His Majesty the King’s
compositions, classical, and jazz. Moreover, there is The Brass Quintet, which
performs standard repertoire in general classical and pop music. The Trumpet
Quartet, which performs special arranged numbers of both classical and popular
genre. The Woodwind Quintet, which performs classical songs that are standard
repertoire and other special arranged numbers. Lastly, The Jazz Ensemble, which
performs mainly jazz songs and can at times serve as accompaniment for vocalists.
2. The Music Entertainment Programme
The project on Music Entertainment programme is a project of the College of Music,
Mahidol University, which is responsible for managing musical education in the
higher education level. The project was found in 1999, when Mahidol University
Council resolved that the College of Music open music course with the aim to prepare
the student for their future music careers in music industry area. The first academic
year was start in 2002, using the 2002 curriculum. Currently, three alumni were
graduated from the programme, whereas the other four groups are still studying in the
programme.
The Mission and Objectives
Missions
The primary goal of the College of Music is to provide a professional training
environment for all music disciplines, and to prepare music students for
careers in performing, teaching, researching, music technology, music
business, and music composition.
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Objectives
• To produce competent graduates with wide range of musical knowledge in
various kind of music, such as classical, jazz, and popular music. Provide the
music education for college student who will move on to their music careers in
music industry and music business.
• To produce the qualify graduates in both national and international level with
an academic excellence. Elevate an ability of graduates to perform in various
kind of musical style.
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Appendix B: The Music Entertainment Curriculum
The Music Entertainment Curriculum
The Music Entertainment programme was currently uses revised-curriculum of 2005.
For this reason, this section presented an example of the Music curriculum for 2002
curriculum, and 2005 curriculum, in order to ensure the similarity and differences as
follows:
a.) The 2002 Course Structure
- General Education courses 30 credits
- Music courses 92 credits
- Music Entertainment course 82 credits
- Music Elective 10 credits
- Optional course 6 credits
Total Credits 128 Credits
Music Entertainment Course Subjects (2002)
MSMS 171 History of Thai Popular Music Before 2500 BC
This module contains the information regards to history of Thai popular music
Music, and the biography of peoples or band, which are important toward the
development of Thai popular music. For example, Suntraporn, Dao Krajai,
Jularatana, and so on. Furthermore, there is the study of the change and the
characteristics of different styles of songs from the past to the time of Suntraporn,
band.
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MSMS 271 Contemporary History of Thai Popular Music Afer 2500 BC
This module contains the information regards to the development of Thai popular
music after 2500BC. It will concern the characteristics of music during the 'October
14 Uprising' period, such as the politic and music. There will be study of the works of
‘song for life’ musicians, and bands, for example Surachai Jantimatorn “Nga
Caravan”, Yuenyong Opakul “Aed Carabao”, the ‘Caravan’, and the ‘Carabao’. In
addition, there will be the investigation of an influence of Western music toward Thai
society, and the Thai popular music at present.
MSMS 372 Thai Jazz and Thai Popular Music
This module aims for the study of history of jazz music in Thailand. It will concern
the acculturation of jazz and Thai popular music, such as the works by Suntraporn Big
Band, Adingdila, and His Majesty the King’s compositions. In addition, there will be
the study of the jazz musicians from Philippines and South Korea who was working in
Thailand.
MSMS 377 Popular Song Instruments
This module contains information regarding to the various style of popular music
band, for example String Combo, Rock, Pop Orchestra, and Pop Chorus.
MSMS 471 Western Popular Music
This module consists of the information regards to culture of Western music in Thai
society, and the arrival of the songs in each decade. Furthermore, there will be the
study of the acceptance of Western music by Thai people, the restaurants, clubs, and
bars.
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MSMS 472 Job Information for Musician
This module emphasis on the investigation of the place, such as restaurant, nightclub,
bar, karaoke shop, coffee shop, and so on, where popular and jazz musicians s
performed. It contains information, which musicians have to know, for example the
need of the market, how to write the resume, how to prepare for an audition.
