APSMER2017 PROCEEDINGS

APSMER2017 

PROCEEDINGS 

Asia-Pacific Symposium for Music Education Research 

19th-21st July 2017 

Melaka, Malaysia 

MUSIC EDUCATION TRANSCENDING BORDERS

Proceedings 

11th Asia-Pacific Symposium for Music Education Research 

APSMER2017 

Music Education Transcending Borders 

19th-21st July 2017 

Melaka, Malaysia 

All abstracts and papers for the 11th Asia-Pacific Symposium for Music Education 

Research (APSMER2017) were selected through peer review by a committee of international 

experts and authorities in music education. The Reviewers Board comprises of the 

APSMER Board of Directors, APSMER2017 Abstract and Paper Review Committee, and 

qualified appointed reviewers. 

Ramona Mohd Tahir 

Universiti Teknologi MARA, Malaysia 

Ghaziah Mohd Ghazali 


Ahmad Rithaudin Md Noor 


Nadia Widyawati Madzhi 


Chong Yew Yoong 


Valerie Ross 


Shahanum Mohd Shah 


Phang Kong Chien 


Nathan Fischer 


Leung Bo Wah 

The Education University of Hong Kong 

Kim Young-Youn 

Silla University, Korea 

Steven Morrison 

University of Washington, USA 

Narutt Suttachitt 

Chulalongkorn University, Thailand 

Jiaxing Xie 

China Conservatory of Music 

Lum Chee-Hoo 

National University of Education, Singapore 

Hiromichi Mito 

Meiji Gakuin University, Japan 

Leung Bo Wah 

The Education University of Hong Kong 

Margaret Barrett 

University of Queensland, Australia 

Clare Chan Suet Ching 

Eric Dai Baisheng 

Universiti Pendidikan Sultan Idris, Malaysia Macao Polytechnic Institute, Macao 

Jessie Chen 

National Taichung University of Education, Taiwan 

ISBN XXX-X-XX-XXXXXX-X 

© 2017 UiTM Faculty of Music

Abstracts 

Student-Teacher Programme: A Piano Teaching Programme for 

Grade 8 Graduates 

Christy Wan Mooi Phang-Yau........................................................................................ 1 

Strike a Chord: Harmonizing Music with Service 

Maria Sherla A. Najera.................................................................................................... 2 

Exploring the Malay Traditional Genre ‘Zapin’ as Educational Material 

for a Western Classical Ensemble (Flute, Viola, Piano) 

Violetta Ayderova, Karen Lonsdale, Yen-Lin Goh and 

Mohd Pauzi Majid ........................................................................................................... 3 

Facilitating Musical Expression as an Emergent 

Interaction amongst a Teacher and Players 

Hiroshi Suga ..................................................................................................................... 4

Full Papers 

Student-Teacher Programme: A Piano Teaching Programme for 


Christy Wan Mooi Phang-Yau......................................................................................... 5 


Maria Sherla A. Najera.................................................................................................... 13 

Exploring the Malay Traditional Genre ‘Zapin’ as Educational Material 

for a Western Classical Ensemble (Flute, Viola, Piano) 

Violetta Ayderova, Karen Lonsdale, Yen-Lin Goh and 

Mohd Pauzi Majid ........................................................................................................... 28 

Facilitating Musical Expression as an Emergent 

Interaction amongst a Teacher and Players 

Hiroshi Suga ..................................................................................................................... 35

Student-Teacher Programme: 

A Piano Teaching Programme for Grade 8 Graduates 

Christy Wan Mooi Phang-Yau 

Dorayme Music Tuition Studio, New Zealand 

ABSTRACT 

The purpose of this article is to share my experience with the Student- 

Teacher Programme that I have developed since 2003. The initial purpose of 

this programme was to let my own Grade 8 piano graduates experience the 

joy and fulfilment of passing their own knowledge in piano playing to the 

younger generation. Most piano students would stop making music as soon 

as they passed the final grade (Grade 8), so this programme allows them to 

continue music making through teaching. 

Most student-teachers are in their teenage years. They need to go 

through a 6 to 8 months training programme that consists of observation 

sessions, teaching practices, discussion sessions and attending pedagogy 

courses. They will be offered teaching jobs after the initial training. 

The teaching training continues while they are teaching in my studio 

because real life challenges in their own teaching practices continue to 

happen. When they reach the age of 18, they can choose to sit for either 

Trinity College, Associate Board of Royal Schools of Music or the Institute of 

Registered Music Teacher New Zealand Teaching Diploma followed by an 

application to become an Associate of the Institute of Registered Music 

Teacher New Zealand, a registered institution in New Zealand for music 

teachers. 

Through this programme, the student-teachers will not only learn how 

to teach, but they also learn time management, communication (to younger 

children as well as their parents), analytical and organization skills, and 

most of all, they develop their self-confidence. Over the last 14 years I have 

witnessed how the Student-Teacher Programme has helped these teenagers 

to become confident, responsible young adults through teaching. The 

teaching experience in their teenage years will benefit them for life. 

Keywords: Student-Teacher, piano pedagogy, personal development, 

qualification, career opportunity. 

1


!! 

!! 

Maria Sherla A. Najera 

Assistant Professor, University of the Philippines! 

ABSTRACT 

The study analysed the framework of a Community Music- Service Learning 

(CMSL) program implemented in Payatas Philippines. CMSL is a community 

engagement through an informal teaching of music instruments (guitar, 

keyboard, violin, voice) to children of 8 to 12 years, in Payatas, one of the 

huge dumpsites in the Philippines. CMSL was done in partnership with 

Payatas Orione Foundation, Inc. (PAOFI), a private, non-profit entity for 

poverty alleviation programs. The music teachers comprise the University of 

the Philippines students, most of whom are from the College of Music. Using 

the interpretive phenomenological approach, the analysis of the framework 

was drawn from a triangulation of data collected from interviews, narratives, 

photo and video documentation of the (1) stakeholders’ description of their 

experiences (2) the development of the CMSL from its implementation and 

(3) the CMSL structure in the light of the practices, approaches and 

structures of community engagement, community music, and service 

learning. Results highlight positive outcomes among the stakeholders: joy 

and eagerness in teaching and learning, fulfilment in serving, perseverance 

and creativity, heightened concern for others and recognition of the value of 

music. The development of the CMSL program since 2013 outlines the 

teaching progression from “rote” to “note”, the addition of teaching violin 

and voice; the provisions for transport and food for children; and more 

parental support. Furthermore, the program corroborates studies 

emphasizing that the processes within community music initiated by 

universities are best understood through the combined interaction of 

outreach, engagement and service learning. Identifying strong connections 

between music and service could be further achieved by similar researches 

which could help develop programs of study combining musical expertise 

with social work, both on equal terms, not supplementary but 

complementary, and by designing service-based music pedagogy, 

performance, and research. 

Keywords: community music, service learning 

2

Exploring the Malay Traditional Genre ‘Zapin’ as Educational 

Material for a Western Classical Ensemble (Flute, Viola, Piano) 

Violetta Ayderova 

Universiti Pendidikan Sultan Idris 

Karen Anne Lonsdale 


Yen-Lin Goh 


Mohd Pauzi Majid 

Universiti Pendidikan Sultan Idris, 

ABSTRACT 

Zapin is one of the traditional Malay Asli music genres that was believed to 

have been introduced to Malaysia in the 14th century by Muslim traders and 

missionaries. The instruments used in modern times in this genre are 

typically violin, flute, accordion, gambus, rebana, and marwas. The main 

characteristic of this genre is the melodic line that passes to various 

instruments of the ensemble with slight improvisations on each. This paper 

will discuss a new arrangement of a Zapin piece for a Western classical 

ensemble including flute, viola, and piano. This arrangement adheres to the 

traditional characteristics of the Zapin, but is fully scored using Western 

classical notation. Such arrangements may be useful in teaching the Zapin 

genre to students who are learning Western classical instruments. This 

paper will highlight the benefits of including the Zapin dance as educational 

repertoire in the teaching studio, for student ensembles of medium to 

advanced levels. 

Keywords: Zapin, Malay Asli music, music education, traditional music, 

Malaysian music. 

3

Facilitating Musical Expression as an Emergent Interaction 

amongst a Teacher and Players 

Hiroshi Suga 

University of Miyazaki 

! 

ABSTRACT 

! 

The purpose of this study is to get a model of the thinking process of expert 

music teachers to facilitate students’ musical expression from a viewpoint of 

teaching as improvisation. I videotaped rehearsals of three electric 

keyboards ensembles instructed by three expert teachers. I interviewed the 

teachers about their thinking about instruction, their impacts to the 

performance and assessment for the players whilst reproducing VTRs of their 

rehearsals. I also interviewed the keyboard players about their impression of 

teachers’ teaching style and their thinking in the rehearsals. I segmented all 

of the text data scripted from the VTRs and the recordings of the interviews 

by their contents and categorized them from bottom up by using procedure of 

the grounded theory approach. None of the three teachers brought definitely 

predetermined plans of musical expression as their goal. They mainly 

facilitated the players to generate their own ideas of musical expression by 

inspiring their imagination with intentionally ambiguous words. They gave 

scaffolding support for the players. From these results, I made a model of the 

teaching process by an expert teacher for improving musical expression as a 

group creation characterized by emergent interaction between a teacher and 

players. 

