Professional Documents
Culture Documents
UNIVERSITY
KAEWALIN PRASERTCHANG
K0733740
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
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:
List of Tables:
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
From the results of interviews and questionnaires given to students and instructors on
curriculum design and structure for the Music Entertainment programme at the
College of Music, Mahidol University, which provided popular music studies. The
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-
results of this research will be beneficial for improvement of quality of the Music
i
Acknowledgements:
This dissertation could not be possible without the assistance of many people
Secondly, I also would like to express my sincere gratitude to Mrs.Jane Masters for
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
Kaewalin Prasertchang
03 October 2008
ii
CHAPTER 1: INTRODUCTION
1.2 AIMS
1.3 OBJECTIVES
1
Chapter 1: Introduction
The main purpose of this research is to consider popular music studies in higher
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,
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
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)
2
In conclusion, the original contribution of this research is to analyse and find the
this research paper will result in additional benefits that will increase the efficient
study and instruction of the Music Entertainment programme and will provide
1.2 Aims
The aims of this research are to identify the main issues that relate to popular music
improved and that this research will encourage and influence the development of
1.3 Objectives
With the purpose of attaining the aims of this study, research objectives are
study to explore the evaluative beliefs and attitudes of Thai people towards
3
• To examine the current curriculum design of the Music Entertainment
programme at the College of Music, Mahidol University.2 This includes the
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
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
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)
4
however, there are not many that concentrate on popular music studies.
Music, Mahidol University, which aims to provide popular music studies. Moreover,
it also observes how the curriculum is delivered to students, and investigates the
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
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)
5
the explanation of literature review, fieldwork, data collection method, target sample,
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
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
Chapter 6 concludes the research, and provides the implications, and limitation of the
research. This contained the answer for research question four. Moreover, it
6
CHAPTER 2: METHODOLOGY
7
Chapter 2: Methodology
Introduction
The aim of the methodology is to provide the method, in order to explore Popular
College of Music, Mahidol University, Thailand. Therefore, this research was using
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
comprising questionnaire, is the most appropriate method to collect factual data from
the specific situation.7 Moreover, the qualitative methods are normally used to
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
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
8
2.1 Literature Review
In order to provide comprehensive conceptual support for the research, the literature
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
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
dissertations, magazines and academic document both in Thai and English, which
related to historical and musical subjects. The historical analysis is particularly useful
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
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)
9
provide a model for presenting questionnaire information.10 Moreover, Lebler’s
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
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; the National Library of Thailand, and the Central Library, Chulalongkorn
University. Again, information was collected from dissertations, and journal articles
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
10
Firstly, it concerns the music education in Thailand, secondly popular music, and
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
music education in Thailand.15 He notes that the Thai public concerning music
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
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)
11
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
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,
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
important discussion of the relationship between internal and external factors that
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)
12
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.
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
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)
13
4. Distributed the self-administered questionnaire to the target sample, who are
The data were collected through documentary, in-depth interviews, observation, and
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
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
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)
14
documents used include brochures and promotional information about the Music
evaluation reports and summaries, materials about the programme found on the
College of Music, Mahidol University website, and documents from the College, and
Since the purpose of this research was to understand how the Music Entertainment
this information could be used as the stimulus for discussion during interviews.26
Even though the secondary research will generate the understanding of this study, the
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.
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)
15
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
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
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
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.
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)
16
own understandings in their own term. This may allow the researcher to capture the
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
2. Interviewees who are the music instructors, and college faculties at the
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)
17
individual basis, and an extra-interview was conducted with two instructors by
interview the director of the College of Music, so further data was also gained from
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
questions guide was created for all interviewees so that they could better understand
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)
18
2.3.2.2 The Observational Case Study
The case study was used to test the circumstances of an individual unit, indeed, the
the different overviews regards to the wider population to which that unit belong.33
and the classroom environment as well as identifying the difficulties and problem
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
may be defined as the practice of doing research by associate into the social group or
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
19
first hand, and involves the researcher noting down what is seen as it occurs, This
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
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
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)
20
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
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
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
concerning condition, that data was used to study, analyze, describe, and summarize
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
21
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
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,
and reflecting the occupations of the target group. Bogdan and Biklen describe
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:
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
22
b. Factored that relates to the development of Western Music
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.
and the music curriculum. Then the analysis of the factor influence to teaching the
23
CHAPTER 3: LITERATURE REVIEW
MUSIC IN THAILAND
THAILAND
EDUCATION IN THAILAND
24
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.
