Chairperson [Music Dept.]

Dr. Pravina Manoharan

Qualifications

BA, Music, Universiti Putra Malaysia (UPM); MA, Music, Universiti Sains Malaysia (USM); PhD, Ethnomusicology, Monash University

Personal Statement

As a musician, I have always been intrigued by the role music plays within a community. Why does music matter? There is a greater significance beyond a composition, and recognizing the importance of music within various societies and cultures and how it functions, as a creative practice is the essence of ethnomusicology, an area that I specialise in. Furthermore, the articulation of the self against the larger fabric of a community’s musical practice is also fascinating as the identity of the composer, musician and audience is often manifested within a single composition.

Publications

Manoharan, P., & Othman, J. A. (2019). The Soundscape of” Bermulanya Di Sini… Kedah Tua”!. Wacana Seni Journal of Arts Discourse, 18.

Othman, J. A., & Manoharan, P. (2019). Constructing Gender in the Performance of” Bermulanya Di Sini… Kedah Tua”. Wacana Seni Journal of Arts Discourse, 18.

Ramli, N. H., Backer, M. B. A., & Manoharan, P. (2019). From Monuments to Movements: Curating an Artistic Re-imagination of Kedah Tua. Wacana Seni Journal of Arts Discourse, 18.

Backer, M. B. A., Saidin, M., & Manoharan, P. (2019). Translating Archaeological Artefacts and Architectural Remains at Lembah Bujang, Kedah through the Performance” Bermulanya Di Sini… Kedah Tua”.

Manoharan, P., Backer, M. B. A., Shafii, A. S. H. (2017). Thaipusam: A Journey in Spiritaul Healing. In Locating the Soul in Performance for Healing. Penerbit, USM.

Backer, M. B. A., Manoharan, P. (2017). Mind, Body, Spirits and Souls in Traditional Healing: A Perspective of Bageh, In Locating the Soul in Performance for Healing. Penerbit, USM

Manoharan P. & Yoshioka, Y. 2016. Challenging the Boundaries of Convention: Sirius Quartet in Concert. Wacana Seni Journal of Arts Discourse. Vol 15, Pp. 36 -39

Othman, J. A. Hardy, A. S. Manoharan, P. (2016) Performing a Negotiation of the Borders Between the Academia, Industry and Community. Wacana Seni Journal of Arts Discourse, Vol 15: Pp. 137–146.

Manoharan, P. (2008). Towards Fusion: New Trends in Hindustani Sitar Music in Malaysia. Wacana Seni Journal of Arts Discourse. Vol. 7, Pp. 23-44.

Manoharan, P. (2008). From Classical to Fusion Changes in Hindustani Sitar Music in Malaysia. UPM Music Forum Monograph Series. UPM Monograph Publications. Pp. 16-23.

Manoharan, P. (2018) The Spirit of Dance & Music in Promoting Peace: A Project with Rohingya Refugee Children in Penang, Nuspark.

Proceeding/Conference Presentation

Voices from the Jungle: A Rohingya Journey. (20 & 21 August 2019) Driving Refugee Empowerment Through Digital Inclusion in South-East Asia, Penang, Malaysia.

Performance as an Expressive Tool To Voice Cultural Identity Among Refugee Children: A Case Of Rohingya Refugee Communities. (2018) 5th Symposium, International Council for Traditional Music, Malaysia

Translating notions of diasporic identity through Tamil hip-hop in Malaysia, (2016),The 7th Asian Translation Traditions Conference. Monash University, Malaysia

Translating Archaeological Artefacts and Architectural Remains at Bujang Valley through Performance, (2016) 4th SYMPOSIUM OF THE ICTM STUDY GROUP ON PERFORMING ARTS OF SOUTHEAST ASIA (PASEA), Malaysia

Grants

Principal Investigator

Performance as an Expressive Tool in Voicing Cultural Identity for Refugee Children: A Case of Rohingya Refugee Communities (Active )

Co Researcher

Silk Shadows Speak: A Study of Malaysian Children’s Voices on Heritage Folktales Using Performative Tools. (Active )

Translating Archeological Artefacts and Architectural Remains at Lembah Bujang Through Dance.