Keywords"!musical expression, group creativity, emergent interaction. 

4

Proceedings of the 11th Asia-Pacific Symposium for Music Education Research 

(APSMER 2017) 19th to 21st July 2017, Melaka MALAYSIA 

Student-Teacher Programme: 

A Piano Teaching Programme for 


Christy Wan Mooi Phang-Yau 

Dorayme Music Tuition Studio, New Zealand 

ABSTRACT 

The purpose of this article is to share my experience with the Student- 

Teacher Programme that I have developed since 2003. The initial purpose of 

this programme was to let my own Grade 8 piano graduates experience the 

joy and fulfilment of passing their own knowledge in piano playing to the 

younger generation. Most piano students would stop making music as soon 

as they passed the final grade (Grade 8), so this programme allows them to 

continue music making through teaching. 

Most student-teachers are in their teenage years. They need to go 

through a 6 to 8 months training programme that consists of observation 

sessions, teaching practices, discussion sessions and attending pedagogy 

courses. They will be offered teaching jobs after the initial training. 

The teaching training continues while they are teaching in my studio 

because real life challenges in their own teaching practices continue to 

happen. When they reach the age of 18, they can choose to sit for either 

Trinity College, Associate Board of Royal Schools of Music or the Institute of 

Registered Music Teacher New Zealand Teaching Diploma followed by an 

application to become an Associate of the Institute of Registered Music 

Teacher New Zealand, a registered institution in New Zealand for music 

teachers. 

Through this programme, the student-teachers will not only learn how 

to teach, but they also learn time management, communication (to younger 

children as well as their parents), analytical and organization skills, and 

most of all, they develop their self-confidence. Over the last 14 years I have 

witnessed how the Student-Teacher Programme has helped these teenagers 

to become confident, responsible young adults through teaching. The 

teaching experience in their teenage years will benefit them for life. 

Keywords: Student-Teacher, piano pedagogy, personal development, 

qualification, career opportunity. 

Background 

The Student-Teacher Programme started accidentally in 2003 after I turned 

down teaching a Filipino mother’s three children. From this mother’s 

suggestion of getting my advanced students to teach under my supervision, 

the Student-Teacher Programme was born. 

Over the years, a lot of changes have been made to this training programme 

in order to deliver the most appropriate teaching training to these young 

student-teachers. It is still changing and improving every year. 

5



Preparation 

The prerequisites for the Student-Teacher Programme are that the student 

needs to have passed his/her Grade 8 piano examination, and be over the age 

of 16, with an optional Grade 6 Theory of Music qualification. 

The initial training programme takes 6 to 8 months to complete (parttime) 

before they are given their first paid student. There are three modules 

complied in our ‘Student-Teacher Programme Module Book’, as follows. 

Module 1 

This module is about Lesson Observation, where student-teachers need to 

observe 14 individual/group lessons and two lots of three consecutive 

lessons. 

Student-teachers need to record each of their observations in the 

module book (see Figure 1). By the end of the observation, they need to write 

a report on their observations. (see Figure 2). Both theobservation sheet and 

report format are referenced to the criteria required by the Trinity College 

ATCL Principles of Instrumental/Vocal Teaching syllabus (Trinity Guildhall 

2009). From the report we can find out the depth of each student-teacher’s 

observation ability, which is extremely important in piano pedagogy. This 

module raises student-teachers’ awareness on the environment of various 

teaching studios, different types of pupils being taught – their levels and 

different abilities to absorb information, different kinds of lesson structures 

and activities (from different teachers being observed), the types of musical 

concepts covered in each lesson, and different kinds of teaching styles and 

techniques. 

The observation sessions are conducted either in a real classroom, or 

observed from a pre-recorded teaching video. 

Figure 1: Observation Sheet 

(Student-Teacher Programme Module Book) 

6



Figure 2: Sample Report, Student-Teacher Programme Module Book 

(page 1 only) 

Module 2 

This module is about Teaching Experience, where student-teachers have the 

opportunity to teach a one-off lesson to five students of different levels. In 

this module, student-teachers learn about lesson planning. As there are no 

specific rules and requirement in teaching musical instruments, normally 

teachers are left to create their own approach, and a lot of them fall into a 

kind of ‘making it up as they go along’ approach (Harris & Crozier, 2000). 

Student-Teachers need to be aware of the main objective for the lesson, how 

they want to structure their lesson, and what kinds of activities they wish to 

use besides teaching repertoire. Finally, they need to reflect on their own 

teaching after the lesson (see Figure 3). 

They also learn about how to communicate with students of different 

ages and find out efficient ways to deliver their teaching. 

These five individual lessons will also be observed by a mentor, or 

videoed to be watched by other senior teachers so that the student-teachers 

can receive comments from different sources. 

Figure 3: Lesson Plan (Student-Teacher Programme Module Book) 

7



Module 3 

Module 3 involves teaching a total beginner for four consecutive lessons. 

Student-teachers will learn how to deliver information to someone with no 

music background at all. These four lessons will challenge their ability to 

communicate efficiently, structure their lesson, and work out how to make 

the beginner student feel comfortable. They need to complete a similar 

Lesson Plan to the one shown in Figure 3. 

The lessons will also be observed by mentor or videoed to be watched 

by other senior teachers so that the student-teachers can receive comments 

from different sources. 

The above three modules would take around 6 to 8 months to 

complete on a part time basis. After completion of the ‘Student-Teacher 

Programme Module Book’, the student-teacher will hopefully be ready for 

their first paid student. 

The Teaching Practice 

Teaching the first paid student can be a daunting experience due to higher 

expectations, especially from parents. The ability to adapt to the teaching 

environment, having an open-mind to accept criticism and comments, plus 

being willing to learn, are all part of being a piano teacher. 

Before the first paid lesson, an agreement is signed between the studio 

and the student-teacher, with their parents involved if the student-teacher is 

under the age of 18. This agreement outlines the responsibilities of the studio 

and the student-teachers, and rules and regulations to follow when teaching in 

this studio. This is a form of protection to both parties (see Figure 4). 

Figure 4: Agreement (page 1 only) 

8



Monitoring student-teachers’ teaching performance and overseeing the 

progress of his/her students are part of my job as a mentor. As I am no longer 

staying in the classroom to observe, I monitor the teaching performance and 

students’ progress by having the following set up: 

1. Teaching Notes 

• The student-teacher needs to record their weekly teaching notes 

in each of their student’s record folder. 

• They also write down their concerns, challenges and questions 

in the folder. 

• Folders are checked weekly so that I can respond to their 

questions immediately (see Figure 5). 

Figure 5: Example teaching Notes 

2. Piano Learning Planner 

• This has long and short term planning, and an assessment of the 

outcome of the previous term needs to be completed by studentteachers 

on their students (see Figure 6). 

• This planner will keep the student-teacher on track for what 

he/she needs to achieve with each student. 

3. Circle of Involvement 

• The student-teacher needs to fill in the Circle of Involvement 

chart by the end of every term to re-evaluate if they have 

completed all of the studio requirements as teachers to make 

their teaching more efficient (see Figure 7). 

9



Figure 6: Piano Learning Planner 

Figure 7: Circle of Involvement 

4. Facebook Messenger Chat Group 

• We have a teachers’ chat group where we can discuss teaching 

challenges anytime, anywhere. 

5. Irregular Video Session 

• The lesson will be videoed if there are some concerns expressed 

in the teaching notes on any individual student. We will ask 

consent from parents before recording. 

10



6. Parents’ Feedback 

• Having a good relationship with parents is extremely important. 

We value their input and their sincere comments, as this can 

help us train better teachers. 

Ongoing Training 

We believe that a teacher who stops learning should stop teaching. A teacher 

always need to be hungry for knowledge and willing to invest time in 

personal development (Harris 2006). A teacher never stops learning (Harris 

2012). Therefore, the learning and training will not stop after the initial 6 to 8 

months training. 

All student-teachers are obliged to attend an in-studio Holiday 

Teaching Training three times a year. In these sessions we discuss the 

challenges and obstacles they have faced over the term, and find solutions. 

Besides the practical challenges, we also discuss matters related to music 

analysis, preparing students for examinations and competitions, and methods 

for teaching in different areas e.g.: articulation, pedalling, phrasing, etc. 

Besides the in-studio training, we encourage student-teachers to enrol 

in other external teaching training courses like those organized by IRMTNZ: 

The Institute of Registered Music Teachers of New Zealand, which is a 

professional organization that provides regular professional development 

opportunities to private music teachers (www.irmt.org.nz). Master Classes, 

concerts, and workshops on teaching are run regularly throughout the year in 

different parts of New Zealand. 

