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KINGSTON UNIVERSITY

FACULTY OF ARTS AND SOCIAL SCIENCES


SCHOOL OF PERFORMANCE AND SCREEN STUDIES

POPULAR MUSIC STUDIES IN HIGHER

EDUCATION IN THAILAND: CASE STUDY- THE

MUSIC ENTERTAINMENT PROGRAMME AT

THE COLLEGE OF MUSIC, MAHIDOL

UNIVERSITY

KAEWALIN PRASERTCHANG
K0733740

SUPERVISOR: DR.CAROL A. GARTRELL

MA in MUSIC EDUCATION
2007/2008
Table of Contents:

Abstract…………………………………………………………………………… i
Acknowledgements………………………………………………………………. ii

Chapter 1: Introduction………………………………………………………… 1
1.1 Purpose of Research…...…………………………………………………... 2
1.2 Aims….………………………...………………………………………….. 3
1.3 Objectives.…………………………………………………………………. 3
1.4 Research Questions..………………………………………………………. 4
1.5 Dissertation Structure..………………………………..……………………. 5

Chapter 2: Methodology.………………….……………………………………. 7
2.1 Literature Review..……….………………………………………………... 9
2.2 Field Work Process.…………………………………………………….…. 13
2.3 Data Collecting and the Research Tools.……...…………………………... 14
2.3.1 Secondary Data……………………………………………………… 14
2.3.1.1 Data from the Documents…………………………………… 15
2.3.2 Primary Data…...……………………………………………………. 15
2.3.2.1 Data from the Interviews……..……………………………… 15
a.) Target Sample……………………………………………… 17
b.) Sample Size...……………………………………………… 17
2.3.2.2 The Observational Case Study…………..………………………… 19
2.3.2.3 The Self-Administered Questionnaire…..………………………… 20
a.) Questionnaire Design……………………………………… 20
b.) Pilot Study………….……………………………………… 20
a.) Target Sample.……...……………………………………… 21
2.4 Data Review…………………………………………………………….…. 21
2.5 Data Analysis……..…………………………………………………….…. 22

Chapter 3: Literature Review………………………………………………….. 24


3.1 The Arrival and Development of Western Music in Thailand…………….. 25
3.2 The Attitudes of Thai Culture towards the Western Music and Music
Studies in General………………………………………………………… 29
3.3 The History and Development of Western Popular Music and Thai
Popular Music in Thailand……………………………………………….. 31
3.3.1 Before the Political Revolution (1932)……………………………… 33
3.3.2 After the Political Revolution (1932)……………………………...… 34
3.4 The Development of the Music in Higher Education in Thailand………… 37
3.4.1 The First Music Institute in Thailand…………………………...…… 38
3.4.2 The Improvement of Music in Higher Education in Thailand……….. 40
3.4.3 Popular Music Studies in Higher Education in Thailand……………. 41

Chapter 4: Research Finding: Preliminary Results and Analysis from the


Interviews………………………………………………………………...……… 43
Analysis Data from the Interviews…………………………………………….. 44
4.1 Popular Music Studies in Thailand and The Music Entertainment
Programme………………………………………………………….......... 45
4.2 The Music Entertainment Curriculum…………………………………...... 46
4.3 The Students…………………..…………………………………………… 49
4.4 The Instructors………………..…………………………………………… 51
4.5 The College Facilities.………..…………………………………………… 54
4.6 The Extra-Curricular Activities…………………………………………… 55

Chapter 5: Research Finding: Preliminary Results and Analysis from


Questionnaires…………………………………………………………………... 57
Analysis Data from the Questionnaires……………………………………... 58

Chapter 6: Summary of the Research………………...……………………….. 89


6.1 Conclusions…...…………………………………………………………... 90
6.1.1 Western Music and Music Education in Thailand …...……………... 90
6.1.2 The Music Entertainment Curriculum………...………... …...……... 91
6.1.3 The Students…………………..……………………………………... 92
6.1.4 The Instructors………………..……………………………………... 94
6.1.5 The College Facilities……………………………………………….. 94
6.1.6 The Extra-Curricular Activities……………...……………………… 95
6.2 Recommendations………………………………………………………… 95
6.2.1 The Music Entertainment Programme and Curriculum…………….. 95
6.2.2 The Students..……………………………………………………….. 97
6.2.3 The Instructors ……………………………………………………… 98
6.3 Limitations of the Research ………………………………..……………... 99
6.4 Suggestions for Further Research ………………………………………… 100

Bibliography…………………………………………………………………….... 101

Appendices:
Appendix A: The History of the College of Music, Mahidol University, and the
Music Entertaiment Programme..…………………………………... 106
Appendix B: The Music Entertainment Curriculum……………………………. 118
Appendix C: The Official Letter from Kingston University……………………… 127
Appendix D: The Bachelor of Music Brochures at the College of Music, Mahidol
University……..…………………………......................................... 129
Appendix E: Interviewees Name list………………………................................... 132
Appendix F: The Interview Questions Guide………………….............................. 134
AppendixG: Pictures from the Filed Work………………….................................. 137
Appendix H: The Self-Administered Questionnaire (in English)………………… 143
Appendix I: The Self-Administered Questionnaire (in Thai)…….……………… 147
Appendix J: The Profile of GMM Grammy Public Company Limited………… 151
Appendix K: Activities of the Music Entertainment Department....……………… 155
List of Figures:

1: Question number 1 ………………..……………………………………………… 59


2: Question number 2 ………………..……………………………………………… 60
3: Question number 3 ………………..……………………………………………… 62
4: Question number 4 …………………..…………………………………………… 64
5: Question number 5 ………………..……………………………………………… 65
6: Question number 6 ……………………………..………………………………… 67
7: Question number 7 ……………………………..………………………………… 69
8:1 Question number 8 (Rank 1)..........................…………………………………… 71
8:2 Question number 8 (Rank 2)...………...………………………………………… 72
8:3 Question number 8 (Rank 3).…...…………………..…………………………… 73
8:4 Question number 8 (Rank 4).…...……………………………………………….. 74
9:1 Question number 9 (Rank 1).…...……………………………………………….. 75
9:2 Question number 9 (Rank 2).…...……………………………………………….. 76
9:3 Question number 9 (Rank 3).…...……………………………………………….. 77
9:4 Question number 9 (Rank 4).…...……………………………………………….. 78
9:5 Question number 9 (Rank 5).…...……………………………………………….. 79
9:6 Question number 9 (Rank 6).…...……………………………………………….. 80
10: Question number 10………..…...……………………………………………….. 82
11:1 Question number 11 (1).…………...…………………………………………… 83
11:2 Question number 11 (2)..………..……………………………………………… 84
12:1 Question number 12 (1)………………………………………………………… 85
12:2 Question number 12 (2)………………………………………………………… 86
13:1 Question number 13 (1)………………………………………………………… 87
13:2 Question number 13 (2)………………………………………………………… 88

List of Tables:

1: Number of students in Music Entertainment Programme …………...…………… 49


Abstract:

This research explored the popular music studies in Higher Education in Thailand, by

using the case study of the Music Entertainment Programme at the College of Music,

Mahidol University. Results from this research revealed that the arrival of Western

music in Thailand had an important role in the spread of the area of music, which then

led to big change in popular music in Thailand. Because of this, popular music has

been developed, and has been well recognized by the public. The changes also made

Thai Popular music become significant in Thai music industry and this lead to the

foundation of the studies of popular music in formal education in Thailand.

From the results of interviews and questionnaires given to students and instructors on

the programme, it was evident that there needed to be an improvement of the

curriculum design and structure for the Music Entertainment programme at the

College of Music, Mahidol University, which provided popular music studies. The

discussions concerning students’ musical preferences and cultural background must

take into account the specific educational value of the subjects concerned. Further,

sufficient support from the college is necessary for the instructors in the programme

in order to improve their teaching abilities. In addition, the facilities and extra-

curricular activities provided in the programme were considered unsatisfactory. The

results of this research will be beneficial for improvement of quality of the Music

Entertainment programme at the College of Music, Mahidol University. Further, it

will be valuable for development of courses in music institutions in Thailand, and

then leads to the improvement of popular music studies in Thailand.

i
Acknowledgements:

This dissertation could not be possible without the assistance of many people

involved. Firstly, I would like to express my grateful appreciation to Dr.Carol A.

Gartrell, my dissertation supervisor, for her valuable guidance and encouragement.

Secondly, I also would like to express my sincere gratitude to Mrs.Jane Masters for

providing academic support for the writing of this dissertation.

Thirdly, I would like to thank all those who have shared their valuable time giving me

the information for the dissertation. Thanks also to all of my instructors, friends, and

staffs at the College of Music, Mahidol University, Thailand for their help and

support.

Finally, I would like to express my deepest thanks to my parents and family for their

love, support, patience, understanding, and encouraging me to undertake this study.

The remaining errors and omissions are my sole responsibility.

Kaewalin Prasertchang

03 October 2008

ii
CHAPTER 1: INTRODUCTION

1.1 PURPOSE OF THE RESEARCH

1.2 AIMS

1.3 OBJECTIVES

1.4 RESEARCH QUESTIONS

1.5 SUMMARY OF DISSERTATION STRUCTURE

1
Chapter 1: Introduction

1.1 Purpose of the Research

The main purpose of this research is to consider popular music studies in higher

education in Thailand. It consists of a case study from the Music Entertainment

programme at the College of Music, Mahidol University, Thailand.1 The provision of

popular music studies is an important issue in music education in Thailand; however,

there are not many institutes or universities offer this programme. At the

undergraduate level, there are a variety of programmes provided for students, such as

classical music, jazz studies, Thai traditional and oriental music, music technology,

music education, and music business.

Popular music studies in Thailand can be understood through the Music

Entertainment programme, which was one of the programmes of its kind. In addition,

the researcher studied in the Music Entertainment programme for four years. In fact,

during the study of that programme the researcher found that the written description

of the course was not delivered in practice. Moreover, this research aims to consider

the reason why this might be by using this programme as a case study. As previously

mentioned, the study and instructional system of the Music Entertainment programme

continues to change according to the desires and demands of society, which has

required certain educational conditions in order to plan the improvement of the study

and instruction of the programme.

1
With the reason to offer some general background, the history of the College of Music, Mahidol
University and the Music Entertainment programme is presented in Appendix A (p.106)

2
In conclusion, the original contribution of this research is to analyse and find the

solution to developing popular music education in Thailand. Moreover, this research

is to identify in particular the problems, and obstacles of teaching the Music

Entertainment programme. The researcher hopes that the information contained in

this research paper will result in additional benefits that will increase the efficient

study and instruction of the Music Entertainment programme and will provide

guidance for the revision of the teaching plan.

1.2 Aims

The aims of this research are to identify the main issues that relate to popular music

studies in Thailand. Specifically, to study how the quality of teaching might be

improved and that this research will encourage and influence the development of

popular music studies in Thailand.

1.3 Objectives

With the purpose of attaining the aims of this study, research objectives are

encompassing several issues as follows:

• To demonstrate the circumstances of Western music, music education, which


related to popular music studies in Thailand. For this reason, there was the

study to explore the evaluative beliefs and attitudes of Thai people towards

music studies, and the effect in a cultural context.

• To investigate the circumstances of music in higher education in Thailand, for


example, the conditions of teaching, the abilities of the students and the

potential of music teachers.

3
• To examine the current curriculum design of the Music Entertainment
programme at the College of Music, Mahidol University.2 This includes the

student, quality of teaching, the facilities, the extra-curricular activities, the

support from the board of directors, and so on.

• To discuss regarding the strengths, weaknesses, problems, and obstacles of


teaching various aspects of the Music Entertainment programme.

1.4 Research Questions

Question 1: What are the main issues that effect Western and Thai popular music

studies in Thailand?3

The purpose of this question is to explores the main issues that relate to the study of

music, and in particular popular music in Thailand, with the question that why

popular music studies are not widespread in Thailand. Moreover, it aims to

investigate the influences of Western culture that effect Thai popular music. Thus, it

is to be found whether the arrival of Western music in Thailand has had an influence

on the attitudes of Thai culture toward music studies, and the obstacles to the

acceptance of Western music in Thailand.

Question 2: What are the circumstances of music studies in higher education in

Thailand?4

This question considers the nature of music education in Thai culture. It is aimed at

revealing the history of music education in Thailand from the past to the present. It is

interesting that while many universities providing music studies in higher education,

2
An example of the Music Entertainment curriculum is presented in Appendix B (p.118)
3
The discussions in detail are provided in Chapter Three (p.24)
4
The discussions in detail are provided in Chapter Three (p.24)

4
however, there are not many that concentrate on popular music studies.

Question 3: What is the current curriculum of the Music Entertainment programme at

the College of Music, Mahidol University?5

This question focuses on the Music Entertainment programme at the College of

Music, Mahidol University, which aims to provide popular music studies. Moreover,

it also observes how the curriculum is delivered to students, and investigates the

opinions of instructors and students, who study in the programme.

Question 4: How does this research helps to improve popular music studies in

Thailand?6

It is hoped that the results from this research will provide relevant ideas that can be

used to develop and improve the Music Entertainment programme. All of the

information gathered from the research will be used to find an answer to this question.

After all the data and information has been gathered it will be analysed, and then

evaluated to produce the results. This research will therefore make some suggestions

for further study.

1.5 Dissertation Structure

This dissertation is organized in a six-chapter format. Chapter 1 presents an overview

introduction to this research by providing a rationale of the research, aims, and

objectives. The specific research questions are also provided in this chapter.

Chapter 2 explains the methodology used in this research. The discussion consists of

5
The discussions in detail are provided in Chapter Four (p.43) and Chapter Five (p.57)
6
The discussions in detail are provided in Chapter Six (p.89)

5
the explanation of literature review, fieldwork, data collection method, target sample,

interview method, questionnaire design, data review, and data analysis.

Chapter 3 provides a review of literature. The information, which is related to the

area of the research, contained the answer for research question one and two. This

chapter includes information regarding the arrival and development of Western music

in Thailand, the attitudes of Thai culture towards the Western music and music

studies, the history and development of Western popular music and Thai popular

music in Thailand, and the development of music education in Thailand.

Chapter 4 examines the preliminary results of the data analysis from interviews,

which is in the form of descriptive analysis. This contained the answer for research

question three. The analyzed interview data is presented first in order to consider the

opinion from current instructors and students in the Music Entertinment programme.

Chapter 5 examines the preliminary results of the study of the data analysis from

questionnaire, which is in the form of descriptive analysis. This contained the answer

for research question three. The analyzed data from the questionnaires is presented in

order to provide a greater depth of detail, in regards to the students’ opinion of

learning in the Music Entertainment programme.

Chapter 6 concludes the research, and provides the implications, and limitation of the

research. This contained the answer for research question four. Moreover, it

addresses the recommendations, and suggests directions for further research.

6
CHAPTER 2: METHODOLOGY

2.1 LITERATURE REVIEW

2.2 FIELD WORK PROCESS

2.3 DATA COLLECTING AND THE RESEARCH TOOLS

2.4 DATA REVIEW

2.5 DATA ANALYSIS

7
Chapter 2: Methodology

Introduction

The aim of the methodology is to provide the method, in order to explore Popular

Music Studies in Thailand: A Case Study of Music Entertainment Programme at the

College of Music, Mahidol University, Thailand. Therefore, this research was using

the methodology engaged by the gathering of both quantitative and qualitative

methodology. In order to collect all the information, the triangulation with material

from literature review and both methodologies were used because of the various kinds

of research questions.

Varieties of qualitative methods have been used, including case study, individual

interviews, and participant observation. Similarly, the quantitative research,

comprising questionnaire, is the most appropriate method to collect factual data from

the experience of the respondents. However, qualitative research is more focused on

the specific situation.7 Moreover, the qualitative methods are normally used to

analyze the group of people and to have an understanding of problem. A qualitative

method is the most appropriate because detailed analysis is required concerning one

specific situation and the people involved. The process of the observation methods is

to participate in the activities of a group or person. Moreover, the quality of the data

is very important because it relates to the research question.

7
Liora Bresler, and Robert E. Stake, ‘Qualitative Research Methodology in Music Education’ in
MENC handbook of research methodologies, ed. by Richard Colwell (Oxford: Oxford University
Press, 2006), pp.270-311

8
2.1 Literature Review

In order to provide comprehensive conceptual support for the research, the literature

should be used in a manner consistent with the methodological assumptions;

specifically, it should be used inductively so that it does not direct the questions asked

by the researcher. Creswell notes that the one of the chief reasons for conducting a

qualitative study is that:

The study is exploratory; not much has been written about the topic or
population being studied, and the researcher seeks to listen to informants and
to build a picture based on their ideas.8

The literature review involved searching though a variety of textbooks, journals,

dissertations, magazines and academic document both in Thai and English, which

related to historical and musical subjects. The historical analysis is particularly useful

in order to obtain knowledge of unobserved areas and to rescan questions in which

answers are not as detailed as desired.9 Moreover, the data relevant to this study

concerned history and the circumstances of music education, the arrival of Western

classical and Western popular music in Thailand, and Thai popular music were gained

from reliable academic sources both in the UK, and in Thailand.

The paper documents and e-resources gained from the Learning Resources Centre

(LRC), Kingston University in the UK, have provided a wide range of material, such

as in the first place, clear direction concerning the basic principles of writing

dissertations and research. Thus, Chan’s master dissertation (2006) was very useful to

8
John W. Creswell, Research Design: Qualitative & Quantitative Approaches (London, SAGE
Publications, 1994), p.21
9
Catherine Marshall, and Gretchen B. Rossman, Designing qualitative research, 4th ed. (Thousand
Oaks: Sage Publications, 2006)

9
provide a model for presenting questionnaire information.10 Moreover, Lebler’s

research (2007) on the development of popular music pedagogy provides a general

concept of doing research on popular music studies topic.11 Many interesting points

from his study were replicated to this research, for example the concept of presenting

collected data. Other useful information was derived from Miller’s (1998) study,

which has a great deal of interesting historical information, and explored several

important issues, particularly analyses the relationship of music history and the

culture of Thailand.12 Further, in the studies of Wong and Lysloff (1998), provides

material regard to Western popular music in Thailand.13

Furthermore, since the research concerns a situation in Thailand, most data was

gained from libraries in Thailand, such as those of the College of Music, Mahidol

University; Central Library, and Princess Sirindhorn Music Library, Mahidol

University; the National Library of Thailand, and the Central Library, Chulalongkorn

University. Again, information was collected from dissertations, and journal articles

about issue regarding to music education, and historical information in Thailand.