MSMS 371 Standard Songs for Musician
This module comprises the standard songs for musicians in Thailand. It will concern
characteristics of different styles, which allow musicians to bring the knowledge and
skill, in order to arranging, analyzing their own songs.
b.) The 2005 Course Structure
- General Education courses 31 credits
- Music courses 102 credits
- Academic Music 22 credits
- Applied Music: Music Ent. 52 credits
- Major and Supplemental: Music Ent. 18 credits
- Music Elective 10 credits
- Optional courses 6 credits
Total Credits 139 Credits
Music Entertainment (2005)
Year 1 Semester 1
MUGE 101 General Education for Human Development 2(1-2-3)
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MUGE 102 Social Studies for Human Development 3(2-2-5)
MUGE 103 Arts and Sciences for Human Development 2(1-2-3)
MSGE 111 English I 2(2-0-4)
MSAP 100 Recital Attendance 0(0-0-0)
MSAP 111 Keyboard Skills I 1(0-2-2)
MSAP 121 Major Performance I 4(0-8-4)
MSAP 113 Voice Class I 1(0-2-2)
MSTC 111 Western Music Theory I 2(2-0-4)
MSTC 121 Sight Singing and Ear Training I 1(0-2-2)
MSAP 141 Small Ensemble I 1(0-2-2)
MSAP 143 Large Ensemble I 1(0-2-2)
MSTO 111 Basic Gong Wong Yai I* 1(0-2-2)
Total: 21 credits
Year 1 Semester 2
MSGE 112 English II 2(2-0-4)
MSAP 100 Recital Attendance 0(0-0-0)
MSAP 112 Keyboard Skills II 1(0-2-2)
MSAP 122 Major Performance II 4(0-8-4)
MSAP 114 Voice Class II 1(0-2-2)
MSTC 112 Western Music Theory II 2(2-0-4)
MSTC 122 Sight Singing and Ear Training II 1(0-2-2)
MSAP 142 Small Ensemble II 1(0-2-2)
MSAP 144 Large Ensemble II 1(0-2-2)
MSTE 121 MIDI (Music Elective) 2(2-0-4)
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MSTO 113 Basic Ranad Ake I 1(0-2-2)
Total: 16 credits
Year 2 Semester 1
MSGE 113 Thai I 2(2-0-4)
MSGE 211 English III 2(2-0-4)
MSAP 100 Recital Attendance 0(0-0-0)
MSAP 211 Keyboard Skills III 1(0-2-2)
MSAP 221 Major Performance III 4(0-8-4)
MSTC 211 Western Music Theory III 2(2-0-4)
MSTC 221 Sight Singing and Ear Training III 1(0-2-2)
MSAP 241 Small Ensemble III 1(0-2-2)
MSAP 243 Large Ensemble III 1(0-2-2)
MSHL 211 History of Western Music I 2(2-0-4)
MSEN 221 Popular Music History 2(2-0-4)
MSEN 222 Popular Music Literature 2(2-0-4)
Gen. Ed.: Science & Humanities 2(2-0-4)
Total: 22 credits
Year 2 Semester 2
MSGE 114 Thai II 2(2-0-4)
MSGE 212 English IV 2(2-0-4)
MSAP 100 Recital Attendance 0(0-0-0)
MSAP 211 Keyboard Skills IV 1(0-2-2)
MSAP 222 Major Performance IV 4(0-8-4)
MSTC 212 Western Music Theory IV 2(2-0-4)
123
MSTC 222 Sight Singing and Ear Training IV 1(0-2-2)
MSAP 242 Small Ensemble IV 1(0-2-2)
MSAP 244 Large Ensemble IV 1(0-2-2)
MSHL 212 History of Western Music II 2(2-0-4)
MSEN 223 Thai Popular Music History 2(2-0-4)
MSEN 224 Thai Popular Music Literature 2(2-0-4)
Total: 20 credits
Year 3 Semester 1
MSAP 100 Recital Attendance 0(0-0-0)
MSAP 321 Major Performance V 4(0-8-4)
MSAP 341 Small Ensemble V 1(0-2-2)
MSHL 311 History of Western Music III 2(2-0-4)
MSTO 140 History and Theory of Thai Music 2(2-0-4)
MSEN 313 Popular Music Arranging I 2(2-0-4)
MSEN 311 Pop Music Composition and Song Writing I 2(2-0-4)
Gen. Ed.: Science & Humanities 4(4-0)
Total: 17 credits
Year 3 Semester 2
MSAP 100 Recital Attendance 0(0-0-0)