Student-teachers are also encouraged to gain their Teaching Diploma 

from Trinity College London, Associated Board of Royal Schools of Music, 

or the Institute of Registered Music Teachers of New Zealand, when they 

reached the age of 18. After gaining their Teaching Diploma, they can then 

apply to be an Associate of The Institute of Registered Music Teachers of 

New Zealand (AIRMTNZ). 

The Outcome So Far 

From a humble beginning until now, we have had over 20 student-teachers 

go through the training process. Among those, seven have gained their 

Diploma of Teaching and have gone on to becoming an Associate of the 

Institute of Registered Music Teachers of New Zealand (AIRMTNZ), and are 

now working part time or full time as piano teachers around New Zealand. 

Most of the student-teachers did the training but did not proceed to gain a 

higher qualifications due to moving to other cities for tertiary education. This 

was particularly common after the major Canterbury earthquakes in 

2010/2011. Currently in my studio there are four student-teachers in training 

working part time, and two fully qualified teachers (they have gained their 

teaching diploma and registration). 

Conclusion 

Regardless what the student-teachers choose to do for their future 

professions, the two to three years teaching experience in their teenage years 

have had helped them immensely in facing adulthood in later years. From a 

teenager who might still be unable to make their own bed, he/she learns about 

time management, communication, analytical skills, and organization skills, 

11



and develops self-confidence from this programme. Over the years, I have 

witnessed many timid teenagers transformed to becoming a mature confident 

adult who fits well into this changing world. 

References 

Paul Harris and Richard Crozier (2000) The Music Teacher’s Companion – A 

Practical Guide. ABRSM Publishing (page 17) 

Trinity Guildhall (2009) Diplomas in Music: Performing and Teaching from 

2009. Trinity College London. (Page 99) 

Paul Harris (2006) Improve your teaching! – an essential handbook for 

instrumental and singing teachers. Faber Music Ltd. (Page 7) 

Paul Harris (2012) The Virtuoso Teacher – the inspirational guide for 

instrumental and singing teachers. Faber Music Ltd. (Page 16) 

12



! 

! 

Strike a Chord: Harmonizing 

Music with Service 

!! 

!! 

! 

Maria Sherla A. Najera 

Assistant Professor, University of the Philippines! 

ABSTRACT 

The study analysed the framework of a Community Music- Service 

Learning (CMSL) program implemented in Payatas Philippines. 

CMSL is a community engagement through an informal teaching of 

music instruments (guitar, keyboard, violin, voice) to children of 8 to 

12 years, in Payatas, one of the huge dumpsites in the Philippines. 

CMSL was done in partnership with Payatas Orione Foundation, Inc. 

(PAOFI), a private, non-profit entity for poverty alleviation programs. 

The music teachers comprise the University of the Philippines 

students, most of whom are from the College of Music. Using the 

interpretive phenomenological approach, the analysis of the 

framework was drawn from a triangulation of data collected from 

interviews, narratives, photo and video documentation of the (1) 

stakeholders’ description of their experiences (2) the development of 

the CMSL from its implementation and (3) the CMSL structure in the 

light of the practices, approaches and structures of community 

engagement, community music, and service learning. Results highlight 

positive outcomes among the stakeholders: joy and eagerness in 

teaching and learning, fulfilment in serving, perseverance and 

creativity, heightened concern for others and recognition of the value 

of music. The development of the CMSL program since 2013 outlines 

the teaching progression from “rote” to “note”, the addition of 

teaching violin and voice; the provisions for transport and food for 

children; and more parental support. Furthermore, the program 

corroborates studies emphasizing that the processes within community 

music initiated by universities are best understood through the 

combined interaction of outreach, engagement and service learning. 

Identifying strong connections between music and service could be 

further achieved by similar researches which could help develop 

programs of study combining musical expertise with social work, both 

on equal terms, not supplementary but complementary, and by 

designing service-based music pedagogy, performance, and research. 

Keywords: community music, service learning 

! 

! 

13 

!



! 

! 

Introduction 

Community music can be viewed as : (1) music of a community, (2) 

communal music making, and (3) an active intervention between a 

music leader or facilitator and participants (Higgins, 2012). 

Community Music may also simply be described as active 

participation in music making (Veblen & Olson, 2002). As the 

International Journal of Community Music puts it, community music 

may be thought of as music teaching-learning interactions and dealings 

outside traditional music institutions (i.e. schools, university music, 

conservatories). Community music is now a field of research and 

practice internationally (Kertz-Welzel, 2013) and is currently being 

explored in the areas of music education, music therapy, music culture 

preservation and cultivation. It is not easy to define because its 

activities are wide-ranging, multifarious, and contextual (Higgins, 

2012). It is multifaceted but what is common among all the notable 

community music programs and projects around the world is their 

main purpose which is to address community, social or personal 

development (Deane 2013: 292). We can say that community music is 

linked essentially to “service” to the people. 

Service Learning is a method through which students engage 

in an experiential service activity in partnership with a local 

community. The students need to reflect on the service activity 

enabling them to learn and develop academic, personal, societal values 

and civic responsibility (Bringle, Hatcher, & McIntosh, 2006; Furco, 

1996). Service-Learning is viewed as a form of community service, as 

an instructional methodology, an approach, a strategy for cultural 

competence and awareness, a social justice orientation, and a 

philosophical worldview (Butin, 2010). Some studies show that 

service-learning had significant effects on students’ cognitive, 

academic skills; and disposition to serve, over a “generic” community 

work (Vogelgesang & Astin, 2000). Of particular interest in this study 

is the “Community Music” operating within the dynamics of “Service 

Learning”. For service-learning to be effective, it has to engage with a 

community, and community work in turn, has to operate within the 

service-learning framework. 

The evidence of impact and value of community music 

activities in the Philippines as well as in other countries continues to be 

one of the research gaps in community music. This was reported in the 

knowledge exchange colloquium of an informed group of 15 

practitioners and academics in the United Kingdom by the “Connected 

Communities of the Arts and Humanities Research Council (McKay & 

Higham, 2011). Moreover, while there are already existing studies on 

the impact of Service Learning to future music teachers or pre-service 

music teachers as their practicum or training (Bartolome 2013; Burton 

& Reynolds 2009), research on the impact of community music in the 

area of an informal teaching of music in a community in the context of 

service-learning is yet to be explored. This research examines 

community music as an intervention specifically through an informal 

music teaching-learning interactions and dealings among Payatas 

children, which operates within a collaborative framework involving a 

higher education institution, the University of the Philippines and a 

! 

! 

14 

!

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! 

foundation which is for poverty alleviation and education , Payatas 

Orione Foundation Inc. or PAOFI. 

Method 

Using the interpretive phenomenological approach, the analysis of the 

CMSL framework was drawn from a triangulation of data collected 

from interviews, narratives, photo and video documentation of the (1) 

stakeholders’ description of their experiences (2) the development of 

the CMSL from its implementation and (3) the CMSL structure in the 

light of the practices, approaches and structures of community 

engagement, community music, and service learning. The description 

of the experiences of the stakeholders consisting of (a) the community 

learners and their mothers; (b) the university students enrolled in the 

service-learning course and (c) the key informants in the partner 

foundation were gathered from the interviews and written narratives. 

This data was transcribed and organized for thematic analysis. Other 

artifacts such as the recorded videos and photos of the CMSL activities 

although not the main object of analysis, served as a secondary and 

supporting material for the research. The development and changes in 

the implementation of the program in 3 academic years were 

presented, compared and examined using the basic logic model on 

which the CMSL program was constructed (see Figure 1). The 

structure of the program involving the University of the Philippines 

Music Education Department, the partner foundation PAOFI and the 

Payatas children and their mothers was analyzed through the existing 

studies on community engagement, community music and service 

learning. 

Background of the Study 

The CSML Community Music Service Learning is a partnership 

between the College of Music of the University of the Philippines (UP) 

and PAOFI, an NGO implementing nutrition and education programs 

for poverty alleviation. One of the donors of the feeding program 

initiated the partnership by inviting the Music Education Department 

students of UP College of Music to offer an informal music teaching of 

instruments to the children of Payatas, with the intent of keeping the 

children away from the influence of drugs and other vices. Payatas is 

the largest open dumpsite in the Philippines with communities in 

severe poverty, living from scavenging. (Mukarami, 2011). The 

collaboration was then established with one of the courses in the UP 

Music Education known as the Civic Welfare Training Service 

(CWTS). CWTS is one of the program components of the National 

Service Training Program (NSTP) established under the Philippine 

Republic Act 9163, also known as "National Service Training Program 

(NSTP) Act of 2001” to develop the culture of service and inculcate 

patriotism in all tertiary level students of the Philippines through 

service learning. CWTS under the College of Music of UP is a 2- 

semester/1 year course which consists of a preparatory course in the 

first semester (CWTS 1) and the service-learning activity in the 

second semester (CWTS 2). The CMSL program is implemented on 

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15 

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! 

the 2 nd semester of each academic year. It began in the academic 2013 

and continues to be implemented until the present academic year of 

2016. This research focused on the academic years 2013, 2014 and 

2015. 