Consultation

1. Malaysia-Japan Traditional music Exchange (Traditional music documentation), Japan Foundation Kuala Lumpur, 30/01/2018 – 03/02/2018
2. Malaysia Japan Traditional Music Exchange Project, Japan Foundation Kuala Lumpur, 24/02/2017 – 03/03/2017     
3. Text book Reviewer, Kementerian Pendidikan Malaysia, 22/10/2018 – 31/12/2018,

Course Listing

VZM101 Basic Music Theory

VZA101 Introduction To Music

VZM152 Aural Skills

VZM162 World Music

VZM189 Applied Music

VZM390 Industrial Training

VZM513 Music Pedagogy And Performance Thesis

Lecturer

Dr. Johan Awang Othman

Qualifications

BMus (Oberlin Conservatory) in Music Composition (Minor in Theory); MMus (YALE) in Music composition; and PhD (Universiti Sains Malaysia) in Art History & Theory.

Personal Statement

As a trained music composer and an academic in the field of art history and theory, I am currently interested in exploring the relationship between the human as a subject and its enculturation. This exploration and study of the human subject and various cultural inscriptions onto its body – the somatic – through artistic expression, particularly within the form of theatre, have been my ongoing mission to understand how subject formation moves within the social and cultural, specifically the Malaysian culture. To problematise the idea of subjectivation within the nation state of Malaysia, through the concept of language, music, images, signs, amongst others, especially within the context of the theatre, as a music composer and currently a playwright, has been and will be an ongoing activity and process.

Publications:

1. Cultural Decentralization Within a Post Colonial Territory: Movements in Malaysia’s Music Culture, Wacana Seni: Journal of Arts Discourse, 1, 79-86 (2002)
2. The Body As Agency of Imaginary Gendering, Humanities, Society and Culture: International Proceeding of Economics Development and Research, 251-255 (2011)
3. Constituting Gender, Locating the Body, Journal of Gender Studies, 24:6, (2015)
4. Can Medea Speak? Tracing Euripides’ Medea’s Complex Performative Gendering in Her Speech from the Outside in the Outside, PROCEDIA: Social and Behavorial Sciences, (2015)
5. Performing a Negotiation of the Borders Between the Academia, Industry and Community., Wacana Seni: Journal of Arts Discourse, 15: , (2016)

Music Compositions:

ittar for chamber orchestra performed by the Malaysian Philharmonic Orchestra during MPO Forum for Composers Phase I 2003.

topeng 1 for orchestra performed by the Malaysian Philharmonic Orchestra during MPO Forum for Composers Phase II 2004.

topeng 2 for 18 performers performed by the Malaysian Philharmonic Orchestra Chamber Players for Contemporary Music Concert 25 April 2007.

Composition for Piano No.8 performed by Loo Bang Hean for a CD recording of ‘Malaysian Contemporary Music Vol.1’ produced by Hardesh Singh and CH Loh in collaboration with ‘Off The Edge Magazine’, February 2008.

the dancing mouse [vocalize version] for soprano and harp based on a poem by William Radice of the same title. The poem is taken from a set of 14 poems that form the last part of a new book published separately in June 2008 English-German, illustrated edition by Hirundo Press in Hamburg. The recording performed by Helen Radice on Harp and soprano Angelika Huber for the book launch in Hamburg.

the dancing mouse for soprano and harp. Kuala Lumpur performance at Kuala Lumpur Performing Arts Center 13 July 2008 during the HSBC Young Composers Workshop 2008.
Chin Yen Lin (soprano) and Tan Keng Hong (Harp).

Dying In Order To Live for soprano and piano. An excerpt from an opera in progress based on a libretto Conference of the Birds by William Radice. Excerpt premiered on 13 July 2008 at the Kuala Lumpur Performing Arts Center during the HSBC Young Composers Workshop 2008. Chin Yen Lin (soprano) and Chee Su Yen (Piano).