Indeed, those researches offered the variety of useful information, with full

descriptions that were easy to understand. This information falls into three clear

categories.

10
Violet Chan (Tzu-Ling), ‘How can the music curriculum best be used as a vehicle for the
development of children’s musical appreciation skills from age 4-12 in Taiwan’ (unpublished master’s
dissertation, Kingston University, 2006)
11
Don Lebler, ‘Student-as-master? Reflections on a learning innovation in popular music pedagogy’,
The International Journal of Music Education 25 (2007), pp.205-222
12
Terry E. Miller, ‘Music Cultures and Region: Thailand’ in Southeast Asia: The Garland
Encyclopedia of World Music, Volume 4, Ed. by Terry E. Miller and Sean Williams (London: Garland
Publishing, 1998), pp.218-334
13
Deborah Wong, and Rene T.A. Lysloff, ‘Popular Music and Culture Politics’ in Southeast Asia: The
Garland Encyclopedia of World Music, Volume 4, Ed. by Terry E. Miller and Sean Williams (London:
Garland Publishing, 1998), pp.95-112

10
Firstly, it concerns the music education in Thailand, secondly popular music, and

lastly management and administration. In relation to music education, the doctorial

dissertation of Charoensook (1985) explores the problems that exist in Thailand

which affect the development of music curricular.14 He then compares the music

curricular in Thailand to the United States, in order to find the suggestions that may

help to improve music curriculum in Thailand. Further, Ngamsuti (1980)’s doctorial

dissertation investigates the attitudes of music teachers and administrators toward

music education in Thailand.15 He notes that the Thai public concerning music

education lacks a clear concept of this educational discipline, so that he aims to

provide the expanded and improvement of music education programme in Thailand.

Despite these two sources not being up-to-date, they were nevertheless of great use as

there is a general lack of information in this filed in Thailand. Moreover, the master’s

thesis of Suwansomboon (2005) considered the current situation and trend of music

studies in Thai higher education.16 There were four areas rise up from his study,

which are curriculum, work force, administration, and budget. In addition, Wyatt

(2003)’s book was used as primary source of information, since it provides extensive

information about the history of Thailand.17 Indeed, this book shows the development

of the country itself, as well as provides the relationship of Thailand and the Western

countries since the past decade. The researcher gained the general concept of Thai

culture and society, which enables to formulate a connection that lead to the

development of music education in Thailand.

14
Sugree Charoensook, ‘Undergraduate Music Curricula in Universities of Thailand and United
States: A Comparative Study and Reccommended Curriculum for Thai Universities’ (unpublished
doctor’s dissertation, College of Performing Arts, University of Northern Colorado, 1985)
15
Chaloempol Ngamsuti, ‘Attitudinal Survey of Thai Music Educators concerning Music Education in
Thailand’ (unpublished doctor’s dissertation, University of Missouri-Columbia, 1980)
16
Wathit Suwansomboon, ‘Trend in Higher Education in Music in Thailand’ (unpublished master’s
thesis, Mahidol University, 2005)
17
David Wyatt, Thailand: A Short History (Chiang Mai , Thailand: Silkworm Books, 2003)

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

aimed to examine the characteristics of the famous popular musical band in

Thailand.19 Additional, Patarasuk (2004)’s master’s thesis considered the influence of

Rewat Buddhinan, who has an influence on the development of Thai Popular Music.20

Moreover, the master’s thesis of Poobua (2000), examined the influence of American

music on Thai popular song.21 While they only provided indirectly relevant materials,

they were useful nevertheless in order to apply to this research.

Thirdly, there is the study regards to the management, and administration, which can

be relevant to this research. To take this further, the researcher examined the master’s

thesis of Songsakul (2003), which investigates the development of various aspects of

the current education, for example curriculum, orderly procedures, management of

studying, instruction design, and instructional environment of the college of Dramatic

Arts.22 Further, Changrian (2005)’s master’s thesis, which aimed to present an

important discussion of the relationship between internal and external factors that

relate to the academic achievement in Western music instrument of Pre-college

18
Craig A. Lockard, ‘Thailand: Songs for Life, Song for Struggle’ in Dance of Life: Popular Music
and Politics in Southeast Asia (Chiang Mai, Thailand: Silkworm Books, 2001), pp.162-206
19
Natatun Intrakong, ‘The Musical Characteristics of The Grand EX’Band’ (unpublished master’s
thesis proposal, College of Music, Mahidol University, 2007)
20
Prit Patarasuk, ‘Rewat Buddhinan’s Influence on Thai Popular Music (1983-1996)’ (unpublished
master’s thesis, Chulalongkorn University, 2004)
21
Wittaya Poobua, ‘The Influence of American Music On Thai Popular Song’ (unpublished master’s
thesis, Mahidol University, 2000)
22
Patummal Songsakul, ‘Education Management in the College of Dramatic Arts, Bangkok: A Case
Study of Western Vocal Music’ (unpublished master’s thesis, Mahidol University, 2003)

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.

2.2 Field Work Process

In this research, the fieldwork was conducted in Bangkok, Thailand during 16th

December 2007 to 25th January 2008. The purpose of the fieldwork was to examine

and gain the data that relate to the research questions. After that, the researcher then

evaluates how effective data provide as a solution and shows the advantages and

disadvantages.

The process of the field study was made by sending the official letter from Kingston

University24 to introducing the researcher, explaining the purpose and objectives, and

asked for the permission and collaboration as the following methods:

1. Interview the instructors who work in Music Entertainment programme, at

the College of Music, Mahidol University.

2. Interview the music students who study in the Music Entertainment

programme at the College of Music, Mahidol University.

3. Observed the activities of the Music Entertainment programme which

organized by students. In addition, observing teaching private classroom in

order to receive in depth information as well.

23
Sasivimon Changrian, ‘Factors Related to Academic Achievement in Music Skill Learning of
Western Musical Instruments of Pre-College Students (Mattayom 4-5-6) at College of Music, Mahidol
Univeristy’ (unpublished master’s thesis proposal, College of Music, Mahidol University, 2005)
24
A copy of official letter and cover letter are provided in Appendix C (p.127)

13
4. Distributed the self-administered questionnaire to the target sample, who are

music students in the Music Entertainment programme.

2.3 Data Collecting and the Research Tools

The data were collected through documentary, in-depth interviews, observation, and

self-administrated questionnaire. Research methods such as interview, observation,

and content analysis collect qualitative data that provide information for this research

to identify the logistic programme operation and the principles that help to ensure the

quality of the programme.25

2.3.1 Secondary Data

In this research, secondary data such as the textbooks, dissertations, and articles were

used to facilitate the study. There are some secondary information with the aim of a

study of the music education, and popular music studies in Thailand. Moreover, there

are relevant and useful data in relation to this topic, which were applicable to this

research. Moreover, the secondary data that obtained were mostly up-to-dated and

accurate because it was done within these ten years, with only two data offered in

1980, and 1985.

2.3.1.1 Data from the Documents

Documents that provided background information about the selected programme were

collected before, during, and after the interview process and were subjected to content

analysis in order to identify with the history and context for the situation. The

25
Louis Cohen, and Lawrence Manion, Research Methods in Education, 4th ed. (London: Routledge,
1994)

14
documents used include brochures and promotional information about the Music

Entertainment programme, course catalogues, records of the programme such as

evaluation reports and summaries, materials about the programme found on the

College of Music, Mahidol University website, and documents from the College, and

agendas of meeting between the college and instructors.

Since the purpose of this research was to understand how the Music Entertainment

programme functioned and to evaluate the effectiveness of the educational

programme, evaluation reports were examined primarily to understand how the

programme functioned. Brochures and promotional material were reviewed so that

this information could be used as the stimulus for discussion during interviews.26

2.3.2 Primary Data

Even though the secondary research will generate the understanding of this study, the

primary research is necessitated because its procedure of collecting information is

particularly address the research and answers the research question.27 Definitely, by

applying with the secondary data, the time for starting doing the primary from the

draft was reduced the time and money needed to spend in this research.

2.3.2.1 Data from the Interviews

The interviews were intended to link to the aims and objectives of the research. There

are two main purposes for using interview methodology. Firstly, it was hoped that the

music instructors and music specialists could provide the first hand knowledge about

26
An example of the college’s brochure is provided in Appendix D (p.129)
27
Louis Cohen, and Lawrence Manion, Research Methods in Education, 4th ed. (London: Routledge,
1994)

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

information to encourage and improve the development of Music Entertainment

programme and popular music studies in Thailand.

Interviews are a most useful way of obtaining in-depth information and have been

defines as a conversation of two person for the specific purpose, which began by the

interviewer. The interview were phrased in order to obtaining research-relevant

information, and focused by the interviewer on content specified by research


28
objectives. In addition, the unstructured-informal interview has such advantages;

firstly, the respondents tend to expose their true feeling since there is no group

pressure. Secondly, the respondents tend to pay attention to the issue because it is the

personal one-to-one situation. Thirdly, the respondents obtain heightened state of

awareness in a personal interview since they are in close accompaniment with

interviewers. Fourthly, it is easier to get the detail of respondents’ feelings and

motivations underlying their statements regarding to the length of interview. Finally,

another advantage is that depth interview can generate insights to the main issue since

the structure is quite flexible to explore unexpected remarks and marginal points.

Therefore, in this research, the unstructured-informal interview was used because it is

an open situation, which provides the greater flexibility and self-determination for

respondents. It also presents a framework within which respondents can express their

28
Louis Cohen, and Lawrence Manion, Research Methods in Education, 4th ed. (London: Routledge,
1994)

16
own understandings in their own term. This may allow the researcher to capture the

complexities of the interviewees’ individual perceptions and experiences.29

a.) Target Sample

Since, the aims of the interviews were to obtain the necessary information concerning

music education, the Music Entertainment programme, and popular music studies in

Thailand. The sample was recruited from the person who has knowledge in the topic

for example Thai music educators, music specialists, music instructors, college

faculties, the board of director whose organized and set the curriculum, and students

whose studies in the programme.30 These people were selected from among those

who had direct links to the Music Entertainment programme at Mahidol University,

Thailand. The personal in-depth interviews lasted approximately one and one-half

hours for each person.

b.) Sample Size

The researcher categorized the interviewees into 3 groups:

1. Interviewees who are music educators and music specialists

2. Interviewees who are the music instructors, and college faculties at the

College of Music, Mahidol University

3. Interviewees who are students in Music Entertainment programme at the

College of Music, Mahidol University

Initial, unstructured interviews were conducted with four music instructors, from the

College of Music, Mahidol University. All of these were conducted face to face on an
29
Michael Quinn Patton, ‘Qualitative Evaluation and Research Methods’ 2nd Edition (Newbury Park,
CA: Sage Publication, 1990)
30
An interviewees’ name list can be found in Appendix E (p.132)

17
individual basis, and an extra-interview was conducted with two instructors by

telephone, and email. Moreover, unfortunately, the researcher was unable to

interview the director of the College of Music, so further data was also gained from

others associated with the college and from reading magazines.

In addition, in order to collect information of greater depth there was considered

interviewing four college students currently studying on the Music Entertainment

programme. This was important because student opinion is an extremely important,

and can have considerable influence on the programme and universities. Then these

interviews can be compared with those of music instructors’ in order to influence the

design and development of the music curriculum. The rationale for choosing

interview the student was that all the students in the sample had experienced studying

on the Music Entertainment programme. Students were asked for general background

information, the individual experiences of general lesson and instrumental lesson, the

classroom environment, and their attitude toward the programme. Moreover, all

interviews were conducted in Thai, for clarity of communication.31 In addition, a

questions guide was created for all interviewees so that they could better understand

the questions and the topics under discussion.32

31
When presenting the resources from interview, the translations from Thai to English are made solely
by the researcher, whose first language is Thai.
32
A list of interview questions can be found in Appendix F (p.134)

18
2.3.2.2 The Observational Case Study

The case study was used to test the circumstances of an individual unit, indeed, the

purpose of such observation was to explored in-depth, and to investigate intensively

the different overviews regards to the wider population to which that unit belong.33

Primarily, this research planned to observe the in-class learning, evaluation

procedures, participation activities, the private instrumental classroom, the students

and the classroom environment as well as identifying the difficulties and problem

related to the instruction of the Music Entertainment programme. Therefore, the

researcher has observed the “Entertainment Series II concert”, which is organized by

the students in the programme, and two instrumental classes.34 The observation

technique was used to identify the circumstances of the programme, to provide other

insights, and demonstrates some of the problems that the interviews could not

highlight.35

Additionally, participant observation was used to gain detailed information about the

aspects of the Music Entertainment programme. Definitely, participant observation

may be defined as the practice of doing research by associate into the social group or

institution that is being research. Consequently, during participant observation the

researcher has two goals, the first being “to take on the role of participant in a setting”

and the second, “to inquire into the ethnographic character of the setting”.36 This has

many advantages, principally that the researcher experiences the observed setting at

33
Louis Cohen, and Lawrence Manion, Research Methods in Education, 4th ed. (London: Routledge,
1994)
34
The pictures from the observation are provided in Appendix G (p.137)
35
Roger P. Phelps, and Lawrence Ferrar, A Guide to Research in Music Education 4th ed. (London:
Scarecrow Press, 1993)
36
James Mckernan, Curriculum Action Research: A handbook of methods and resources for the
reflective practitioner, 2nd ed. (London: Kogan Page, 1997), p.63

19
first hand, and involves the researcher noting down what is seen as it occurs, This

makes the observational data more likely to be accurate.37

2.3.2.3 The Self-Administered Questionnaire

The questionnaires are the way to gather data in order to help to understand the

opinion of the respondents and, by definition answers a one hundred percent response

rate. It also ensures that sampling is accurate and less bias than interview. This

method were used because it ensures a high response rate, accurate sampling, and a

minimum of interviewer bias, while permitting interviewer assessments, providing

necessary explanations and giving the benefit of a degree of personal contact.38

a.) Questionnaire Design

The questionnaire was divided into two parts. The first part contains the questions

about the personal status of the respondent, who were asked to fill in details such as

gender, and instrument played. The second part contains the questions about their

attitudes concerning the programme, for example the reason for studying in the Music

Entertainment programme, the music curriculum, the learning and teaching process,

the value of the subjects covered, and reinforcement of the learning environment.39

b.) Pilot Study

The questionnaire was designed during November and December 2007, and first

tested in a pilot study of ten respondents from the target sample in order to correct all

the mistakes. Once it had been returned, the researcher adapted the questionnaire, in

37
Peter, Foster, Observing school: a methodological guide (London: Paul Chapman, 1996)
38
Anneliese N. Oppenheim, Questionnaire Design, Interviewing and Attitude Measurement New
Edition (London: Continuum, 2005)
39
An example of the questionnaire design in English is provided in Appendix H (p.143)

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

correction of communication. The researcher then distributed the self-administered

questionnaire in Thai in January 2008.40

c.) Target Sample

This research focuses on students engaged in the popular music studies by using the

case study of the Music Entertainment programme, during the academic year 2007-

08.41 Ninety questionnaires were distributed overall, with ten of these had been used

as a pilot study to shape the final questionnaire, for which a sample of eighty

respondents was used.

2.4 Data Review

Firstly, the data from documents were reviewed by categorizing and comparing data

in order to observe similarity and difference of data in various aspects. Then the

conclusion was made in order to be a guideline for analytic study. Secondly, data

from interviews was accumulated by recording the interviews and transcribing the

interviews. The transcriptions were then categorized according to the questions and

the relation too research questions, and the opinion concerning the instructional

procedures. Then, to provide a general picture of its condition and opinions

concerning condition, that data was used to study, analyze, describe, and summarize

the development of the curriculum of the Music Entertainment programme at the

College of Music, Mahidol University.

40
An example of the translated questionnaire in Thai is provided in Appendix I (p.147)
41
Ninety students studied on the Music Entertainment programme, in the academic year 2007-08

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

questionnaire to answer the related research questions.

2.5 Data Analysis

The analyses were based on social characteristics, and behaviors of people in the

society. The analyses were also based on culture of family, economy, politics,

government, religions/beliefs, education, and other factors indicating the uniqueness

and reflecting the occupations of the target group. Bogdan and Biklen describe

qualitative data analysis as:

The process of data analysis is like a funnel: Things are open at the beginning
(or top) and more directed and specific at the bottom. The qualitative
researcher plans to use part of the study to learn what the important questions
are. He or she does not assume that enough is known to recognize important
concerns before undertaking the research.42

From the research objective, the analytical scope was categorizes into four parts as

follows:

1. Analytical topics for the arrival of Western music in Thailand

a. The arrival of Western music in Thailand

42
R.C. Bogdan, and S.K. Biklen, Qualitative research for education: An introduction to theory and
methods, 4th ed. (Boston: Allyn and Bacon, 2003), p.7

22
b. Factored that relates to the development of Western Music

2. Analytical topics for music education in Thailand

a. The development of music education in Thailand

b. Factored that relates to an improvement of music education

3. Analytical topic for popular music studies in Thailand

a. The development of Western popular music and Thai popular music

b. Factor used that related to the popular music studies in Thailand

4. Analytical topics for Music Entertainment at Mahidol University

a. The quality of teaching in the view of instructors and students

b. The factors of the programme

In addition, the data from fieldwork was a main source of analysis. The searcher will

carefully check the similarity and differences of data from individuals and documents.

It will be emphasized on description of characteristics of the popular music studies

and the music curriculum. Then the analysis of the factor influence to teaching the

entertainment programme is done. Then the conclusion is drawn along with

suggestion with problem.

23
CHAPTER 3: LITERATURE REVIEW

3.1 THE ARRIVAL AND DEVELOPMENT OF WESTERN

MUSIC IN THAILAND

3.2 THE ATTITUDES OF THAI CULTURE TOWARDS THE

WESTERN MUSIC AND MUSIC STUDIES IN GENERAL

3.3 THE HISTORY AND DEVELOPMENT OF WESTERN

POPULAR MUSIC AND THAI POPULAR MUSIC IN

THAILAND

3.4 THE DEVELOPMENT OF THE MUSIC IN HIGHER

EDUCATION IN THAILAND

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.

3.1 The Arrival and Development of Western Music in Thailand

The researcher begins with a summary of the wide-ranging history of the Western

music in Thailand. Definitely, the goal here is only to highlight the historical path the

researcher believes that are most important in the story that could be link to popular

music, even though, a city itself will have many histories.