Research Setting 

This study focused on the implementation of the CMSL program 

during the 2 nd semester of academic years 2013, 2014 and 2015. The 

site of the engagement was the Mother of Divine Providence Church of 

Payatas, through which the foundation was established. It is 7.8 

kilometers from the university. The students taught music every 

Monday from 9:30 to10:30 in the morning for (5) months and 

culminated in a simple recital of the Payatas children. An average of 

20 to 25 Payatas students of 8 to 12 years of age participated every 

year. Due to lack of space, the keyboard students were taught inside 

the church while the guitar students were taught in the space adjacent 

to the church which serves as a covered multi-purpose venue. Voice 

and violin were taught also near the area. 

! 

Findings 

Stakeholders’ description of their experiences 

The experiences of the stakeholders consisting of the community 

learners and their mothers; the university students’ enrolled in the 

service-learning course and the key informants in the partner 

foundation highlight (a) joy and eagerness in teaching and learning, 

(b) fulfilment in serving, (c) perseverance and creativity, (d) 

heightened concern for others and (e) recognition of the value of 

music. 

Joy and eagerness in teaching and learning. What stood out 

in the community learners’ remarks is the joy associated with learning 

an instrument. When asked what they felt about the program, many of 

them said the word “masaya” or happy; also the word “maganda” or 

beautiful or wonderful. When asked why, almost all replied “because I 

learned how to play [piano or guitar]”,“we learned many things about 

the guitar,”; “happy because it was my first time to play an 

instrument!”; “I learned how to put my hands and fingers on the 

piano.” “It’s so fun to play [guitar]!” was the remark of a nine (9) year 

old girl who was running a fever during the recital but forced herself to 

perform. Chosen photos of the recitals are show below (See Figures 

1-4): 

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16 

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! 

! 

Figure 1: Guitar Ensemble in 2013 Recital 

Figure 2: Piano lesson and recital with teacher 

accompaniment in ukelele (2014) 

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! 

17 

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! 

! 

Figure 3: Violin Recital 2015 

Figure 4: Awarding of Certificates to the Recitalist in 2015 

The mothers of the community learners clamoured for a 

continuous music teaching for the children. One mother commented, “I 

really hope they become experts [musicians]…please persevere in 

teaching them.” 

The university students emphasized the joy of being able to 

teach and seeing the children learn. One wrote that she was “more than 

happy to see” the children “excel in the art of playing musical 

instruments.” ! 

Another student expressed, 

…just the thought of inspiring kids to play and 

enjoy music makes the hardship of the service 

worth it. Over all I enjoyed my semester 

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because I thought it was in some way fruitful 

because we really saw that our students really 

learned. 

Fulfilment in serving. The sense of fulfilment in serving was 

intertwined with joy. One student, a teacher of guitar declared that it 

“was fulfilling when he saw his students perform. Another commented 

that the thing that she “was most satisfied with was definitely seeing 

the kids play successfully in the culminating activity”. 

A teacher of guitar declared, “It was fulfilling. There was a 

special feeling of happiness” when they saw the students perform. 

Perseverance and creativity. The difficulty in traveling to the 

site, the lack of instruments and time; the limitations of the venue were 

occasions to grow in the virtue of perseverance and to develop 

creativity. A university student commented, 

… tiring to go back and forth to Campo, Payatas, 

every week. But seeing how the children actually 

learned fast, and how excited they were to perform, 

took all of the stress away. I looked forward to being 

with them every week…, and am very proud of their 

accomplishment of being able to play in a recital, no 

matter how short it was. 

This same student emphasized developing perseverance 

saying, ‘the desire to go regularly grew in me as I continued 

to watch over the students.’ Another emphasized the 

creativity he developed given the limited resources there was, 

he learned “how to adjust with what resources are available.” 

This teacher developed his own method of teaching in that he 

would ask a piano student to play blindfolded so he 

concentrates on the sound. Another teacher accompanied her 

piano student on the ukulele to guide her with the progression. 

Heightened concern for others]. Many of the university 

students witnessed the dire poverty in Payatas and realized that they 

are far more privileged than the children of the community. A student 

wrote, 

The Payatas community has very much shown 

me the things I think are necessities that others 

consider luxuries (internet access, among others). 

A similar reflection was shared by another student, 

… I learned how to appreciate the things that I already have... 

One became involved not only in the children’s musical learning but 

also in their lives. She says, 

… one of my students, shared with me that his 

family is [sic] struggling with finances. Sometimes, 

he would come home and find nothing on their 

table, but he said that they were still happy despite 

their situation. 

Another one described his experience as an eye opener, 

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I feel that this [service-learning project] exposed me 

to harsh realities of life. Of course, I am not totally 

ignorant of poverty but going to Payatas every 

Monday, enlightened and actually awakened me 

more. 

One student who, in reflecting what she received from the servicelearning 

project, expressed 

What I received in return, however, was an understanding of 

how kids that [sic] are far less privileged than I am… A lot of 

these kids weren’t able to communicate their family lives to 

us, but they had a lot of concerns that went far beyond my 

own… 

Recognition of the value of music. Two of the key informants 

in the partner foundation were the social workers assigned to oversee 

the program, expressed appreciation for the CMSL program because it 

helped [the children] ‘express themselves’, ‘discover’ and ‘enhance’ 

their talents, [boost their] confidence’, and ‘encourage them to be 

responsible persons in the future.’ One commented that they ‘realized 

that children can be at their best when given such opportunity.’ Both of 

them suggested to ‘extend [the service] to other PAOFI grade school 

[children] scholars…and increase the number of beneficiaries to be 

able to ‘reach out to more children who are willing to learn [music.]’ 

With PAOFI having as its mission, children’s basic nutrition, one 

social worker commented that [CMSL provided something beyond] 

‘physical nourishment’. This was underscored by the other social 

worker saying, ‘incorporating music or the CMSL project in providing 

service for the beneficiaries made PAOFI program more holistic and 

dynamic.’ She also described it as ‘encouraging and very inspiring’. 

Development of the CMSL 

The development and changes in the implementation of the program in 

3 academic years 2013, 2014 and 2015 were presented, compared and 

examined. Figure 1 shows the basic logic model of community service 

learning upon which the CMSL program is constructed. 

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Figure 5: Basic Logic Model (W.K. Kellogg Foundation, Logic 

Model Development Guide) 

Based on this logic model guide, the CMSL was designed (as 

shown in Figure 5) by first identifying the desired output, outcomes 

and impact from which the resources or inputs and activities are based 

and created. The envisioned impact cannot be accomplished for a few 

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years much less after a year’s engagement and intervention but it is the 

first thing that has to be identified. The key question in a community 

engagement is, “what is your dream?” and “how can you realize that 

dream?” The logic model is the blue print which provides answers to 

questions, “what changes in the community does one want to see?” and 

“how can one achieve that change?” 

The ability to make music is the immediate end of music 

education but when music education is used as an intervention to 

empower a person or a community, it must inform and transform lives. 

The CMSL program envisions a community of persons whose lives are 

influenced by the discipline of music, touched by its beauty, and 

inspired by its perfection, with the hope of bringing back self-esteem 

and self-worth lost by extreme poverty. Only when this 

impoverishment is abated can society form good citizens. 

Figure 6: CMSL Program Logic Model 

Figures 7, 8 and 9 show the development of the CMSL in 3 

years. Each year has a designated color so as to easily identify which 

ones were realized and what changes occurred in each year. The 

development of CMSL in 2013 shows that the children were able to 

perform in the recital. The music learning was primarily by rote, i.e. 

the use of chords for guitar and keyboard and largely dependent on 

hearing not reading music. 

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Figure 7: CMSL Program in 2013 

Figure 8: CMSL Program in 2013 -2014 

In 2014 (see Figure 8), music learning has included reading 

by note and the students were required to submit their lesson plans and 

journals to monitor the progress of the children. The teaching of voice 

and violin were added. Transportation was provided which facilitated 

the travel and ensured the security of the students considering the 

distance of the engagement and the expenses entailed in travelling. 

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Figure 9: CMSL Program in 2013, 2014, 2015 

The program added a group voice lesson which prepared some 

children to perform in a vocal ensemble performed in the recital. 

Appropriate vocalises and exercises provided a better training in 

singing solo and in an ensemble. More parental support is seen in 2015 

because the mothers are visible during the children’s lessons. Another 

important development is the provision of snacks. There were 

instances when children come for lessons without having taken 

breakfast. Many in Payatas are in this situation when parents cannot 

give even the basic needs to their families. 

CMSL Structure 

Figure 10 shows how CMSL is designed and presents the outcomes 

within the collaborative partnership. 

