Datasets:

aazwan

/

upsi_ejournal_of_music

like 0

This research aimed to investigate the problems and expectations of students regarding the management of learning in the subjects of Thai music theory and history within the Thai undergraduate music education curriculum. The exploratory and descriptive research methodology was employed. The data was collected from 103 students who enrolled in the Thai Music Education curriculum at the undergraduate level. Instruments include a documentary analysis form, and an online questionnaire (Google Form). The results showed that: (1) teaching method was lecture-based, resulting in disengaged learning and limited knowledge acquisition; (2) content was the lack of clear delineation between the content of the two subjects; in many cases, instructors mixed Thai music theory with Thai music history which made students confused and mis-concept; (3) instructional media failed to captivate students and did not facilitate comprehensive learning; (4) instructional materials, each university had different approaches to managing its teaching resources, which were both uninteresting and overly academic; and (5) context consists of the diversity of students, assignments, classroom conditions, and instructor’s preparedness. From the results, this research proposes the guideline for the management of learning in Thai music theory and history through Outcome-based education (OBE) and a blended learning approach that can apply to traditional music teaching which is familiar with the Thai culture.

Malaysian Journal of Music Vol. 12 No. 2 (2023)

https://ejournal.upsi.edu.my/index.php/MJM/article/view/8101/4720

blended learning, music education, outcome-based education, Thai music history, Thai music learning, Thai music theory