At first stage, Western music was first introduced in Thailand in the reign of King

Phra Narai around 1511. Moreover, during that time it was noted that there was a

little impact from Western country in Thai society. Western music began to reappear

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

improvement and development of Western music in Thailand.

In addition, there were many Western scholars, who studied on this issue for example;

Western music influenced in Thailand can be identified since in the 1890s.46 Besides,

in around 1876, there were military bands playing for ceremonial parades and other

important events. This was also a significant contributor to the early development of

classical Western music in Thailand and Thai popular music.47 However, it was noted

that the first military band was formed in Thailand in around 1877, in the reign of

King Julajomklao Jaoyuhhua (King Rama V) (1868-1910). This military band trained

to play a variety of royal music, and some March music for military used. He aimed

to improved the military band, for this reason, he hired the trainers from abroad, and

43
Sugree Charoensook, ‘Undergraduate Music Curricula in Universities of Thailand and United
States: A Comparative Study and Reccommended Curriculum for Thai Universities’ (unpublished
doctor’s dissertation, College of Performing Arts, University of Northern Colorado, 1985), p.4-5
44
Patummal Songsakul, ‘Education Management in the College of Dramatic Arts, Bangkok: A Case
Study of Western Vocal Music’ (unpublished master’s thesis, Mahidol University, 2003)
45
Natatun Intrakong, ‘The Musical Characteristics of The Grand EX’Band’ (unpublished master’s
thesis proposal, College of Music, Mahidol University, 2007)
46
Craig A. Lockard, ‘Thailand: Songs for Life, Song for Struggle’ in Dance of Life: Popular Music
and Politics in Southeast Asia (Chiang Mai, Thailand: Silkworm Books, 2001), pp.162-206
47
Terry E. Miller, ‘Music Cultures and Region: Thailand’ in Southeast Asia: The Garland
Encyclopedia of World Music, Volume 4, Ed. by Terry E. Miller and Sean Williams (London: Garland
Publishing, 1998), pp.218-334

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

Monkutklao Jaoyuhhua (King Rama VI) (1910-1925).50 He was educated at the

Royal Military Academy in Sandhurst and graduated from Christ Church, Oxford

University, England. When he returned to Thailand, he applied his observation of the

success of the British democratic system of government and education, in order to

help to transform an old-fashioned system to one that is modernized in Thailand.51

Upon his accession to the throne, in 1912, he established the first western music

orchestra, which called The Court’s String Orchestra for Western Music. Most of the

members of the orchestra were Thai classical musicians who retrained to play

Western musical instruments. Indeed, an Italian teacher, who was teaching in the

Thai Army’s Brass Orchestra, was asked to help with the teaching in this string

orchestra. Later on, in 1914 King Monkutklao Jaoyuhhua sent Piti Vadhyakorn to

help in organize the orchestra.

48
Prit Patarasuk, ‘Rewat Buddhinan’s Influence on Thai Popular Music (1983-1996)’ (unpublished
master’s thesis, Chulalongkorn University, 2004)
49
Sugree Charoensook, ‘Undergraduate Music Curricula in Universities of Thailand and United
States: A Comparative Study and Reccommended Curriculum for Thai Universities’ (unpublished
doctor’s dissertation, College of Performing Arts, University of Northern Colorado, 1985)
50
Patummal Songsakul, ‘Education Management in the College of Dramatic Arts, Bangkok: A Case
Study of Western Vocal Music’ (unpublished master’s thesis, Mahidol University, 2003)
51
David Wyatt, Thailand: A Short History (Chiang Mai , Thailand: Silkworm Books, 2003)

27
Piti Vadhyakorn (1883 - 1968) was a German, who was working as an official in the

Railway Department. He was the son of an immigrant German trumpet musician,

Jacob Fiet, and gained his musical skill in stringed instruments, and piano from his

father.52 At first, his name was Peter Fiet, but then later changed to Thai name as Piti

(delightful). Moreover, it was at this time that the use of a surname system was

introduced in the country.53 The King Monkutklao Jaoyuhhua gave him Vadhyakorn

(a conductor) as a surname. Finally due to his success in work, he was given an

official title as Phra Jen Duriyang (the person who is keen in music), and then

deserved to be remembered as the first person to “pioneer and lay the foundation for

the instruction and performance of Western music in Thailand”.54 Definitely, it was

his aim to achieve Western musical standards, and suggested that a student of Western

music in Thailand must study the theory of classical music so that they could truly

understand the style of music and become successful in the performance of Western

music. Furthermore, he felt that the students be supposed to take time to listen to both

classical and popular Western music so as to obtain a thorough understanding of

them, which would then lead them to an appreciation of the music and to an ability to

express an appropriate emotional response.

Finally, through Phra Jen Duriyang’s discerning insight, Western music became

established in Thailand by the increase population of people who study music, even it

is only restricted to the capital’s elite and the expatriate society.55 Nevertheless, it can

52
Patummal Songsakul, ‘Education Management in the College of Dramatic Arts, Bangkok: A Case
Study of Western Vocal Music’ (unpublished master’s thesis, Mahidol University, 2003), p.29
53
David Wyatt, Thailand: A Short History (Chiang Mai , Thailand: Silkworm Books, 2003)
54
Patummal Songsakul, ‘Education Management in the College of Dramatic Arts, Bangkok: A Case
Study of Western Vocal Music’ (unpublished master’s thesis, Mahidol University, 2003), p.30
55
Terry E. Miller, ‘Music Cultures and Region: Thailand’ in Southeast Asia: The Garland
Encyclopedia of World Music, Volume 4, Ed. by Terry E. Miller and Sean Williams (London: Garland
Publishing, 1998), pp.218-334

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

Father of Western Music in Thailand”.56

3.2 The Attitudes of Thai Culture towards the Western Music and

Music Studies in General

Since music is, a valuable source that has helped improves the health, emotions,

abilities, and wisdom of human beings. Throughout the history of humanity, music

has been used to express emotions such as love, sadness, joy, and triumph. Moreover,

while popular music has changed significantly in the past few decades, the music

itself would not have developed without the involvement of societal influences. All

the way through musical history, there has been a link between the wider historical

context of musical styles and many factors, such as, changes in the society, political

and economic issues, and culture. These factors are important as they place an

emphasis on beliefs, attitudes, and the living conditions of people in society, as well

as making an important contribution to developing the kinds of music.

Historically, in Thailand, the people considered careers in music, art, and dance with

contempt and condemned them as of low class status and even of immoral intent. As

56
Patummal Songsakul, ‘Education Management in the College of Dramatic Arts, Bangkok: A Case
Study of Western Vocal Music’ (unpublished master’s thesis, Mahidol University, 2003), p.31

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

political, religious and entertainment purposes”.57 In addition, he also states that:

For many generations, Thai families believed that music was a hobby, not a
professional career with which a child could earn a living. The Thailand
education system also has music in school solely as an entertainment subject
to support other activities. Music is not considered to be a serious subject of
study.58

Indeed, according to observations of foreign people living in Thailand, such as Jacob

Feit, Thai people showed little genuine interest in the art of music, and he forbade his

son, Phra Jen Duriyang to make music as career in Thailand.59 Besides, there was a

change of attitude towards music education and music careers in Thailand from

around 1925, after the death of King Monkutklao Jaoyuhhua. This was largely

because of the economic depression caused by World War I, and King Pokklao

Jaoyuhhua (King Rama VII) (1925-1935) abolished the Entertainment Department

and the Pranluang School.60 However, late in 1926, King Pokklao Jaoyuhhua

resurrected the Entertainment Department but to the less important status of Gong

(Section) rather than Department. The Western music orchestra was also moved from

Arts Division to a private house belonging to the Royal Cavalry Regiment.

During the reign of King Pokklao Jaoyuhhua, the orchestra received no

encouragement or support from the high-ranking officers in command of the cavalry

57
Sugree Charoensook, ‘Undergraduate Music Curricula in Universities of Thailand and United
States: A Comparative Study and Reccommended Curriculum for Thai Universities’ (unpublished
doctor’s dissertation, College of Performing Arts, University of Northern Colorado, 1985), p.6
58
Sugree Charoensook, ‘Music Talk’ special edition – Solo Night No.3 “The Four Season” (2004, p.4),
p.4
59
Prit Patarasuk, ‘Rewat Buddhinan’s Influence on Thai Popular Music (1983-1996)’ (unpublished
master’s thesis, Chulalongkorn University, 2004)
60
Patummal Songsakul, ‘Education Management in the College of Dramatic Arts, Bangkok: A Case
Study of Western Vocal Music’ (unpublished master’s thesis, Mahidol University, 2003)

30
regiment, who were against adopting Western music for the country. In 1932, the

nation changed its form of government from an Absolute Monarchy to a Democratic

Monarchy.61 The Fine Arts Department was re-established as part of the Ministry of

Ecclesiastical Affairs and Education, and the Entertainment Section became part of

the Fine Arts Department with Luang Wijitwatakarn as its first Director. In 1934, the

Western Music Orchestra was place under the supervision of the Fine Arts

Department and renamed as the Fine Arts Western Music Orchestra.62

Nevertheless, despite some improvements, the orchestra having been held in high

status in the reign of King Pokklao Jaoyuhhua had been gradually losing prestige

largely because budget cutting by the Budget Allotment Committee, which was both

ignorant and unappreciative of the worth of music. For them, music was useful only

for entertaining the government’s honorable guests and, only once in a while, for the

enjoyment of the public.

3.3 The History and Development of Western Popular Music and

Thai Popular Music in Thailand

Western music came to represent the music from the various nations present since

there were many European foreigners living in Thailand. Western popular music is a

focus in this research, in order to highlight first, the long-standing history of

cosmopolitanism in Thailand and second, to show that the variety of the

characteristics that are now classified as features of globalization, are deeply rooted in

the history of the country. However, Wong and Lysloff state that:

61
David Wyatt, Thailand: A Short History (Chiang Mai , Thailand: Silkworm Books, 2003)
62
Patummal Songsakul, ‘Education Management in the College of Dramatic Arts, Bangkok: A Case
Study of Western Vocal Music’ (unpublished master’s thesis, Mahidol University, 2003), p.32

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

on Thai popular music in the West. Indeed, Lockard notes that:

It is clear that popular music has become a significant sociocultural force and
enjoys extraordinary influence all over the world. While scholars have long
analyzed the roles of folk and classical music, the value of studying popular
music or oven popular culture generally has been more controversial.64

For this reason, this research presents an overall historical view of the issues related to

the development of Western and Thai popular music. According to Miller, the

development of popular music in Thailand can be traced back in the 1800s, which was

the time when Western classical music was introduced to Thailand.65 Western powers,

such as popular music and other forms of European and American music have

become extremely influential in Thai music industry. Indeed, in a history of Thailand

the country has never experienced colonization. Therefore, there was no benefited

from the influence from the Western countries, although Thai popular music was

influenced by the popular music of Europe and America.66 Moreover, popular music

became known in Thailand during the war period, as can be seen from a small dance

63
Deborah Wong, and Rene T.A. Lysloff, ‘Popular Music and Culture Politics’ in Southeast Asia: The
Garland Encyclopedia of World Music, Volume 4, Ed. by Terry E. Miller and Sean Williams (London:
Garland Publishing, 1998), pp.95-112, p.95
64
Craig A. Lockard, ‘Thailand: Songs for Life, Song for Struggle’ in Dance of Life: Popular Music
and Politics in Southeast Asia (Chiang Mai, Thailand: Silkworm Books, 2001), pp.162-206, p.xiii
65
Terry E. Miller, ‘Music Cultures and Region: Thailand’ in Southeast Asia: The Garland
Encyclopedia of World Music, Volume 4, Ed. by Terry E. Miller and Sean Williams (London: Garland
Publishing, 1998), pp.218-334
66
Wai-chung Ho, ‘A cross-cultural study of preferences for popular music among Hong Kong and
Thailand youths’, Journal of Intercultural Communication, (2004)

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

3.3.1 Before the Political Revolution (1932)

Many scholars highlight the importance of the development of Thai popular music

and notes that there was the new form of music that emerge before 1932.68 These

were known as phelng luk thung69, and phelng luk krung70. Likewise, during 1903-

1904 HRH Boripad Sukhumphan, one of the sons of King Julajomklao Jaoyuhhua,

who graduated in Europe, also introduced a new kind of music to Thai people, and he

was regarded as “the father of modern Thai music”.71 The reason is that he was the

first person who introduced the study of international music including notations,

techniques, and harmonization, as well as provided knowledge to compose in modern

Western style Thai people. However, the real birth of Thai popular music according

to Lockard, was in 1931 when the new type of song called phleng neua tem72 was first

played by a local band.73 Further, the use of westernized composition in the film

industry also became more prevalent in late 1920s and 1930s.

67
Sugree Charoensook, ‘Undergraduate Music Curricula in Universities of Thailand and United
States: A Comparative Study and Reccommended Curriculum for Thai Universities’ (unpublished
doctor’s dissertation, College of Performing Arts, University of Northern Colorado, 1985)
68
Terry E. Miller, ‘Music Cultures and Region: Thailand’ in Southeast Asia: The Garland
Encyclopedia of World Music, Volume 4, Ed. by Terry E. Miller and Sean Williams (London: Garland
Publishing, 1998), pp.218-334, p.331
69
Phelng luk thung is one of several kinds of traditional popular music in Thailand, which refers to a
working-class music that crosses rural-urban lines.
70
Phelng luk krung refers to a distinctly and middle class people. This form of song uses new texts for
both Thai classical melodies and newly composed Western melodies accompanied by Western
instruments.
71
Wittaya Poobua, ‘The Influence of American Music On Thai Popular Song’ (unpublished master’s
thesis, Mahidol University, 2000)
72 Phleng neua tem or known as ‘completely worded song’ is one of the modern Thai songs, which
were similar to Western songs. However, the melody was adapted from Thai traditional songs.
73 Craig A. Lockard, ‘Thailand: Songs for Life, Song for Struggle’ in Dance of Life: Popular Music
and Politics in Southeast Asia (Chiang Mai, Thailand: Silkworm Books, 2001), pp.162-206, p.167

33
3.3.2 After the Political Revolution (1932)

In 1932, Thailand had a political revolution, which then transformed the government

from absolute monarchy to constitutional monarchy.74 After the revolution period,

there were many changes in the country. In music, Thai popular music was increasing

in popularity engendered by nationalistic songs, and the use of popular music in the

film industry.75 Eventually, there was also the first newly composed Thai song, which

became known as phleng thai sakon76. Although, it has many similarities with phelng

luk krung, however, it now considered as part of the same categorize.77 In addition, the

modernizing government planned to promote the country and had a programme of

modernization and Westernization.78 Therefore, the state radio received permission

from the government to broadcast phleng thai sakon and phleng sakon79 instead of

Thai traditional music.

In 1933, jazz music was introduced in Thailand by Luang Sukhumnaipradit, who

graduated from the United States of America, he brought jazz music recordings, and

the musical scores back to Thailand. Later in 1934, Luang Sukhumnaipradit and

some Western musicians formed the first jazz Big Band in Thailand called Rainbow

and played lot of musical styles, but mostly jazz music.80 In a long run, jazz music

became famous among Thai society. There was the performing of jazz music in

Swing style by the Jazz Big Band around 1934-1945. Moreover, in 1936, Luang

74
David Wyatt, Thailand: A Short History (Chiang Mai , Thailand: Silkworm Books, 2003)
75
Natatun Intrakong, ‘The Musical Characteristics of The Grand EX’Band’ (unpublished master’s
thesis proposal, College of Music, Mahidol University, 2007)
76
Phleng thai sakon or known as ‘Western Thai popular song’ is the modern Thai song, which have
Western melodies and accompanied by Western instruments.
77
Craig A. Lockard, ‘Thailand: Songs for Life, Song for Struggle’ in Dance of Life: Popular Music
and Politics in Southeast Asia (Chiang Mai, Thailand: Silkworm Books, 2001), pp.162-206, p.181
78
Kitchana, Lersakvanitchakul, ‘A virtuoso- “35 Most Influential Thais”’, The Nation, (July 2006,
p.106)
79
Phleng sakon is the name of an international songs or popular music of the West that called in Thai
80
Prit Patarasuk, ‘Rewat Buddhinan’s Influence on Thai Popular Music (1983-1996)’ (unpublished
master’s thesis, Chulalongkorn University, 2004)

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

wider audience, at that time.81

Furthermore, in relation to the change in the history of Western popular music in

Thailand, American film musicals that achieved wide popularity among Thai people

in the late 1930s, was another issue that has to be concern.82 There was the

acculturation between Thai and American, because the influences from American

music were settled in Thailand.83 Later on, there were many changes in the Thai

popular music industry, largely influenced by the works of Western musicians, and

American soldiers serving in the Vietnam War, who were encamped in Thailand.