Figure 10: Community Music- Service Learning Framework 

(Defining Outcomes for Constituencies, Gemmel & Clayton, 2009) 

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Each stakeholder is a support to the other and therefore mutually vital 

in achieving the program outcomes. PAOFI as a non-profit foundation 

is crucial in sustaining the program since 2013, by providing the 

resources like the venue, the instruments which were acquired through 

donors and maintaining the connection with the Payatas children who 

have been benefiting from their nutrition programs and educational 

scholarships. In the past, the University of the Philippines College of 

Music had many attempts to establish partnerships with communities 

but it was only this partnership with PAOFI that was sustained and 

flourished. This could possibly be in the first place, due to the fact that 

it was PAOFI which invited the university to teach music to the 

beneficiaries of their poverty alleviation programs. Secondly, PAOFI 

is a stable entity which has been serving the Payatas community for 10 

years. This shows that the stability of a partner foundation and its 

recognition of a community need and the identification of the proper 

institutional partner are necessary in sustaining the collaboration. 

The partnership and mutually shared and reciprocal goals among 

community stakeholders, sustain the vibrant exchange and 

interdependence (Mattessich & Monsey, 1992). With regard to the 

community Music as initiated by universities, studies show that its 

processses are best understood through the combined interaction of 

outreach, engagement and service-learning. (Gordon & Manosevitch 

2011; Hart & Northmore 2011; Knapp, Fisher, & Levesque-Bristol 

2010; Schmidt, Marks, & Derrico 2004; Scull& Cuthill 2010; 

Timmermans & Bouman 2004, cited in Chong et. al.2013:155). What 

is crucial for advancing both in knowledge and human wefare is the 

sustained, effective collaboration between academics and community 

members (Jacoby & Associates, 2003). Moreover, community 

musicians predominantly work outside formal or traditional 

instructional settings but when they move and operate within an 

educational setting, their programs are most vibrant and sustainable 

(Higgins & Bartleet, The Community Musician and School Music, 

2012). In the CMSL program, the community musicians were the 

music education students who taught the Payatas children. However, 

every year the music education students can only engage for 5 months 

(or one semester) based on the course requirement. A new batch of 

students engage in each academic year. There is a need to curb this 

drawback of students’ limited engagement by “passing the baton” to 

the next batch, orienting them on what was already done and how they 

can build on that (de la Cruz, 2016). The most feasible solution to this 

is to set teaching standards without stifling creativity to ensure 

consistency in the intervention. More importantly, is to aim to train the 

learners to be eventually the music teachers of their own community. 

Conclusion 

The experiences of the stakeholders highlight positive outcomes. The 

community learners and their mothers’ description of their CMSL 

experience show how music learning brings joy and eagerness to 

learn more and to continue learning. For the university students, joy 

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and sense of fulfilment were associated with seeing the children learn. 

Another outcome is the development of perseverance, a virtue or a 

disposition enabling one to be resilient in difficulties and constant in 

the pursuit of the good. Dispositions according to Barnett (2009) 

constitute a legitimate form of learning and can be considered as forms 

of energy demonstrated in the will to learn; will to engage; 

preparedness to listen and explore; openness to new experiences; and 

determination to keep advancing. Creativity was wrought from the lack 

of resources and the desire to find apt learning strategies. The students’ 

experience of tiredness, other difficulties and limitations became a 

venue not only for personal growth but also social awareness. This 

affirms that concern for others and active citizenship in university 

students is facilitated by service-learning (Vogelgesang & Astin, 

2000). PAOFI, the partner foundation’s recognition of the value of 

music education is affirming that CMSL was able to provide 

something which went beyond basic human needs, essential to the 

holistic development of the children. 

The development of CMSL from 2013 to 2015 outlines the 

teaching from “rote” to “note”, the addition of violin and voice; the 

provisions for transport and food for children; and more parental 

support. In all community engagements, the desired impact or enduring 

change in a community is always the starting point, the direction of the 

planned intervention, and its key indicator of success. The impact or 

enduring change can only be realized after a considerable number of 

years. CMSL is still in the gestation period and thus, needs to be 

continuously implemented and evaluated through ethnographic 

research by which significant and enduring changes in the lives of the 

children could be examined. The CMSL framework as a whole, shows 

that collaborative, reciprocal partnerships with mutually beneficial 

goals provide a strong support to the sustainability and development of 

a program for community engagement. Moreover, the recognition and 

identification of a community need coming from the community itself, 

the partner foundation’s stability, and the higher education’s 

commitment to the program are crucial to this active partnership and 

interdependence. Finally, the structure of the program corroborates 

studies showing that the setting within which community music is best 

realized is through a strong connection and interaction between 

community engagement and service-learning. 

Community music and service-learning in essence is 

combining music with service. There is a need to identify strong 

connections between the two specifically in the context of higher 

education. Similar researches could open possibilities and 

opportunities for fresh educational philosophies, new instructional 

strategies hinged on synthesizing music with community development, 

combining musical expertise with community service and engagement, 

both on equal terms, not supplementary but complementary, and by 

designing service-based music pedagogy, performance, and research. 

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References 

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Barnett, R. (2009). Knowing and Becoming in the Higher Education: 

Studies in Higher Education Curriculum. In Between Man 

and Man (pp. 429–40). London: Routledge. 

Bartolome, S. J. (2013). Growing Through Service: Exploring the 

Impact of a Service-Learning Experience on Preservice 

Educators. Journal of Music Teacher Education, 23(1), 79-91. 

Retrieved September 9, 2014, from SAGE 

Bringle, R., Hatcher, J., & McIntosh, R. (2006). Analyzing Morton’s 

Typology of Service Paradigms and Integrity. Michigan 

Journal of Community Service , 13(1). 

Burton, S., & Reynolds, A. (2009). Transforming Music Teacher 

Education Through Service Learning. Journal of Music 

Teacher Education, 18(2), 18-33. 

Butin, D. (2010). Service-learning in theory and practice: The future 

of community engagement in higher education (First ed.). 

New York, USA: Palgrave Macmillan. 

de la Cruz, L. J. (2016). Sustainable Outcomes: Community 

Engagement Integrated with Mainstream University 

Activities. 3rd AsiaEngage Regional Conference 2016 (p. 

Plenary Speech). Manila: AsiaEngage Regional Conference. 

Deane, K. (2013). Community Music and Music 

Pedagogy:Collaborations, Intersections and New 

Perspectives: A Personal Reflection. International Journal of 

Community Music, 6(3), 291-294. doi:10.1386/ijcm.6.3.291_1 

Furco, A. (1996). “Service-Learning: A Balanced Approach to 

Experiential Education. Expanding Boundaries: Service and 

Learning. Washington DC: Washington DC Corporation for 

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for Community Service-Learning (CSL) in Canada. Canada: 

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Retrieved July 24, 2014, from 

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content/uploads/2013/03/A-Comprehensive-Framework-for- 

CSL.pdf 

Higgins, L. (2012). Community Music in Theory and in Practice. New 

York, USA: Oxford University Press. 

Higgins, L., & Bartleet, B.-L. (2012). The Community Musician and 

School Music. In G. McPherson, & G. Welch (Eds.), Oxford 

Handbook of Music Education. New York: Oxford University 

Press. 

Jacoby, B., & Associates. (2003). Building Partnerships for Service- 

Learning. San Francisco, California: Jossey-Bass. 

Kertz-Welzel, A. (2013). Community Music in Germany. International 

Journal of Community Music, 6(3), 263-272. Retrieved June 

17, 2014, from Ebscohost 

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Mattessich, P. W., & Monsey, B. R. (1992). Collaboration: What 

Makes It Work. Minnesota: Wilder Foundation. 

McKay, G., & Higham, B. (2011). Community Music: History and 

Current Practice, its Constructions of ‘Community’, Digital 

Turns and Future Soundings. UK: Arts and Humanities 

Research Council Connected Communities. Retrieved 

September 9, 2014, from 

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ory_and_Current_Practice_its_Constructions_of_Community 

_Digital_Turns_and_Future_Soundings 

Mukarami, C. (2011). Effectiveness of Education for Working Children 

in the Philippines: A Case Study of Payatas in the 

Philippines. Ritsumeikan Asia Pacific University, . Kyoto: 

Ritsumeikan Research Repository. 

doi:http://hdl.handle.net/10367/2587 

Veblen, K., & Olson, B. (2002). Community Music. In R. Colwell, & 

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Community Service and Service-Learning. Michigan Journal 

of Community Service Learning(Fall), 25-34. 

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Exploring the Malay Traditional 

Genre ‘Zapin’ as Educational 

Material for a Western Classical 

Ensemble (Flute, Viola, Piano) 

Violetta Ayderova 


Karen Anne Lonsdale 


Yen-Lin Goh 


Mohd Pauzi Majid 

Universiti Pendidikan Sultan Idris, 

ABSTRACT 

Zapin is one of the traditional Malay Asli music genres that was believed to 

have been introduced to Malaysia in the 14th century by Muslim traders and 

missionaries. The instruments used in modern times in this genre are 

typically violin, flute, accordion, gambus, rebana, and marwas. The main 

characteristic of this genre is the melodic line that passes to various 

instruments of the ensemble with slight improvisations on each. This paper 

will discuss a new arrangement of a Zapin piece for a Western classical 

ensemble including flute, viola, and piano. This arrangement adheres to the 

traditional characteristics of the Zapin, but is fully scored using Western 

classical notation. Such arrangements may be useful in teaching the Zapin 

genre to students who are learning Western classical instruments. This 

paper will highlight the benefits of including the Zapin dance as educational 

repertoire in the teaching studio, for student ensembles of medium to 

advanced levels. 