MSAP 322 Major Performance VI 4(0-8-4)
MSAP 332 Small Ensemble VI 1(0-2-2)
MSHL 312 History of Western Music IV 2(2-0-4)
MSAP 351 Junior Recital 0(0-0-0)
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MSEN 314 Popular Music Arranging II 2(2-0-4)
MSEN 312 Pop Music Composition and Song Writing II 2(2-0-4)
Gen. Ed.: Science & Humanities 2(2-0-4)
Music Electives 2(2-0-4)
Free Electives 2(2-0-4)
Total: 17 credits
Year 4 Semester 1
MSAP 100 Recital Attendance 0(0-0-0)
MSAP 421 Major Performance VII 4(0-8-4)
MSAP 441 Small Ensemble VII 1(0-2-2)
MSTE 441 Music Recording Production I (Music Elective) 2(2-0-4)
Popular Music Lyrics 1
MSEN 411 Gen. Ed.: Science & Humanities 2(2-0-4)
Music Electives 4(4-0)
Free Electives 2(2-0-4)
Total: 15 credits
Year 4 Semester 2
MSAP 100 Recital Attendance 0(0-0-0)
MSAP 422 Major Performance VIII 4(0-8-4)
MSAP 442 Small Ensemble VIII 1(0-2-2)
MSAP 451 Senior Recital 0(0-0-0)
Music Electives 4(4-0)
Free Electives 2(2-0-4)
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Total: 11 credits
Music Entertainment module description (2005)
MSEN 221 Popular Music History
This module consists of the information regards to history and development of
Western popular music in the 60-90s and the contemporary time. In addition, there is
the study concerning changes in song writing styles, and information on important
musicians and musical groups at that time.
MSEN 222 Popular Music Literatures
This module aims for the study of stylistic in different genres of Western popular
music. In addition, the content includes important songs of mainstream artists in
different periods.
MSEN 223 Thai Popular Music History
This module consists of the information regards to history and development of Thai
popular music in different eras. Moreover, there is the study concerning changes in
song writing styles, and information on important musicians and musical groups at
that time.
MSEN 224 Thai Popular Music Literatures
This module aims for the study of stylistic in different genres of Thai popular music.
In addition, the content includes important songs of mainstream artists in different
periods.
126
MSEN 311 Popular Music Composition and Song Writing I
This module contains information regarding to the way of writing songs in different
styles for different combinations of instrument that are suitable for a performance.
MSEN 312 Popular Music Composition and Song Writing II
This module contains information regarding to the way of writing songs with and
emphasis on stylistic distinction and the use of unusual instrument combination.
MSEN 313 Popular Music Arranging I
This module emphasis on arranging techniques in popular music in a various style, for
example, soul, R&B, rock, Fusion, and Jazz. It will concern characteristics of
different styles and the arranging application to successfully render the piece.
MSEN 314 Popular Music Arranging II
This module emphasis on teaching advanced arranging techniques in popular music.
It will concern complicated harmonic progressions and rhythmic patterns.
MSEN 411 Popular Music Lyric
This module comprises the lyrics writing techniques for variety types of songs. The
student will learn how to use to words and phrases to create uniqueness for each
specific song.