Weerakit Suwanphithak, Chalermpan Ruwicha, & Yootthana Chuppunnarat 1 Problems and Expectations of Students Regarding the Management of Learning in the Subjects of Thai Music Theory and History within the Thai Undergraduate Music Education Curriculum Weerakit Suwanphithak1*, Chalermpan Ruwicha2, Yootthana Chuppunnarat3 Department of Art, Music, and Dance Education, Faculty of Education, Chulalongkorn University 254 Phayathai Road, Pathumwan, Bangkok 10330, Thailand e-mail: [email protected], [email protected], [email protected] *Corresponding Author: [email protected] Published online: 5 December 2023 Cite this article (APA): Suwanphithak,W., Ruwicha, C., & Chuppunnarat, Y. (2023). Problems and expectations of students regarding the management of learning in the subjects of Thai music theory and history within the Thai undergraduate music education curriculum. Malaysian Journal of Music 12(2), 1-17. https://doi.org/10.37134//mjm.vol12.2.1.2023 Abstract This research aimed to investigate the problems and expectations of students regarding the management of learning in the subjects of Thai music theory and history within the Thai undergraduate music education curriculum. The exploratory and descriptive research methodology was employed. The data was collected from 103 students who enrolled in the Thai Music Education curriculum at the undergraduate level. Instruments include a documentary analysis form, and an online questionnaire (Google Form). The results showed that: (1) teaching method was lecture- based, resulting in disengaged learning and limited knowledge acquisition; (2) content was the lack of clear delineation between the content of the two subjects; in many cases, instructors mixed Thai music theory with Thai music history which made students confused and mis-concept; (3) instructional media failed to captivate students and did not facilitate comprehensive learning; (4) instructional materials, each university had different approaches to managing its teaching resources, which were both uninteresting and overly academic; and (5) context consists of the diversity of students, assignments, classroom conditions, and instructor’s preparedness. From the results, this research proposes the guideline for the management of learning in Thai music theory and history through Outcome-based education (OBE) and a blended learning approach that can apply to traditional music teaching which is familiar with the Thai culture. Keywords: blended learning, music education, outcome-based education, Thai music history, Thai music teaching, Thai music theory Introduction The essentials of learning music are divided into two main parts: (1) music content, which contains music elements, music literature, and history, and (2) music skill, which consists of listening, singing, performing, moving, creating, and reading. Both are always related and rely on each other (Miller, 1978; Bergethon & Boardman, 1979; Stark, 1976; Sutthachit, 2023). Knowledge of Thai music theory and history has become essential for students pursuing a professional career in music. A deep understanding of these subjects is now necessary as a foundation for advancing their music education at the professional level. Consequently, these subjects are prominently included as required subjects in every music curriculum across all institutions, which means both are significant subjects to be learned. Not only do they support each other among Thai music theory and history knowledge for the student, but they also support the student in learning advanced Malaysian Journal of Music Vol. 12, Issue 2 (1-17) ISSN 2600-9366, eISSN 2600-9331 2 musical knowledge in other core subjects of Thai music, such as Thai musical form and analysis, composition, ensembles workshops and conducting, and even Thai music skill, ensemble, and pedagogy subjects. However, another important factor is the variety of knowledge sources used in music theory and the history of Thai music, which includes concepts from various master schools. With so many different information sources, each university in Thailand has relied on different ones, and that these are based on the schools that each professor attended. As a result, it has been found that the teaching of these subjects at the undergraduate level in Thailand has not been clearly standardized in terms of learning outcomes, instructional methods, scope of content, and content details, particularly in institutions aiming to produce professional music educators. Every subject requires the establishment of clear standards and detailed scope contents, and each one should be current and responsive to societal changes, including the evolving learning methods of students. However, such management and standardization have not yet been implemented with respect to the study of music in Thailand. Evidence from research conducted in Thailand reveals a limited focus. Juthaset and Bankrithong (2021) conducted a study on teaching approaches in Thai music theory only at the secondary education level that aimed to investigate the differences in learning strategies of undergraduate music education programs. Furthermore, another study by Kaewsawang (2021) investigated the implementation of project-based learning in Thai music theory for undergraduate students at the Lopburi College of Dramatic Art. Both studies primarily focused on presenting experimental results and teaching approaches in Thai music theory. However, there was a lack of research investigating the current situation, issues, and expectations of undergraduate students regarding the study of Thai music theory and history. Additionally, the scope of study of both subjects needs to focus more on students’ understanding of the interrelationships and distinctions among the content details, which researchers considered to be a concerning issue that warranted prompt research. Furthermore, research conducted in foreign countries with cultural similarities to Thailand in the past five years has predominantly focused on studying problems and perspectives in teaching traditional music. Studies such as “Learning and Teaching Traditional Music in Cambodia: Challenges and Incentives” by Grant (2017), “Personality and World Music Preference of Undergraduate Non-music Majors in South Korea and the United States” by Yoo et al. (2018), and “Design of traditional music teaching in colleges and universities from the perspective of multiculturalism” by Zuo (2018) examined various aspects of music education and teaching in Asia. However, no research has been found that investigates the current state and expectations regarding the teaching of music theory and history in those specific cultures. In this research, the necessity to examine the issues and expectations of students in learning Thai music theory and history within Thai undergraduate music education programs is recognized. The aim was to gather new and current data that had not been previously collected to benefit curriculum development and learning management in higher music education, in order to be suited to the rapidly changing current situation and the need to create innovative learning approaches that enhance efficiency and effectiveness in music education. This research will push Thai music theory and history national standards to be raised and will impact the Thai music educator grooming process and make it much stronger. It will allow understanding of the same scope and clear content, and will also empower music education in Thailand, especially to make the Thai traditional music knowledge stronger and more developed. This is the first study of its kind in Thailand, and it provides valuable insights that can be referenced and applied to the teaching and management of music theory and history within culturally similar contexts, yielding significant benefits. Objectives The research aimed to examine the problems and expectations of students regarding the management of learning in the subjects of Thai music theory and history within the Thai undergraduate music education curriculum. In aspects of the teaching method, the focus is upon the student’s understanding of subject concepts, instructional media, and context. The study also seeks to identify specific challenges faced by students in each subject and propose guidelines for teaching and learning management based on outcome- based education (OBE) and a blended learning approach. Benefits The research findings can be applied to enhance and modernize the management of learning in a manner that is highly relevant and suitable for both teachers and students in the current context. Can be encouraged to raise the Thai music and history national standard that has not been yet in present. Moreover, these Weerakit Suwanphithak, Chalermpan Ruwicha, & Yootthana Chuppunnarat 3 findings also benefit the teaching and learning approaches in music education across different cultural contexts with similar issues and expectations—especially, managing the learning of global music, multicultural music, and even ethnic music, where a better understanding of students and the context of traditional music is highly beneficial. Literature Review A brief overview of the Thai music curriculum and learning evolution Evidence shows that music education in Thailand existed in the pre-Sukhothai period (Before 1249), the Sukhothai period (1249-1463), the Ayutthaya period (1350-1767), the Thon Buri period (1767-1782), and the Rattanakosin Era (1783-present), and has been consistently progressing ever since. In each era, significant transformations were witnessed in both theoretical and practical knowledge resulting from the influence of three major institutions: households, temples, and palaces. These institutions played a crucial role in driving the acquisition of knowledge and the practice of Thai music education. A study by Chuppunnarat (2018) investigating the “Development of Thai Music Education Curriculum and Teaching in Thailand” reveals that the evolution in the Sukhothai period, the Ayutthaya period, the Thon Buri period, and the Rattanakosin Era (until the country’s administration changed in 1932) can be divided into three periods: (1) Thai music education in the Sukhothai period, the Ayutthaya period, and the Thon Buri period. During these periods, the teachers and learners were commoners, nobles, courtiers, the king, and his royal family; the oral tradition was the main teaching approach, and the curriculum consisted of the religious ritual repertoire, the masked drama accompaniment songs, and the entertainment songs for various occasions. No evaluation method has yet been explicitly defined. However, during these periods, no clearly defined curriculum or instructional plan was used; instead, a non-formal or informal educational approach in which emphasis was placed on practical music skills, with theoretical knowledge incorporated informally, was the norm. Music education in Thailand relies on the oral tradition– learning by direct transmission (Amatyakul, 1996; Rungruang 2003; Laovanich, 2013; Chuppunnarat, 2018). This was similar to music education in other cultures worldwide, all of which relied on methods such as rote learning, demonstration, and imitation (McPhee, 1970; Blacking, 1973; Campbell, 1991; Corpataux, 2002; Barton, 2003). Furthermore, Thai music education existed within the framework of teaching by sect masters or in homes. Students in each sect adhered to the knowledge passed down by their respective masters. This gave rise to a diversity of knowledge in both theoretical and practical aspects of Thai music, where each sect master possessed distinct characteristics in terms of principles or beliefs regarding Thai music. These characteristics differed from one master to another and were transmitted from generation to generation; (2) Thai music education in the Rattanakosin Era (until the country’s administration changed in 1932). The teachers and learners were similar to the previous era, and the curriculum still followed the traditional direction; and (3) Thai music education in the Rattanakosin Era (after a significant change in the governance of Thailand, in 1932). Education was formalized more explicitly, which led to the inclusion of music education within the national core curriculum in the formal education system (Office of the National Education Commission, Office of the Prime Minister, 1999). In 1934, the School of Dramatic Arts and Music was established which was named the College of Dramatic Arts as established in the present, focusing on teaching and learning Thai traditional music, dance, and fine arts. In other words, the study of music became a part of the fundamental subjects in the curriculum. Moreover, at present, there are a large number of music courses offered by Thai colleges and universities. The Thai music curriculum in the Rattanakosin Era (before the National Education Act until the present (1892-present)) comprised 19 curriculums and 29 versions. The first curriculum was utilized in 1960 for the primary and secondary education curriculum as an elective course focusing on singing and listening skills. Until the present, music education in Thailand still adjusted to the Basic Education Core Curriculum, 2008 in the courses of arts (Chuppunnarat, 2018; Sutthachit, 2023). The Thai Music Theory and History Content Categorization The term “theory” has multiple definitions provided by the various contexts in which it is used; however, a precise and explicit definition of “Thai Music Theory” has not yet been identified. The researcher, therefore, conducted a study based on documents, textbooks, and research papers related to the study of Thai music theory. It was found that, besides the lack of a clear definition, the content