Keywords: Zapin, Malay Asli music, music education, traditional music, 

Malaysian music. 

The Zapin dance is widely performed in Malaysia but is traditionally taught 

by rote learning, passing on the traditions and nuances of its performance 

from generation to generation. The Zapin is one of the five dances of Malay 

Asli music: Asli, Inang, Masri, Joget and Zapin (Mohamed Ghouse 

Nasuruddin, 2007, p.172). It originated from the Middle East, brought by 

Arabs who were engaged in trade with Malaysia, and whose rich culture has 

profoundly influenced the musical developments in Malaysia. The Zapin 

includes a type of lute brought by the Arabs to Malaysia called the Oud, 

known in Malaysia as a Gambus. 

The Zapin dance has a specific rhythmic pattern which is played by 

the Marwas (drums) that distinguishes it from other genres. The tempo of 

28



this dance ranges from a moderate to a fast pace. The Zapin Melayu is an 

adaptation of the original Zapin Arab which came through during the trade 

times of Malacca, and has gone through adaptations and assimilations of the 

two cultures, from both religious and cultural perspectives. (Mohd Anis Md 

Nor, 2009, p.36). The Zapin has many variations which originated from 

various parts of Malaysia, including: 

• Mersing: Zapin Tenglu and Zapin Pulau; 

• Muar: Zapin Lenga; 

• Johor Bahru: Zapin Pekajang; Zapin Budi (Johor, Pahang, 

Selangor) 

• Batu Pahat: Zapin Koris; 

• Pontian: Zapin Parit Mustar and Zapin Seri Bunian 

(Mohd Anis Nor, 2001, p.65-71) 

The Zapin dance is considered to be a part of the Malay culture and is 

performed mainly for entertainment purposes. According to Mohd Anis Md 

Nor (2006, p.35), “Like many other Malay folk and social dance traditions, 

Zapin owes its existence to the processes of intercultural and cross-cultural 

borrowings through the ages”. 

Instrumentation and Musical Characteristics of Zapin 

Zapin dance performances are accompanied by a group of instruments, 

including gambus, violin, flute, accordion, marwas or rebana, and bass 

guitar. Zapin music has a specific form, including an introduction, middle 

and final section. The introduction or Taksim is an improvised solo played 

mainly by gambus (or accordion, violin or flute). The middle main melodic 

section, Kopak, is based on distinct rhythmic patterns played by a few drum 

players (marwas or rebana) in an interlocking style. The final section or 

coda, named Wainab or Tahtim, uses the Kopak melodic phrase. (Matusky & 

Tan, 2004; Mohd Anis Md Nor, 2009). In modern times, the Zapin dance is 

performed in different versions with a wide variety of improvisations and 

includes accompanying instruments such as the violin, flute, gambus, 

accordion (melodic and harmonic lines) and traditional percussion like two 

rebana and tambourine (rhythmic pattern). 

One of the most famous Zapin pieces is Pantun Budi, which is a 

traditional song, made famous by the late Tan Sri S. M. Salim. A‘Pantun’ is 

a Malay poetic form based on a theme or subject (tajuk) and ‘Budi’ means 

‘good deeds’ (Ho, 2015). For many centuries this dance was performed only 

by men, in compliance with religious concepts, but in modern times it also 

includes women. The time signature is 4/4 and contains melody, harmony 

and a rhythmic accompaniment. 

The middle section of this Pantun Budi contains two parts, including 

the chorus and verse. These sections are connected with a bridge consisting 

of a strong, rhythmic pattern called Kopak (pak kopak kopak kopak). Zapin 

is most commonly based on a hexatonic scale and/or a heptatonic scale 

pattern. Chye (2016, p.219). This creates an impression that the music is 

hovering between modes as well as in a diatonic key”. According to Chye 

(p.219), the rhythmic form in Zapin is based on "quaver-two semiquaversquaver-quaver-quaver-quaver 

and crotchet". The ornamentations that 

embellish the melody and improvisations create an exclusively Malay 

character, and are included in the performance to give the melody variety, to 

avoid a monotonous outcome. 

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The Zapin dance genre is widely performed in all the states of 

Malaysia, but is most popular in the state of Johor. It is taught primarily by 

traditional music performers who have learnt it through the oral tradition. 

However, performers on Western classical instruments are typically taught 

mainly through reading musical notation on scores, therefore may not have 

the opportunity to play such traditional music, since few Zapin scores for 

Western classical instruments are published. Playing of music from this 

genre may assist in developing students' technical, rhythmic and ensemble 

skills. 

By creating new scores of Malay Asli music, students learning to play 

Western classical instruments may develop an enhanced understanding of the 

traditional music of Malaysia. It is hoped that the creation of new scores will 

assist in promoting Malay Asli music, including the Zapin genre, so that it 

can be enjoyed by players of Western classical instruments, not only in 

Malaysia but also internationally. 

The purpose of this paper is to examine the genre Zapin as teaching 

material and to introduce a new written arrangement for an ensemble of 

Western classical instruments including flute, viola, and piano. The creation 

of a score of a new arrangement of Pantun Budi will assist in preserving the 

traditional music of Malaysia in a notated form. 

Literature 

A review of the literature returned various articles describing Zapin as a 

genre, as well as the characterisation of the typical instruments used in a 

traditional performance. One article describes the features of technical 

ornaments required in the performance of Pantun Budi on violin (Chye, 

2016, p.222). However, there is little information about how Zapin music can 

be used as educational material. A search for published full scores of Pantun 

Budi with attached parts for instruments returned no results, either for an 

ensemble of folk instruments, or for an ensemble of Western classical 

instruments. Only piano scores with attached harmonic chords arranged by 

Malaysian composers were found. This indicates that this type of music is 

still transmitted primarily at the oral level, or through unpublished scores. 

Therefore, there is a need to create a new collection of fully scored Malay 

Asli music which includes genres such as Asli, Inang, Joget and Zapin. 

There is therefore a need to fill a gap in the in the literature for further 

preservation of this beautiful genre. The creation of a fully scored 

arrangement of Pantun Budi with separate parts closely resembling the 

original traditional form (although it is always performed in different ways 

by traditional performers) will fill a gap in the existing literature for Western 

classical ensembles. 

Discussion 

The Pantun Budi dance is the first of a series of works that will be included 

in a new collection of arrangements of Asli music for a Western classical 

ensemble. The arrangement has been created by Mohd Mustaqim Bin 

Abdullah, and Mohd Pauzi Bin Majid, and utilises the typical characteristics 

of each of the modern instruments, while observing the nuances of a 

traditional Zapin. 

In the original traditional folk ensemble, the roles of the instruments 

performing the main melodic lines and accompaniments, both harmonic and 

30



rhythmic, are distributed evenly between each part. In the present version for 

a Western classical ensemble (flute, viola and piano), all of the instruments 

perform the melodic lines which include stylistic ornamentations, in addition 

to their rhythmic, harmonic, and counter-melodic functions. 

The structure of this piece is consistent with the standard form of a 

Zapin: introduction, main section, and ending. The new arrangement of the 

Pantun Budi is in common-time, and uses a C harmonic minor scale. The 

introduction or Taksim commences with a flute solo, written in the tempo 

‘rubato’. The middle Kopak section opens with piano (instead of an 

accordion) and continues with the viola (instead of a gambus). It uses the 

same melody (4/4 bars). Then in the Kopak section, the main melody is 

interlaced between flute and viola, while the piano performs rhythmic and 

harmonic patterns in the accompaniment. Each instrument uses a rhythmic 

pattern to imitate the percussion instruments (marwas, rebana) which would 

normally be used in a traditional performance of Zapin. The melodic line is 

alternately passed from instrument to instrument. 

Flute Techniques 

The opening, or Taksim is a cadenza-like passage that is played in a rubato 

style by the flutist (Figure 1). This florid and ornamental solo includes 

numerous acciacaturas, fast runs, and a gruppetto (turn). In the traditional 

Taksim, the flute would improvise a solo, however, in this arrangement, it 

has been fully written out for players of Western classical flutes. The flute 

part of Pantun Budi focuses on the second and third octaves of the 

instrument, therefore is suitable for an upper intermediate to advanced 

player. The part is readily sight-readable for an advanced level player but 

probably not for less experienced players. 

Strong tonal projection is required, as the flute solos alternate with the 

viola, and need to be heard above a driving, rhythmic piano accompaniment. 

A good command of a range of articulations is necessary, as the part includes 

tongued syncopated figures, staccato, slurring in pairs, as well as slurred 

semiquaver triplets. The flute part includes ornaments that are used typically 

in classical playing such as mordents, gruppetto (turn), and acciacaturas. 

Figure 1: Flute Excerpt from the Taksim in Pantun Budi. 