They bought over Rock and Roll music and Western Rock music in around 1965-

1975. Popular music from America became widespread, and it was because of the

need of and American soldier, who was living in Thailand. At the beginning of the

1960s, Western popular music and Thai popular music dominated the radio, club, and

the recording industry.84 Nonetheless, the emergence of the recording industry and

the expansion of the urban middle class were made by radio, cassettes, television,

movies, and compact discs with the industrialization and Western influence.85

Eventually, Thai people have become more interested in Western rock music. Indeed,

81
Kitchana, Lersakvanitchakul, ‘A virtuoso- “35 Most Influential Thais”’, The Nation, (July 2006,
p.106)
82
Wai-chung Ho, ‘A cross-cultural study of preferences for popular music among Hong Kong and
Thailand youths’, Journal of Intercultural Communication, (2004)
83
Wittaya Poobua, ‘The Influence of American Music On Thai Popular Song’ (unpublished master’s
thesis, Mahidol University, 2000)
84
Craig A. Lockard, ‘Thailand: Songs for Life, Song for Struggle’ in Dance of Life: Popular Music
and Politics in Southeast Asia (Chiang Mai, Thailand: Silkworm Books, 2001), pp.162-206
85
Deborah Wong, and Rene T.A. Lysloff, ‘Popular Music and Culture Politics’ in Southeast Asia: The
Garland Encyclopedia of World Music, Volume 4, Ed. by Terry E. Miller and Sean Williams (London:
Garland Publishing, 1998), pp.95-112

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

potential celebrity, wealth, and freedom to be harvested from popular music.87

As many people in the Thai music industry will say that, popular music as it is known

today in Thailand would not have been possible without the involvement of the

Western professional musicians who working in Thailand from the turn of the century

to the present period. The establishment of new era of music in Thailand took an

important role as well.88 The reason that the issue what rise up was when the Grammy

Music Company89 under the cooperated of Rewat Buddinan and Paiboon

Damrongchaitham was establish in 1983. Since then, it marked a new era for the

popular music business in Thailand.90 Moreover, while the popular music scene has

changed significantly in the past few decades, although the old-style phelng luk krung

are still favoured by a small group in Thai society, but with the immediate increase of

86
Prit Patarasuk, ‘Rewat Buddhinan’s Influence on Thai Popular Music (1983-1996)’ (unpublished
master’s thesis, Chulalongkorn University, 2004)
87
Natatun Intrakong, ‘The Musical Characteristics of The Grand EX’Band’ (unpublished master’s
thesis proposal, College of Music, Mahidol University, 2007)
88
http://www.youtube.com/watch?v=0eKYXZIPPkc
89
The company profile of the Grammy Music Company is provided in Appendix J (p.151)
90
Wai-chung Ho, ‘A cross-cultural study of preferences for popular music among Hong Kong and
Thailand youths’, Journal of Intercultural Communication, (2004)

36
the population and the developing affluence of the younger generation, American and

British styles of popular music have come to the fore.91

3.4 The Development of the Music in Higher Education in Thailand

This research aims to investigate the study music education in Thailand from the past

to present. To this end, it found that in general public of Thailand regards music

education by lacking a clear concept of the educational discipline. Nevertheless, there

was lacking of perception of the music education, as it does not exist in the mind of

the person, who works with the programme.92 In addition, Charoensook presents the

good general background of the main issues. He notes that:

Several problems exists in Thailand which affect the development of music


curricula: the stage of musical development, the particular version of
nationalism existing in the country, the difficulty of obtaining modern
instruments, the lack of acceptance of professional musicians as teacher, and
the absence of the very popular Western music influence in the schools.93

Moreover, he also states in the same dissertation that before 1976 there were no music

degrees available in Thai higher education, whereas by 1985 there were five courses

operated in colleges and universities. Furthermore, it is clear that by 2005 there were

major music curriculums in fifty-nine higher education institutes throughout the

country.94 Consequently, it is interesting that the demonstrating considerable increase

in interest.

91
Terry E. Miller, ‘Music Cultures and Region: Thailand’ in Southeast Asia: The Garland
Encyclopedia of World Music, Volume 4, Ed. by Terry E. Miller and Sean Williams (London: Garland
Publishing, 1998), pp.218-334
92
Chaloempol Ngamsuti, ‘Attitudinal Survey of Thai Music Educators concerning Music Education in
Thailand’ (unpublished doctor’s dissertation, University of Missouri-Columbia, 1980), p.1
93
Sugree Charoensook, ‘Undergraduate Music Curricula in Universities of Thailand and United
States: A Comparative Study and Reccommended Curriculum for Thai Universities’ (unpublished
doctor’s dissertation, College of Performing Arts, University of Northern Colorado, 1985), p.8
94
Wathit Suwansomboon, ‘Trend in Higher Education in Music in Thailand’ (unpublished master’s
thesis, Mahidol University, 2005)

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

and organized by Phra Jen Duriyang.95 In addition, there is no exactly information

regards to the birth of this school, however, the researcher assumes that it was

originate in around 1914 and 1919. The school aimed to teach both dramatic and

musical arts, and at that time, the school admitted only boys.

In the ‘Pran luang School’, there were six grades, and the curriculum consisted of

both general subjects and fine art subjects. The general subjects were the same as

those prescribed for the public secondary school under the Ministry of Education

including Thai language, mathematics, Thai history, and physical education, whereas,

the fine arts subjects consisted of Thai Classical music and Western music. In

training for Western music, Phra Jen Duriyang emphasized both theory and practice,

and promoted the art of arranging sounds into musical compositions. He also

developed theories concerning the playing of musical instruments, and the art of

vocalizing in order to provide the learners with the ability to perform or compose

music correctly. From that time onwards, the music schools were established both in

governmental and private organizations and so “classical music in Thailand had been

much prospered at that period”.96

King Monkutklao Jaoyuhhua’s intention was that palace officials should study both a

general curriculum and a curriculum including the dramatic art such as Thai Classical

95
Wittaya Poobua, ‘The Influence of American Music On Thai Popular Song’ (unpublished master’s
thesis, Mahidol University, 2000)
96
Prit Patarasuk, ‘Rewat Buddhinan’s Influence on Thai Popular Music (1983-1996)’ (unpublished
master’s thesis, Chulalongkorn University, 2004), p.8

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

3.4.2 The Improvement of Music Education in Thailand

The education of Western music, both the practical and theoretical contents, began to

change and have been combined into the school music curriculum, from the

elementary through the higher education levels in Thailand.98 Moreover, the music

class was increased until it became nearly as important as the other subjects studies in

educational institutions, from the elementary through the higher education levels.

Furthermore, since 1934, there has been a huge development of music in the higher

education in Thailand. The significant improvements to music education in Thailand

97
Patummal Songsakul, ‘Education Management in the College of Dramatic Arts, Bangkok: A Case
Study of Western Vocal Music’ (unpublished master’s thesis, Mahidol University, 2003)
98
The National Identity Board Office of the Prime Minister ‘Thailand into the 2000's’ (2000, p.153-
155)

39
in the 1970s were initiated in the Conservatory of Music and Drama.99 After that, the

music degrees became established in a few universities, offering concentrations in

both Western and Thai music.100 However, at that time higher music education in

Thailand lacked of music teachers, and for this reason, the Department of Teacher

Education began the first music teacher curriculum in Bansomdejchaopraya Teacher

College.

In addition, the study of trends in higher music education is concerned with the

educational policy of the Ministry of Education Affair. Some institutions, which offer

higher education for music teacher, have been opened for more than thirty years.

However, at present, the music curriculum, administration, and higher music

education policy are in the control of the Ministry of Educational Affairs and Ministry

of Cultural Affairs. Government organizations and universities have opened music

schools and faculties starting with the School of Fine Arts under the auspices of the

Fine Arts Department. Since then, many more have followed, for example

Chulalongkorn University, Kasetsart University, Mahidol University, and Silapakorn

University.101 However, in comparison with other areas of study, there is not much

information on music higher education in Thailand. There are no government reports

that help to provide the detail. The students who would like to study music have to

seek and collect the information by themselves. Indeed, at present, there is little

discrete music in the curriculum for young people, therefore those who would like to

99
Wathit Suwansomboon, ‘Trend in Higher Education in Music in Thailand’ (unpublished master’s
thesis, Mahidol University, 2005)
100
Terry E. Miller, ‘Music Cultures and Region: Thailand’ in Southeast Asia: The Garland
Encyclopedia of World Music, Volume 4, Ed. by Terry E. Miller and Sean Williams (London: Garland
Publishing, 1998), pp.218-334
101
The National Identity Board Office of the Prime Minister ‘Thailand into the 2000's’ (2000, p.153-
155)

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.

3.4.3 Popular Music Studies in Higher Education in Thailand

Most Western countries were offered popular music studies in the music education

institutions since early 1970s.103 It is interesting that when dealing with popular music

in music education, it has been rationalized in many ways. First argument is concern

the social importance by compared popular music to the Western classical and folk

music. Furthermore, they believes that popular music should included into the music

education programme since various type of popular music are often used in

commercial, music education institutions should provide the students with the abilities

to interpret and work in this field. Hence, in past few decades in Thailand, many Thai

musicians who graduated in Western classical music with refined skills and

knowledge have passed the issue concern an importance of popular music and in the

production of music business.104 They believe that the important object is that the

society should pay more attention to produce the people who are keen on this field in

order to work for popular music industry. Indeed, they suggest that the knowledge

and fundamental method of Western classical music can be adapted and help to

improve the production of popular music.105

102
Jiradej Setabundhu, ‘Where should you study music in undergraduate’s programme in Thailand?’
College of Music, Mahidol University, Music Journal 12:2 (June 2006, p.65-80)
103
Alf Björnberg, ‘Teach You to Rock'? Popular Music in the University Music Department’, Popular
Music 12:1 (Jan,1993), pp. 69-77
104 <http://www.youtube.com/watch?v=lyYT5-IhWTs&feature=related>
105 Jiradej Setabundhu, ‘Where should you study music in undergraduate’s programme in Thailand?’
College of Music, Mahidol University, Music Journal 12:2 (June 2006, p.65-80)

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 studies in Thailand. The Music Entertainment programme, at College of

Music, Mahidol University was used as the case study, in order to discover the

circumstances of popular music studies in Thailand.

42
CHAPTER 4: RESEARCH FINDING: PRELIMANARY

RESULTS AND ANALYSIS FROM THE INTERVIEWS

ANALYSIS DATA FROM THE INTERVIEWS

4.1 POPULAR MUSIC STUDIES IN THAILAND AND THE

MUSIC ENTERTAINMENT PROGRAMME

4.2 THE MUSIC ENTERTAINMENT CURRICULUM

4.3 THE STUDENTS

4.4 THE INSTRUCTORS

4.5 THE COLLEGE FACILITIES

4.6 THE EXTRA-CURRICULAR ACTIVITIES

43
Chapter 4: Research Finding: Preliminary Results and

Analysis from the Interviews

Introduction

This chapter presents results of the data analysis from interviews with music

instructors and music students in the Music Entertainment programme. The Music

Entertainment programme is one of the programmes offered by the College of Music,

Mahidol University, Thailand. It is necessary for the College of Music to differentiate

the uniqueness of the Music Entertainment programme from other music institutions

by improving its quality and performance. On completion of this research, it will then

provide some recommendations to improve the quality of teaching on the Music

Entertainment programme. Since this research aimed to analyze the current

positioning of the Music Entertainment programme, which is aimed at popular music

studies, the questions from the interview were phrased to answer the research

questions.

Analysis Data from the Interviews

The interviews contained were done with a deep and longstanding concern in

questions that addressed all types of information, curricula, activities, and events

carried out by the college of music, whether official or unofficial. The interviewees

were asked regards to several issues covering the music education, especially the

Music Entertainment programme, and the opinion of instructors and students

concerning the quality of teaching on the programme. Questions were also asked

regards to a number of different aspects of teaching, including assessment and support

44
provided by the programme and the university. After completion of data analysis,

several issues can be identified, regards to a selection of questions as follows:

4.1 Popular Music Studies in Thailand and The Music Entertainment

Programme

Q:1 In your opinion, what do you think of popular music studies in Thailand?

Puengpreeda argues that, “The market of Thai popular music and music industry was

increasingly popular among people in society. There are many singers, and

musicians, who released their albums to the public. However, most company

promotes the external issue of the singers or bands and concern the marketing more

than concentrates on the quality of music or the product itself”.106 Therefore, this is

probably be the reason that at present, the higher education institute realize how

important of the music industry and popular music. It leads to the initiated of the

popular music curriculum in Thailand, and certain that the Music Entertainment

established because this reason as well.

Q:2 What were the aims when the Music Entertainment programme was

established?

“The College of Music aims to provide general information to enable students to

perform and produce good music.107 Once they have graduated, students should then

be able to work in any music fields whether classical, jazz or popular music”.108 It is

clear that the Music Entertainment programme was established in order to provide

popular music studies109; however, it is because of the view of the Board committees

106
Interview with Somphop Puengpreeda, was in person on 8th January 2008
107
See Appendix A (1.1 College Philosophy and 1.2 The Mission and Objectives, p.107)
108
Interview with Somphop Puengpreeda, was in person on 8th January 2008
109
See Appendix A (2 The Music Entertainment programme, p.116)

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

Music Entertainment instead of Popular Music”.110

Q:3 Can you tell me about the opinion of the Music Entertainment Committee,

regarding the way to manage the class and curriculum?

When asking questions concerning the evaluation assessment, Prapatrangsi claims

that, “It is the responsibility of a college examination board committee. It consists of

the subject instructions from the departments, separated by instrument, such as the

piano department, the voice department, and the electrical instrument department,

which include the electric guitar, the electric bass, and the drum set”.111 Moreover, the

committee takes a responsibility in the evaluation of students’ performance through

examination, although each department and instructors have their own criteria. The

marks given by each member of the examination committee would then be added

together and divided to arrive at symbolic academic results112, which would use a

criteria-based grading system. In the examinations, the student would do a solo

performance, scales, technique, and sight-reading, according to the committee’s

specifications.113

4.2 The Music Entertainment Curriculum114

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

question, for example:

Q:4 What do you think about the current music curriculum of the Music

Entertainment programme?

According to Prapatrangsi, “At present, the Music Entertainment course outline

changes in every academic year, then leading some students to believe that it does not

reach the required standard”.115 There is the evidence to support this argument since

Rungruengphol states, “I do not gain enough knowledge from attending the Music

Entertainment course subjects”.116

Q:5 Could you give me any suggestions to improve popular music studies in

Thailand?

Q:6 In your opinion, how can we help to improve the quality of teaching in the

Music Entertainment programme?

Most instructors assume that the current Music Entertainment curriculum and the

study requirements should be more specific. Referring to Puengpreeda, “It should be

revised both in order to reach the college goals and to improve the quality of

teaching”.117 Similarly, concerning instrumental lessons, Sukkantaraks states, “The

requirement of the teaching in Music Entertainment should be varied and up to date in

order for the curriculum to be relevant to changing styles of music. Besides, the

specific practice pieces should be specified in order to discourage teachers who do

115
Interview with Surat Prapatrangsi, was in person on 9th January 2008
116
Interview with Sirinda Rungruengphol, was in person on 8th January 2008
117
Interview with Somphop Puengpreeda, was in person on 8th January 2008

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

prescribed material is covered completely. Moreover, scales, arpeggios, and

techniques should be performed regularly and be included in the curriculum”.119 In

addition, Dangintrawat states, “The curriculum should include a variety of musical

styles, for example, classical music, jazz, popular music, Thai traditional folk songs,

songs from various occasions, musical and film songs”.120 It is possible that most

instructors believe that the repertoires, which required in the programme should be

graded to fit into the sequence of class level and to suit each student’s ability. This

ensures that student understand the fundamentals of music.

Q:7 How do you design the curriculum or requirement for the student?

Q:8 How do you organize the standard of your class?

Concerning the instrumental classes, Puengpreeda notes, “Some students have the

wrong attitude towards study in the programme. They would like to study only the

things that interested”.121 Moreover, Khaiseang presented an interesting point that “In

spite of the fashion for teenagers to play the modern popular songs, some students do

not understand the teaching concepts within their subjects. As an alternative, they

want to follow the current fashions in the styles and show unwillingness to learn the

required styles”.122 Therefore, there is a strongly possibility that when teaching the

instrumental class, if the students are allowed to practice and learn the pieces they

118
Interview with Suttipant Sukkantaraks, was in person on 27th December 2007
119
Interview with Tawan Khaiseang, was in person on 27th December 2007
120
Interview with Benjapa Dangintrawat, was in person on 8th January 2008
121
Interview with Somphop Puengpreeda, was in person on 8th January 2008
122
Interview with Tawan Khaiseang, was in person on 27th December 2007

48
enjoy, this will motivate them to practice more. Clearly, this benefits the learning

process.

4.3 The Students

According to the records of the Academic Affair, it can be seen that the number of

students who would like to attend the Music Entertainment programme increased each

year. The number of students is presented in the table below:

The Applicants The successful Applicants


Academic Enroll Graduated
Year Admission Admission
1st 2nd 3rd Total 1st 2nd 3rd Total Total Total
2002 - 6 7 13 - 3 5 8 5 4
2003 5 6 16 27 - 6 16 22 16 5
2004 5 5 9 19 1 1 5 7 12 10
2005 6 12 19 37 1 2 8 11 N/A N/A
2006 18 27 30 75 11 7 13 31 N/A N/A
2007 70 114 91 275 4 8 27 39 N/A N/A
2008 97 105 94 202 1 11 32 44 N/A N/A
Source: Academic Affairs, College of Music, Mahidol University (2008)

Table 1: Number of students in Music Entertainment Programme

As can be seen from above, the number of students in the Music Entertainment

programme continues to increase steadily. Presently, in the academic year of 2007,

there were as many as ninety. In addition, the fact that “there are too many students

being admitted to the Music Entertainment programme makes it exceedingly difficult

for the instructors to give them the close personal attention that they require”.123

123
Interview with Suttipant Sukkantaraks, was in person on 5th June 2008

49
Q:9 From your teaching experience in the College of Music, what is the potential

of the students in Music Entertainment programme?

It is possible that there are two groups of students with two ability levels. Firstly,

there are those who serious about the desire to study music and who are dedicated to

the study various kinds of music, included Western classical, jazz, and popular music.

This group has the abilities and motivation to study and understand more about the

course. Secondly, there are those who have been pushed to join the programme

because they believe it is the easiest programme to study, or because they cannot get

in anywhere else; therefore they lack drive, do not practice, and cannot learn.

Along these lines, Prapatrangsi claims that, “The first group of students tends to have

more success in their study and graduation from the Music Entertainment programme,

while the other group tends to derive less enjoyment from their study and frequently

moved to study in other programmes at the college”. 124 There is a strong possibility

that at present most students are capable of persevering in their practice. However,

those students who are forced by their parents to study in the programme, or who are

unable to find seats at other universities or other programmes are found to be

uninterested and unmotivated.

Q:10 Can you tell me your opinion about the students’ achievements from your

instrumental class?

Q:11 Could you give me any suggestions to improve the quality of students in the

Music Entertainment programme?

124
Interview with Surat Prapatrangsi, was in person on 9th January 2008

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

4.4 The Instructors126

The College of Music at Mahidol University has more than 60 full-time instructors,

many of whom are recognized nationally and internationally for their achievements as

performers, composers, and scholars in the profession, as well as for their

commitment to teaching.127 Moreover, there is a definite possibility that the college

executives tried to provide as many music instructors as possible.

Q:12 How did you first come to teach in the College of Music?

Q:13 Who is the instructors of the Music Entertainment programme?

Q:14 Can you tell me what you think about the instructors’ abilities to teach in the

class?

Most of the instructors who work for the Music Entertainment programme graduated

in the field of performance and pedagogy. For this reason, “they have little
125
Interview with Suttipant Sukkantaraks, was by email on 5th June 2008
126
See Appendix A (1.11 The Instructors, p.112)
127
http://www.music.mahidol.ac.th/en

51
enthusiasm or much experience in management and academic administration.