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
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
25
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
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
26
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
Royal Military Academy in Sandhurst and graduated from Christ Church, Oxford
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
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)
27
Piti Vadhyakorn (1883 - 1968) was a German, who was working as an official in the
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
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
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
them, which would then lead them to an appreciation of the music and to an ability to
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
28
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
3.2 The Attitudes of Thai Culture towards the Western Music and
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
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
29
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
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
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
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
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)
30
regiment, who were against adopting Western music for the country. In 1932, the
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
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
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
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
31
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
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
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)
32
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
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,
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
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
33
3.3.2 After the Political Revolution (1932)
In 1932, Thailand had a political revolution, which then transformed the government
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
from the government to broadcast phleng thai sakon and phleng sakon79 instead of
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)
34
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
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
35
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
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
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)
36
the population and the developing affluence of the younger generation, American and
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
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
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
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)
37
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
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
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
38
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
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
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)
39
in the 1970s were initiated in the Conservatory of Music and Drama.99 After that, the
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
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.
education policy are in the control of the Ministry of Educational Affairs and Ministry
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
University.101 However, in comparison with other areas of study, there is not much
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)
40
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.
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
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)
41
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, Mahidol University was used as the case study, in order to discover the
42
CHAPTER 4: RESEARCH FINDING: PRELIMANARY
43
Chapter 4: Research Finding: Preliminary Results and
Introduction
This chapter presents results of the data analysis from interviews with music
instructors and music students in the Music Entertainment programme. The Music
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
studies, the questions from the interview were phrased to answer the research
questions.
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
concerning the quality of teaching on the programme. Questions were also asked
44
provided by the programme and the university. After completion of data analysis,
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
Q:2 What were the aims when the Music Entertainment programme was
established?
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)
45
towards popular music, since they believe that the academic curriculum for higher
education institutes should be specific. Therefore, “The College uses the title as
Q:3 Can you tell me about the opinion of the Music Entertainment Committee,
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
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
specifications.113
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)
46
in the programme. The instructors and students were asked regards to a selection of
Q:4 What do you think about the current music curriculum of the Music
Entertainment programme?
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
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
Most instructors assume that the current Music Entertainment curriculum and the
revised both in order to reach the college goals and to improve the quality of
order for the curriculum to be relevant to changing styles of music. Besides, the
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
47
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
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
Q:7 How do you design the curriculum or requirement for the student?
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
48
enjoy, this will motivate them to practice more. Clearly, this benefits the learning
process.
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
As can be seen from above, the number of students in the Music Entertainment
there were as many as ninety. In addition, the fact that “there are too many students
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
49
Q:9 From your teaching experience in the College of Music, what is the potential
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
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
124
Interview with Surat Prapatrangsi, was in person on 9th January 2008
50
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
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
Q:12 How did you first come to teach in the College of Music?
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
51
enthusiasm or much experience in management and academic administration.
Therefore, this is possibly one of the reasons that the Music Entertainment department
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
they were trained to play in Western classical music style”.130 Consequently, because
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.
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
52
Entertainment programme, but also other programmes, for example Music Business,
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
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
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
53
4.5 The College Facilities136
Q:15 From your teaching experience, what is the most difficult aspect of teaching
Q:16 From your study in the College of Music, what do you think about their
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,
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
players and discs, video players and video cassettes as well as microphones and
amplifiers’.138
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
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
54
concentration”.139 Additionally, “The practice rooms are too small, and the external
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
Q:17 What do you think about the music activities that are provided to students in
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
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
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
55
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
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
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
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
56
CHAPTER 5: RESEARCH FINDING: PRELIMANARY
QUESTIONNAIRES
QUESTION 1-13
57
Chapter 5: Research Finding: Preliminary Results and
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
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
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.