Viola Techniques 

In the new arrangement, the viola player can apply classical playing 

techniques while remaining true to the stylistic characteristics of Zapin. The 

viola score is written with a range of two octaves, which should normally not 

be difficult to play for advanced students. It also uses common note values 

such as semiquavers, triplets, and dotted rhythms, in addition to the same 

ornaments that are written in the flute part. In the final (coda) part of the 

piece, the arrangers use a specific rhythm pattern called the Kopak, which 

was originally played by the percussion section. In the viola part, this effect 

has been achieved by using the ‘double stops’ technique (the bottom note is 

the open C string) which can be executed by advanced students (Figure 2). 

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The ornamentations are used to give the melody the unique traditional style 

of the Zapin. 

Figure 2: Viola Double Stops in Pantun Budi. 

Piano Techniques 

In this arrangement of Pantun Budi, the piano serves primarily as the ‘rhythm 

section’, providing not only the rhythmic drive, but also the harmony that 

supports the melody and countermelody played by the flute and viola. After 

the introductory rubato flute solo, the piano opens the middle section with a 

percussive Kopak pattern that sets the tempo, as well as the rhythmic energy 

of the Zapin (Figure 3). This Kopak pattern continues until the end of the 

piece. 

Figure 3: Piano Solo (Kopak Pattern) from Pantun Budi. 

The piano part is accessible and suitable for an intermediate player 

with a strong sense of rhythm. The chords are fully notated, with a 

comfortable voicing and chord progression, which is helpful for a classical 

pianist who may have limited experience with reading chord symbols. The 

most challenging part for the pianist is the opening of the middle section and 

the coda. In both sections, the right hand plays the melody in mostly 

consecutive octaves, while the left hand plays the Kopak rhythmic pattern, 

which involves leaping between octaves in the lower register and chords in 

the middle register of the piano. 

Zapin as Educational Material 

While Zapin music is performed widely by Malaysian musicians, due to a 

lack of availability of published scores, this vibrant music is much less 

known to Western classical players. Institutions such as the Faculty of Music 

and Performing Arts, Universiti Pendidikan Sultan Idris, recognise the 

importance of promoting Malaysian music and Malaysian composers, and 

have already implemented the requirement for students to play at least one 

Malaysian work in their Applied music examination performances. 

This research has in part come about in response to the need for scores 

which cater for the growing number of students playing Western classical 

instruments, such as flute, viola and piano at Malaysian educational 

institutions. These scores will also provide an opportunity to expand the 

repertoire for ensembles of classical instruments and to enrich the performing 

skills of ensemble members. This will enable both musicians to develop an 

understanding of the cultural and historical contexts of traditional music and 

its proper execution. 

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Importance of the Research 

Including the Zapin genre as educational music material may be beneficial 

for students to deepen their understanding of the different musical traditions 

of Malaysia, while developing knowledge about the social, cultural and 

historical contexts of this music. Additionally, students may develop skills in 

interpretation through a better understanding of the stylistic elements and 

form of Zapin music. 

Conclusion 

The creation of a published collection of Malay Asli music arrangements is 

likely to increase international awareness and appreciation of the traditional 

music of Malaysia. This article has focused on the first of this collection of 

scores which will provide musicians across the globe with the opportunity to 

learn how to play traditional Malay Asli music in a Western classical 

ensemble. 

It is hoped that students who play Western classical instruments will 

be able to benefit from using this new score for flute, viola and piano, 

towards an increased awareness and understanding of the Zapin style. By 

playing through this score, students can come to a better understanding about 

the correct execution of ornaments, as well as traditional Malay ensemble 

performance in general. 

Acknowledgements 

This project is funded by an FRGS research grant entitled “Sourcing and 

Preserving Malay Asli Music Through the Development of a Book of Music 

Score of Arrangements for Small Ensembles, with an Accompanying CD”. 

The authors wish to thank Universiti Pendidikan Sultan Idris and the 

Malaysian Government for their support of this research. 

References 

Chye, G. N. K. (2016). Violin in ensemble for dance: Improvisatory styles in 

the ‘adopted’ Malay dances of Zapin. In G. Jähnichen (Ed.), Studia 

Instrumentorum Musicae Popularis IV (New Series) (pp. 217-224). 

Münster: MV-Wissenschaft. 

Ho, S. (2015). Dondang sayang. Retrieved from the Singapore Infopedia 

website: 

http://eresources.nlb.gov.sg/infopedia/articles/SIP_495_2004-12- 

20.html 

Matusky, P. & Tan, S. B. (2004). The music of Malaysia: The classical, folk 

and syncretic traditions. Hampshire: Ashgate. 

Mohamed Ghouse Nasuruddin. (2007). Traditional Malaysian music. 

Selangor Darul Ehsan: Malaysia. 

Mohd Anis Md Nor. (2001). Blurring Images, glowing likenesses: Old and 

new styles in traditional dances of Malaysia. Yearbook for 

Traditional Music, 33, 65-71. doi:doi:10.2307/1519631 

Mohd Anis Md Nor. (2009). The spiritual essence of Tawhid (Oneness- 

Peerlessness) in zapin dance performance by the beholders of the 

33



Tariqat Naqsabandiah in Southeast Asia. Journal of Southeast Asian 

Studies, 14(1). Retrieved from 

http://e-journal.um.edu.my/public/article-view.php?id=314 

34



Facilitating Musical Expression as an 

Emergent Interaction amongst a 

Teacher and Players 

Hiroshi Suga 

University of Miyazaki 

ABSTRACT 

The purpose of this study is to get a model of the thinking process of expert 

music teachers to facilitate students’ musical expression from a viewpoint of 

teaching as improvisation. I videotaped rehearsals of three electric 

keyboards ensembles instructed by three expert teachers. I interviewed the 

teachers about their thinking about instruction, their impacts to the 

performance and assessment for the players whilst reproducing VTRs of their 

rehearsals. I also interviewed the keyboard players about their impression of 

teachers’ teaching style and their thinking in the rehearsals. I segmented all 

of the text data scripted from the VTRs and the recordings of the interviews 

by their contents and categorized them from bottom up by using procedure of 

the grounded theory approach. None of the three teachers brought definitely 

predetermined plans of musical expression as their goal. They mainly 

facilitated the players to generate their own ideas of musical expression by 

inspiring their imagination with intentionally ambiguous words. They gave 

scaffolding support for the players. From these results, I made a model of the 

teaching process by an expert teacher for improving musical expression as a 

group creation characterized by emergent interaction between a teacher and 

players. 

Keywords: musical expression, group creativity, emergent interaction. 

35



Introduction 

Musical expression is generically regarded as the most important factor that 

determines the quality of performance. However, there have been only a few 

research papers about teaching methods to improve musical expression 

(McPhee 2011; Karlsson et al. 2008; Laukka 2004; Lindström et al. 2003). 

Typically, music teachers directly provide direction in the way of 

adjustment of dynamics or tempo, they explain the construction of the music 

and the composers’ intention, and they demonstrate model performances and 

give metaphorical instructions (Tait 1992). Many studies have regarded 

teachers as technical experts who solve clearly defined problems by choosing 

optimal procedures. In contrast, teachers as reflective practitioners who make 

improvisational decisions while interacting with unstable and 

context-dependent situations are drawing attention these days (Kanai & 

Kusumi 2012; Schön 1987). 

The purpose of this study is to get a model of the thinking process of 

expert music teachers to facilitate students’ musical expression from a 

viewpoint of teaching as improvisation. 

Method 

The participants were three teachers and three players. The three teachers 

included a university teacher in his 30’s (Yu), a teacher of a high school in 

his 40’s (Ken) and a former teacher of a junior high school in his 60’sTaku. 

They were seasoned male teachers with 10 to over 30 years experience in 

wind bands or symphonic orchestras. The players (Aya, Misaki, Seiko) were 

all female university students studying music education. 

The players performed the song “An Den Mond” composed by 

Schubert. I arranged the music for three keyboards by extracting three voices 

from the vocal and piano score. The title, lyrics and all of the musical marks 

were withheld from the teachers and the players. 

Procedure 

The players used YAMAHA keyboards SKB-J700 with piano timbre. 

36



They can control their sound volumes by strength of key touches and a foot 

pedal. The volume levels of volumes and timings of a key on and off were 

recorded as MIDI information. The teachers listened to the sound from 

external speakers on each keyboard. Starting volume of the three keyboards 

were equalized. 

The sessions of instruction by each teachers went along the following 

process. 

1. The players performed the whole piece with deadpan style. MIDI 

information was recorded as a baseline. 

2. Each teachers gave their suggestion to make their performance more 

expressive. Protocol data of teachers and players during the sessions 

were videotaped. 

3. The players performed the whole piece and MIDI information were 

recorded several times during the session. Each teacher decided the 

timing and the number of recordings. 

4. The sessions ended when each teacher determined that it was 

completed successfully. The final performance of the whole piece and 

MIDI information were recorded as finished data. 

5I made an interview with each teacher after each session in another 

room to talk about the impacts to the performance and assessment of the 

players whilst reproducing VTRs of the rehearsal. 

6. The players also had a group interview about their impression of the 

teachers’ teaching style and the players’ thinking in the rehearsals. 