of the theoretical aspect includes a combination of Thai music theory and Thai music history (Sowat, 1996). If we go back in time, the study of Thai music theory has long been integrated with practical learning. However, the Thai music learning Malaysian Journal of Music Vol. 12, Issue 2 (1-17) ISSN 2600-9366, eISSN 2600-9331 4 culture began with learning through the oral tradition, where teachers would incorporate theoretical aspects while teaching instrumental music without explicitly separating them. This is explained by Sirichaichan Fakchamroon (the Thai National Artist) stating that: …Thai music education, in reality, follows an ancient Thai approach, where we begin with practical experience. Teachers would then teach us while we were engaged in practical activities, without explicitly labeling them as theory. Instead, they would emphasize the relevance of these elements to our practical application and how to utilize them. They did not categorize them clearly as distinct theoretical components, as done in foreign practices… (Sowat, 1996, p. 60) After the establishment of the College of Dramatic Arts, Montri Tramot (the Thai National Artist) authored the first textbook for Thai music theory titled “Duriyangkhasatthai” (The Theory of Thai Music) in the year 1938. This textbook became the cornerstone of Thai music theory in Thailand; it served as the primary resource for studying Thai music theory nationwide and also served as a model for subsequent textbooks. The content book comprised three main sections: (1) music history; (2) music principles; and (3) miscellaneous knowledge and perspectives (Department of Fine Arts, 2002). However, the details of the content in each section can be summarized as follows: Diagram 1. Summary diagram of the scope of content in the Thai Musicology textbook. From the above diagram, it can be seen that there is a clear categorization of content related to the history and literature of Thai music in the first section. The second section provides detailed rules for practicing Thai music. The third section is relevant to the general knowledge that Thai musicians should further study. The researcher found that the second section clearly reflects the content of Thai music theory. Weerakit Suwanphithak, Chalermpan Ruwicha, & Yootthana Chuppunnarat 5 By comparing it with the content of Western music theory exams using the framework of the Associated Board of the Royal Schools of Music (2020), which is globally recognized, the scope of music theory content for Grades 1–5 can be identified as clef, time signatures, pitches, degrees of scale, keys, scales, time values, rests, intervals, triads, chords, transposition, phrase structure, grouping, ornaments, instruments, instrumental directions, voices, terms, and signs. It is obvious that the designated content is related solely to the rules or order of music rather than content related to the music history part which is consistent with the second part of Montri Tramot’s Thai music theory textbook (Department of Fine Arts, 2002). Therefore, the researchers found that the concept of Thai music theory is about the rules and order, while music history is about the timeline and evolution of the music. From the explicit concepts of theory and history, the researchers synthesized and summarized six categories of Thai music theory content as follows: (1) Thai musical instruments and ensembles; (2) sound, rhythm, melody, and genres in Thai music; (3) principles and techniques of Thai instrumental performance and singing; (4) repertoire and Thai musical ensembles— performance of Thai music according to seasonal conventions; (5) Thai music teacher's rituals; and (6) Thai musical terms. From the synthesized six parts of Thai music theory, the researchers focus on the understanding of students by providing a clear concept that arranges the content from small units to large units. As Thai musical instruments are the sounds’ origin, and each ensemble is gathered by the instruments, that is the reason these two contents are adjusted into the first part of learning. The second part provides the Thai music elements that are arranged from the smallest to the largest element; sound integrated with rhythm will be the melody, and many composed melodies will be the pieces and songs that are classified. The following parts focus on knowledge application such as the performance practice, the use of repertoire and ensembles on each occasion, and the Thai music teacher’s ritual management. The last part is about Thai musical terms and meanings which cover all the parts. Diagram 2. Summary diagram of the Thai music theory content boundary. The content of Thai music history, although categorized within the theoretical study of Thai music, exhibits distinct objectives and emphases. It involves the exploration of stories from the past to the present, and the study of the development of music. This is achieved through division according to historical periods; apart from combining theoretical content with Thai music history, it is found that the division of Thai music history is usually based on different eras, often aligned with statism, as follows: (1) Pre-Sukhothai period (before 1249); (2) Sukhothai period (1249-1463); (3) Ayutthaya period (1350-1767); (4) Thon Buri period (1767-1782); and (5) the Rattanakosin Era (1783-present). To facilitate the connection with the national historical context, it is noteworthy that there are two distinct approaches to dividing the eras of the Malaysian Journal of Music Vol. 12, Issue 2 (1-17) ISSN 2600-9366, eISSN 2600-9331 6 Rattanakosin period. The first approach categorizes the eras based on the reigns of monarchs, from the first reign to the present one. The second approach, on the other hand, classifies the periods based on the socio- musical context of Thai music during different time frames. These include the Recovery Era (Reigns 1-3), the Prosperous Era (Reigns 4-6), and the Transitional Era (Reigns 7–present). Additionally, each textbook presents different perspectives and historical evidence, particularly regarding the contemporary aspect and the availability of newly discovered evidence. Moreover, the compilation of evidence is found to be scattered and not consolidated into a single comprehensive textbook. The study of Thai music history focuses on the timeline/period and is evidence-based on aspects of Thai musical instruments, ensembles, pieces, and context/literature evolvement (Chindawat, 1978; Jamnongsarn, 2020; Puchadapirom, n.d.; Rungruang, 2003; Silapabanleng & Pleinsri, 2018). Diagram 3. Summary diagram of the Thai music history content boundary. Therefore, understanding the differences and categorization of content in Thai music theory, as well as the history and literature of Thai music, is highly significant for comprehension. Thai music theory focuses on the rules and regulations of music, while the history of Thai music is concerned with aspects such as time, historical periods, and the development of music which derive from significant evidence. However, highlighting the differences in important content between the two subjects does not imply that they are completely unrelated. The two subjects are interdependent and rely on each other, particularly in the details of learning where their integration is needed for better comprehension. Clear categorization and delineation of content boundaries in an effort to emphasize the core concepts and essence of each subject will greatly benefit learners in effectively applying their knowledge. The current study of Thai music education In the context of Thailand, music educational research study has various aspects and establishes research works such as student research works, academic articles, and books. There are 3 types of music in music education study in Thailand: The Thai traditional music, Thai folk music, and non-Thai music, which is divided into 2 groups: western music, and non-western music. In terms of music education graduate students' research, only master's degree theses (N=28) could be found by searching using the keyword “music education” from the Thailand Library Integrated System which is the online national research database platform that includes all the Thai graduate students' master's and doctoral degree research in Thai universities. The search period was 2019 to 2023. The thesis Weerakit Suwanphithak, Chalermpan Ruwicha, & Yootthana Chuppunnarat 7 contains the following six areas: (1) musical transmission; (2) music teaching and learning; (3) music teacher's development; (4) music exercises and learning activities development; (5) musical knowledge collecting; and (6) the study of success from lessons learned, as Table 1 shows below: Table 1 Details of Thai music education theses from 2019 to 2023 Categorized area content The study details Type of music Level of degrees TH traditional TH folks Non-TH Primary Secondary Under graduate Non- degree Musical transmission 2 3 - - - - - Music teaching and learning method 1 2 6 5 5 1 Music teacher's development - - 1 - 1 1 Music exercises and learning activities development - - 5 5 1 - 2 Musical knowledge collecting - - - - - - - The study of success from lessons learned - - 1 - 1 - - Total 3 5 13 10 8 1 3 Table 1 provides information about the clarification of Thai music educational thesis areas of study during the previous 5 years. In the aspect of musical type, non-Thai music in the part of Western music is the most frequently employed thesis study area in Thailand, and with reference to 4 areas of content, the musical teaching and learning method has the largest number. Moreover, the studies at the primary student level are strongly concentrated. As a result, the thesis study tendency of Thai traditional music at the undergraduate level in Thailand is significantly lacking. This is related to the information from Thai Journals Online (ThaiJO) which is the Thai national online platform as the database of Thai academic articles from all Thai journals. It reveals that most music education research on undergraduate student study from 2006 to 2023, apparently concentrates on the music teaching and learning method, and curriculum development of both Thai and western music. Moreover, the research aim and scope frequently only focus on case studies in each curriculum, faculty, institute, or university. Therefore, the data were collected from a few populations and a specific group of samples, so the findings predominantly present the teaching and learning guidelines, or curriculum development that is proper only for each area of study. For instance, the study of user opinions of Bachelor of Education programs in music education (4 years) (revised in 2019), Lopburi College of Dramatic Arts (Funfuengfu et al., 2022). For reviews and analysis of previous music education research on undergraduate students in Thailand, there are a few research studies that examined music education in Thai traditional music which acquired the data from various sources, covering sample groups that will have an impact upon the Thai music education curriculum. No research has studied the issues and expectations of students in learning Thai music theory and history within Thai undergraduate music education programs, and no research presents the Thai music curriculum development and learning management integrated with outcome-based education. Not only Thai music theory and history teaching and learning are very important for the learners, but also the development of Thai music education suited to the rapidly changing current world situation and the need to create innovative learning approaches are significant issues for the Thai music educator to take into consideration. This research will operate as a guideline and prototype for Thai music education research and complete the gap in Thai music education learning management to enhance efficiency and effectiveness in music education in Thailand. Methodology This research aimed to investigate the problems and expectations of learners in the teaching of Thai music theory and history within the Thai music education curriculum at the undergraduate level. From the research aim, gathering and analyzing the findings is an important outcome to reveal the current status of these two subjects that affect the Thai music education curriculum. Therefore, the exploratory and descriptive research Malaysian Journal of Music Vol. 12, Issue 2 (1-17) ISSN 2600-9366, eISSN 2600-9331 8 methodology was adequately employed to explain the data from the research samples. The following are the details of the study: Population/Sample Group. The researchers collected data from students enrolled in the Music Education curriculum (Thai music) at the undergraduate level in 5 universities under the Council of University Presidents of Thailand and divided by mission groups of universities by the Ministry of Higher Education, Science, Research, and Innovation. The sampling method employed was cluster sampling; the researchers selected a sample group of students currently studying or having completed courses in Thai music theory and/or Thai music history and literature (2022). The sample consisted of students (N=103) pursuing bachelor's degrees in Thai music education. The data collection process. This was conducted through surveys that focused on issues and expectations regarding the teaching and management of Thai music theory and history. During the COVID- 19 situation for three months, from March 23 to May 3, 2022, the online survey links were sent to students at each university through Line, Facebook, along with the electronic letter requesting cooperation which was generated by the faculty. The research instruments. It included a documentary analysis form, and an online questionnaire approved by the Office of the Research Ethics Review Committee for Research Involving Human Subjects: The Second Allied Academic Group in Social Sciences, Humanities, and Fine and Applied Arts, Chulalongkorn University. Also, the research instruments were tried out with three students and three music educators to ensure the quality of the instruments before collecting the data. In addition, using Google Forms, researchers developed a document analysis form, as well as an online questionnaire with the following details: 3.1. The Documentary Analysis Form, used to categorize document and electronic media sources, consisted of two sections: Section 1: Document and Electronic Media Details, which gathered 7 items regarding the specific details of the documents and electronic media, and Section 2: Content and Analysis Topics, which consisted of 4 items related to the content and analysis topics. 