BA, Music, Universiti
Putra Malaysia (UPM); MA, Music, Universiti Sains Malaysia (USM); PhD,
Ethnomusicology, Monash University
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.
Manoharan, P., &
Othman, J. A. (2019). The Soundscape of” Bermulanya Di Sini… Kedah
Tua”!. Wacana Seni Journal of Arts
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.
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.
Voices from the Jungle: A Rohingya Journey.
& 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
Performance as an Expressive Tool in
Voicing Cultural Identity for Refugee Children: A Case of Rohingya Refugee
Communities (Active )
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.
Traditional music Exchange (Traditional music documentation), Japan Foundation
Kuala Lumpur, 30/01/2018 – 03/02/2018
Traditional Music Exchange Project, Japan Foundation Kuala Lumpur, 24/02/2017 –
Text book Reviewer,
Kementerian Pendidikan Malaysia, 22/10/2018 – 31/12/2018,
(Oberlin Conservatory) in Music Composition (Minor in Theory); MMus (YALE) in
Music composition; and PhD (Universiti Sains Malaysia) in Art History &
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.
Decentralization Within a Post Colonial Territory: Movements in Malaysia’s
Music Culture, Wacana Seni: Journal of Arts Discourse, 1, 79-86 (2002)
The Body As
Agency of Imaginary Gendering, Humanities, Society and Culture: International
Proceeding of Economics Development and Research, 251-255 (2011)
Gender, Locating the Body, Journal of Gender Studies, 24:6, (2015)
Speak? Tracing Euripides’ Medea’s Complex Performative Gendering in Her Speech
from the Outside in the Outside, PROCEDIA: Social and Behavorial Sciences, (2015)
Negotiation of the Borders Between the Academia, Industry and Community.,
Wacana Seni: Journal of Arts Discourse, 15: , (2016)
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
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
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
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
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
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
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,
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
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.
Japan, Malaysia, and U.S.A.
Germany, Italy, Malaysia, and U.S.A.
Community Music Program (Free Piano Lessons for Children)
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
Incorporating Comprehensive Musicianship into Late Intermediate to Early Advanced Piano Lessons
THE INTERNATIONAL JOURNAL OF THE ARTS IN SOCIETY, Vol.6. [ISSN: 1833-1866]
Music Theory for Blind Musicians in Malaysia
2nd International Conference on Applied and Creative Arts,
Universiti Malaysia Sarawak,
“Teaching Music with Technology in Malaysia”
Article submitted as
part of proposed coffee table book published by the School of Arts, USM
Gunaan 1 (Applied Music in Piano)
VZM197E Keyboard I
and Instrumental Repertoire 1
Gunaan 2 (Applied Music 2 in Piano)
and Instrumental Repertoire 1
Gunaan 3 (Applied Music 3 in Piano)
Gunaan41 (Applied Music 4 in Piano)
Muzik ( Music Project: Solo Piano Recital)
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
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”.
B. Music, Piano Performance, Mount Union
University; M.Music, Piano Pedagogy, Butler University; Ph.D, University of
South Carolina, LTCL, LRSM.
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.
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.
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.
[2015‐18]: P.Ramlee Musical Literature for Concert Band‐Sustaining Malaysian Music‐Short Term Grant USM
i ‐ Malaysian Contemporary Songs for Choir ‐Vol II 
ii ‐ Sing & Swing [Jazz Choir] Special Edition 
iii ‐ Malaysian Contemporary Songs for Choir ‐Vol III 
(Music) Cornell University, Ithaca, New York; MA (Music) Wesleyan University,
Middletown, Connecticut; Ph.D (Music) Monash University, Melbourne.
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.
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).
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).
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
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.
Tan, Jin Yin. (2019). The Research on
Artistic and Singing Performance of Malaysian Social Dance Music Ronggeng.
Dissertation, CNKI, China.
Performance, Opera Workshop, Vocal Pedagogy, Choir Performance, Choir Pedagogy