127
Appendix C: The Official Letter from Kingston Unive rsity
128
6th December 2008
Dear Associated Director (Academic Affairs)
I am a full-time student at Kingston University, currently undertaking an MA in
Music Education. My research project is an investigation into the Popular Music
Studies in Thailand, by using case study of the Music Entertainment programme at the
College of Music, Mahidol University. I hope that the information contained in this
research paper will result in additional benefits that will increase the efficient study
and instruction of the Music Entertainment programme.
I am writing this letter to ask for the permission and collaboration. As part of this
research, I would like to interview the instructors and students in the Music
Entertainment programme, observed the activities and classes of the Music
Entertainment, and distributed the questionnaire to Music Entertainment’s students
Should you have any further questions, please do not hesitate to contact me.
Moreover, should you wish to verify the authenticity of this research, please find
enclosed the reference letter from Kingston University.
Your faithfully,
KAEWALIN PRASERTCHANG
Kaewalin Prasertchang
129
Appendix D: The Bachelor of Music Brochures at the
College of Music, Mahidol University
130
131
132
Appendix E: Interviewees Name list
The individuals named below were four instructors, who had been interview, as
follow:
• Name: Mr.Somphop Puengpreeda
Postion: Full-time music instructor (Instrumental private lesson:
Trumpet and the Music Entertainmen subject)
The interview was conducted in person on 8th January 2008
• Name: Mr.Surat Prapatrangsi:
Position: Full-time music instructor and Associated Director (Academic
Affairs), The College of Music, Mahidol University
The interview was conducted in person on 9th January 2008
• Name: Mr.Suttiphant Sukkantaraks
Position: Part-time music instructor
(Instrumental private lesson: Guitar, Small Ensemble).
The interview was conducted in person on 27th December 2007, and by email
on 5th April 2008
• Name: Mr.Tawan Kaiseang
Position: Full-time music instructor of Music Entertainment Department
(Instrumental private lesson: Guitar).
The interview was conducted in person on 27th December 2007, and on phone
on 3rd March 2008
133
The individuals named below were four students in Music Entertainment
programme, who had been interview, as follow:
• Name: Ms.Benjapa Dangintawat
Year: 2nd year student
Majoring: Piano
The interview was conducted in person on 8th January 2008
• Name: Ms.Sirinda Rungruengphol
Year: 4th year student
Majoring: Piano
The interview was conducted in person on 8th January 2008
• Name: Ms.Skowrung Saibunmi
Year: 2nd year student
Majoring: Piano
The interview was conducted in person on 8th January 2008
• Name: Mr.Tin Napalai
Year: 1st year student
Majoring: Drum set.
The interview was conducted in person on 8th January 2008
134
Appendix F: The Interview Questions Guide
Group A: the music educators, and specialist at the College of Music,
Mahidol University
1. Could you tell me a little about yourself?
2. In your opinion, what do you think of the music education in Thailand
regarding the past decade, the present and the future?
3. Could you describe to me the music education in Thailand?
4. Are there any factors that have had an impact on music education in Thailand?
5. What do you regard as the most significant changes in music education during
your professional career?
6. In your opinion, what do you think of popular music studies in Thailand?
7. What were the aims when the Music Entertainment programme was
established?
8. Could you tell me about the challenges of teaching popular music to college
student?
9. Who is the instructors of the Music Entertainment programme?
10. From your teaching experience in the College of Music, what is the potential
of the students in Music Entertainment programme?
11. Can you tell me about the opinion of the College of Music Committee,
regarding the way to manage the class and curriculum?
12. What do you think about the current music curriculum of the Music
Entertainment programme?
13. Could you give me any suggestions to improve popular music studies in
Thailand?
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Group B: The music instructor in the Music Entertainment programme
(Instrumental)
1. Could you tell me a little about yourself?
2. How did you first come to teach in the College of Music?
3. What do you regard as the most significant changes in music education during
your professional career?