Therefore, this is possibly one of the reasons that the Music Entertainment department

cannot manage their own music curriculum”.128 Moreover, it is interesting that

presently there are only five full-time instructors in the programme.129 This situation

arises because there were only a few specialist instructors in music education in

Thailand with knowledge a popular music and music industry. “The main reason is a

limited amount of music training in most instructors’ educational backgrounds, since

they were trained to play in Western classical music style”.130 Consequently, because

of the lack of sufficient numbers of full-time instructors, the Music Entertainment

programme was forced to hire part-time instructors. It is probable that most

instructors in Music Entertainment work as part-time instructors.

Furthermore, from the two groups of instructors, it can be seen that there are not many

full-time instructors in the Music Entertainment programme. On the other hand, the

number of part-time instructors has increased steadily in the past few years in order to

handle the steadily growing number students in the Music Entertainment programme.

The majority of part-time instructors in the Music Entertainment programme are

mostly electric guitar instructors. Khaiseang mentions that, “At present, six electric

guitar instructors are responsible for teaching the Music Entertainment students, two

of them being full-time, and the rest part-time. Most of the instructors are the alumni

who graduated from the College of Music, Mahidol University, in many programmes,

for example Music Technology, and Jazz Studies; they were later hired by the

college.131 Those part-time instructors “taught not only students in the Music

128
Interview with Surat Prapatrangsi, was in person on 9th January 2008
129
http://www.music.mahidol.ac.th/en
130
Interview with Surat Prapatrangsi, was in person on 9th January 2008
131
Interview with Tawan Khaiseang, was on telephone on 3rd March 2008

52
Entertainment programme, but also other programmes, for example Music Business,

and Music Technology”.132

According to Sukkantaraks, “The part-time instructors tend to work according to the

hours of their course only, and they tend to come and go rapidly as they find other,

higher paying positions at other universities. Moreover, they are paid on an hourly

basis, only being paid when they teach classes. This may suggest that they have no

time for the students’ individual needs”.133 Furthermore, the teachers are

overburdened both by their own work schedule, as a result, the teachers themselves

lack opportunities to practice their arts and fail to prepare their lessons properly.

Thus, the progress and development of the Music Entertainment programme is very

slow and uneven.

From the view of the student, most of them are pleased to study in the programme.

Since Napalai claims that, “The increasing number of students mean that the class size

tend to be large, making it almost impossible for the instructors to control students or

give personal attention, however, they tried their best in order to helps all of

students”.134 Moreover, Saibunmi demonstrates that “classroom have sometimes

become big group, which making it difficult for student to communicated with the

instructor when they have a problem. Anyway, most instructors provide the extra

meeting time, as their teaching studio always welcome for students who face the

problems”.135

132
Interview with Somphop Puengpreeda, was in person on 8th January 2008
133
Interview with Suttipant Sukkantaraks, was in person on 27th December 2007
134
Interview with Tin Napalai, was in person on 9th January 2008
135
Interview with Skowrung Saibunmi, was in person on 8th January 2008

53
4.5 The College Facilities136

Q:15 From your teaching experience, what is the most difficult aspect of teaching

the instrumental to students?

Q:16 From your study in the College of Music, what do you think about their

facilities and equipments?

The primary problem is that there are not enough songbooks for Music Entertainment

students and instructors in the library; the teachers have to try to find their own

equipments. Khaiseang confirms that, “The College should provide enough books,

CDs, and other facilities to enable instructors in every programme to provide

continuity in the teaching programme”.137 This means that the books and all stuffs

should be in good quality and up-to-date. Furthermore, “There is a great need for all

types of electronic sound equipment, from computers, recorders, tape cassettes, CD

players and discs, video players and video cassettes as well as microphones and

amplifiers’.138

Currently, there is a shortage of classrooms in the College of Music, Mahidol

University; the classrooms for the Music Entertainment programme are shared by

other programmes. Moreover, there are insufficient private rooms for instrumental

instructors. They have to teach in the practice rooms and do not have their own

offices. This clearly demonstrates that there is not enough room to accommodate the

large number of students in college. Dangintrawat argues that, “Some classrooms are

substandard, as they are too small, and also that the practice rooms need to be

soundproofed to prevent external noises from disrupting the students’

136
See Appendix A (1.12 The College Facilities, p.113)
137
Interview with Tawan Khaiseang, was on telephone on 3rd March 2008
138
Interview with Somphop Puengpreeda, was in person on 8th January 2008

54
concentration”.139 Additionally, “The practice rooms are too small, and the external

noises make it impossible to concentrate, leading to the students’ tendency to play or

sing incorrect notes”.140 Moreover, Saibunm declares that, “presently there is only one

‘in-class performance room’ provided for the Music Entertainment student, in order to

study and practice the small ensemble”.141

4.6 The Extra-Curricular Activities142

Q:17 What do you think about the music activities that are provided to students in

Music Entertainment programme?

Q:18 From your study in the College of Music, what do you think about the extra-

curricular and activities on offer for the students on the Music Entertainment

programme?

Even though the College of Music has hosted numerous concerts, recitals, workshops,

activities, and seminars throughout the academic year, however, “the current

extracurricular activities provide little help towards the improvement of the Music

Entertainment students’ performance abilities”.143 In addition, although Chitrangsan,

activity manager at the college indicates that, “We’re very supportive of our students’

activities”.144 However, they tend only to afford students the opportunity to perform

in front of audiences and no more. Therefore, some instructors think, “The students

should be allowed to think independently and to be creative”145, “The College should

provide some more support on the activities of the Music Entertainment

139
Interview with Benjapa Dangintrawat, was in person on 8th January 2008
140
Interview with Tin Napalai, was in person on 9th January 2008
141
Interview with Skowrung Saibunmi, was in person on 8th January 2008
142
See Appendix A (1.13 The Extra Curricular Activities, p.114)
143
http://www.music.mahidol.ac.th/en
144
Yanapon Musiket, ‘The College of Music at Mahidol University is certainly not for ‘losers’’, The
Bangkok Post: Outlook, (27 March 2008)
145
Interview with Tawan Khaiseang, was on telephone on 27th December 2008

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

Entertainment programme to perform publicly are rare”.148 Dangintrawat states that,

“There is the only occasions when we do get an opportunity to perform and

management outside the classroom. It was during the concert that we organized by

ourselves at the end of semester, once a year”.149 Additionally, the students have

opportunity to perform in “The Music Entertainment Concert Series I and II in 2006,

and 2007.150 There is a definite possibility that in comparison to the other programme

such as Music Business, Music Technology, and Jazz Studies, there are more

activities provided for the student. According to Prapatrangsi, “The reason is because

in those programmes, they have somebody who helps to organize and manage the

activities for students. Indeed, it was nearly impossible to do anything when there is

nobody to work or help with management”.151

146
Interview with Suttipant Sukkantaraks, was in person on 27th December 2007
147
Interview with Somphop Puengpreeda, was in person on 8th January 2008
148
Interview with Tin Napalai, was in person on 9th January 2008
149
Interview with Benjapa Dangintrawat, was in person on 8th January 2008
150
The brochure of the Music Entertainment Concert Series I and II are presented in Appendix K
(p.155)
151
Interview with Surat Prapatrangsi, was in person on 9th January 2008

56
CHAPTER 5: RESEARCH FINDING: PRELIMANARY

RESULTS AND ANALYSIS FROM THE

QUESTIONNAIRES

THE ANALYSIS DATA FROM THE QUESTIONNAIRES

QUESTION 1-13

57
Chapter 5: Research Finding: Preliminary Results and

Analysis from the Questionnaires

Introduction

This chapter presents the results of the data analysis of the questionnaires, which

aimed to investigate the students’ opinion about learning in the Music Entertainment

programme. Indeed, the questions were devised to answer the research questions

underpinning this study. Moreover, useful suggestions have been derived which may

possibly help to provide a means by which the teaching methods in the Music

Entertainment Programme might be improved.

The Analysis Data from the Questionnaire

Initially the number of respondents was sixty-five, however, after completion of the

data review, there was found to be some error in five questionnaires because the

respondents did not answer all the questions required. In a consequence, these

responses were eliminated from the data and so the total of the responses used

numbered only sixty.

In addition, the gender proportion was very unbalance (male 86.67%, female 13.33%),

because the vast majority of those on the course, and thus the respondents were men.

Therefore, analysis using gender separation had to be considered with this in mind.

Indeed, the graphs below need to be read with care. For this reason, the data

presented both in terms of the separated genders and also of the whole population.

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

Figure 1: Question number 1

As demonstrated in figure 1, from sixty respondents, there were fifty-two males and

eight females. It was interesting to notes that 86.67% of students in the Music

Entertainment programme are male students, whereas only 13.33%, who are female.

This probably indicated that male students tend to had more interest in popular music

than female. Moreover, this maybe largely associated with the type of instruments

used and also the trend of music, including pop and rock culture, which in

performance, is predominantly male.152

152
See Chapter Four (Q.7 and Q.8 p.48)

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

Figure 2: Question number 2

It is evident from figure 2 that the majority of male respondents in this population

studied the electric guitar (63.46%), and a further 23.08% studied the electric bass.

Moreover, 5.77% studied the piano, and another 5.77% studied the drum set. Lastly,

only 1.92% of male respondents who studied a brass instrument and despite the

course offering woodwind instrument or voice, no respondents studied these areas.

However, 50.00% in the female population studied the piano, 25.00% studied the

electric guitar, and 25.00% studied voice. Indeed, no female respondents studied the

electric bass, the drum set, a woodwind instrument, or a brass instrument.153

153
In relation to gender, it should be noted that these populations were very unbalanced (See p.58)

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

instrument among students in the Music Entertainment programme. Whether these

proportions would be replicated with more even populations is a moot point, however,

the general trends would be likely to remain similar.

61
Question 3: What are your favorite musical genres? (Figure 3)

Music Listening Preferences

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

Figure 3: Question number 3

As exemplified in figure 3, the respondents were free to give as many responses as

they wished for this question. For this reason, the answers show what percentage of

students listen to each style of music. Rock music (40.38%) and pop music (30.77%)

are the musical style which respondents found most interested in. In addition, other

reason included church music, hip-hop, and heavy metal (5.77%). The most notable

feature is that most male respondents listened to rock music, and whereas most

females listened to pop music.

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

think will provided the popular music studies.154

154
See Chapter Four (Q.9 p.50)

63
Question 4: What is your reason for studying on the Music Entertainment

programme at the College of Music, Mahidol University? (Figure 4)

Reason for studying on the Music Entertainment


programme at the College of Music, Mahidol University?
100.00
P 76.92 75.00
e 80.00
r 62.50
c 60.00
e Male
n 37.50 Female
40.00
t
Total
a
20.00 15.38 18.33
g 7.69 6.67
e
0.00
- The quality - The quality - The quality Other reasons
and reputation and reputation and reputation
of the College of the Music of the music
of Music, Entertainment instructors
Mahidol programme
University

Figure 4: Question number 4

As demonstrated in figure 4, the response fall into two distinct categories, thus, while

75% of respondents made their decision because of the quality and reputation of the

College of Music, Mahidol University, none of them chose because of quality and

reputation of the programme itself. Therefore, it seems that the reputation of the

College of Music was an important element in students’ decisions to study in the

institute. In addition, other reasons (18.33%) included respondents who opted for this

programme because they had failed to get a place in other programme, who had the

impression that the Music Entertainment programme was an easy option, and who

were interested in studying the variety of music that this programme offered.

64
Question 5: What is your reason for studying on the Music Entertainment

programme? (Figure 5)

Reason for studying on the Music Entertainment


programme?

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

Figure 5: Question number 5

It is noticeable from figure 5 that there are 61.67% of the respondents decided to

study because they would like to gain more knowledge and the musical skill in

instrumental playing, however, 16.67% wanted to gain knowledge about popular

music history, theory, and so on. It is interesting to note that other reasons (21.67%)

included respondents who failed to get a place in other programme, who would like to

play and study popular music style, and who would like to study various kinds of

music.

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

group that aims for the study in popular music style.

155
See Chapter Four (Q.9 p.50)

66
Question 6: What have you found to be the most positive aspects while studying

on the Music Entertainment programme? (Figure 6)

Possitive aspects while study on the programme

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

Figure 6: Question number 6

As illustrated in figure 6, the respondents were free to give as many responses as they

wished for this question. Notably, individual instrumental lessons (35.51%) were the

most positive aspect. Moreover, it was also found that 23.91% of respondents liked

the core course subjects, and 20.29% of them, liked the instructors.

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

the Music Entertainment programme?

Negative aspects while study on the programme

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

Figure 7: Question number 7

As exemplified in figure 7, the respondents were free to give as many responses as

they wished for this question. Notably again, the music activities were least favoured

(41.49%). Moreover, 27.66% of respondents disliked the entertainment course

69
subjects, and 17.02% of them, disliked the ensemble lessons. Other reasons

concerned the tuition fees and equipment (5.32%).

A comparison with the responses to question 6, confirms the dissatisfaction with the

music activities, and the entertainment course subjects.156

156
See Figure 6 (p.67)

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

least useful (rank 4). The results were as follows:

The most useful subject for real life

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

Figure 8:1 Question number 8 (Rank 1)

Figure 8:1 demonstrated that a majority of respondents (86.67%) considered the

individual instrumental lessons as the most useful subject to use in real life. However,

none of them considered the entertainment course subjects as being the most highly

ranked.

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 Question number 8 (Rank 2)

Figure 8:2 exemplified that the core course subjects (63.33%) ranked as the second

most useful subject to use in the real life. It is interesting to note that again, none of

respondents believes in the entertainment course subjects.

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 Question number 8 (Rank 3)

Figure 8:3 illustrated that the entertainment course subjects (45.00%) ranked as the

third most useful subject to use in the real life, whereas 28.33% of respondents placed

the ensemble lessons at this level.

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: Question number 8 (Rank 4)

Figure 8:4 demonstrated that the entertainment course subjects (55.00%) also ranked

as the fourth useful subject to use in the real life, whereas the 45.00% of respondents

were concerned the ensemble lessons. This confirm the outcomes of the previous

figure (Figure8:3) in relations to these true areas as being the least profitable in the

estimation of the respondents.

Therefore, the individual instrumental lessons were considered the most useful

subjects that the respondents believe they could use in their real life, while, the

entertainment course subjects were found to be the least useful.

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:

The most important area that has to be improved

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

Figure 9:1 Question number 9 (Rank 1)

It is evident from figure 9:1 that from the view of current students, most male

respondents indicated that the music activities (57.69%) were the most important area

that should be improved, whereas, most female respondents were concerned the

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

taught in the programme.

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

Figure 9:2 Question number 9 (Rank 2)

It is noticeable from figure 9:2 that the entertainment course subjects (58.33%) ranked

the second most important area to be improved. Indeed, again, as can be seen from

the results of questions 6 and 7, there is strong evidence that respondents were also

disappointed with the entertainment course subjects that was taught in the programme.

157
In relation to gender, it should be noted that these populations were very unbalanced (See p.58)

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

Figure 9:3 Question number 9 (Rank 3)

It is clear from figure 9:3 that the ensemble lessons (63.33%) ranked the third the

most important area that should be improved. There is a very high percentage

(69.23%) of male respondents concerned with this issue, whereas, only 25% of female

respondents showed concern. Therefore, it is possible that males seem to be

interested more than females on playing in ensemble.158

158
In relation to gender, it should be noted that these populations were very unbalanced (See p.58)

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

Figure 9:4 Question number 9 (Rank 4)

It is evident from figure 9:4 that the individual instrumental lessons (45%) ranked the

forth most important area that should be improved. This confirms the data gained

from questions 6, and 7, which certain that the respondnets were fulfilled from the

lesson.

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

Figure 9:5 Question number 9 (Rank 5)

It is clear from the figure 9:5 that the core course subjects (41.67%) ranked the fifth

most important area that should be improved, which also confirms the finding from

questions 6, and 7. It may conclude that from the view of respondents, they were

already benefiting from the core course subjects.

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

Figure 9:6 Question number 9 (Rank 6)

It is evident from figure 9:6 that the instructors (65%) were considered to be the least

important area to be improved. Again, as found in is questions 6, and 7, it may infers

that the quality of instructors in the programme already met the respondents’

satisfaction.159

Thus, it can be concluded from all the responses that there is a difference between

preference in the areas of interest of male and female. It seems that male respondents

were more concerned with extra-curricular activities than females, who were

concerned more with the taught modules.

159
See Chapter Four (4.4 The Instructors, p.51)

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

particularly, to gain more ensemble experience.

81
Question 10: Which college activities that you participate in? (Figure 10)

Type of activities that participate in

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

Figure 10: Question number 10

As demonstrated in figure 10, the largest response was from those who did not

participate in any activities at all (45.95%). In addition, 28.38% of respondents

attended choir or chorus, whereas, only 5.41% participated in the Pop Orchestra. It is

interesting to note that other response concerned small ensemble (20.27%).

This may infer that the college had attempted to provide many extra-curricular

activities for students, however, as can be seen, there were still many student from

Music Entertainment programme who did not attend any of the college activities.

Most of them participated in small ensemble, which is a not extra-curricular activity

as it is one of the core subjects of the programme itself.160

160
See Chapter Four (4.6 The Extra-Curricular Activities, p.55)

82
Question 11: Do you play in the String Combo Band? / If ‘Yes’, what kinds of

music do you play?

Do you play in the String Combo Band?

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

Figure 11:1: Question number 11(1)

It is evident from figure 11:1 that there is not much difference between the male

respondents, who play in the string combo band (51.92%) and those who did not play

(48.08%). However, most female respondents (62.50%) did not play in the string

combo band.161

161
In relation to gender, it should be noted that these populations were very unbalanced (See p.58)

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

Figure 11:2 Question number 11 (2)

As illustrated from figure 11:2, those male students who played in the band tended to

play more rock music (47.06%), pop music (23.53%), and other popular styles

(fusion, and classic rock) (14.71%). On the other hand, most of the female students

enjoyed playing pop music (60.00%), and jazz music (40.00%).

This clearly shows that male respondents have more interested playing in ensemble

more that female students. In addition, the rock and pop music is the style that most

students are interest in. A comparison with the responses to question3, confirms the

respondents’ music preference.162

162
See Figure 3, p.62

84
Question 12: Do you work in the field of music at present? / If ‘Yes’, what kinds

of work do you do?