3.2 The questionnaire was designed to gather information about students' problems and expectations regarding their learning and teaching experiences. It consisted of two sections: Section 1: General Information, which included six questions, and Section 2: Issues and Expectations, which comprised nine questions focused on identifying the students' problems and expectations. Data analysis. The researchers employed exploratory and descriptive research methods, and the data triangulation approach was employed to verify the data collected from 103 students who enrolled from 5 universities. Moreover, the collected data were read and analyzed from the survey by using the content analysis approach (Chantavanich, 2018) to categorize the set of data. This established inductive conclusions and presented them in terms of descriptive data, diagrams, and tables. Findings The researchers presented the research findings on the problems and expectations of students regarding the management of Thai music theory and history within the undergraduate music education curriculum in Thailand. The findings were categorized into five aspects, with the following details: Teaching method. Due to the extensive content and diverse sources of information about music theory and history, it is a challenge for instructors to adequately prepare themselves with deep knowledge and a comprehensive understanding of the subject matter. Based on the study, the majority or all of the teaching was conducted through lecture-based methods involving one-way communication. In these methods, the instructor speaks while the students listen. This approach is challenging and slow, and it decreases student interest and engagement. Students get bored and lack motivation as they are passive receivers of information without active participation in the learning process. According to the results, some instructors lacked teaching materials for students, believing that providing such materials would lessen students' enthusiasm for learning. Instead, they instructed students to take notes during class and review them for exams. This approach resulted in inconsistent learning outcomes as students had to independently connect the content and seek additional information, especially when studying outside the classroom. The quality of their learning, then, depended on the content they managed to record. Thus, students believed that having teaching materials as helpful tools could improve their learning experiences. Furthermore, it was found that the majority of students desired more diverse teaching formats to facilitate authentic learning experiences. For instance, they felt that incorporating field studies into the curriculum, especially for Thai Weerakit Suwanphithak, Chalermpan Ruwicha, & Yootthana Chuppunnarat 9 music history, would provide opportunities for students to learn from actual historical evidence rather than relying solely on images in the classroom. In addition, organizing discussion activities would encourage the exchange of perspectives, allowing students to present ideas they had explored outside the classroom. This would promote collaborative learning within the classroom, extending beyond the predefined content provided by the instructor. The study also revealed that this issue affected students' perceptions of instructors regarding their presentation of information. Instructors tended to focus solely on familiar data and references, limiting the variety of information used in the learning process. This approach hindered the exploration of new perspectives and prevented students from accessing a wide range of alternative sources for study. Additionally, students also wanted to learn how to apply knowledge from both subject areas in their future roles as educators. They found that, even though they acquired knowledge during their studies, they were unable to effectively apply the knowledge in their teaching practices or conduct evaluations. In summary, the research findings concluded that the predominant teaching method used in Thai music theory and history in undergraduate programs was lecture-based, resulting in disengaged learning and limited knowledge acquisition. Additionally, students expressed a desire for more field studies and discussions as teaching approaches, along with the introduction of diverse and contemporary teaching methods. Content. The study revealed that the main content-related issue was the lack of clear delineation between the content of the two subjects; that is, in many cases, instructors mixed Thai music theory with Thai music history and literature, resulting in a disorganized arrangement of content without logical sequencing or coherence. Due to this confusion, students had trouble picking up on and comprehending complex ideas. The ability of students to apply knowledge in their teaching practice as well as when instructing Thai music theory and history was hampered by unclear content boundaries. For example, the teaching of Thai music theory includes a detailed study of the types of Thai music ensembles, their components, and the process of assembling them. However, during the teaching process, instructors often explained the history and literature that depicted the era in which Thai music ensembles originated. This content fell under the domain of history and literature. This resulted in complex content. Moreover, in terms of selecting and utilizing information, it was found that instructors only relied on familiar sources. This had an impact on students, many of whom felt that the content was not comprehensive enough. Additionally, the quantity of content often exceeded the available time available for learning, both with respect to an individual period and for the semester. As a result, there was a tendency for teachers to rush through the content at times. In terms of accessing information, contemporary students have a wide range of channels available for obtaining information, while instructors still rely on traditional sources. Instructors are advised to have clear boundaries for the content, as such boundaries have an impact on the design of teaching and learning throughout the study period. Instructors are also encouraged to gather content from diverse sources, to allow students to study materials from various perspectives, and to promote the use of information based on reasoning. If a primary source of information is used in teaching, it is important to explain its origin and significance to help students understand the rationale behind its selection. Instructional media. Instructors primarily relied on PowerPoint presentations for teaching. However, these presentations mainly consisted of text rather than utilizing visuals or videos. As a result, the instructional media failed to captivate students and did not facilitate comprehensive learning. Specifically, in Thai music theory, and especially regarding musical terminology, the use of images and sound is crucial to effective learning and better understanding. For instance, when explaining different types of ensemble performances, sounds, videos, or actual student performances should be incorporated to illustrate each characteristic. This allows learners to truly experience and actively participate in the learning process. Students suggested the increased integration of technology in teaching, going beyond traditional software or websites, to enhance the learning experience, and said that some instructors had started using platforms like YouTube and Canva as additional teaching tools, recognizing the importance of up-to-date media in successfully delivering lessons on Thai music theory and history. There are numerous modern teaching aids available that can be utilized to enhance teaching, activities, and out-of-classroom learning for students. Incorporating these tools can make the teaching and learning process more engaging and effective. Additionally, some universities have adopted some of these instructional materials as the primary teaching media. The main teaching aids commonly used by instructors can be summarized as Table 2 below: Malaysian Journal of Music Vol. 12, Issue 2 (1-17) ISSN 2600-9366, eISSN 2600-9331 10 Table 2 Types of media used and the problems in teaching Types of Media Problems Students’ Expectations PowerPoint/Canva • Content is text-heavy • Outdated • Lack of attractiveness • Media content is inconsistent with teaching content. • Difficult to understand • There should be more use of images and VDOs in the instructional media to enhance visual clarity. • The media should be made more engaging and interesting. • The amount of text should be reduced. • The media should include references to the displayed information sources. Images • Unclear • There aren't many images appearing in the media. VDO/YouTube • Very few VDOs are presented in the media. Instructional materials. It was found that each university had different approaches to managing its teaching resources. Some universities provide instructional materials in the form of textbooks authored by individual scholars with specific principles and perspectives; some universities used PowerPoint as instructional materials for students. Overall, however, students said that the content was both uninteresting and overly academic. Students desired more high-quality, clear, and visually appealing illustrations, such as images, books, or manuals, not just for interest, but to enhance understanding. Such materials should include diverse, reliable, and academically sound references, and it is important for the teaching materials to be up-to-date, affordable for undergraduate students, and to have clear summaries of content. Furthermore, electronic teaching materials have become increasingly popular with students due to their ease of storage and prevention of loss. The summary of the issues and expectations of students regarding teaching materials is illustrated by Figure 1 and 2: Figure 1. Problems of instructional materials for Thai music theory and history classes Weerakit Suwanphithak, Chalermpan Ruwicha, & Yootthana Chuppunnarat 11 Figure 2. Student’s needs for Thai music theory and history classes. Context The diversity of students played a crucial role in students' learning and advancement in music education, especially in terms of their varying basic knowledge of music theory and Thai music history across different universities. Those with a strong foundation in music knowledge could effectively engage with the instruction provided by teachers, finding enjoyment in the learning process and achieving a comprehensive integration of knowledge. However, students with limited foundational knowledge struggled to keep pace and often fell behind, resulting in incomplete learning experiences and loss of motivation. As a result, the instructional efforts in those instances proved unsuccessful. In addition, students expressed a need for accommodation of this diversity by providing modern and appropriate learning tools that would enable self-directed learning outside the classroom, allowing all students to learn at their own pace and maximize effectiveness. Assignments. Students felt that instructors should establish assignments from the beginning of the semester, with those assignments clearly stated in the course syllabus. The number of assignments should be balanced with the course content and duration throughout the academic term. Classroom conditions. Students at some universities encountered problems with the physical environment for onsite learning. That is, the classrooms were too small to accommodate the number of students, limiting the ability to conduct learning activities. Moreover, substandard classroom equipment affected students' concentration and the absence of electronic devices such as projectors, speakers, and microphones hindered the use of multimedia teaching aids. These factors resulted in incomplete learning experiences and an unfavorable learning atmosphere. In addition, with the shift to online learning due to the COVID-19 pandemic, it was found that students did not favor this learning format. The majority encountered issues with unstable internet signals, and some faced other distractions in their learning environment that further disrupted the learning process and hindered concentration. Additionally, in online learning, students experienced a lack of interaction with other students, leading to reduced opportunities for activities such as questioning, expressing opinions, and conducting demonstrations. Online learning was not considered a natural learning approach, as it diminished students' motivation and limited collaborative engagement. Additionally, the distinct learning environment had a clear impact on students' learning experiences. Instructor’s preparedness. It was observed that most