4. How do you design the curriculum or requirement for the student?
5. How do you organize the standard of your class?
6. What are the major musical styles that you teach in music lessons?
7. Could you tell me about the challenges of teaching popular music to college
student?
8. Can you tell me about the opinion of the Music Entertainment Committee,
regarding the way to manage the class and curriculum?
9. Can you tell me your opinion about the potential of the students who study in
the Music Entertainment programme?
10. From your teaching experience, what is the most difficult aspect of teaching
the instrumental to students?
11. Can you tell me your opinion about the students’ achievements from your
instrumental class?
12. Could you give me any suggestions to improve the quality of students in the
Music Entertainment programme?
13. What do you think about the music activities that are provided to students in
Music Entertainment programme?
14. In your opinion, how can we help to improve the quality of teaching in the
Music Entertainment programme?
136
15. Could you give me any suggestions to improve the popular music studies in
Thailand?
Group C: The Music Entertainment students
1. Could you tell me a little about yourself?
2. When you decided to study in the programme, what factors were the most
influential upon your decisions?
3. Can you tell me about your experience during your study of the Music
Entertainment programme?
4. What do you think about the current music curriculum and the requirement of
the Music Entertainment programme?
5. Can you tell me what you think about the instructors’ abilities to teach in the
class?
6. Can you tell me about your achievements in your instrumental classroom?
7. From your study in the College of Music, what do you think about their
facilities and equipments?
8. From your study in the College of Music, what do you think about the extra-
curricular and activities on offer for the students on the Music Entertainment
programme?
137
Appendix G: Pictures from the Filed Work
College of Music, Mahidol University
College of Music, Mahidol University
138
College of Music, Mahidol University
The Music Auditorium of College of Music (MACM Hall )
139
The Music Auditorium of College of Music (MACM Hall )
Music Library
140
Instrumental classroom
Instrumental classroom
141
Classroom
EN Student Concert
142
EN Student Concert
EN Student Concert
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Appendix H: The Self-Administered Questionnaire (in English)
The purpose of the questionnaire is to investigate the students’ opinion about
learning in the Music Entertainment programme and used to collect general
information. There were asked about the attitude toward music curriculum of the
Music Entertainment programme
Part 1 (Question 1-3): Contains the questions about the personal status of the
respondent, such as gender, instrument, and the reason for studying the Music
Entertainment programme.
1. Gender O Male O Female
2. Instrument O Piano O Voice O Elt.Guitar
O Elt.Bass O Drum set O Woodwind
O Brass
3. What are your favorite musical genres? (Please select any that apply)
O Classical O Jazz O Pop
O Rock O Thai Classical Music
***********************************
Part 2 (Question 4-13): Contains the questions about the attitude toward the music
curriculum, on the aspect of learning and teaching process, value of subject, and
reinforcement of the learning environment.