Do you work in the field of music at present?

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

Figure 12:1: Question number 12(1)

As exemplified from figure 12:1, a gender analysis revealed widely differing

experience. Thus, while 62.50% of the female respondents were working in the field

of music at present, 65.38% of male respondents were not.163

163
In relation to gender, it should be noted that these populations were very unbalanced (See p.58)

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

Figure 12:2 Question number 12 (2)

It is evident from figure 12:2 that it details the nature of such work. This, 50.00% of

respondents were teaching an instrument, and 30.77% were playing in the pub, bar, or

restaurant. In addition, 15.38% of respondents compose music and work in the filed

of music production. However, it is interesting to note that there were only 3.85% of

respondents, teaching music theory, and ear-training course.

This clearly shows that female respondents have more interest in working in music

than male respondents, although the disparity in numbers may well distort these

percentages. Certainly, opportunities to work may be limited. Additionally, this

indicates that most respondents tend to work in connection with the area of

performance.

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

Figure 13:1 Question number 13 (1)

As demonstrated from figure 13:1, there was a marked result as 82.61% of

respondents used the skill that they gained from their study when they work, while,

17.39% of respondents did not use those skills.

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

Figure13:2 Question number 13 (2)

As exemplified from figure 13:2, a majority of respondents (50.00%) were used the

knowledge gained from the core course subjects when they work, as well as that from

the individual instrumental lesson (47.06%). 2.94% of respondents were used the

knowledge from ensemble lessons. However, it is very interesting that none of

respondents used the knowledge from the entertainment course subjects.

However, when the respondents did not using knowledge in work did not necessary

mean that those kinds of knowledge had no value. Indeed, this confirms other finding

in questions 6, 7 and 8, as it clearly shows that students in the Music Entertainment

programme had much concern as regards to the entertainment course subjects. There

is no doubt entertainment course subject are the dissatisfied in the students’ opinion.

88
CHAPTER 6: SUMMARY OF THE RESEARCH

6.1 CONCLUSIONS

6.2 RECOMMENDATIONS

6.3 LIMITATIONS OF THE RESEARCH

6.4 SUGGESTIONS FOR FURTHER RESEARCH

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.

6.1.1 Western Music and Music Education in Thailand

The result of the analysis reveals that Western music in Thailand first thrived under

the patronage of the early king of Thailand, but fell out of favor and was neglected by

the governments under the Democratic system who failed to acknowledge its worth.

Even the Fine Arts Department itself gave neither support nor encouragement to the

development of Western music. This may concluded to be one of the reasons that

why music education and music career are not widespread in Thailand. However,

recently Charoensoon, as cited in Musiket affirm that “From now on, music should be

known as a science of philosophy, it should never again be a career ‘from the street’

like they used to call it”.164

Nowadays the numbers of higher education institutes in Thailand are increasing in

quality and quantity. There is much study and instruction of music present both

164
Quoted in Yanapon Musiket, ‘The College of Music at Mahidol University is certainly not for
‘losers’’, The Bangkok Post: Outlook, (27 March 2008)

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

has becomes a valuable elements in people’s daily live. It provides entertainment,

encouragement, and the opportunity to express oneself. All of this has led to music

being recognized as a fundamental school subject and an important activity for the

development of peoples and the societies. In addition, since music education has

changed from studying for fun and enjoyment to study to learning theory and

fundamentals of music, therefore, this makes this subject no less important than any

other school curriculum.

Historically, in Thailand, musical careers have been socially unacceptable. The

public regarded music with disparagement, considering it as an inferior career.

Nevertheless, many institutes are now providing music programmes. As a result,

training in the field of music has become one of the formal educational foundations,

and many different forms of music can be studied as a career. Indeed, at present,

music can be a highly rewarding career both financially and artistically for the

successful performer. In addition, with a numbers of middle class people becoming

professional musicians, the Western musician’s presence is still a palpable part of the

musical culture of present day in Thailand. When considered in this manner, one can

see that music is an important element in the development of the nation as well as the

global community.

6.1.2 The Music Entertainment Curriculum

Generally, in the music community in Thailand popular music has been considered

less academic than Western classical music and jazz studies. Even where there were

91
increasing integration of music curricula, and other curricula, such as music

technology, and music business.165 Nevertheless, it is interesting that most

universities provide the other kind of music studies, while excluding the concentration

on the popular music studies. The indecision about what to teach in the programme is

the main problem that occurs in many universities that offer this kind of programme.

It seems often that the existing curriculum is not appropriate to meet the aims and

objectives of each university.

From the preliminary results, it is clear that students from the Music Entertainment

programme still feel that they are ill prepared to graduate and be successful in their

music careers and did not receive enough knowledge regards to the entertainment

course subjects while study on the programme.166 As a result, the current

circumstances of the Music Entertainment at the College of Music, Mahidol

University, Thailand, as it stands remain slightly unsatisfactory from most points of

views, should be clearer to understand. As previously mentioned, the study and

instructional system of the Music Entertainment programme continues to change

according to the desires and demands of society, which has required certain

educational conditions in order to plan the improvement of the study and instruction

of the Music Entertainment succeed.

6.1.3 The Students

An emphasis on quantity for the Music Entertainment programme makes the selection

of good students almost impossible. Moreover, students of inadequate musical

knowledge and still admitted to the programme. Further, added to this are students
165
Wathit Suwansomboon, ‘Trend in Higher Education in Music in Thailand’ (unpublished master’s
thesis, Mahidol University, 2005)
166
See Chapter Five (Q.7, p.69)

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

qualifications, needs to be modified so that only qualified and genuinely interested

students are admitted to the Music Entertainment programme. In addition, the

excessive number of students over the capacity of the college leads to increasing

investment by the acquisition of more resources such as, human resources,

classrooms, practice rooms, chairs, music instruments, and equipment.

Currently, the admission policy167 regards to the applicant qualifications is creating

problems, especially for students who would like to be admitted to the Music

Entertainment programme. Newcomers have never had any experience whatsoever in

Western music theory or ear training, because this subject is not taught in the normal

Thai National Curriculum. There is presently a new fashion for teenagers to play

modern popular songs, and most students assume that the Music Entertainment

programme will be the best provider of popular music studies. However, because the

students do not understand the teaching concepts of the programme, they find that

when they start to study in the academic year, most face problems, which in turn

become troublesome for both themselves and the college. The reason is that when

they cannot play in the style they want, they then show unwillingness to learn any

thing else.

167
See Appendix A (1.10 The Admission Policy p.110)

93
6.1.4 The Instructors

Even though there are enough full-time instructors in many universities, there is a lack

of both part-time instructors, and instruments specialists.168 Nevertheless, the case

study at the Music Entertainment programme shows that there is a shortage of full-

time instructors specializing in the fields of popular music, and individual private

tuition, this makes it necessary to hire part-time instructors.169 The fact that the

instructors keep changing contributes to slow progress in the improvement of the

discipline.

It is definitely possible that the main structure of the Music Entertainment department

is still not clear. As a result, it is difficult for the head of the department to organize

the programme and plan to invite specialists in the fields of popular music and music

industry to teach in the programme.

6.1.5 The College Facilities

Practice rooms and other facilities should be available at the college to make the

students consider them as part of their every day lives. Students have a definite

expectation that the College of Music should provide well-equipped buildings and

facilities. Although there are numerous practice rooms, classrooms, recording rooms,

and ensemble practice rooms, and a music library, however, the students in the Music

Entertainment programme consider that all these facilities are insufficient for the

increased number of students in college and inferior to other programmes.170

168
Wathit Suwansomboon, ‘Trend in Higher Education in Music in Thailand’ (unpublished master’s
thesis, Mahidol University, 2005)
169
Chapter Four (Q.13, p.51)
170
Chapter Four (Q.16, p.54)

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

helped to provide more facilities for the increasing number of students.

6.1.6 The Extra-curricular Activities

The results suggest that most students in the Music Entertainment programme believe

that there are not enough activities provided specifically for the Music Entertainment

students. As a result, some students never have the opportunity to demonstrate the

skills that they are developing. It seems that funding and personnel are lacking in the

Music Entertainment programme, especially when organizing activities such as

concerts and musical performances.171

6.2 Recommendations

The most important aspect for consideration is the improvement of popular music

studies in Thailand. While the argument about this issue remains a problem, there are

many solutions that can help the College of Music, Mahidol University to improve the

Music Entertainment programme as follows:

6.2.1 The Music Entertainment Programme and Curriculum

Useful suggestions have been obtained from the interviewees, which could help to

improved teaching methods in the Music Entertainment Programme.172 Moreover, the

issues on the current curriculum, which still not delivered in practice, should be

considered urgently.173 In addition, the College Board committee should work with

171
See Chapter Four (Q.17 and Q.18, p.55)
172
See Chapter Four (Q.5 and Q.6, p.47)
173
See Chapter Five (Q.9, p.75)

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

Music Entertainment curriculum, including the facilities, should be sequentially

improved to concur with the college’s perceived image.175 If there is a difference of

opinion between the image and actual values perceived, it can lead to negative word

of mouth from current students and alumni. Indeed, this can damage the reputation

and the credibility of the programme.

In addition to this, the researcher recommends that what has to be addressed is

repositioning the image of the Music Entertainment in outsiders’ perceptions. Image

repositioning will focus mainly on modifying the public perception of the programme.

If the college cannot transforms this issue at the time of increasing study demands in

the Music Entertainment programme, negative word of mouth from displeased

students, who expect the high quality of study and service, will be erode the college’s

reputation and image.

174
J. Ivy, ‘Higher education institution image: a correspondence analysis approach’, The International
Journal of Educational Management 15:6 (2002), pp.276-282
175
See Chapter Five (Q.4, p.64)

96
Furthermore, they need to address concerns regarding both the education system and

extra-curricula activities, especially the effectiveness of the Music Entertainment

curriculum, which provides the basis for each lesson in order to improve the quality of

teaching. Moreover, the Music Entertainment programme curriculum should provide

specific subjects, compositions, and musical style to be taught. At a minimum, some

examples of compositions, which are of similar difficulty, should be provided.

6.2.2 The Students

The College of Music should improve its performance urgently in some areas, for

example, quality of teaching, value added study, entry procedures, and feedback.

Moreover, the College of Music should control the number of students in each year

because more students required more resources to maintain the standard of

educational services. The quality of services supplied to students should be

maximized by careful management of resources.

As for students who would like to study on the programme, the interviewees had

suggested some useful information, which could students to achieve succeed in the

study.176 Personally, the researcher assumes that there are several ways, which can be

lead to the academic success. Firstly, the students should set serious aims, and

practice continuously to achieve skill and fluency in performing music. Secondly,

they need to know their own weaknesses and strengths and find ways to improve

those weaknesses as well. Thirdly, since music study needs conscientiousness and

perseverance in practice, one of the important things is to love and be happy with

study and practice, and not to get bored easily. Finally, being on time and paying

176
See Chapter Four (Q.10 and Q.11, p.50)

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

habits will lead to higher academic achievement

6.2.3 The Instructors

Personally, the researcher suggests that the College Board of Committee should

furnish enough support for the instructors in the Music Entertainment programme to

help it succeed. Furthermore, the present administration of personnel should be

revised, ways and means should be found to retain good part-time instructors for

longer periods of time, and permanent teachers should be encouraged and supported

in their attempts to improve their teaching abilities.

The researcher also believes that the instructors in the Music Entertainment

department should pay more attention to problems that occur and try to solve those

problems. For example, they should discuss the management procedures in the

department among themselves to meet the standard of the college. Moreover, it might

be helpful if the department organizes the annual meeting, to follow-up the results

from the improved programme. All of the instructors should have acquired skill and

knowledge, and they should have the same standard and methods in order to teach in

the programme.

Moreover, the instructors in the programme should complete the university’s

requirements for a degree in music or music education and must demonstrate

knowledge of various musical subjects, for instant, the history of music and literature,

music theory, composition, improvisation, orchestration and conducting. In addition,

98
they should have good communication skills, professionalism, and musicianship.

6.3 Limitations of the Research


Although this research provides the vision regard to the study of popular music

studies in Thailand, there are some problems in undertaking it. Firstly, there are

problems concerning accumulating information of music education and the arrival of

Western music in Thailand. In general, there are few researches provided both in

Thai and in English. Therefore, the information is scattered and comes from few

sources, for example previous researches, articles, and books. In addition, some of

the documents and researches were done since past ten to twenty years, this may

cause the not up-to-date information.

Secondly, due to lack of printed information, it is necessary to interview a person who

has knowledge about this topic in order to get information sufficient for the analysis.

Yet again, the problem is not many people who have knowledge; as a result, it has an

effect on the completion of this research.

Finally, the focus of this research is to study regards the popular music studies in

Thailand. However, there are not many studies concerning the teaching of this kind.

For this reason, the researcher planned to conduct the research by using the case study

in the College of Music in Thailand. The single case study designs may be limited the

population because the numbers of students in Music Entertainment programme are

rare. Therefore, the research sample was reasonably very small.

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

findings of this research. Furthermore, it can be done by comparative between

universities that have the same teaching methods in popular music studies. In

addition, bigger sample sizes could be possible investigated in the future in order to

reflect more on the real situation.

100
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Rodriguez (Reston : MENC, 2004)

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to theory and methods, 4th ed. (Boston: Allyn and Bacon, 2003)

Bresler, Liora and Stake, Robert E., ‘Qualitative Research Methodology in Music
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(Oxford: Oxford University Press, 2006), pp.270-311

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(London: Routledge, 1994)

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(London, SAGE Publications, 1994)

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(Oxford: Blackwell, 1999)

Lockard, Craig A., ‘Thailand: Songs for Life, Song for Struggle’ in Dance of Life:
Popular Music and Politics in Southeast Asia (Chiang Mai, Thailand: Silkworm
Books, 2001), pp.162-206

Longhurst, Brian, Popular music and Society (Cambridge: Polity Press, 1995)

Marshall, Catherine, and Rossman, Gretchen B., Designing qualitative research, 4th
ed. (Thousand Oaks: Sage Publications, 2006)

Miller, Terry E., ‘Music Cultures and Region: Thailand’ in Southeast Asia: The
Garland Encyclopedia of World Music, Volume 4, Ed. by Terry E. Miller and Sean
Williams (London: Garland Publishing, 1998), pp.218-334

Patton, Michael Quinn, ‘Qualitative Evaluation and Research Methods’ 2nd Edition
(Newbury Park, CA: Sage Publication, 1990)

Phelps, Roger P., and Ferrar, Lawrence, A Guide to Research in Music Education 4th
ed. (London: Scarecrow Press, 1993)

Oppenheim, Anneliese N., Questionnaire Design, Interviewing and Attitude

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

Lebler, Don, ‘Student-as-master? Reflections on a learning innovation in popular


music pedagogy’, The International Journal of Music Education 25 (2007), pp.205-
222

Lersakvanitchakul, Kitchana ‘A virtuoso- “35 Most Influential Thais”’, The Nation,


(July 2006, p.106)

Musiket, Yanapon, ‘The College of Music at Mahidol University is certainly not for
‘losers’’, The Bangkok Post: Outlook, (27 March 2008)

Setabundhu, Jiradej ‘Where should you study music in undergraduate’s programme in


Thailand?’ College of Music, Mahidol University, Music Journal 12:2 (June 2006,
p.65-80)

The National Identity Board Office of the Prime Minister ‘Thailand into the 2000's’
(2000, p. 153-155)

102
Documents:

Academic affairs, College of Music, Mahidol University, ‘Evaluation report 2007’


(2007)

Academic affairs, College of Music, Mahidol University, ‘Music Entertainment


course outline and module description’ (2007)

Thesis and Dissertation:

Chan, Violet (Tzu-Ling), ‘How can the music curriculum best be used as a vehicle for
the development of children’s musical appreciation skills from age 4-12 in Taiwan’
(unpublished master’s dissertation, Kingston University, 2006)

Charoensook, Sugree, ‘Undergraduate Music Curricula in Universities of Thailand


and United States: A Comparative Study and Reccommended Curriculum for Thai
Universities’ (unpublished doctor’s dissertation, College of Performing Arts,
University of Northern Colorado, 1985)

Changrian, Sasivimon, ‘Factors Related to Academic Achievement in Music Skill


Learning of Western Musical Instruments of Pre-College Students (Mattayom 4-5-6)
at College of Music, Mahidol Univeristy’ (unpublished master’s thesis proposal,
College of Music, Mahidol University, 2005)

Intrakong, Natatun, ‘The Musical Characteristics of the Grand EX’Band’


(unpublished master’s thesis proposal, College of Music, Mahidol University, 2007)

Maryprasith, Primrose, ‘The Effects of Globalization on the Status of Music in Thai


Society’ (unpublished PhD Thesis. London: Institute of Education, University of
London, 1999)

Ngamsuti, Chaloempol, ‘Attitudinal Survey of Thai Music Educators concerning


Music Education in Thailand’ (unpublished doctor’s dissertation, University of
Missouri-Columbia, 1980)

Patarasuk, Prit, ‘Rewat Buddhinan’s Influence on Thai Popular Music (1983-1996)’


(unpublished master’s thesis, Chulalongkorn University, 2004)

Poobua, Wittaya, ‘The Influence of American Music On Thai Popular Song’


(unpublished master’s thesis, Mahidol University, 2000)

Songsakul, Patummal, ‘Education Management in the College of Dramatic Arts,


Bangkok: A Case Study of Western Vocal Music’ (unpublished master’s thesis,
Mahidol University, 2003)

Suwansomboon, Wathit, ‘Trend in Higher Education in Music in Thailand’


(unpublished master’s thesis, Mahidol University, 2005)

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 College of Music, Mahidol University, Thailand.