Conference of the Birds an opera. Libretto by William Radice. The opera is based on a 12th century Persian poem Mantiq-ut-Tayr by Farid ud-Din Attar. A workshop performance of about one hour in length took place at the Wawasan Open University Penang on November 20 – 22, 2009. Produced by the Five Arts Centre. Marion D’Cruz as Executive Producer and James Lochhead as Penang Producer. This version is an electronic based music accompaniment to voice.

Neutral Space – for solo piano performed by Ernst Surberg of Ensemble Mosaik on the 29th November 2009 concert of “Young Composers Competition Concert and Jury’s Music” as guest composer.

whose shadow would fall on for trombone and piano. Written for Dirk Amrein (trombone) and Juerg Henneberger (piano) premiered on 24 July 2011 at School of the Arts, Universiti Sains Malaysia Pulau Pinang.

the dancing mouse choral version to be performed at the 29th Asian Composers League Conference and Festival in Taiwan on the 27th November 2011 by the Taipei Chamber Singers. (the performance of this piece was replaced by “whose shadow would fall on” revised version for clarinet and piano).

whose shadow would fall on revised version for clarinet and piano to replace performance of “the dancing mouse” at the 29th Asian Composers League Conference and Festival in Taiwan 2011.

the dancing mouse rearrangement of selected settings for mezzo soprano, clarinet, cello and piano. To be performed and premiered by Bridges Collective Ensemble in Melbourne (pre-tour March 2012, UiTM and at the KL Pac (April 2012).

the doctrine of final causes for solo oboe. Written for Amari Barash. Performed in the USA 2012.

songs and soundscapes for the play “The Sandpit”. Performance in March 2012 at Penang Performing Arts Centre.

He too a simulacrum, that another person was dreaming him. for 2 flutes, 2 oboes, 2 clarinets and 2 bassoons. This work was commissioned by the High Winds Ensemble for a performance in 2013.

Lecturer

Dr. Yumi Yoshioka

Qualifications

University of South Carolina, U.S.A.

Doctor of Musical Arts (D.M.A.) in Piano Pedagogy, 2003

University of South Carolina, U.S.A.

Master of Music in Piano Pedagogy and Performance, 1999

University of South Carolina, U.S.A.

Indiana State University, U.S.A.

Bachelor of  Music (Hons.)  in Piano Performance, 1997

Vincennes University, U.S.A.

Associate of Science in Fine-Arts, Music Performance, 1994

Personal Statement:

I personally believe that music is not something that you just learn in a classroom. Music is something that extends beyond the four walls of a practice room and can be used as a tool to impact the society as well. I am passionate about developing programmes that involve children and the community around them through creative music events where the fear of performance is replaced by the fun of performing with friends and family. Music is to be enjoyed, not dreaded.

Performance:

Japan, Malaysia, and U.S.A.

Presentation:

Germany, Italy, Malaysia, and U.S.A.

Community Service:

Community Music Program (Free Piano Lessons for Children)

Publications:

2014                     

The Application of the Revised Bloom’s Taxonomy in a Music Theory Workbook: Beginners Aged Between 10 to 12 Years Old

International Music and Performing Arts Conference, Proceeding

2011

Incorporating Comprehensive Musicianship into Late Intermediate to Early Advanced Piano Lessons

THE INTERNATIONAL JOURNAL OF THE ARTS IN SOCIETY, Vol.6. [ISSN: 1833-1866]

2008                      

Music Theory for Blind Musicians in Malaysia

2^nd International Conference on Applied and Creative Arts,

Universiti Malaysia Sarawak,

Conference Proceeding

2007                      

“Teaching Music with Technology in Malaysia”

Article submitted as part of proposed coffee table book published by the School of Arts, USM

Coursework:

VZM148E             Fundamentals of Keyboard

VZM189               Muzik Gunaan 1 (Applied Music in Piano)

VZM197E             Keyboard I

VZM227E             Pedagogy and Instrumental Repertoire 1

VZM229               Muzik Gunaan 2 (Applied Music 2 in Piano)

VZM277E             Pedagogy and Instrumental Repertoire 1

VZM289               Muzik Gunaan 3 (Applied Music 3 in Piano)

VZM329               Muzik Gunaan41 (Applied Music 4 in Piano)

VZM400               Projek Muzik ( Music Project: Solo Piano Recital)