instructors were subject matter experts with relevant experience; however, they lacked the ability to effectively transmit the content to the students. Moreover, instructors often deviated from the material without considering its boundaries, resulting in a deviation from the scheduled time and overall instructional plan. Additionally, instructors exhibited insufficient proficiency in utilizing technology for teaching convenience and providing suitable instructional media. Therefore, further skill development and study in these areas are necessary for instructors. Malaysian Journal of Music Vol. 12, Issue 2 (1-17) ISSN 2600-9366, eISSN 2600-9331 12 Discussions Problems and Obstacles of Thai music theory and history teaching and learning in Thailand. The teaching of Thai music theory and history still faces various problems and obstacles. There is a lack of consensus among instructors regarding definitions and boundaries, leading to a merging of content between music theory and music history. In reality, the content of these two subjects has different definitions and emphases. Music theory deals with principles and methodologies, while music history encompasses the timeline of events from the past to the present. However, the data for music history has not been properly organized and compiled for effective teaching. Additionally, instructors seem to find the vast amount of content confusing in terms of defining scope, organizing material, and selecting specific information from all that is available to them. This has an impact on students, who receive incomplete and unclear content in both areas. Moreover, the use of instructional media is a crucial element in teaching these subjects. Instructors need to employ instructional media and demonstrative illustrations to ensure that students develop a clear perception and comprehension of the content, leading to enhanced efficiency and effectiveness in their learning outcomes. Many instructors lack skills in producing instructional media and designing appealing learning materials; this was especially apparent during the COVID-19 pandemic and its attendant online instruction of students. While theoretical and practical aspects are both emphasized in these subjects, obstacles are less likely to arise in practical sessions. However, the specialized content requires accurate, comprehensible, and interesting instructional media, along with suitable learning strategies for the specific context. However, the researcher found that the teaching methods of oral tradition and the diversity of musical sect masters, which are inherent in Thai music education and driven by three institutions—homes, temples, and palaces—have been passed down from the past to the present. This might be a factor contributing to the transmission of diverse knowledge in both theoretical and practical aspects of Thai music. In particular, the transmission of knowledge in Thai music theory through the masters has led to conflicting interpretations on certain issues. This is compounded a lack of comprehensive compilation, summarization, analysis, and synthesis of the scope and details of the content to establish clear national standards, which are crucial to creating standardized criteria that Thai music professionals can collectively reference, especially in higher education. It is essential to expedite collaborative efforts to initiate this process swiftly as it will serve as a foundation for teaching and will strengthen the field of Thai music education, allowing it to progress further. In addition to observations of the challenges in Thai music education, the researcher has found that the teaching and learning of traditional music in other cultures with similar characteristics also face multidimensional problems and obstacles. For example, the influence of Western music culture has significantly impacted music education in Japan. Students have limited knowledge of traditional Japanese music, which is a matter of great concern for cultural preservation in the country. Therefore, there is an increasing emphasis on global music education to enable students to explore music from Japanese cultures through a teaching strategy called “Learn of the Connection,” which focuses on the similarities and differences between Japanese music and various other musical traditions. By incorporating this approach, students have the opportunity to learn about their own national music in the context of broader musical studies. The recent developments in school music education in Japan, as discussed in “Crossroads for Cultural Education Through Music” by Takizawa (2008), align with the research conducted by Beng (2008) on a paradigm shift in teaching music in Malaysian schools. Both studies emphasize the incorporation of multicultural music in education while placing a strong emphasis on national music to instill values and strengthen cultural identity in the face of rapid global changes. Additionally, Jang's (2008) research on Korean music, music education, and the value of music and the arts in education and human development reveals that Korean national music is experiencing a decreasing influence from Western music culture, leading to a decline in popularity and a reduced focus on music education. The researchers suggest that weak national music education systems can lead to cultural intrusion and assimilation, particularly in Asian countries with similar cultures. As mentioned earlier, in the research in Japan and Malaysia, adjustments were made to integrate national music with other cultural music and to create an educational system that ensures the preservation of music within the respective cultures. Thus, the diversity of music education in Thailand, particularly in theoretical aspects, not only represents a significant cultural charm but also necessitates the accelerated collection, development, and standardization of knowledge in Thai music. This is crucial for establishing a strong cultural foundation and safeguarding against cultural intrusion while remaining connected to global society with its rich cultural diversity. Weerakit Suwanphithak, Chalermpan Ruwicha, & Yootthana Chuppunnarat 13 The guideline for the management of learning in Thai music theory and history through Outcome- based education (OBE) and blended learning approach Global society is undergoing rapid changes due to various factors, notably the recent COVID-19 pandemic. These changes have highlighted technology's crucial and indispensable role in our daily lives. It can be said that we are living in an era of adaptation; therefore, acquiring skills that enable individuals to thrive in a global society has become exceedingly important. Education plays a significant role in shaping the direction of change and preparing the global population for the ‘new normal’ in the future. Consequently, the approach to learning has shifted from traditional methods, and towards fostering essential competencies that are necessary for sustainable and resilient living (The United Nations Educational Scientific and Cultural Organization, 2022). Outcome-based education (OBE) is an educational approach that places the learner at the center, focusing on learning outcomes and the necessary skills that they need to acquire based on their individual abilities. OBE emphasizes performance assessment and learner development, requiring ongoing monitoring and evaluation. In this context, teachers play the role of facilitators, ensuring optimal learning experiences for students (Japee & Oza, 2021; Davis, 2003; Rao, 2020; Spady, 1994). This aligns with the educational goals of producing individuals who are prepared for the present and future of global society. Thailand recognizes the significance of implementing OBE in education. In 2022, the Ministry of Education, Science, Research, and Innovation announced that all undergraduate programs must adopt the OBE approach to align with societal changes and the needs of learners in the present era (Royal Thai Government Gazette, 2022a, 2022b). Based on the research findings and learner expectations, it is suggested that a shift be made away from content-based and lecture-based approaches, which primarily focus on one- way communication and instruction. In place of these outdated teaching methods, in today's world where knowledge is easily accessible, it is crucial to adapt teaching methods to the OBE (outcome-based education) approach, thus ensuring that education remains relevant and meets the needs of modern learners. OBE can address and fulfill the learning needs of Thai music theory, and Thai history by shifting away from the traditional content-based approach and memorization-based learning. By considering the students' problems, expectations, and contextual appropriateness, learning outcomes can be defined to maximize the application of knowledge for each student. Research shows that lecture-based teaching is currently the primary method used, resulting in unengaging learning environments, repetition, and one-way communication from the instructor. Consequently, students' learning outcomes are limited. The traditional teaching approach focuses mainly on content memorization; there should be a fundamental change in the initial thinking and development to emphasize the student’s ability to analyze knowledge and apply it effectively. In implementing OBE, it is crucial to prioritize learning outcomes (LO). Researchers have found that the direction of learning outcomes needs to be aligned with OBE principles for these two subjects. The aim of OBE is to enable students to perform and apply their knowledge effectively. Therefore, the researchers propose that learning outcomes (LO) for Thai music theory courses targeting undergraduate students in the music education curriculum should be revised to align with current research findings and student needs as follows: LO1: Students will be able to analyze Thai music theory knowledge. It is crucial for students to capably analyze the causes and effects of theories in various aspects in order to truly comprehend the learning process. Currently, the nature of Thai music education often involves the transmission of knowledge from one generation to another, emphasizing student compliance without delving deeply into the origins or rationale behind the theories. LO2: Students will be able to apply their knowledge of Thai music theory to practical skills and teaching. This builds upon LO1. Assuming that students have a clear understanding of Thai music theory, the application of knowledge becomes crucial and should be nurtured, as the general approach to teaching this subject often focuses solely on the course content without emphasizing the practical application, especially in teaching. Research has shown that students have a desire for enhanced application of knowledge as it greatly enhances their learning experience within the music education curriculum. Moreover, blended learning, as defined by Chulalongkorn University (2020), refers to a systematic learning process that takes place in various learning environments, including physical classrooms and virtual platforms via the Internet. Its primary goal is to ensure that learners achieve learning outcomes by combining online and onsite learning. This approach aligns with the OBE model, emphasizing the use of learning outcomes as the foundation. Online learning encompasses both synchronous learning (anywhere, real-time learning) and asynchronous learning (anywhere, anytime learning). Implementing blended learning in teaching and learning fosters diversity and significantly increases engagement, making the learning experience more varied and interesting. The learning process is organized into modules, and students have the freedom to choose the time and location of their learning. This modular approach enables learners to have greater flexibility and empowers them to participate in selecting their own learning methods. Instructors can effectively manage both content and time throughout the semester and utilize classroom time for activities that directly impact student learning. Therefore, if Malaysian Journal of Music Vol. 12, Issue 2 (1-17) ISSN 2600-9366, eISSN 2600-9331 14 instructors establish clear learning outcomes that align with the practical application of knowledge for students, it will significantly impact the appropriate content and instructional methods for both content and student learning. For example, in the context of Thai music theory, topics such as sound, rhythm, melody, and Thai songs can be learned beyond the level of memorization and understanding. Students can first learn the content online through asynchronous learning, focusing on concepts, and then engage in interactive discussions with the instructor through synchronous online or onsite learning to solidify their understanding. Based on the content scope of both subjects, the researchers propose a prototype and approach for managing the blended learning of Thai music theory that aligns with the following learning outcomes: Table 3 Thai music theory learning management through blended learning approach guidelines. Chapter Content Learning Approach Learning Strategies Onsite Online Synchronous Learning Asynchronous Learning 1 Introduction of Thai music theory • Interactive Lectures • Group Discussion 100% Or 100% 2 Thai musical instruments • Concept Mapping • Presentation 90% • Lectures • Assignment 10% 3 Thai musical ensembles • Mind Mapping • Demonstration • Presentation 90% • Lectures • Assignment 10% 4 Thai musical elements: Sound, Rhythm, and Melody • Concept Mapping • Case-based Learning • Demonstration • Practice 90% • Lectures 10% 5 Genres in Thai music • Concept Mapping • Case-based Learning 90% 10% • Lectures 