Available from <http://www.music.mahidol.ac.th/en> [Accessed Dated 20 April
2008]

The official website of the GMM Grammy Puclic Company Limited Available from
<http://www.gmmgrammy.com/en/corporateinfo-milestone.asp> [Accessed Dated 08
August 2008]

Interviews:
Dangintrawat, Benjapa, Interview was on 8 January 2008 (in person)

Khaiseang, Tawan, Interview were on 27 December 2007 (in person) and 3 March
2008 (on telephone)

Napalai, Tin, Interview was on 9 January 2008 (in person)

Prapatrangsi, Surat, Interview was on 9 January 2008 (in person)

Puengpreeda, Somphop, Interview was on 8 January 2008 (in person)

Rungruengphol, Sirinda, Interview was on 8 January 2008 (in person)

Saibunmi, Skowrung, Interview was on 8 January 2008 (in person)

Sukkantaraks, Suttipant, Interview were on 27 December 2007 (in person) and 5 June
2008 (by email)

104
APPENDICES:

A: THE HISTORY OF THE COLLEGE OF MUSIC, MAHIDOL

UNIVERSITY, AND THE MUSIC ENTERTAINMENT PROGRAMME

B: THE OFFICIAL LETTER FROM KINGSTON UNIVERSITY

C: THE BACHELOR OF MUSIC BROCHURES AT THE COLLEGE OF

MUSIC, MAHIDOL UNIVERSITY

D: INTERVIEWEES NAME LIST

E: THE INTERVIEW QUESTION GUIDE

F: PICTURES FROM THE FIELD WORK

G: THE SELF-ADMINISTERED QUESTIONNAIRE (IN ENGLISH)

H: THE SELF-ADMINISTERED QUESTIONNAIRE (IN THAI)

I: THE PROFILE OF GMM GRAMMY PUBLIC COMPANY LIMITED

J: THE MUSIC ENTERTAINMENT CURRICULUM

K: ACTIVITIES OF THE MUSIC ENTERTAINMENT DEPARTMENT

105
Appendix A: The History of the College of Music, Mahidol

University, and the Music Entertaiment Programme

1. The College of Music, Mahidol University, Thailand

The College of Music is one of the faculties in Mahidol Univeristy, Thailand. The

College of Music offers a broad range of music programmes including Pre-College,

Undergraduate, Masters and Doctoral. According to the official website of College of

Music (2008), they claim its positions, as ‘is the first complete music conservatory in

Thailand’.

The College of Music originated from a Master’s degree programme in cultural study,

with the emphasis on music, which was offered by the university in 1989. Then three

year later, in 1992, the programme was expanded and renamed as the Master of Arts

in Music, concentrating on Music Education and Musicology areas. The

Undergraduate programme, started in 1998, offers various kinds of studies in music

areas, for example Music Performance, Jazz Studies, Thai and Oriental Music, and

Music Technology. In addition, Music Entertainment and Music Business

programme was first established in 1999. In 2001, the College of Music offered the

Pre-College programme to provide high school students with proper knowledge in

music, suitable for further studies in the college level. Moreover, it aims to discover

and nurture talented musicians from a young age. The Doctorate degree in Music, the

first degree in Thailand, was offered in 2005 with an emphasis in the philosophy of

Thai and Eastern music (Changrian, 2005; The official website of College of Music,

2008).

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).

1.2 The Mission and Objectives

Missions

The Bachelor of Music Programme is established to strengthen students’musical

potential both in vocal and performance areas, and to provide musical knowledge in

music theory, history, composition, and research

Objectives

• To produce competent graduates with wide range of musical knowledge and

with ability in performance in standard level, capable of performing with

international performers.

• To produce graduates with an academic excellence, in order to establish

professional music occupation with responsibilities, morality, and good

interrelationship in working with others.

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1.3 Name of Music Curriculum

Bachelor of Arts Programme in Music

1.4 Name of the Certificate

Bachelor of Arts (Music): B.A. (Music) (1998-2004)

Bachelor of Music: BMus (since 2005)

1.5 Course Duration

The duration of the whole course contains last 4 academic years and not more than 8

academic years.

1.6 Course Structure

Since 2002, the candidates for the Bachelor of Arts in Music degree must complete a

minimum of 128 semester credits. However, recently in academic year 2007,

candidates must complete a minimum of 139 semester credits (Academic Affair,

2008). The programme is organized around a core of courses in basic musicianship,

historical and theoretical aspects of music as well as general education studies, for

instance, Academic English, Statistic, Physical Education, and Social and Humanities

1.7 Education System

1 period = 50 minutes, within 1 semester there must be 1 study unit and 1 subject

must contains not less than 15 periods per a semester.

Theoretical subject 1 credit: 2 study periods per week (2-0)

Skill-learning subject 1 credit: 2 study periods per week (0-2)

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1.8 The Curriculum and Instructional (Class and Teaching) Organization

The instruction of music programme at each level has focused on making the students

knowledgeable, skilled in their chosen major fields of study, and capable of making

good living by using their knowledge and skills in appropriate manners.

1.9 Symbolic Academic Results

1. Symbols with fixed point

The academic result of each subject may be showed through symbols with fixed point

as follows.

Symbols Fixed Point Definition

A 4.00 Very Good

B+ 3.50 Good

B 3.00 Good

C+ 2.50 Fair

C 2.00 Fair

D+ 1.50 Poor

D 1.00 Poor

F 0.00 Fail

2. Symbols without fixed point

The academic result of each subject may be showed through symbols with definitions

as follows:

Symbols Definition

S Satisfactory

U Unsatisfactory

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I Incomplete

P In Progress

W Withdraw

AU Audit

X No Report

1.10 The Admission Policy

Applicant Qualifications:

• Education qualification:

- Applicants must have graduated high school or equivalent or still

studying in Mattayom 6

• Applicants must be able to play the instrument or be able to sing well.

• Applicants must have basic knowledge of theory of international music or

Thai music and hearing skill.

• Applicants must have basic knowledge of special subject for the applicant who

selects to take examination in the subject of Music Technology and the subject

of Business Music.

• Applicants must have good behavior and confirm to the college that she/he

will concentrate on studying as much as they can and will follow the rule of

the college strictly.

• Applicants must have good health, no infectious or contagious disease that

will effect to education.

The qualification of the applicant who pass the examination:

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• Applicants who have the right to study in The College of Music must pass all

examinations included verbal interview, and all subjects that the college has

provided.

• The college will record all applicants who can pass each examination and the

applicant can use their rights to apply and take examination in the subject that

they cannot pass according to each subject that the college provides in their

next application. (The result of the subject that they can pass can only use in

the examination in the same academic year)

Aural Skill

The content in examamination will cover as follows:

• Rhythmic Sight Singing: to 'clap' to the sample song which consist of the

music notation of the semiquaver (sixteenth note), quaver (eighth note), dotted

quaver (dotted eighth note), dotted crotchet (dotted quarter note), minim (half

note), rest and tie.

• Melodic Sight Singing: Sing Solfege (Do Re Me Fa etc) follow the sample

song by using the Movable Do system. The examination contains the melodic

lines in Pentatonic scale (less than 2 sharps or 2 flats)

• Rhythmic Dictation: write rhythmic notation after the sounds heard, consisted

of semiquaver (sixteenth note), quaver (eighth note), rest, and tie.

• Melodic Dictation: write melody from the sounds heard , which consisted of

melodic lines in Pentatonic scale (less than 2 sharps or 2 flats)

Remarks: To pass the exam, the student must get 75% up.

Western Music Theory Subject

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The content in examamination will cover as follows:

Clefs Intervals

Scales and Scale Degree Key Signatures

Triads Ratio of music note

Time Signature

Remarks: To pass the exam, the student must get 75% up.

Interview examination

After the applicant pass the written examination for all subjects and music

performance the college will announce the name list on the schedule.

1.11 The Instructors

The College of Music is the centre, which gathers together Thai and International

College staffs from all over the world. The college, therefore, is an intense academic

institution, which contains the cultural difference and diversity. The college staffs are

all experts of the field, well experienced in music performance. The works of many

of the staff are widely acclaimed as exceptional and deserving of the many

international awards. Music compositions of the staff, with profound background

concept, are admired and regarded as quality works in the music circle.

The college staffs come from quality educational background and, therefore, are able

to handle curriculum in many levels, from that of pre-college to the doctoral degree.

The College of Music encourages the staff to produce academic research and, at the

same time, supports the staff in their music performances. The college administers an

academic journal and encourages the staff to contribute articles, textbooks, books on

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practical subjects. Students will be given opportunity to be closely monitored by the

staff and to improve themselves with the help of experts in the field.

1.12 The College Facilities

All subject courses that open at the College of Music will be taught at the College of

Music, Mahidol University, Salaya Campus, Budhamonthon, Nakhonpathom

Province. According to the college website (2008), there are four mains building in

the college, which are Building A, B, C and a newly constructed building D.

Moreover, the College building complexes are a modern facility with modern

equipments, which comprising of four areas that provide for various kind of purpose.

Those four areas consist of

1.) Performance Areas: Music Auditorium of College of Music, Mahidol

University (MACM Hall), ‘Phra Jen Duriyang Hall’, ‘State-of-the-art’,

Open Stage, Cafét Stage, and ‘Musica Arboretum’

2.) Music Resources Areas: Music Library, Ensemble Library, E-Music

Resources Center, and Audiovisual Room

3.) Instructional Areas: Instrumental Rehearsal Room, Practice Rooms,

Choral Rehearsal Room, Thai and Orientals music Rehearsal Room, In-

Class Performance Room (for Music Entertainment, and Jazz Studies

students), Small Ensemble Room, Large Ensemble Room, Teaching

Studios, Lecture Hall, MIDI Lab, Music Business Lab, Music Therapy

Lab, and Recording Studio

4.) Auxiliary Areas: College Shop, Multipurpose Pavilion, Conference Room,

Meeting Room, Guestroom, Cafeteria

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1.13 The Extra Curricular Activities

The College of Music administers a curriculum, which supports students to gain

practical experience through a curriculum, which contains subjects on many different

types of music band. The college, therefore, is one of the educational institutions

which form the most diverse and competent music bands in Thailand, capable of

performing in many functions both within the college or when requested from outside

agencies.

The college, under the Evening Concert Program, organizes weekly recitals and

concerts by many different types of band at the college’s auditorium almost everyday

during term time. This is to give students opportunities to train their professionalism

on stage. Furthermore, special bands are also formed to enter many different

competitions both in Thailand and abroad.

Large Ensemble

There are many different types of large music ensembles of The College of Music.

Firstly, The Choir, which are auditions to select students for the Choir A, B, C, D and

the Chamber Choir. Each choir is consisted of about 70 members. There are regular

concert, such as concerts during term time, concerts outside of the university. Some

of the Pop Orchestra members are constantly invited to perform with the Choir in

many events. The performance ranges from classical music, operas, and pop music.

Secondly, The String Chamber Orchestra, which are auditions to select students for

the orchestra, which is consisted of string instruments. The performances are, for the

most part, classical music and light classical music. Thirdly, The Symphonic Band,

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which are auditions to select students for the A-B band, a full-size wind ensemble.

The band has been invited to perform in formal functions and to receive The Royal

Family in various occasions. The performances are contained light classical music,

His Majesty the King’s compositions, and ceremonial songs.

Fourthly, The Jazz Big Band, which is belongs to the type of “festival band”. This

band is the combination together of many musical bands. The performances are jazz

songs and pop songs. In some occasions, vocalists or guest vocalists are invited to

join in the band. Lastly, The Pop Orchestra, which is the band that gathers together

vocalists and musicians in all fields and is comprised of every type of musical

instruments. The band has been invited to concerts organized on special occasions

such as celebration of an institution’s establishment, concert of revolutionary songs.

In addition, the band has been invited to function as accompaniment for musical

theatres, etc. Special preparation in every function is emphasized when it comes to

performances of this band. Each process is meticulously arranged as the band is

comprised of a large number of members and as the band tends to be invited to

perform mostly in special occasions.

Small Ensemble

There are many different types of small music ensembles of The College of Music.

Those small ensembles perform in many different occasions. Students gain

membership of the band by voluntarily gather and practice, develop their performing

skills, and participate in many competitions both in the national and international

levels. Presently, the forming of small ensembles is categorized, for example, The

String Quartet, which performs classical, light classical and pop songs. The

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Saxophone Quartet, which performs numbers of pop songs, His Majesty the King’s

compositions, classical, and jazz. Moreover, there is The Brass Quintet, which

performs standard repertoire in general classical and pop music. The Trumpet

Quartet, which performs special arranged numbers of both classical and popular

genre. The Woodwind Quintet, which performs classical songs that are standard

repertoire and other special arranged numbers. Lastly, The Jazz Ensemble, which

performs mainly jazz songs and can at times serve as accompaniment for vocalists.

2. The Music Entertainment Programme

The project on Music Entertainment programme is a project of the College of Music,

Mahidol University, which is responsible for managing musical education in the

higher education level. The project was found in 1999, when Mahidol University

Council resolved that the College of Music open music course with the aim to prepare

the student for their future music careers in music industry area. The first academic

year was start in 2002, using the 2002 curriculum. Currently, three alumni were

graduated from the programme, whereas the other four groups are still studying in the

programme.

The Mission and Objectives

Missions

The primary goal of the College of Music is to provide a professional training

environment for all music disciplines, and to prepare music students for

careers in performing, teaching, researching, music technology, music

business, and music composition.

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Objectives

• To produce competent graduates with wide range of musical knowledge in

various kind of music, such as classical, jazz, and popular music. Provide the

music education for college student who will move on to their music careers in

music industry and music business.

• To produce the qualify graduates in both national and international level with

an academic excellence. Elevate an ability of graduates to perform in various

kind of musical style.

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Appendix B: The Music Entertainment Curriculum

The Music Entertainment Curriculum

The Music Entertainment programme was currently uses revised-curriculum of 2005.

For this reason, this section presented an example of the Music curriculum for 2002

curriculum, and 2005 curriculum, in order to ensure the similarity and differences as

follows:

a.) The 2002 Course Structure

- General Education courses 30 credits

- Music courses 92 credits

- Music Entertainment course 82 credits

- Music Elective 10 credits

- Optional course 6 credits

Total Credits 128 Credits

Music Entertainment Course Subjects (2002)

MSMS 171 History of Thai Popular Music Before 2500 BC

This module contains the information regards to history of Thai popular music

Music, and the biography of peoples or band, which are important toward the

development of Thai popular music. For example, Suntraporn, Dao Krajai,

Jularatana, and so on. Furthermore, there is the study of the change and the

characteristics of different styles of songs from the past to the time of Suntraporn,

band.

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MSMS 271 Contemporary History of Thai Popular Music Afer 2500 BC

This module contains the information regards to the development of Thai popular

music after 2500BC. It will concern the characteristics of music during the 'October

14 Uprising' period, such as the politic and music. There will be study of the works of

‘song for life’ musicians, and bands, for example Surachai Jantimatorn “Nga

Caravan”, Yuenyong Opakul “Aed Carabao”, the ‘Caravan’, and the ‘Carabao’. In

addition, there will be the investigation of an influence of Western music toward Thai

society, and the Thai popular music at present.

MSMS 372 Thai Jazz and Thai Popular Music

This module aims for the study of history of jazz music in Thailand. It will concern

the acculturation of jazz and Thai popular music, such as the works by Suntraporn Big

Band, Adingdila, and His Majesty the King’s compositions. In addition, there will be

the study of the jazz musicians from Philippines and South Korea who was working in

Thailand.

MSMS 377 Popular Song Instruments

This module contains information regarding to the various style of popular music

band, for example String Combo, Rock, Pop Orchestra, and Pop Chorus.

MSMS 471 Western Popular Music

This module consists of the information regards to culture of Western music in Thai

society, and the arrival of the songs in each decade. Furthermore, there will be the

study of the acceptance of Western music by Thai people, the restaurants, clubs, and

bars.

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MSMS 472 Job Information for Musician

This module emphasis on the investigation of the place, such as restaurant, nightclub,

bar, karaoke shop, coffee shop, and so on, where popular and jazz musicians s

performed. It contains information, which musicians have to know, for example the

need of the market, how to write the resume, how to prepare for an audition.

MSMS 371 Standard Songs for Musician

This module comprises the standard songs for musicians in Thailand. It will concern

characteristics of different styles, which allow musicians to bring the knowledge and

skill, in order to arranging, analyzing their own songs.

b.) The 2005 Course Structure

- General Education courses 31 credits

- Music courses 102 credits

- Academic Music 22 credits

- Applied Music: Music Ent. 52 credits

- Major and Supplemental: Music Ent. 18 credits

- Music Elective 10 credits

- Optional courses 6 credits

Total Credits 139 Credits

Music Entertainment (2005)

Year 1 Semester 1

MUGE 101 General Education for Human Development 2(1-2-3)

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MUGE 102 Social Studies for Human Development 3(2-2-5)

MUGE 103 Arts and Sciences for Human Development 2(1-2-3)

MSGE 111 English I 2(2-0-4)

MSAP 100 Recital Attendance 0(0-0-0)

MSAP 111 Keyboard Skills I 1(0-2-2)

MSAP 121 Major Performance I 4(0-8-4)

MSAP 113 Voice Class I 1(0-2-2)

MSTC 111 Western Music Theory I 2(2-0-4)

MSTC 121 Sight Singing and Ear Training I 1(0-2-2)

MSAP 141 Small Ensemble I 1(0-2-2)

MSAP 143 Large Ensemble I 1(0-2-2)

MSTO 111 Basic Gong Wong Yai I* 1(0-2-2)

Total: 21 credits

Year 1 Semester 2

MSGE 112 English II 2(2-0-4)

MSAP 100 Recital Attendance 0(0-0-0)

MSAP 112 Keyboard Skills II 1(0-2-2)

MSAP 122 Major Performance II 4(0-8-4)

MSAP 114 Voice Class II 1(0-2-2)

MSTC 112 Western Music Theory II 2(2-0-4)

MSTC 122 Sight Singing and Ear Training II 1(0-2-2)

MSAP 142 Small Ensemble II 1(0-2-2)

MSAP 144 Large Ensemble II 1(0-2-2)

MSTE 121 MIDI (Music Elective) 2(2-0-4)

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MSTO 113 Basic Ranad Ake I 1(0-2-2)

Total: 16 credits

Year 2 Semester 1

MSGE 113 Thai I 2(2-0-4)

MSGE 211 English III 2(2-0-4)

MSAP 100 Recital Attendance 0(0-0-0)

MSAP 211 Keyboard Skills III 1(0-2-2)

MSAP 221 Major Performance III 4(0-8-4)

MSTC 211 Western Music Theory III 2(2-0-4)

MSTC 221 Sight Singing and Ear Training III 1(0-2-2)

MSAP 241 Small Ensemble III 1(0-2-2)

MSAP 243 Large Ensemble III 1(0-2-2)

MSHL 211 History of Western Music I 2(2-0-4)

MSEN 221 Popular Music History 2(2-0-4)

MSEN 222 Popular Music Literature 2(2-0-4)