Lecturer

Dr. Jason Tye Kong Chiang

Qualifications

2005
Doctor of Musical Arts (D.M.A), University of South Carolina, USA

1993
M.Music (Mus.Edu.), Butler University, Indiana, USA

1991
B.Music, Mount Union College, Ohio, USA

Personal Statement

For me, there was no Eureka moment when I decided to pursue Piano Pedagogy and Early Childhood Music Education to be the core passion of my vocation. This decision was far more gradual and considered. I’ve always been intrigued by the way how learning and teaching take place. This inseparable duality, together with the inspiration drawn from my musical studies forms the perfect marriage of interests. This has led to my vision to inculcate in my university students an attitude of inquiry on the rewarding field of music education. As the saying goes, “to teach is to learn”.

Education

B. Music, Piano Performance, Mount Union University; M.Music, Piano Pedagogy, Butler University; Ph.D, University of South Carolina, LTCL, LRSM.

Publications

Journal of Arts in Society; International Society of Music Education (ISME);

British Journal of Music Education(BJME), Journal of Arts Discourse. Performances: Chamber Music, Solo Piano. Areas of Specialisation: Piano Pedagogy, Early Childhood Music Education, Socio-Psychology of Music.

Lecturer

Assoc. Prof. Razif Mohd.

Qualifications

MFA [Orchestration]
1997 Diplôme Superieure en Direction Orchestre Conservatoire National de Region de Rueil‐Malmaison. France National Regional Conservatory.

B Mus [Instrumentation]
1992 Diplôme en Instrumentation et Orchestration, Conservatoire National de Region de Rueil‐Malmaison. France National Regional Conservatory.

B Arts [Music]
1990 Diplôme d’Etudes Supérieure en Arrangement, Composition et Orchestration, Centre d’Information Musicales de Paris. France

B Arts [General]
2005 Open University of United Kingdom. England.

Dip Mus
1996 Open University of United Kingdom. England.

Dip French
1997 Open University of United Kingdom. England.

Personal Statement:

I enjoy the process of transferring the sonority of abstract ideas onto tangible literature that can be eventually expressed by musicians. It is intriguing to oversee the shaping of musical observations into a form that can be communicated and amalgamated with creative thoughts and expression which eventually bring musical creativity to a greater height.

Research

[2015‐18]: P.Ramlee Musical Literature for Concert Band‐Sustaining Malaysian Music‐Short Term Grant USM

Publication

i ‐ Malaysian Contemporary Songs for Choir ‐Vol II [2018]

ii ‐ Sing & Swing [Jazz Choir] Special Edition [2018]

iii ‐ Malaysian Contemporary Songs for Choir ‐Vol III [2019]

Course Title	Dept	Term
Contemporary Pop & Jazz Ensemble Music	Sch of the Arts	2019
General Musicianship Music	Sch of the Arts	2019
Contemporary Pop & Jazz Ensemble Music	Sch of the Arts	2019
Instrumentation Music	Sch of the Arts	2018 – 2019
Composition, Arrangement & Orchestration Music	Sch of the Arts	2019
Score Reading & Conducting Music	Sch of the Arts	2017
Jazz Piano	Community Courses	2019
Topic in Jazz Improvisation	Community Courses	2016 – 2019

Lecturer

Professor Tan Sooi Beng

Qualifications

BA (Music) Cornell University, Ithaca, New York; MA (Music) Wesleyan University, Middletown, Connecticut; Ph.D (Music) Monash University, Melbourne.

Personal Statement

I am an advocate of activism in academic research and am actively engaged in developing methodologies in the practice of community theatre for young people and revitalizing traditional theatre such as the Hokkien glove puppet theatre in Penang. Central to the strategies is the collaboration and partnership of the researcher with the tradition bearers, students, and the young people of the community in all aspects of research, documentation, and performance towards the common goal of revitalizing their traditions. This type of people-centred collaborative research approach strives for more horizontal and equal relations between the researcher and the research subjects and engages the communities to sustain their own cultures in their own terms.