144
4. What is your reason for studying on the Music Entertainment programme at the
College of Music, Mahidol University? (Please select only one answer)
O The quality and reputation of the College of Music, Mahidol University
O The quality and reputation of the Music Entertainment programme
O The quality and reputation of the music instructors
O Other reason
5. What is your reason for studying on the Music Entertainment programme? (Please
select only one answer)
O Would like to gain the knowledge about popular music
O Would like to gain the knowledge and the musical skill (instrumental study)
O Other reason
6. What have you found to be the most positive aspects while studying on the Music
Entertainment programme? (Please select any that apply)
O The Entertainment Course Subjects O The Core Course Subjects
O The Individual Instrumental Lessons O The Ensemble Lessons
O The Music Activities for students O The Instructors
O Other
7. What have you found to be the most negative aspects while studying on the Music
Entertainment programme? (Please select any that apply)
O The Entertainment Course Subjects O The Core Course Subjects
O The Individual Instrumental Lessons O The Ensemble Lessons
O The Music Activities for students O The Instructors
O Other
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8. What are the most useful subjects for your real life? (From the list below, please rank
it in the order from 1-4)
___ The Entertainment Course Subject ___ The Core Course Subject
___ The Individual Instrument Lesson ___ The Ensemble Lesson
9. What is the most important area that has to be improved in Music Entertainment
programme? (From the list below, please rank it in the order from 1-6)
___ The Entertainment Course Subject ___ The Core Course Subject
___ The Individual Instrument Lesson ___ The Ensemble Lesson
___ The Music Activities for students ___ The instructors
10. Which are the college activities that you participate in? (Please select any that apply)
O String Orchestra O Choir/Chorus
O Jazz Big Band O Pop Orchestra
O Wind Band/Symphonic Band O Did not participate in any activities
O Other
11. Do you play in the String Combo Band? O Yes O No
If ‘Yes’, what kinds of music do you play? (Please select any that apply)
O Pop O Rock O Jazz
O Heavy Metal Other
12. Do you work in the field of musicat present? O Yes O No
If ‘Yes’, what kinds of work do you do? (Please select any that apply)
O Teach an instrument O Teach music theory/ Ear training course
O Play in the pub/bar/restaurant O Play as the backup for the singer
O Compose music O Music Production
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O Other
13. Do you use the skill that you gain from the study in your area of work? O Yes O No
If ‘Yes’, what are the kinds of knowledge that you use? (Please select any that
apply)
O The Entertainment Course Subject O The Core Course Subject
O The Individual Instrument Lesson O The Ensemble Lesson
*************************************************** *********************
The information you provide will be strictly confidential.
Thank you very much for completing this questionnaire.
Please return this questionnaire before Friday 28th March 2008
Contact person: Suphat (Add) Tel. 087-514-65170 or
Kaewalin (Milk) E-mail:[email protected]
147
Appendix I: The Self-Administered Questionnaire (in Thai)
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151
Appendix J: The Profile of GMM Grammy Public Company
Limited
Grammy Entertainment Co., Ltd. was established in 1983 by Rewat Buddinan and
Paiboon Damrongchaitham. The aims of the company are to lead the new era of
popular music and producing Television business in Thailand. At that time, the music
business in Thailand emphasized on the production of quality Thai Pop Songs. The
first album of the company was “Ni Yai Ruk Jak Korn Mek” (Love novel from the
cloud) by Doctor Pantiwa Sinrattanan. Moreover, the company also lunched three TV
programmes. Two year later, in 1985, Grammy lunched “Ter 1” album that was very
successful and make a new phenomenal in Thai music sphere.
In 1986, Grammy’s superstar, Thongchai McIntyre released his first album, “Had
Sine Sai Lom Song Rao”. In addition, the “Rock Lek Lek” album of Amphon
Lampoon and the Micro was released on the same year. It coloured and introduced
the trend of Rock into Thai music sphere.
In 1988, MGA Co., Ltd. distributes various cassette tapes and other related
entertainment products through its retail network. Later, in 1989, A-Time Media Co.,
Ltd. was established to expand into radio business. It created two Radio Stations that
hit the market, and it broadcasted in the name of Green Wave, and Hot Wave.
In 1991, X-act Co., Ltd was founded to expand television production and develop the
effective television programme. “3 Noom 3 Moom” (Three Men, Three Styles) was
the first project of this new firm. Within the same year, the Extraorganizer Company
152
was founded to organize events, for example concerts. Both companies allowed
Grammy Entertainment Company group to root into a completed firm in
entertainment business.
In 1994, Grammy Entertainment made a way into the world of business by
participating the Stock Exchange of Thailand with the 500 millions bahts. Its name
was changed into “Grammy Entertainment Public Company Limited”. In the same
year, Grammy began to feature a film business.
In 1996, Grammy Entertainment expanded into publishing business through the
achievement of “Image magazine”. One year later, Grammy expanded its own
business to the international market by founding a brunch in Taiwan.