Gen. Ed.: Science & Humanities 2(2-0-4)

Total: 22 credits

Year 2 Semester 2

MSGE 114 Thai II 2(2-0-4)

MSGE 212 English IV 2(2-0-4)

MSAP 100 Recital Attendance 0(0-0-0)

MSAP 211 Keyboard Skills IV 1(0-2-2)

MSAP 222 Major Performance IV 4(0-8-4)

MSTC 212 Western Music Theory IV 2(2-0-4)

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MSTC 222 Sight Singing and Ear Training IV 1(0-2-2)

MSAP 242 Small Ensemble IV 1(0-2-2)

MSAP 244 Large Ensemble IV 1(0-2-2)

MSHL 212 History of Western Music II 2(2-0-4)

MSEN 223 Thai Popular Music History 2(2-0-4)

MSEN 224 Thai Popular Music Literature 2(2-0-4)

Total: 20 credits

Year 3 Semester 1

MSAP 100 Recital Attendance 0(0-0-0)

MSAP 321 Major Performance V 4(0-8-4)

MSAP 341 Small Ensemble V 1(0-2-2)

MSHL 311 History of Western Music III 2(2-0-4)

MSTO 140 History and Theory of Thai Music 2(2-0-4)

MSEN 313 Popular Music Arranging I 2(2-0-4)

MSEN 311 Pop Music Composition and Song Writing I 2(2-0-4)

Gen. Ed.: Science & Humanities 4(4-0)

Total: 17 credits

Year 3 Semester 2

MSAP 100 Recital Attendance 0(0-0-0)

MSAP 322 Major Performance VI 4(0-8-4)

MSAP 332 Small Ensemble VI 1(0-2-2)

MSHL 312 History of Western Music IV 2(2-0-4)

MSAP 351 Junior Recital 0(0-0-0)

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MSEN 314 Popular Music Arranging II 2(2-0-4)

MSEN 312 Pop Music Composition and Song Writing II 2(2-0-4)

Gen. Ed.: Science & Humanities 2(2-0-4)

Music Electives 2(2-0-4)

Free Electives 2(2-0-4)

Total: 17 credits

Year 4 Semester 1

MSAP 100 Recital Attendance 0(0-0-0)

MSAP 421 Major Performance VII 4(0-8-4)

MSAP 441 Small Ensemble VII 1(0-2-2)

MSTE 441 Music Recording Production I (Music Elective) 2(2-0-4)

Popular Music Lyrics 1

MSEN 411 Gen. Ed.: Science & Humanities 2(2-0-4)

Music Electives 4(4-0)

Free Electives 2(2-0-4)

Total: 15 credits

Year 4 Semester 2

MSAP 100 Recital Attendance 0(0-0-0)

MSAP 422 Major Performance VIII 4(0-8-4)

MSAP 442 Small Ensemble VIII 1(0-2-2)

MSAP 451 Senior Recital 0(0-0-0)

Music Electives 4(4-0)

Free Electives 2(2-0-4)

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Total: 11 credits

Music Entertainment module description (2005)

MSEN 221 Popular Music History

This module consists of the information regards to history and development of

Western popular music in the 60-90s and the contemporary time. In addition, there is

the study concerning changes in song writing styles, and information on important

musicians and musical groups at that time.

MSEN 222 Popular Music Literatures

This module aims for the study of stylistic in different genres of Western popular

music. In addition, the content includes important songs of mainstream artists in

different periods.

MSEN 223 Thai Popular Music History

This module consists of the information regards to history and development of Thai

popular music in different eras. Moreover, there is the study concerning changes in

song writing styles, and information on important musicians and musical groups at

that time.

MSEN 224 Thai Popular Music Literatures

This module aims for the study of stylistic in different genres of Thai popular music.

In addition, the content includes important songs of mainstream artists in different

periods.

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MSEN 311 Popular Music Composition and Song Writing I

This module contains information regarding to the way of writing songs in different

styles for different combinations of instrument that are suitable for a performance.

MSEN 312 Popular Music Composition and Song Writing II

This module contains information regarding to the way of writing songs with and

emphasis on stylistic distinction and the use of unusual instrument combination.

MSEN 313 Popular Music Arranging I

This module emphasis on arranging techniques in popular music in a various style, for

example, soul, R&B, rock, Fusion, and Jazz. It will concern characteristics of

different styles and the arranging application to successfully render the piece.

MSEN 314 Popular Music Arranging II

This module emphasis on teaching advanced arranging techniques in popular music.

It will concern complicated harmonic progressions and rhythmic patterns.

MSEN 411 Popular Music Lyric

This module comprises the lyrics writing techniques for variety types of songs. The

student will learn how to use to words and phrases to create uniqueness for each

specific song.

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Appendix C: The Official Letter from Kingston University

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6th December 2008

Dear Associated Director (Academic Affairs)

I am a full-time student at Kingston University, currently undertaking an MA in

Music Education. My research project is an investigation into the Popular Music

Studies in Thailand, by using case study of the Music Entertainment programme at the

College of Music, Mahidol University. I hope that the information contained in this

research paper will result in additional benefits that will increase the efficient study

and instruction of the Music Entertainment programme.

I am writing this letter to ask for the permission and collaboration. As part of this

research, I would like to interview the instructors and students in the Music

Entertainment programme, observed the activities and classes of the Music

Entertainment, and distributed the questionnaire to Music Entertainment’s students

Should you have any further questions, please do not hesitate to contact me.

Moreover, should you wish to verify the authenticity of this research, please find

enclosed the reference letter from Kingston University.

Your faithfully,

KAEWALIN PRASERTCHANG

Kaewalin Prasertchang

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Appendix D: The Bachelor of Music Brochures at the

College of Music, Mahidol University

129
130
131
Appendix E: Interviewees Name list

The individuals named below were four instructors, who had been interview, as

follow:

• Name: Mr.Somphop Puengpreeda

Postion: Full-time music instructor (Instrumental private lesson:

Trumpet and the Music Entertainmen subject)

The interview was conducted in person on 8th January 2008

• Name: Mr.Surat Prapatrangsi:

Position: Full-time music instructor and Associated Director (Academic

Affairs), The College of Music, Mahidol University

The interview was conducted in person on 9th January 2008

• Name: Mr.Suttiphant Sukkantaraks

Position: Part-time music instructor

(Instrumental private lesson: Guitar, Small Ensemble).

The interview was conducted in person on 27th December 2007, and by email

on 5th April 2008

• Name: Mr.Tawan Kaiseang

Position: Full-time music instructor of Music Entertainment Department

(Instrumental private lesson: Guitar).

The interview was conducted in person on 27th December 2007, and on phone

on 3rd March 2008

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The individuals named below were four students in Music Entertainment

programme, who had been interview, as follow:

• Name: Ms.Benjapa Dangintawat

Year: 2nd year student

Majoring: Piano

The interview was conducted in person on 8th January 2008

• Name: Ms.Sirinda Rungruengphol

Year: 4th year student

Majoring: Piano

The interview was conducted in person on 8th January 2008

• Name: Ms.Skowrung Saibunmi

Year: 2nd year student

Majoring: Piano

The interview was conducted in person on 8th January 2008

• Name: Mr.Tin Napalai

Year: 1st year student

Majoring: Drum set.

The interview was conducted in person on 8th January 2008

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Appendix F: The Interview Questions Guide

Group A: the music educators, and specialist at the College of Music,

Mahidol University

1. Could you tell me a little about yourself?

2. In your opinion, what do you think of the music education in Thailand

regarding the past decade, the present and the future?

3. Could you describe to me the music education in Thailand?

4. Are there any factors that have had an impact on music education in Thailand?

5. What do you regard as the most significant changes in music education during

your professional career?

6. In your opinion, what do you think of popular music studies in Thailand?

7. What were the aims when the Music Entertainment programme was

established?

8. Could you tell me about the challenges of teaching popular music to college

student?

9. Who is the instructors of the Music Entertainment programme?

10. From your teaching experience in the College of Music, what is the potential

of the students in Music Entertainment programme?

11. Can you tell me about the opinion of the College of Music Committee,

regarding the way to manage the class and curriculum?

12. What do you think about the current music curriculum of the Music

Entertainment programme?

13. Could you give me any suggestions to improve popular music studies in

Thailand?

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Group B: The music instructor in the Music Entertainment programme

(Instrumental)

1. Could you tell me a little about yourself?

2. How did you first come to teach in the College of Music?

3. What do you regard as the most significant changes in music education during

your professional career?

4. How do you design the curriculum or requirement for the student?

5. How do you organize the standard of your class?

6. What are the major musical styles that you teach in music lessons?

7. Could you tell me about the challenges of teaching popular music to college

student?

8. Can you tell me about the opinion of the Music Entertainment Committee,

regarding the way to manage the class and curriculum?

9. Can you tell me your opinion about the potential of the students who study in

the Music Entertainment programme?

10. From your teaching experience, what is the most difficult aspect of teaching

the instrumental to students?

11. Can you tell me your opinion about the students’ achievements from your

instrumental class?

12. Could you give me any suggestions to improve the quality of students in the

Music Entertainment programme?

13. What do you think about the music activities that are provided to students in

Music Entertainment programme?

14. In your opinion, how can we help to improve the quality of teaching in the

Music Entertainment programme?

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15. Could you give me any suggestions to improve the popular music studies in

Thailand?

Group C: The Music Entertainment students

1. Could you tell me a little about yourself?

2. When you decided to study in the programme, what factors were the most

influential upon your decisions?

3. Can you tell me about your experience during your study of the Music

Entertainment programme?

4. What do you think about the current music curriculum and the requirement of

the Music Entertainment programme?

5. Can you tell me what you think about the instructors’ abilities to teach in the

class?

6. Can you tell me about your achievements in your instrumental classroom?

7. From your study in the College of Music, what do you think about their

facilities and equipments?

8. From your study in the College of Music, what do you think about the extra-

curricular and activities on offer for the students on the Music Entertainment

programme?

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Appendix G: Pictures from the Filed Work

College of Music, Mahidol University

College of Music, Mahidol University

137
College of Music, Mahidol University

The Music Auditorium of College of Music (MACM Hall)

138
The Music Auditorium of College of Music (MACM Hall)

Music Library

139
Instrumental classroom

Instrumental classroom

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Classroom

EN Student Concert

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EN Student Concert

EN Student Concert

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Appendix H: The Self-Administered Questionnaire (in English)

The purpose of the questionnaire is to investigate the students’ opinion about

learning in the Music Entertainment programme and used to collect general

information. There were asked about the attitude toward music curriculum of the

Music Entertainment programme

Part 1 (Question 1-3): Contains the questions about the personal status of the

respondent, such as gender, instrument, and the reason for studying the Music

Entertainment programme.

1. Gender O Male O Female

2. Instrument O Piano O Voice O Elt.Guitar

O Elt.Bass O Drum set O Woodwind

O Brass

3. What are your favorite musical genres? (Please select any that apply)

O Classical O Jazz O Pop

O Rock O Thai Classical Music

***********************************

Part 2 (Question 4-13): Contains the questions about the attitude toward the music

curriculum, on the aspect of learning and teaching process, value of subject, and

reinforcement of the learning environment.

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4. What is your reason for studying on the Music Entertainment programme at the

College of Music, Mahidol University? (Please select only one answer)

O The quality and reputation of the College of Music, Mahidol University

O The quality and reputation of the Music Entertainment programme

O The quality and reputation of the music instructors

O Other reason

5. What is your reason for studying on the Music Entertainment programme? (Please

select only one answer)

O Would like to gain the knowledge about popular music

O Would like to gain the knowledge and the musical skill (instrumental study)

O Other reason

6. What have you found to be the most positive aspects while studying on the Music

Entertainment programme? (Please select any that apply)

O The Entertainment Course Subjects O The Core Course Subjects

O The Individual Instrumental Lessons O The Ensemble Lessons

O The Music Activities for students O The Instructors

O Other

7. What have you found to be the most negative aspects while studying on the Music

Entertainment programme? (Please select any that apply)

O The Entertainment Course Subjects O The Core Course Subjects

O The Individual Instrumental Lessons O The Ensemble Lessons

O The Music Activities for students O The Instructors

O Other

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8. What are the most useful subjects for your real life? (From the list below, please rank

it in the order from 1-4)

___ The Entertainment Course Subject ___ The Core Course Subject

___ The Individual Instrument Lesson ___ The Ensemble Lesson

9. What is the most important area that has to be improved in Music Entertainment

programme? (From the list below, please rank it in the order from 1-6)

___ The Entertainment Course Subject ___ The Core Course Subject

___ The Individual Instrument Lesson ___ The Ensemble Lesson

___ The Music Activities for students ___ The instructors

10. Which are the college activities that you participate in? (Please select any that apply)

O String Orchestra O Choir/Chorus

O Jazz Big Band O Pop Orchestra

O Wind Band/Symphonic Band O Did not participate in any activities

O Other

11. Do you play in the String Combo Band? O Yes O No

If ‘Yes’, what kinds of music do you play? (Please select any that apply)

O Pop O Rock O Jazz

O Heavy Metal Other

12. Do you work in the field of musicat present? O Yes O No

If ‘Yes’, what kinds of work do you do? (Please select any that apply)

O Teach an instrument O Teach music theory/ Ear training course

O Play in the pub/bar/restaurant O Play as the backup for the singer

O Compose music O Music Production

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)

O The Entertainment Course Subject O The Core Course Subject

O The Individual Instrument Lesson O The Ensemble Lesson

************************************************************************

The information you provide will be strictly confidential.

Thank you very much for completing this questionnaire.

Please return this questionnaire before Friday 28th March 2008

Contact person: Suphat (Add) Tel. 087-514-65170 or

Kaewalin (Milk) E-mail:milka_me@hotmail.com

146
Appendix I: The Self-Administered Questionnaire (in Thai)

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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

successful and make a new phenomenal in Thai music sphere.

In 1986, Grammy’s superstar, Thongchai McIntyre released his first album, “Had

Sine Sai Lom Song Rao”. In addition, the “Rock Lek Lek” album of Amphon

Lampoon and the Micro was released on the same year. It coloured and introduced

the trend of Rock into Thai music sphere.

In 1988, MGA Co., Ltd. distributes various cassette tapes and other related

entertainment products through its retail network. Later, in 1989, A-Time Media Co.,

Ltd. was established to expand into radio business. It created two Radio Stations that

hit the market, and it broadcasted in the name of Green Wave, and Hot Wave.

In 1991, X-act Co., Ltd was founded to expand television production and develop the

effective television programme. “3 Noom 3 Moom” (Three Men, Three Styles) was

the first project of this new firm. Within the same year, the Extraorganizer Company

151
was founded to organize events, for example concerts. Both companies allowed

Grammy Entertainment Company group to root into a completed firm in

entertainment business.

In 1994, Grammy Entertainment made a way into the world of business by

participating the Stock Exchange of Thailand with the 500 millions bahts. Its name

was changed into “Grammy Entertainment Public Company Limited”. In the same

year, Grammy began to feature a film business.

In 1996, Grammy Entertainment expanded into publishing business through the

achievement of “Image magazine”. One year later, Grammy expanded its own

business to the international market by founding a brunch in Taiwan.

In 1999, Grammy introduced the “Mifah Academy of Music” to the public in

Thailand. It was found to serve those who want to study and develop the musical

skill. One year later, in 2000, there was E-Business unit that was set up to create and

develop variety of product in the form of digital content. This was to capture the new

business opportunities arising from the new coming technologies.

In 2001, “Grammy Entertainment Public Company Limited” has changed its name to

“GMM Grammy Public Company Limited”. One year later, in 2002, “GMM Media

Public Company Limited” (GMMM) was separated from GMM group and entered in

the Stock Exchange of Thailand with capital of 200 millions bahts. Besides, eight

subsidiaries of GMM group, such as media, radio, television, and publishing were

transferred from Grammy to GMM Media.

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

strategic partner, consist “DeeTalk Co., Ltd.” (Television programme company),

Siam Infinit Co., Ltd. (Game online company), GMM Tai Hub Co., Ltd. (Film

production company), and Ninja Returns Communication Co., Ltd. (Events organizer

company).

In 2005, there were many changes in the company. Firstly, it was expanded business

line into event marketing business in “Index Event Agency Public Company”.

Besides, company will support artists to go international and try to expand to

international market. Secondly, GMM Grammy was voted Thailand’s Best Small

Cap and was second to “Best Commitment to Strong Dividend Payments” by finance

Asia Polls. Thirdly, GMM Grammy start the investment in “Se-education Public

Company” to develop business cooperation, for example distribution its own channel.

Fourthly, GMM Grammy joining invested in Clean Karaoke. There was the operating

into Karaoke business together with the managing of Karaoke equipment. Lastly,

through the subsidiary, GMM Media, the GMM Grammy invested in newspaper

business through “Matichon Public Company” and “Post Publishing Public

Company”.

In 2006, GMM Grammy jointly invested in “GMM Fitness Club Co., Ltd”, in order to

provide the fitness club serviced. Moreover, the company jointly invests in “Luck

Music 999 Co., Ltd.”. Later in 2007, through the subsidiary, GMM Grammy invested

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

technological developments. These technological advances have made digital content

more important in the music business and allowed consumers to listen to music more

conveniently, from mobile phones, computers, and various portable music players,

which has enlarged the overall music market.

154
Appendix K: An Example of Activities of the Music

Entertainment Department

Activity name: Entertain Live in Concert Serie 1

Organized by: The student of the Music Entertainment programme

academic year 2006-07

Venue: The Music Auditorium, College of Music, Mahidol University

Date: 20 February 2007

Note: This is the first concert, which organized by student in the programme.

The aims of concert were to provide the stage to students, and allow

them to have a chance to practice working and performing in the real

situation. It also hoped that the concert will promoted the programme.

155
Activity name: Entertain Live in Concert Serie 2

Organized by: The student of the Music Entertainment programme

academic year 2007-08

Venue: The Music Auditorium, College of Music, Mahidol University

Date: 25 December 2007

Notes: This is the second concert, which organized by student in the

programme. After it succeeded on the first year project, it was held

again, with the plan to organize this kind of concert for every academic

year.

156
Activity name: It’s turn out to shine (Voice Concert)

Organized by: Dr.Cherryl Hayes

(full-time instructor of the Music Entertainment programme) and

voice students of the Music Entertainment department

Venue: The Music Auditorium, College of Music, Mahidol University

Date: 30 July 2008

157

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