58
Question 1: What is your gender? (Figure 1)
Gender
100.00
90.00 86.67
80.00
P
70.00
e
r 60.00
c
Male
e 50.00
n Female
t
a
40.00
g
e 30.00
20.00
13.33
10.00
0.00
- Male - Female
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
152
See Chapter Four (Q.7 and Q.8 p.48)
59
Question 2: What is your major instrument? (Figure 2)
Instruments
70.00
63.46
60.00 58.33
50.00
P 50.00
e
r
c
40.00 Male
e
n Female
t
a
30.00 Total
25.00 25.00
g 23.08
e 20.00
20.00
11.67
10.00 5.77 5.775.00
3.33 1.921.67
0.00
- Piano - Voice - Electric - Electric - Drum set -Woodwind - Brass
Guitar Bass
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
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
153
In relation to gender, it should be noted that these populations were very unbalanced (See p.58)
60
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
proportions would be replicated with more even populations is a moot point, however,
61
Question 3: What are your favorite musical genres? (Figure 3)
50.00
46.34
45.00
40.38
40.00 36.36
P
35.00
e 30.77
29.27 Male
r 30.00
c Female
e 25.00 22.73 22.73 Total
n 20.00 18.18
t 15.38
a 15.00 13.41
g
10.00 7.69 7.32
e 5.77
3.66
5.00
0.00
- Classical - Jazz - Pop music - Rock - Thai - Others
music music music Traditional
music
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
62
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
154
See Chapter Four (Q.9 p.50)
63
Question 4: What is your reason for studying on the Music Entertainment
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
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.
64
Question 5: What is your reason for studying on the Music Entertainment
programme? (Figure 5)
70.00
63.46
61.67
P 60.00 50.00
e 50.00
r 50.00
c
40.00 Male
e
n Female
t 30.00 Total
a 21.67
19.23
20.00 16.67 17.31
g
e
10.00
0.00
- Would like to - Would like to - Other reasons
gain the gain the
knowledge about knowledge and
popular music the musical skill
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
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.
65
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
155
See Chapter Four (Q.9 p.50)
66
Question 6: What have you found to be the most positive aspects while studying
40.00
35.83 35.51
35.00 33.33 33.33
30.00
P
e 25.00
23.91
r 25.00
c
20.29
e
20.00 18.33
n
16.67 15.83
t
a15.00 14.49
g
11.11
e
10.00
5.56
5.00 3.62
2.50 2.50 2.17
0.00
- The - The Core - The Individual - The - The Music - The
Entertainment Course Instrumental Ensemble Activities for Instructors
Course Subjects Lessons Lessons students Male
Subjects Female
Total
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.
67
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.
68
Question 7: What have you found to be the most negative aspects while study on
50.00
45.00 43.24
41.49
40.00
35.00
35.00
P
e 29.73
r 30.00 27.66
c
e
25.00
n
t 20.00 20.00
a 20.00
g 16.2217.02
e
15.00
10.00
10.00
5.32
4.26 5.00 5.00 5.41 5.00
5.00 2.70 2.70 3.19
1.06
0.00
- The - The Core - The - The - The Music - The - Another
Entertainment Course Individual Ensemble Activities for Instructors reasons
Course Subjects Instrumental Lessons students
Subjects Lessons
Male
Female
Total
they wished for this question. Notably again, the music activities were least favoured
69
subjects, and 17.02% of them, disliked the ensemble lessons. Other reasons
A comparison with the responses to question 6, confirms the dissatisfaction with the
156
See Figure 6 (p.67)
70
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
100.00
90.38
86.67
90.00
P 80.00
e
r 70.00 62.50
c 60.00 Male
e
50.00 Female
n
t 40.00 Total
a 30.00 25.00
g
20.00 12.50
e 9.62 11.67
10.00 1.67
0.00
- The - The Core - The Individual - The Ensemble
Entertainment Course Subjects Instrumental Lessons
Course Subjects Lessons
Rank 1
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.
