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BUKU ABSTRAK - Universiti Putra Malaysia

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Tests of Different Monetary Aggregates for the Monetary Models of the Exchange<br />

Rate in Five ASEAN Countries<br />

Dr. Lee Chin<br />

Muzafar Shah Habibullah and M. Azali<br />

Faculty of Economics and Management, University <strong>Putra</strong> <strong>Malaysia</strong>,<br />

43400 UPM Serdang, Selangor, <strong>Malaysia</strong>.<br />

+603-8946 7769; leechin@putra.upm.edu.my<br />

Keywords: Monetary exchange rate model, ASEAN<br />

Audience at Art Music Concert in <strong>Malaysia</strong><br />

Keywords: Audience, art music, concerts<br />

Dr. Loo Fung Chiat<br />

Loo Fung Ying<br />

Faculty of Human Ecology, University <strong>Putra</strong> <strong>Malaysia</strong>,<br />

43400 UPM Serdang, Selangor, <strong>Malaysia</strong>.<br />

+603-8946 7120; lfc@putra.upm.edu.my<br />

143<br />

Social Sciences<br />

This study examines the usefulness of divisia money, relative to simple sum money, for exchange rate<br />

modelling in a period of rapid financial deregulation. This comparison is conducted using the monetary model of<br />

the exchange rate. In the long-run modelling, the divisia money is significantly superior to simple sum money in<br />

the case of <strong>Malaysia</strong> and the Philippines while indifferent for Indonesia, Singapore and Thailand.<br />

The development of art music and the construction of acoustically designed concert halls in <strong>Malaysia</strong><br />

have provided more opportunities for live performance of various genres of art music. Full attention is given to<br />

performers and their performances at a live concert, however it should be noted and emphasized that a live concert<br />

will not take place without the existence of its spectators. In comparison with pop concerts, the size of audience<br />

at art music concerts is often small and this has become a concern among organizers and performers. This study<br />

was carried out to study the characteristics of the <strong>Malaysia</strong>n audience at three concerts with a selection of eight<br />

performances. Audience at these performances was observed and a survey was used with interviewers, intercepted<br />

potential respondents after each concert. A total of 660 samples were gathered. The result of the survey could<br />

function as a preliminary examination for future research to trace the changing characteristic of audience over<br />

time.

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