In 1999, Grammy introduced the “Mifah Academy of Music” to the public in
Thailand. It was found to serve those who want to study and develop the musical
skill. One year later, in 2000, there was E-Business unit that was set up to create and
develop variety of product in the form of digital content. This was to capture the new
business opportunities arising from the new coming technologies.
In 2001, “Grammy Entertainment Public Company Limited” has changed its name to
“GMM Grammy Public Company Limited”. One year later, in 2002, “GMM Media
Public Company Limited” (GMMM) was separated from GMM group and entered in
the Stock Exchange of Thailand with capital of 200 millions bahts. Besides, eight
subsidiaries of GMM group, such as media, radio, television, and publishing were
transferred from Grammy to GMM Media.
153
In 2003, strategic of Grammy moved into movie business with five quality movies
producted. One year later, in 2004, GMM Grammy Company Limited aims to be
“Kind of content”, therefore, it marks the starting point of Grammy’s alliance with
strategic partner, consist “DeeTalk Co., Ltd.” (Television programme company),
Siam Infinit Co., Ltd. (Game online company), GMM Tai Hub Co., Ltd. (Film
production company), and Ninja Returns Communication Co., Ltd. (Events organizer
company).
In 2005, there were many changes in the company. Firstly, it was expanded business
line into event marketing business in “Index Event Agency Public Company”.
Besides, company will support artists to go international and try to expand to
international market. Secondly, GMM Grammy was voted Thailand’s Best Small
Cap and was second to “Best Commitment to Strong Dividend Payments” by finance
Asia Polls. Thirdly, GMM Grammy start the investment in “Se-education Public
Company” to develop business cooperation, for example distribution its own channel.
Fourthly, GMM Grammy joining invested in Clean Karaoke. There was the operating
into Karaoke business together with the managing of Karaoke equipment. Lastly,
through the subsidiary, GMM Media, the GMM Grammy invested in newspaper
business through “Matichon Public Company” and “Post Publishing Public
Company”.
In 2006, GMM Grammy jointly invested in “GMM Fitness Club Co., Ltd”, in order to
provide the fitness club serviced. Moreover, the company jointly invests in “Luck
Music 999 Co., Ltd.”. Later in 2007, through the subsidiary, GMM Grammy invested
154
in many other companies, for example “Mass Monitor Co., Ltd.”, “Inspire Image Co.,
Ltd.”, “3-RD Co., Ltd.”, and “Channel V Music Thailand Co., Ltd.”
Presently in 2008, the GMM Grammy performed at a highly satisfactory level. The
fundamental reason contributing to such success was due to the company’s continued
organizational restructuring of the music business throughout the past three years.
This enables the company to keep pace with changes in the global music industry and
technological developments. These technological advances have made digital content
more important in the music business and allowed consumers to listen to music more
conveniently, from mobile phones, computers, and various portable music players,
which has enlarged the overall music market.
155
Appendix K: An Example of Activities of the Music
Entertainment Department
Activity name: Entertain Live in Concert Serie 1
Organized by: The student of the Music Entertainment programme
academic year 2006-07
Venue: The Music Auditorium, College of Music, Mahidol University
Date: 20 February 2007 Note: This is the first concert, which organized by student in the programme.
The aims of concert were to provide the stage to students, and allow
them to have a chance to practice working and performing in the real
situation. It also hoped that the concert will promoted the programme.
156
Activity name: Entertain Live in Concert Serie 2
Organized by: The student of the Music Entertainment programme
academic year 2007-08
Venue: The Music Auditorium, College of Music, Mahidol University
Date: 25 December 2007
Notes: This is the second concert, which organized by student in the
programme. After it succeeded on the first year project, it was held
again, with the plan to organize this kind of concert for every academic
year.
157
Activity name: It’s turn out to shine (Voice Concert)
Organized by: Dr.Cherryl Hayes
(full-time instructor of the Music Entertainment programme) and
voice students of the Music Entertainment department
Venue: The Music Auditorium, College of Music, Mahidol University
Date: 30 July 2008