71
70.00
62.50 63.33
63.46
60.00
P 50.00
e
r
c 40.00
Male
e
n Female
t 30.00 26.92 Total
a 25.00 25.00
g
e 20.00
11.67 12.50
9.62
10.00
0.00
- The - The Core - The Individual - The Ensemble
Entertainment Course Subjects Instrumental Lessons
Course Subjects Lessons
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
72
60.00
50.00
50.00 48.08
45.00
P
e 40.00
Male
r
c 28.33 Female
30.00 26.92
e 25.00 25.00 25.00 Total
n
t 20.00
a 12.50 12.50
g
e 10.00
1.67
0.00
- The - The Core Course - The Individual - The Ensemble
Entertainment Subjects Instrumental Lessons
Course Subjects Lessons
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
73
80.00
75.00
70.00
60.00
55.00
51.92
P
50.00 48.08
e 45.00 Male
r
c Female
40.00
e Total
n
t 30.00
25.00
a
g
20.00
e
10.00
0.00
- The - The Core Course - The Individual - The Ensemble
Entertainment Subjects Instrumental Lessons
Course Subjects Lessons
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
Therefore, the individual instrumental lessons were considered the most useful
subjects that the respondents believe they could use in their real life, while, the
74
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:
70.00
57.69
60.00 55.00
P 50.00
e 50.00
r
c 40.00 37.50 Male
e
31.67 Female
n 28.85
t 30.00 Total
a
g 20.00
e 12.50
10.00 5.77 6.67
3.85 3.33 3.85 3.33
0.00
- The - The Core- The Individual - The - The Music - The
Entertainment Course Instrumental Ensemble Activities for Instructors
Course Subjects Lessons Lessons students
Subjects
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
75
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
70.00
61.54
58.33
P
60.00
e 50.00
r
50.00
c 37.50 Male
e
40.00
n
Female
30.00
t 23.0821.67 Total
a
g
20.00 15.00
12.50
e 9.62
10.00 5.77 5.00
0.00
- The - The Core - The - The - The Music - The
Entertainment Course Individual Ensemble Activities for Instructors
Course Subjects Instrumental Lessons students
Subjects Lessons
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)
76
80.00
69.23
P 70.00 63.33
e 60.00
r 50.00
c 50.00 Male
e
n
40.00 Female
t Total
30.00 25.00 25.00
a 19.23
16.67
g 20.00 11.67
e 10.00 5.77 5.00 5.77
3.33
0.00
- The - The Core - The Individual - The - The Music - The
Entertainment Course Instrumental Ensemble Activities for Instructors
Course Subjects Lessons Lessons students
Subjects
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
158
In relation to gender, it should be noted that these populations were very unbalanced (See p.58)
77
60.00
50.00
48.08
50.00 45.00
P
e 40.38
40.00 35.00
r
c Male
e 30.00 25.00 Female
n Total
t 20.00
a 12.50 12.50
g
10.00 6.67 5.77 5.00
e 3.85 5.00
1.92 3.33
0.00
- The - The Core - The Individual - The - The Music - The
Entertainment Course Instrumental Ensemble Activities for Instructors
Course Subjects Lessons Lessons students
Subjects
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.
78
60.00
50.00
50.00
P 44.23
41.67
e
r 40.00
c Male
e 30.00 25.00 25.00 Female
n 23.08 21.67
21.15 Total
t 20.00
a 12.50 12.50
g 7.69 8.33
e 10.00
3.85 3.33
0.00
- The - The Core - The Individual - The - The Music - The
Entertainment Course Instrumental Ensemble Activities for Instructors
Course Subjects Lessons Lessons students
Subjects
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
79
80.00 75.00
73.08
70.00 65.00
60.00
P
e
r 50.00
c
e 40.00
n
t 30.00
a 23.33
g
20.00 15.38 Male
e
11.5410.00 12.50 12.50
Female
10.00 Total
1.67
0.00
- The - The Core - The Individual - The - The Music - The
Entertainment Course Instrumental Ensemble Activities for Instructors
Course Subjects Lessons Lessons students
Subjects
Rank 6
It is evident from figure 9:6 that the instructors (65%) were considered to be the least
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
159
See Chapter Four (4.4 The Instructors, p.51)
80
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
81
Question 10: Which college activities that you participate in? (Figure 10)
60.00
53.13
50.00
50.00 45.95
P
e
40.00
r
c Male
28.38 30.00
e 30.00 Female
25.00
n
Total
t 20.00 18.75 20.27
a 20.00
g
e
10.00 5.41
3.13
0.00
- Choir/Chorus - Pop - Did not - Other
Orchestra participate in
any activities
As demonstrated in figure 10, the largest response was from those who did not
attended choir or chorus, whereas, only 5.41% participated in the Pop Orchestra. It is
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.