6 Principles and techniques of Thai instrumental performance and singing • Concept Mapping • Case-based Learning • Demonstration • Practice 80% • Lectures 20% 7 Repertoire and Thai musical Ensembles: Performance of Thai music according to seasonal conventions • Concept Mapping • Case-based Learning • Group Discussion • Brainstorm 100% Or 100% 8 Thai music teacher's ritual • Field Trip • Practice • Group Discussion 90% • Lectures • Concept Mapping 10% 9 Thai musical terms • Case-based Learning • Demonstration • Practice 60% • Lectures • Concept Mapping 40% Weerakit Suwanphithak, Chalermpan Ruwicha, & Yootthana Chuppunnarat 15 Based on Table 3 provided, the researcher extracted the lessons from the learning management of the Thai Music Theory course for 103 first-year undergraduate students majoring in Music Education, Department of Arts, Music, and Performing Arts Education, Faculty of Education, Chulalongkorn University, during the first semester of the 2022 academic year. It was found that all students achieved the learning outcome of the course comprehensively and demonstrated progress based on the pre-test and post- test assessments. Therefore, a prototype of the Thai Music Theory learning management system was presented for further study and exploration in the future. The researchers have an observation regarding the sequencing of learning in this subject. They found that it begins with: (1) content memorization; (2) in- depth content analysis; (3) deep comprehension of the content, and finally (4) application of the acquired knowledge. This sequence aligns with Bloom's Taxonomy (Anderson et al., 2001), which consists of six levels of learning: (1) remembering; (2) understanding; (3) applying; (4) analyzing; (5) evaluating; and (6) creating. However, the lesson learned from the analysis is that once learners have memorized the content, it is necessary to analyze the material to achieve comprehension and facilitate the application of knowledge. This finding contrasts with the sequencing of levels 2-4 in Bloom's Taxonomy, indicating that the learning sequence in the cognitive domain of Bloom's Taxonomy can serve as a starting framework for instructional design. In OBE-based learning, the emphasis is on defining the learning outcomes (LO), which may vary. Therefore, it is essential to align with the LO as the foundation and utilize Bloom's Taxonomy learning sequence for analysis while maintaining flexibility in sequencing and instructional design to ensure maximum effectiveness and suitability for the learners' context. The integration of outcome-based education (OBE) with blended learning effectively caters to the requirements of educators and learners in terms of the learning process. Unlike traditional teaching methods that prioritize content delivery via lectures, and which limit learning to levels of memorization and understanding only, OBE allows learners to achieve learning outcomes (LO) and develop their abilities to a level where they can apply them effectively, which is essential for individuals in the current and future global population. The Thai Music Theory curriculum, implemented through blended learning, presents a table outlining how learners can study certain content independently, freeing up classroom time for interactive activities and diversified learning experiences. This approach maximizes the effectiveness and efficiency of learning outcomes. Moreover, the Thai Ministry of Education's Higher Education Standards (Royal Thai Government Gazette, 2565a, 2565b) for undergraduate programs in Thailand states that learners should reach the application level of learning, as outlined in Bloom's Taxonomy Level 3, where knowledge is applied. However, based on the researcher's firsthand experience as both a learner and an instructor, it has been observed that learners can attain the analysis stage (Level 4) as well. This is because Thai music theory involves principles and reasoning based on established criteria. Therefore, if students comprehend and can analyze these criteria, they will be able to apply their knowledge accurately and effectively in both musical practice and teaching. The researcher believes that the learning abilities of undergraduate learners should not be restricted merely to the application stage but should be expanded to the analysis stage. Combining OBE with blended learning in Thai music theory and history is a new approach in Thailand. However, the researcher believes that integrating these learning approaches can lead to efficient and targeted management of both subjects while also increasing student engagement and promoting the practical application of knowledge in the modern era. Suggestions Instructors at the undergraduate level and music educators from different cultures should study the students' challenges, expectations, and contextual factors related to the content of music theory and history. This will accelerate the development of learning outcomes that align with the context of educational, economic, and societal development plans. Strategic approaches to instruction should be designed, including the synthesis of innovative learning methods that are diverse and tailored to the specific characteristics of each region or nation while remaining current and aligned with national standards. These strategies should effectively enable learners to achieve the desired learning outcomes and contribute to the sustainability of education and the preservation of valuable knowledge in the arts and cultural domains. Malaysian Journal of Music Vol. 12, Issue 2 (1-17) ISSN 2600-9366, eISSN 2600-9331 16 Acknowledgement This research was funded by the Ratchadapisek Sompoch Endowment Fund (2021), Center of Excellence: Siam Cultural Education: Social Innovation Research and Learning, Chulalongkorn University. The Thai art academic development project, Chulalongkorn University. References Amatyakul, P. (1996). Summary of lectures by Prof. Poonpit Amatyakul on the history and development of Thai music. Language and Culture Research Institute, Mahidol University. Anderson, L., Krathwohl, D., Airasian, P., Cruikshank, K., Mayer, R., Pintrich, P., Raths, J., & Wittrock, M. (2001). A taxonomy for learning, teaching, and assessing division of Bloom’s taxonomy of educational objectives. Addison Wesley Longman, Inc. Barton, G. (2003). The influence of culture on instrumental music teaching: A participant-observation case study of Karnatic and Queensland instrumental music teachers in context [Doctoral dissertation, Queensland University of Technology]. http://drora.me/wp-content/uploads/2014/04/influence-of-culture-on- instrumental-music-teaching.pdf Beng, T. S. (2008). A paradigm shift in teaching music in schools: Traditional music and multiculturalism in Malaysian education: Approaches in music appreciation classes. Educating in the Arts: The Asian Experience: Twenty- Four Essays, 249-260. Bergethon, B. & Boardman, E. (1979). Musical growth in the elementary school. Holt, Rinehart, and Winston. Blacking, J. (1973). How musical is man. The University of Washington Press. Campbell, P. S. (1991). Lessons from the world: A cross-cultural guide to music teaching and learning. Schirmer Books. Chantavanich, S. (2018). Qualitative research methods. Chulalongkorn University Printing House. Chulalongkorn University. (2020). Online teaching and learning management and assessment of learners under the situation and measures to prevent the outbreak of COVID-19 virus. คู่มือการจัดการเรียนการสอนและการประเมินผลผู้เรียนแบบออนไลน์ ใช้จริง.pdf Chuppunnarat, Y. (2018). Development of the Thai music education curriculum and teaching in Thailand. Rachadaphiseksompotch Fund, Chulalongkorn University. Corpataux, F. (2002). In Ilari, B and Majlis, P. eds. Children’s songs around the world: An interview with Francis Corpataux. Journal of the International Society for Music Education, 40(1) 3-14. Davis, M. H. (2003). Outcome-based education. Journal of Veterinary Medical Education, 30(3), 258-263. https://doi.org/10.3138/jvme.30.3.258 Department of Fine Arts. (2002). Duriyangkhasatthai [The theory of Thai music]. Chuanpim. Funfuengfu W., Kaewsawang P. & Mankong P. (2022). Opinions of users of the Bachelor of Education program Major: Music education (4 years) (revised in 2019). Lopburi College of Dramatic Arts. Journal of Nisitwang, 24(2), 83-90. Grant, C. (2017). Learning and teaching traditional music in Cambodia: Challenges and incentives. International Journal of Music Education, 35(1), 5-16. Japee, G., & Oza, P. (2021). Curriculum and evaluation in Outcome-based education. Psychology and Education Journal, 58(2), 5620-5625. Jamnongsarn, S. (2020). Thai music history [Unpublished manuscript]. Faculty of Fine Arts, Srinakharinwirot. Jang, K. B. (2008). Layers of thought on Korean music, music education and the value of music and arts in the context of education and human development. Educating in the Arts: The Asian Experience: Twenty-Four Essays, 261- 272. Juthaset, C., & Bankrithong, S. (2021). Approaches to teaching Thai music theories to lower secondary students. Journal of Education Studies, 49(2), 1-10. Kaewsawang, P. (2021). The project-based learning in Thai music theory subject for the first student in the undergraduate level of the Lopburi College of Dramatic Art. Journal of Nisitwang, 23(1), 12-22. Laovanich, V. (2013). Marginalization of music subject in Thai basic education curriculum: An archaeology of knowledge approach. Fine Arts International Journal, 17(1), 35-51. McPhee, C. (1970). Children and music in Bali. In Traditional Balinese Culture (pp. 212-239). Columbia University Press. Miller, H. M. (1978). Introduction to music. Harper and Row, Publishers, Inc. Office of the National Education Commission, Office of the Prime Minister. (1999). National Education Act B.E. 2542 (1999). Pleinsri, A. (2018). Thai music investigation, Vol. 1. Thai music history series (2nd ed). Thammasat University Press. Puchadapirom, P. (n.d.). History of Thai music 1. [Unpublished manuscript]. Faculty of Fine Arts, Chulalongkorn University. Weerakit Suwanphithak, Chalermpan Ruwicha, & Yootthana Chuppunnarat 17 Rao, N. J. (2020). Outcome-based education: An outline. Higher Education for the Future, 7(1), 5-21. https://doi.org/10.1177/2347631119886418 Royal Thai Government Gazette. (2022a). Ministerial Regulation on Standards for Higher Education Curriculum B.E. 2565 (2022). Royal Thai Government Gazette. (2022b). Announcement of the Commission on Higher Education Standards on Criteria for Undergraduate Curriculum B.E. 2565 (2022). Rungruang, P. (2003). History of Thai music. Thaiwattana Panich. Silapabanleng, C., & Chindawat, L. (1978). Thai music study. Aksorncharerntasn Press. Sowat, B. (1996). Thai music theory. Ruangkaeo Publishing House. Spady, W. G. (1994). Outcome-based education: Critical issues and answers. American Association of School Administrators. Stark, C. J. (1976). Conceptual framework as resources for curriculum development with music as paradigm case. [Doctoral Dissertation, Indiana University]. https://www.proquest.com/docview/302804903?pq- origsite=gscholar&fromopenview=true Sutthachit, N. (2023). The principles and essentials of music education (pp. 25-47). Chulalongkorn University Press. Takizawa, T. (2008). Crossroads for cultural education through music: Recent developments of school music in Japan. Educating in the Arts: The Asian Experience, Twenty-Four Essays (pp. 231-238). The Associated Board of the Royal Schools of Music. (2020). ABRSM Qualification Specification Music Theory. https://gb.abrsm.org/media/67080/merged-music-theory-grades-1-8-qual-spec-14-april-2023-final-1.pdf. The United Nations Educational Scientific and Cultural Organization. (2022). Transforming education for the future. UNESCO. https://www.un.org/en/transforming-education-summit/sg-vision-statement Yoo, H., Kang, S., & Fung, V. (2018). Personality and world music preference of undergraduate non-music majors in South Korea and the United States. Psychology of Music, 46(5), 611-625. Zuo, Q. (2018). Design of traditional music teaching in colleges and universities from the perspective of multiculturalism. Educational Sciences: Theory & Practice, 18(6). Biographies Weerakit Suwanphithak is a lecturer at the Division of Music Education, Department of Art, Music, and Dance Education, Faculty of Education, Chulalongkorn University, Thailand. His background also includes more than 10 years of teaching Thai traditional music string instruments, Thai Ensemble performances. His research interests focus on music education in Thailand, Music Curriculum, and Thai music pedagogy. Chalermpan Ruwicha is a lecturer at the Division of Music Education, Department of Art, Music, and Dance Education, Faculty of Education, Chulalongkorn University, Thailand. His background also includes more than 10 years of teaching Thai traditional melodic percussion instruments and Thai Ensemble performances. He is currently a special lecturer at the Department of Art, Music, and Dance Education, Faculty of Education, Chulalongkorn University. His research interests focus on music education in Thailand and music pedagogy. Yootthana Chuppunnarat is an Associate Professor at the Department of Art Music and Dance Education, Faculty of Education, Chulalongkorn University. He has extensive experience including more than 20 years as a music educator in the area of curriculum and instruction in Thai traditional music. His research interests include music education in Thailand. He has published research in music education in a variety of journals, currently one was an investigation into the status of Thailand’s music education systems and organization in the British Journal of music education.