The MIDI information included time codes of the on/off key, intensity 

of key touch and the manipulation of the volume pedal were used to calculate 

the volume and relative duration of each note and change of tempo at every 

beat. All of the protocol data scripted from the VTRs and the recordings of 

the interviews were segmented by their contents and categorized from 

bottom up by using the grounded theory approach procedure. 

Results 

Musical expression under the three teachers’ instruction 

37



Under Yu’s instruction, the players performed the music in relatively slow 

tempo and legato style. The melodies in the alto part which occasionally 

filled the spaces of the main melody of the soprano part were accentuated. 

Under Ken’s instruction, the players performed the music in a relatively 

quick tempo and a bouncy style using staccato. The climax in the later half of 

the music was emphasized by accelerando leading to a drastic ritardando in 

the end. Under Taku’s instruction, the players performed the music in a 

relatively slow tempo and legato style as with Yu’s session. 

Analysis of teachers’ protocol 

The following eight categories appeared form cording to segmented protocol 

data that the three teachers gave in their instructions and interviews (shown 

in italics). 

All of the three teachers clearly stated that they had only indefinite 

plans of instruction and unclear images of predetermined goals. Yu 

mentioned about that as follows. 

Yu: 

I don’t make any advance plan, though I do study a score on ahead 

so that I can get where and what is happening in the music and I 

have an imaginal sound of the music in my head. But I don’t bring 

my own recipe to it. 

Two of the three teachers used the word Ichigo-Ichie to couch a 

relationship between a teacher and players. Ichigo-Ichie means ‘once in a 

lifetime encounter’ in Japanese. 

Ken: 

Of course, I had my own image of the music from the score 

though I took an improvisation to meet the players’ own ideas as 

Ichigo-Ichie. 

The statement shows that Ken would not have controlled the players 

to lead them to their previous images of a goal but tried to explore a way of 

musical expression during his session. 

Before an in-depth instruction, all of the three teachers gave some 

questions to the players and made them perform the whole piece again in 

38



their natural style in order for discerning the players’ primary ideas and their 

understanding of the music. 

Yu: 

I always request the players to play the whole piece of music 

before beginning my instruction. Otherwise, I cannot get the 

players’ preferred natural style. 

The three teachers rarely proposed concrete directions for musical 

expression in their session. Instead, they often used metaphorical languages 

and encouraged players to try ‘an experimental performance’ to extract new 

ideas for musical expression. For example, Taku requested the players to 

invent lyrics to fit the music and to sing. This request started the players off 

talking about not only an imaginal story but also a mood and an emotion that 

they felt from the music. After this activity, the players made their musical 

expression absolutely different to the previous one. 

The teachers often lead to focus on a critical point of music without 

suggesting any direction for a change of expression neither directly nor 

euphemistically. Those directions often extracted changes of timing, 

dynamics and duration of particular notes including a derived note for a key 

transition and an appoggiatura. 

In the latter half of their session, teachers requested players to listen to 

each other’s sounds to make an interactive performance. Ken used the word 

“talk musically” to promote collaborative problem-solving. 

Ken: 

It is better to play the music by talking musically to each other. 

“You gave it to me, then I’ll give this back to you.” “That ignited 

me!” I like such conversations. 

Overall, the three teachers showed their mood to promote the players 

to take an initiative. However, teachers took their initiative when they 

demanded collections of obvious problems including asynchronous rhythms 

and inapt senses of meter. 

The teachers assessed not only sounds but also changes of the players’ 

thinking during the performance with the players’ verbal reactions to the 

teachers’ direction and body movement with the music. 

39



Yu: 

Their sound did not changed drastically, nevertheless, I felt that 

their thinking had changed. They might have been playing 

thoughtlessly before. However, they began playing with great 

attention. 

In their final phase, the three teachers requested the players to 

consolidate their ideas to make a coherent plan of musical expression for the 

whole piece. 

Yu 

You know, the whole music consists of all the sections. You 

should carefully play the music with the image of the big picture in 

your mind. 

An analysis of the players’ protocols 

I got the following four categories (shown in italics) from coding to the 

segmented protocols of the three players in their interview in which they 

looked back on each teacher’s session. 

The players experienced hesitation and insecurity when they could 

not understand the teacher’s intention and they felt the demand level from the 

teacher was too high for them. 

Seiko: When he said that he did not like our performance on a particular 

measure, I did not understand why. I didn’t know how to cope 

with it. This deprived me of my fun playing music in that scene. 

In the situation that the players felt hesitation and insecurity, they 

tried to look into the teachers’ intentions through facial expression and subtle 

nuance of the teachers’ words. 

Aya: We were put in a difficult trial and error situations, weren’t we? 

Seiko: Yeah, definitely. 

Misaki: I was trying to gauge his feelings. 

Interestingly, when the performers reluctantly agreed on the teacher’s 

40



proposed expression. They felt insecure and the obtained expression was 

gradually diminished in each recording. 

On the other hand, the players experienced an assent and easiness 

when they realized the effect of the teacher’s direction. 

Aya: I thought that he was pushing the tempo while he was conducting, 

but it encouraged me to exceed my limit. 

Seiko: I thought that I felt more unreserved to play the music with his 

conducting, too. It was the most cohesive performance in this 

session, I suppose. 

In the recording right after the scene, the players made a drastic 

change of musical expression in not only tempo, but also in dynamics and 

articulations. 

Discussion 

Firstly, none of the three teachers brought definitely predetermined plans of 

musical expression as their goal (Karlsson & Juslin 2008). The teachers’ 

words “Ichigo-Ichie” shows that they evidently recognized the importance to 

generate musical expression in a reciprocal process with the players on site. 

To prepare for the reciprocal instruction, they gave the players several 

question to discern their primary ideas and understanding of the music. 

Secondly, not only teachers but also players collaboratively made 

decisions of musical expression. The teachers rarely gave concrete 

propositions about changes of tempo and dynamics. Instead, they mainly 

facilitated the players to generate and reframe their own ideas of musical 

expression by inspiring their imagination with intentionally ambiguous 

words. These tactics contributed new perspectives for the players to evoke 

another way of expression that they had never thought. The teachers accepted, 

impelled and sometimes inhibited the players’ new idea as feedback. In the 

last phase of their session, the teachers requested players to listen to each 

other’s sounds to make a coherent expression of the music by consolidating 

individual musical ideas. These structures of the sessions were very similar 

to the improvisational process that Fournier (2011) described the 

41



collaboration of a choreographer and dancers during a rehearsal to create a 

dance performance. 

Thirdly, the teachers gave scaffolding (Wood et al. 1976, p.98) 

including Direction maintenance, Making critical features, Reduction in 

degrees of freedom and Frustration control. Ken said to players “Play as you 

feel while watching my conducting” in the last half of his session. As 

previously mentioned, the players were encouraged to exceed their limit in 

the performance. That is to say that Ken’s conducting reduced in degrees of 

freedom in the change of tempo and phrasing to focus the players’ attention 

on musical energy, and maintained direction of musical expression to 

encourage their spontaneous performance. Taku requested the players to play 

only the first note of each measure in succession to focus their attention to 

the critical feature of code progression of the music. All of the teachers took 

care to keep the atmosphere bright in their session by delivering a joke. As 

mentioned above, the tactics of reduction in the degree of freedom also eased 

the players’ mental load by narrowing their scope of attention. That could be 

frustration controls. 

Indication 

Taken together, when the performance with deadpan style metamorphosed 

into the richly expressive one, the direction of musical expression was 

collectively determined by the entire members including the teachers in the 

session. Which is to say that the building of musical expression in the 

ensemble rehearsal with the teacher could be regarded as the process of 

group creativity (Sawyer 2003) or Vygotsky’s Zone of Proximal 

Development (Holzman 2010), in which an emergent process with all 

participants progressed. The teacher was a facilitator in this creative 

community. The teachers’ metaphorical direction that tried to inspire the 

players’ imagination and the scaffolding support were not controlling the 

players unilaterally, but complemented by players spontaneous searching 

activity for a new expression. In other words, those had reciprocal process 

(Suga & Kobae 2016; Schön 1987). The experienced teachers’ instruction for 

improving musical expression were characterized by teaching as 

improvisation (Sawyer 2004) or pedagogical creativity (Abramo & Reynolds 

42



2015). The teachers inspired the players’ imagination, and accepted, 

combined and expanded the unexpected ideas. They consolidated those ideas 

as a coherent work by interaction with the players. 

I don’t think this observation is able to be generalized. Because there 

were only a few participants. The title and all of the musical marks were 

withheld from the teachers and the players in this experimental situation. 

However, it corresponded with my former investigation that unexperienced 

teachers were inclined to focus on making “an accurate performance.” It 

included collections of pitches and timings of each note. While experienced 

teachers inspired players spontaneous musical expression based on the 

players’ understanding of musical construction (Suga 2009). Further research 

is needed to develop curriculums for music teacher training to cultivate 

future music teachers’ improvisational ability to improve students’ musical 

expression by interaction with them. 

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45

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