160
See Chapter Four (4.6 The Extra-Curricular Activities, p.55)
82
Question 11: Do you play in the String Combo Band? / If ‘Yes’, what kinds of
70.00
62.50
60.00
51.92
50.00 50.00
50.00 48.08
P
e
r
c 40.00 37.50 Male
e Female
n
t 30.00 Total
a
g
e 20.00
10.00
0.00
- Yes - No
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)
83
If ‘Yes’. What kinds of music do you play?
70.00
60.00
60.00
P
e 50.00 47.06
n 41.03 40.00
c 40.00 Male
e
n
Female
30.00 28.21
t Total
a 23.53
g 20.00
e 14.71
11.76 10.26 12.82
10.00 7.69
2.94
0.00
- Pop music - Rock music - Jazz music - Heavy Metal - Others
music
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
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
162
See Figure 3, p.62
84
Question 12: Do you work in the field of music at present? / If ‘Yes’, what kinds
70.00 65.38
62.50 61.67
60.00
P 50.00
e
r 38.33 37.50 Male
40.00 34.62
c
Female
e
30.00 Total
n
t
a 20.00
g
e 10.00
0.00
- Yes - No
experience. Thus, while 62.50% of the female respondents were working in the field
163
In relation to gender, it should be noted that these populations were very unbalanced (See p.58)
85
If ‘Yes’. What kinds of work do you do?
80.00
71.43
70.00
P 60.00
e 50.00
r 50.00 Male
c 42.11 Female
e
40.00 36.84 Total
n
t 30.77
a 30.00
g 21.05
e 20.00
14.29 14.29 15.38
10.00
3.85
0.00
- Teach an - Teach music - Play in the - Compose music
instrument theory/ Ear pub/bar/restaurant and Music
training course Production
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
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
indicates that most respondents tend to work in connection with the area of
performance.
86
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?
120.00
100.00
100.00
P
e 82.61
77.78
r 80.00
c Male
e
n
60.00 Female
t Total
a 40.00
g
e
22.22
17.39
20.00
0.00
- Yes - No
respondents used the skill that they gained from their study when they work, while,
87
If ‘Yes’. What kinds of knowledge that you use?
60.00
54.17
50.00 50.00
50.00 45.83 47.06
P
e 40.00
r 40.00
c Male
e
30.00 Female
n
t Total
a 20.00
g
e 10.00
10.00
2.94
0.00
- The - The Core - The Individual - The Ensemble
Entertainment Course Subjects Instrumental Lessons
Course Subjects Lessons
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
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
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.
88
CHAPTER 6: SUMMARY OF THE RESEARCH
6.1 CONCLUSIONS
6.2 RECOMMENDATIONS
89
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.
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’
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)
90
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
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
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
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.
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
91
increasing integration of music curricula, and other curricula, such as music
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
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
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
An emphasis on quantity for the Music Entertainment programme makes the selection
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)
92
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
excessive number of students over the capacity of the college leads to increasing
problems, especially for students who would like to be admitted to the Music
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)
93
6.1.4 The Instructors
Even though there are enough full-time instructors in many universities, there is a lack
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
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
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
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)
94
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
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
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
Useful suggestions have been obtained from the interviewees, which could help to
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)
95
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
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
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
students, who expect the high quality of study and service, will be erode the college’s
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)
96
Furthermore, they need to address concerns regarding both the education system and
curriculum, which provides the basis for each lesson in order to improve the quality of
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
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
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)
97
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
Personally, the researcher suggests that the College Board of Committee should
furnish enough support for the instructors in the Music Entertainment programme to
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
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.
knowledge of various musical subjects, for instant, the history of music and literature,
98
they should have good communication skills, professionalism, and musicianship.
studies in Thailand, there are some problems in undertaking it. Firstly, there are
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
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
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
99
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
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
100
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)
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)
101
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
Musiket, Yanapon, ‘The College of Music at Mahidol University is certainly not for
‘losers’’, The Bangkok Post: Outlook, (27 March 2008)
The National Identity Board Office of the Prime Minister ‘Thailand into the 2000's’
(2000, p. 153-155)
102
Documents:
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)
103
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 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)
Sukkantaraks, Suttipant, Interview were on 27 December 2007 (in person) and 5 June
2008 (by email)
104
APPENDICES:
105
Appendix A: The History of the College of Music, Mahidol
The College of Music is one of the faculties in Mahidol Univeristy, Thailand. The
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
areas, for example Music Performance, Jazz Studies, Thai and Oriental Music, and
programme was first established in 1999. In 2001, the College of Music offered the
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).