https://ejournal.upsi.edu.my/index.php/MJM/article/view/8101

https://ejournal.upsi.edu.my/index.php/MJM/issue/view/531

Problems and Expectations of Students Regarding the Management of Learning in the Subjects of Thai Music Theory and History within the Thai Undergraduate Music Education Curriculum

Hindu religious ceremonies continue to be performed in Bali throughout the ages. A ceremony cannot be completed perfectly without the presence of the

Malaysian Journal of Music Vol. 12 No. 2 (2023)

https://ejournal.upsi.edu.my/index.php/MJM/article/view/8537/4748

Kidung, Hindu temple performances in Bali, sacred music, Yadnya

18 Malaysian Journal of Music Vol. 12, Issue 2 (18-34) ISSN 2600-9366, eISSN 2600-9331 Kidung: Integral and Structured Parts in the Implementation of Balinese Hindu Religious ceremonies Desak Made Suarti Laksmi1, I Wayan Sudirana2* Music Department, Faculty of Performing Arts Institut Seni Indonesia Denpasar Jalan Nusa Indah, Sumerta, Denpasar, Bali, 80235 e-mail: [email protected], [email protected] *Corresponding author: [email protected] Published online: 17 December 2023 Cite this article (APA): Laksmi, Desak Made Suarti & Sudirana, I. W. (2023). Kidung: Integral and structured parts in the implementation of Balinese Hindu religious ceremonies. Malaysian Journal of Music 12(2), 18-34. https://doi.org/10.37134//mjm.vol12.2.2.2023 Abstract Hindu religious ceremonies continue to be performed in Bali throughout the ages. A ceremony cannot be completed perfectly without the presence of the Kidung (hymn/sacred song), an integral component that cannot be separated. The implementation of the Yadnya ceremony is connected to the ceremony’s purpose. Panca Yadnya refers to these five types of ceremonies, divided by domain into Dewa Yadnya (ceremonies for Gods), Bhuta Yadnya (ceremonies for Bhutakala/demon), Rsi Yadnya (ceremonies for Mahaguru, Rsi, or parents/teachers), Pitra Yadnya (ceremonies for the deceased), and Manusa Yadnya (ceremonies for human’s life). The selection of the type of Kidung (hymn) adapts to the five domains of the relevant Yadnya, considering the various types of Kidung with text selection for context. Several supporting factors refer to the concept of tatwa, morals, and procedures both philosophically, technically, and contextually. The Kidung is sung with full regard for propriety, which is believed to strengthen the spiritual ascent in achieving sidakarya and sidapurnanya (perfectly done) by performing the Yadnya ceremony as an expression of offerings. Keywords: Kidung, Hindu temple performances in Bali, sacred music, Yadnya Introduction Kidung has the same meaning as the words chant or song, which, according to Purwadarminta (1987, p. 30), means song or poetry that is sung. Hindu religious songs are a form of Dharma Gita songs that are sung in offerings. Its role is very dominant in implementing Hindu religious ceremonies in Bali, apart from being an offering and a support for ceremonies. The makidung tradition is the activity of reading and, at the same time, developing the text of the Kidung (2022, p. 30). The makidung tradition began in the 16th century along with the introduction of Javanese songs to Bali (Hinzler, 1981, p. 433; Laksmi, 2022a, p. 31; Suarka, 2007, p.149). Kidung is included in the Sekar Madya group (from four groupings of songs: Sekar Agung, Sekar Madya, Sekar Alit and Sekar Rarē). The function of each group of Kidungs is determined by the religious ceremony that is taking place. The literary selection sung corresponds to the domain of the ceremony taking place. This is commonplace and is understood by most vocal Kidung practitioners, in relation to Hindu religious ceremonial activities and artistic performances. As a sacred song, Kidung serves not only as a musical accompaniment but also as an offering that is almost always resounded at each performance. A ceremony is currently in progress. In all types of Desak Made Suarti Laksmi & I Wayan Sudirana 19 ceremonies, the Kidung is always present and plays a preeminent role. The selection of literary stanzas, types of songs with variations in tone and character play, has a very close relationship with the Yadnya domain and cannot be confused with its use (Laksmi 2007, p. 1) so Yadnya Kidungs are suitable for use in every ceremony. It is crucial to address this to become more stable in your spiritual ascent and concentrate on your desired goals. All of these realities are elaborations on the ontological perspective that will be examined in greater depth in this research. This epistemological perspective seeks to know, comprehend, and simultaneously study descriptively and qualitatively what is occurring in society regarding the existence of religious Kidungs. In the meantime, the value and implications of axiology to integrate all the values in Kidung literature into human life require respectable comprehension and awareness. Several factors necessitate the use of Kidungs during ceremonies in Bali. In addition to contributing to the solemnity of the ceremony, these factors pertain to the function of the Kidung in the ceremony, spiritual norms and metaphysical impulses regarding the structure of the ceremony, and the significance of the Kidung itself. The essential role of Kidungs in Hindu religious ceremonies has never been documented in the form of articles, which is unfortunate. Factors that Strengthen the Existence of Kidung in Hindu Religious Rituals Theological Factors. Theology is regarded as a science that investigates all topics pertaining to divinity and religious beliefs. Theologians seek to employ analysis and logical arguments when discussing, interpreting, and instructing on religious topics. Theology enables an individual better to comprehend his own religious tradition or other religious traditions, facilitates comparisons between diverse traditions, preserves and renews a particular tradition, aids in the propagation of a tradition, and applies the sources of a tradition to a current situation or need, among other purposes. The limitations of rational meaning have made “Gugon Tuwon; nak mule keto (that is how it is)” a reliable shield for the general public in justifying religious autonomy. It is understood that “Gugon Tuwon” refers to a belief in something as a truth transmitted from generation to generation. It is essential to understand the fundamentals of the Hindu religious framework regarding philosophy, morals, and rituals/ceremonies, which contain philosophical, ethical, and legal connotations. It is identical to theology at the tatwa level, which entails an expansion of divine philosophy. Previously, only certain individuals, such as clergy, writers, and cultural figures, had access to interpretations of the aspects of tatwa/religious philosophy; however, the general public now plays a larger role in the moral order and procedures. The massive and rapid development of science in both the virtual and physical worlds has an effect on the growth of mastery of the aforementioned knowledge. Kidung, as an art offering (wali), as a support (bebali), and as a performing art (balihan) position itself structurally alongside the sequence of events (dudonan) at each ceremony. Numerous variables, including space, time, and circumstances, are intertwined with its implementation and incorporation goals. Balinese Hinduism is a blend of animism, ancestor worship, Hinduism, and Buddhism (Sudirana 2013, p. 45). Yadnya is one of the manifestations of the contents of this blend by accommodating the Vedic teachings, the believe in nature and spirit, reincarnations, and harmony. Since Yadnya itself is stated in the Veda, it must be carried out by Hindus throughout their life (Sanjaya, 2008, p. 4; Laksmi, 2022a, p. 131). In this embodiment, it is depicted in the form of symbols with the aim that the Yadnya can be more easily understood and carried out by Hindus, as well as increasing stability in the implementation of religious activities or Yadnya itself (Agastia, 2008, p. 4). All forms of the greatness and majesty of God Almighty, the sincerity of the hearts or feelings of His worshippers, as well as the forms of offerings are depicted in the form of symbols (niyasa) which are reflected in the forms of ceremonies in the Yadnya ceremony (Laksmi, 2022a, p. 130). The Kidung is almost always present at every Yadnya ceremony as an essential form of offering. Kidung is derived from the Veda, the source of Hindu religious doctrines. X.71.11 (Sanjaya, 2008, p. 4; Laksmi 2022b, p. 131) states that the Veda describes four 20 Malaysian Journal of Music Vol. 12, Issue 2 (18-34) ISSN 2600-9366, eISSN 2600-9331 different ways of expressing his teachings: Rcām tvah posamāste pupusvām, gāyatram tva gāyati sakvarisu bhahmā tvo vadati jātavidyām yadñasya mātrām vi mimita utvah; the meaning: One person is tasked with reciting Vedic verses, another with singing Kidungs in sakwari, another with mastering Vedic knowledge and teaching the Vedic content, and yet another with teaching the procedures for performing the holy sacrifice (Yadnya). (2008, p. 4 in Laksmi 2022b, p. 131). Yadnya is done as the result of human birth and life in this world, which carries a debt known as Tri Rna. Humans have three birth debts, which are known as Tri Rna. Firstly, human have a debt to Ida Sang Hyang Widhi Waça (God Almighty), who created and provided humans with all the necessities of life, also known as Dewa Rna. Second is Pitra Rna, which refers to the debt of life owed to the ancestors, particularly mothers and fathers who gave birth and raised their children to adulthood. Third is Rsi Rna, debts owed to MahaRsi (teachers), and other holy persons who have contributed to teaching knowledge, arts and culture, spiritual guidance (Agastia, 2008, p. 4). Hindus pay for the three debts in five different types of Yadnya (Panca Yadnya): Dewa Rna was compensated with Bhuta Yadnya and Dewa Yadnya; Rsi Rna with Rsi Yadnya; and Pitra Rna with Manusa Yadnya and Pitra Yadnya. The offerings offered for these Yadnya(s) are associated with the compensation of the three debts, with the additional specific chanting (Kidung) as supplements to achieve the sidakarya, sidapurna, sidaning yasa (the successful of the debt payment rituals). The five Yadnya domain groupings were flexibly organized into the levels of kanista/nista (minor/essential), madiama/madya (intermediate), and mahotama/utama (major), also known as Nista madya utama. Kidung, as the application of Vedic teachings, is required at every level of the Yadnya ceremony, with ceremonies based on the dresta (unwritten rules) prevalent in the local area. If the presence of the gamelan (a traditional music of Bali) is not required due to the low level of the ceremony, the Kidung can be present as an integral and structured part of strengthening the achievement of the goal of perfecting the Yadnya. God is described, personified, and manifested visually in works of art, including literary arts, fine arts, and performing arts, in literary works. Many of the literary texts in song, as an integral part of religious activities, provide an approach to theological theory about the existence of God and how people