Publications:

Author: Bangsawan: A Social and Stylistic History of Popular Malay Opera (Oxford University Press, 1993);

Co-Author: Music of Malaysia: Classical, Folk and Syncretic Traditions (Routledge, 2017);  Co-Longing for the Past, the 78 RPM Era in Southeast Asia (Dust-to-Digital 2013), Potehi of Penang (George Town World Heritage Incorporated, 2017);

Editor: Eclectic Cultures for All: The Development of the Peranakan Performing, Visual and Material Arts in Penang (USM, 2019); The Multicultural Performing Arts, Crafts, Food and Festivals of Penang, School of the Arts, USM 2011.

Co-Editor: Emergent Sino-Soundscapes, Musical Pasts, Transnationalism and Multiple Identities, Special Issue, Ethnomusicology Forum (ISI Journal), 25/1. Routledge: Taylor and Francis. 2011.

Articles: ‘”Negotiating ‘His Master’s Voice’: Gramophone Music and Cosmopolitan Modernity in British Malaya in the 1930s and Early 1940s”,  Bijdragen tot de Taal-, Land- en Volkenkunde, Journal of the Humanities and Social Science of Southeast Asia. 169 (2013), “Community Musical Theatre for Inter-Ethnic Peace Building in Malaysia”. Chapter 13. In Brydie-Leigh Bartleet and Lee Higgins (Eds), The Oxford Handbook for Community Music, New York: Oxford University Press (2018); “Malay Women Singers of Colonial Malaya, Voicing Alternative Gender Identity and Modernity”, Chapter 4, In  Andrew Weintraub and Bart Barendregt (Eds),  Vamping the Stage, Female Voices in Asian Modernities, Hawaii: University of Hawaii Press (2017); “Cultural Engagement and Ownership through Participatory Approaches in Applied Ethnomusicology”,Iin Svanibor Pettan and Jeff Todd Titon (Eds), Oxford Handbook for Applied Ethnomusicology, Volume 1, Theory, Method, Sustainability and Conflict. New York: Oxford University Press (2019).

International Academic Appointments

Editor-in-Chief of Wacana Seni, Journal of Arts Discourse; Advisory Editorial Board of Asian Music (USA),  elected Executive Board Member of the International Council for Traditional Music (ICTM), Unesco NGO.

Awards:  Joint Award, Society for Ethnomusicology (SEM), Bruno Nettl Prize (2014), Association for Recorded Sound Research (ARSC) award for category of Best Historical Research in Recorded Folk or World Music (2014) for the co-authored book, Longing for the Past;  Cendana Sponsorship Award for Revitalizing Potehi Glove Puppet Theatre (2018), The US Ambassador’s Award for the “Preservation of Bangsawan, a Traditional Malay Performing Art”, The US department of State Overseas Federal Assistance Awards (2009-2010), The Nippon Foundation Fellowships for Asian Public Intellectuals (API Fellowships Program (2008-2009), Distinguished Visiting Scholar, Faculty of Arts, Monash University (2001).

Lecturer

Ms. Tan Jin Yin

Qualifications:

Bachelor of Management (Honours), University Sains Malaysia;
Master of Arts (Music Pedagogy and Performance), Universiti Sains Malaysia; Master of Fine Arts (Vocal Performance), Nanjing Normal University (NNU), China

Personal Statement:

The oldest musical instrument is the human voice and It constantly amazes me what the human voice can do. It is one powerful tool that can express oneself emotions. I believe through continuous learning culture and understanding the systematic vocal technique, will eventually heighten the art of singing.

Publication:

Tan, Jin Yin. (2019). The Research on Artistic and Singing Performance of Malaysian Social Dance Music Ronggeng. Dissertation, CNKI, China.

Performing Experience:

Thailand, China, Malaysia

Interest:

Vocal Performance, Opera Workshop, Vocal Pedagogy, Choir Performance, Choir Pedagogy

Expertise

Vocal Performance, Vocal Pedagogy, Choral

Teaching:

History of Western Music, Choir

Course Listing:

• VZM247E Choir 1
• VZM297E Choir 2
• VZM347E Choir 3
• VZZ 397 Choir 4
• VZM218 History of Western Music 1
• VZM278 History of Western Music 2