106
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).
Missions
potential both in vocal and performance areas, and to provide musical knowledge in
Objectives
international performers.
107
1.3 Name of Music Curriculum
The duration of the whole course contains last 4 academic years and not more than 8
academic years.
Since 2002, the candidates for the Bachelor of Arts in Music degree must complete a
historical and theoretical aspects of music as well as general education studies, for
instance, Academic English, Statistic, Physical Education, and Social and Humanities
1 period = 50 minutes, within 1 semester there must be 1 study unit and 1 subject
108
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
The academic result of each subject may be showed through symbols with fixed point
as follows.
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
The academic result of each subject may be showed through symbols with definitions
as follows:
Symbols Definition
S Satisfactory
U Unsatisfactory
109
I Incomplete
P In Progress
W Withdraw
AU Audit
X No Report
Applicant Qualifications:
• Education qualification:
studying in Mattayom 6
• 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
110
• 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
Aural Skill
• 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
• 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
• Rhythmic Dictation: write rhythmic notation after the sounds heard, consisted
• Melodic Dictation: write melody from the sounds heard , which consisted of
Remarks: To pass the exam, the student must get 75% up.
111
The content in examamination will cover as follows:
Clefs Intervals
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.
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
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
112
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.
All subject courses that open at the College of Music will be taught at the College of
Province. According to the college website (2008), there are four mains building in
Moreover, the College building complexes are a modern facility with modern
equipments, which comprising of four areas that provide for various kind of purpose.
Choral Rehearsal Room, Thai and Orientals music Rehearsal Room, In-
Studios, Lecture Hall, MIDI Lab, Music Business Lab, Music Therapy
113
1.13 The Extra Curricular Activities
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
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,
114
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,
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
In addition, the band has been invited to function as accompaniment for musical
Small Ensemble
There are many different types of small music ensembles of The College of Music.
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
115
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.
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.
Missions
environment for all music disciplines, and to prepare music students for
116
Objectives
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
• To produce the qualify graduates in both national and international level with
117
Appendix B: The Music Entertainment Curriculum
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:
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
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.
118
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
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.
This module contains information regarding to the various style of popular music
band, for example String Combo, Rock, Pop Orchestra, and Pop Chorus.
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.
119
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.
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
Year 1 Semester 1
120
MUGE 102 Social Studies for Human Development 3(2-2-5)
Total: 21 credits
Year 1 Semester 2
121
MSTO 113 Basic Ranad Ake I 1(0-2-2)
Total: 16 credits
Year 2 Semester 1
Total: 22 credits
Year 2 Semester 2
122
MSTC 222 Sight Singing and Ear Training IV 1(0-2-2)
Total: 20 credits
Year 3 Semester 1
Total: 17 credits
Year 3 Semester 2
123
MSEN 314 Popular Music Arranging II 2(2-0-4)
Total: 17 credits
Year 4 Semester 1
Total: 15 credits
Year 4 Semester 2
124
Total: 11 credits
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
This module aims for the study of stylistic in different genres of Western popular
different periods.
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.
This module aims for the study of stylistic in different genres of Thai popular music.
periods.
125
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.
This module contains information regarding to the way of writing songs with and
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.
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.
126
Appendix C: The Official Letter from Kingston University
127
6th December 2008
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
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
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
Your faithfully,
KAEWALIN PRASERTCHANG
Kaewalin Prasertchang
128
Appendix D: The Bachelor of Music Brochures at the
129
130
131
Appendix E: Interviewees Name list
The individuals named below were four instructors, who had been interview, as
follow:
The interview was conducted in person on 27th December 2007, and by email
The interview was conducted in person on 27th December 2007, and on phone
132
The individuals named below were four students in Music Entertainment
Majoring: Piano
Majoring: Piano
Majoring: Piano
133
Appendix F: The Interview Questions Guide
Mahidol University
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
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?
10. From your teaching experience in the College of Music, what is the potential
11. Can you tell me about the opinion of the College of Music Committee,
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?
134
Group B: The music instructor in the Music Entertainment programme
(Instrumental)
3. What do you regard as the most significant changes in music education during
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,
9. Can you tell me your opinion about the potential of the students who study in
10. From your teaching experience, what is the most difficult aspect of teaching
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
13. What do you think about the music activities that are provided to students in
14. In your opinion, how can we help to improve the quality of teaching in the
135
15. Could you give me any suggestions to improve the popular music studies in
Thailand?
2. When you decided to study in the programme, what factors were the most
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
5. Can you tell me what you think about the instructors’ abilities to teach in the
class?
7. From your study in the College of Music, what do you think about their
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?
136
Appendix G: Pictures from the Filed Work
137
College of Music, Mahidol University
138
The Music Auditorium of College of Music (MACM Hall)
Music Library
139
Instrumental classroom
Instrumental classroom
140
Classroom
EN Student Concert
141
EN Student Concert
EN Student Concert
142
Appendix H: The Self-Administered Questionnaire (in English)
information. There were asked about the attitude toward music curriculum of the
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.
O Brass
3. What are your favorite musical genres? (Please select any that apply)
***********************************
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
143
4. What is your reason for studying on the Music Entertainment programme at the
O Other reason
5. What is your reason for studying on the Music Entertainment programme? (Please
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
O Other
7. What have you found to be the most negative aspects while studying on the Music
O Other
144
8. What are the most useful subjects for your real life? (From the list below, please rank
___ The Entertainment Course Subject ___ The Core Course Subject
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
10. Which are the college activities that you participate in? (Please select any that apply)
O Other
If ‘Yes’, what kinds of music do you play? (Please select any that apply)
If ‘Yes’, what kinds of work do you do? (Please select any that apply)
145
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)
************************************************************************
146
Appendix I: The Self-Administered Questionnaire (in Thai)
1 (
1
3):
กก ,
!""ก #$#
%!&'()
1. O * O +,
2.
!""ก O Piano O Voice O Elt.Guitar
3. #%!
&'() (!
"ก-%กก 1 )
O Classical O Jazz O Pop
O Rock O %!-*%
***********************************
2 (
4
13):
กก+ก! !-/
ก!!*ก!
4. +0
"กก%!** **%0!*
/1 +**+% (ก!02"ก3*
%*)
O "*#$
024ก!ก+%
O "*#$
024ก!ก%!**
O "*#$
!
'!*5#$30
ก!
147
O +0"6
5. +0
"กก%!** (ก!02"ก3*%*)
O ก!-%!3
!%ก!%!**
O ก!-%!3
!&ก!%!**
O +0"6
O
!
!
'!*57
O "6
7. 'กก!ก&%!** -&'& &%3 (! "ก-%กก 1 )
O
!
!
'!*57
O "6
9. &%
+:
!/;%3#!ก &ก!<%!** (ก!023
-/ 8%*
!*%3
,'กก-/+* 1-6)
148
___ +ก!ก!-/ ___ +ก!ก!9$%!**
)
O String Orchestra O Choir/Chorus
O Jazz Big Band O Pop Orchestra
O Wind Band/Symphonic Band O --%!ก'ก!!&%6
O "6
O "6
+ก “&”
!'ก&%-/& (!
"ก-%กก 1 )
O ก!
!""ก O ก!!
149
***********************************
'$
กก:3/;
3 3
020ก& +
!"&ก!3#333
!
/!$-*-/
ก (
5) 5: milka_me@hotmail.com
150
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
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
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
151
was founded to organize events, for example concerts. Both companies allowed
entertainment business.
participating the Stock Exchange of Thailand with the 500 millions bahts. Its name
was changed into “Grammy Entertainment Public Company Limited”. In the same
achievement of “Image magazine”. One year later, Grammy expanded its own
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
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
152
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
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”.
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
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
153
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
more important in the music business and allowed consumers to listen to music more
conveniently, from mobile phones, computers, and various portable music players,
154
Appendix K: An Example of Activities of the Music
Entertainment Department
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
situation. It also hoped that the concert will promoted the programme.
155
Activity name: Entertain Live in Concert Serie 2
again, with the plan to organize this kind of concert for every academic
year.
156
Activity name: It’s turn out to shine (Voice Concert)
157