respect God. Kidung, as part of a religious ritual linked to the existence of God, necessitates a theological examination of the text’s elements, context, as well as practical and aesthetic elements. It is recognized that Kidung is a very broad field in terms of scope, variety, form, function, meaning, and problem area. Nowadays, selective Kidung poetry has spread in the form of “pocketbooks” as a practical guiden for people who want to support religious activities. However, it should be noted that different interpretations of the text and its context still necessitate a more thorough theological analysis. Even though the nature of God is still a mystery sought by mankind throughout the universe, it has never been fully solved. The theological theory is being studied in depth by various experts with a scalpel to interpret God’s existence. Thus, religious intelligence can be achieved in various ways to increase spiritual ascent. Nonetheless, it should be recognized with an open heart that the traditional concept of Gugon Tuwon (a prohibition, taboo or advice left by ancestors and passed down to their children and grandchildren) is a proper boundaries that cannot be rationalized, even though a theological theory cannot reveal everything clearly and completely about the mysteries of the universe with its various elements of God’s creation. As Hindus’ holy book, Vedic literature forbids haphazard study and practice in all circles of society. Previously given teachings on implementing the Vedas in the form of Itiasa, Puranas in the form of stories from the Ramayana, Mahabharata, and other Puranas for people who want to deepen their understanding of the Vedas. For those who read them, Desak Made Suarti Laksmi & I Wayan Sudirana 21 all literary works are an endless “spiritual menu” to be discussed as “spiritual food.” These teachings are contained in the art forms of Vedic teaching media. Empu Tantular (Warna, 1988, p. 38; Laksmi, 2022b, p. 138) in Arjuna Wiwaha’s kakawin (long narrative poems composed in Old Javanese, written in verse form with rhythms and meters derived from Sanskrit literature) describes God’s necessity as a real (sekala) and virtual (niskala) being. It is difficult to obtain God’s precepts in their manifestation with full effort based on personal purity. After successfully completing Tapa Yoga Semadi and receiving the Pasupati Sastra weapon from Lord Shiva, Arjuna worshipped the Gods as written in the kakawin stanza of Merdukomala: It is stated in the stanza of the kakawin Merdukomala that God will not show His grace to just anyone, especially those who are classified as dirty or filthy. However, it only reveals its holy character and light to those who diligently purify themselves and are always on the path of truth according to dharma teachings. The divine teachings mentioned in Arjuna Wiwaha’s kakawin in Wirama Kakawin Totaka: This series of kakawin verses teaches and guides Hindus that it is possible, albeit difficult, to communicate with and witness God’s actual form. It requires physical and mental purity, much like the moon’s shadow, which is reflected clearly only in water that is pure and free of impurities. Similarly, as a self-reflection in capturing the moon’s shadow’s radiance, water ought to purify purity and clarity. Under these circumstances, the moon’s shadow will be clearly visible (Laksmi, 2022b, p. 139). Similarly, in the pursuit of enlightenment, divine light is sought to cleanse oneself of the turbidity and filth that tend to envelop us in darkness. Djelantik recalls the spiritual ascent of searching within oneself for the mystery of life to comprehend God’s existence (Djelantik in Laksmi, 2022b, p. 139). This is the opening to Geguritan Sucitana’s literary work in Pupuh Sinom: Ong sembah ning anatha tinghalana detriloka sarana; Wahya dyatmika sembahing hulun ijeng ta tan hana waneh; Sang lwir agni sakeng tahen kadi minyak sakeng dadhi kita; Sang saksat metu yan hana wwang hamuter tutur pinahayu. Ong Hyang, The Holy God, ruler of the three worlds, please look at my worship; I worship You in the mortal world and the divine world, nothing else; You are like fire coming out of a tree, like oil coming out of coconut milk; You shine out when there are people who practice noble sacred teachings. Çaçi wimba haneng ghata mesi banyu; Ndan asing suci nirmala mesi wulan; Iwa mangkana rakwa kiteng kadadin; Ring angembeki yoga kiteng sakala.‐ Like the shadow of the moon on a jar filled with water; Only in clear and clean water can the moon’s shadow be seen clearly; Such is the radiance of God in this life; Only in humans who are obedient in practicing yoga, God will show His holy light in a real way 22 Malaysian Journal of Music Vol. 12, Issue 2 (18-34) ISSN 2600-9366, eISSN 2600-9331 A summary of poetic stanzas with minimal wordplay but large concepts makes God’s teaching admirable and beautiful. The ability of an author to select beautiful words for his literary work has a profound, extensive, and expansive significance. If the string of words in question is strung together with a melodious melody or according to the nature of the song, it becomes even more beautiful. Thus, the senses are nourished by beauty, while the mind is nourished by teachings that calm the heart. Here the role of the vocal art of tatembangan plays an important role. Singing is a primary human need for expressing happiness. Even though it is acknowledged that singing expresses a variety of emotional upheavals “nawa rasa”, the singer still sings with joy. In performing arts, when someone expresses his sadness through singing, even though the sadness itself almost carries him away, he is not actually sad. Similarly, other emotional fluctuations, such as anger, romance, etc., are merely emotional expressions designed to achieve sincerity. The closest expression of happiness, the sensation of having butterflies in the stomach, can be linked to the expression of the song. It is odd for someone who is extremely angry or extremely depressed to express their emotions and emotional turmoil through singing. The beautiful chanting of songs in “sekaran” sound art conveys the fact that there has been a long-standing tradition from the past to the present of internalizing these teachings so that they can penetrate more deeply. In this instance, the Kidung becomes one of the most significant vehicles for conveying the meaning of the message contained within. In addition, if the connoisseurs are willing to engage in quasi-participation in ongoing religious ceremonies. The vessel emptied to receive the gift of His grace can also be refined by listening to religious Kidungs. In the Mabebasan tradition, the chanting of the song is interpreted by someone who serves as a translator (paneges). Elaboration and collaboration in meaning utterances require someone with a theological approach to give a broader meaning and contextualize it with the ongoing situation, making the literary work an educational medium besides entertaining. In a ceremony that is being held, all elements provide support for the same goal. The Kidung of Aji Kembang provides a fusion of the position of Sanghyang Catur Sanak (the unseen human’s siblings) within oneself with the position of Sanghyang Catur Sanak in the universe through the pasuk wetuning indranya (spiritual connection between the microcosm and the macrocosm). The understanding of pangider-ideran (the reference for the position of Dewatanawasanga/gods with all shakti, position, color, urip/neptu, weapons, rides, Bhuta, and others) is the nature of the universe’s elements, bhuwana agung (macrocosm) which is affiliated with the small universe, bhuwana alit (microcosm) within its believers. This is also used as a reference in various ceremonial symbols for the gods’ places (Dang Kahyangan/Kahyangan Jagat temple). The counter-extraction and designations in Caru’s offerings (sacrifice ritual offerings) are of various levels, the practice of the shaman, the pocapan pengrandan (sacred mantras), which has immense power, the power of the Gods’ places in iderating if the possession is truly internalized within oneself. Here is the theological teaching that God’s spark exists in every living creature he creates, whereas Jenek ring meru sarira, Kastiti hyang maha suci, Mapuspa Padma hredaya, Magenta swaraning sepi, Meganda baan tisning budi, Malepane sila ayu, Mabija menget prakasa, Kukusing sadripu dagdi, Dupan ipum, Madipa hidepe galang. Build a monument of worship within yourself, to worship and glorify God, flower of the heart is used as a flower of worship, the sound of silence beats the bells without stopping, the fragrance of the temperament is spread, based on good and honest behavior, rice between the foreheads is a constant reminder of His greatness, eliminate and burn the six the enemy within (sad ripu); as incense is the brilliance of the mind, heart and feelings are always enlivened. Desak Made Suarti Laksmi & I Wayan Sudirana 23 living creatures do not exist in Him. Therefore, living as a human being is said to be a way to do good so that Sang Hyang Atman (the soul) can reunite with Sang Hyang Brahman (the God). Ethical Factors. Ethics and aesthetics are two distinct sciences but are closely related. They are interconnected in the Balinese Hindu community and religious practices. According to the Kamus Besar Bahasa Indonesia (Great Indonesian Dictionary), multiple interconnected definitions of ethics exist. The first one, ethics is the study of what is good and bad, as well as moral rights and duties. The second, ethics is a collection of moral principles or values. According to Purwadarmita (1987, p. 237), ethics is also a value regarding right and wrong that is adhered to by a group or society. According to Djelantik (1990, p. 9), ethics, which is synonymous with morality, is good actions toward fellow human beings, which includes good conduct. Djelantik further explains that ethics refers to the behavior and responsibility of a group that must be exercised in order to clarify the meaning and function of a religious Kidung so that its purity and holiness are maintained as a means and support for Hindu religious ceremonies in Bali. Nawa Widha Bhakti is nine teachings used as guidelines to increase sradha (believe) and bhakti (devotion) of the Hindu community before God (Ida Sang Hyang Widhi Wasa). These nine teachings include Srawanam, Wedanam, Kirthanam, Smaranam, Padasewanam, Sukhyanam, Dahsyam, Arcanam, and Sevanam. Among the nine teachings known as Kidung, chanting religious sacred songs is implicitly included as part of the teachings of “Kirtanam.” Daily teaching is demonstrated by singing a Kidung (makidung) after concluding a prayer or ceremony. Kidung also accommodates Srawanam’s teachings regarding giving good advice or suggestions; for instance, listening to and accepting good things from parents and teachers is simple. The values of advice that lead to the path of truth serve as guiding principles. As a result, the art instructor has a potent medium to convey the information in an entertaining context. The majority of the dramatic content of an artistic performance consists of educational and moral lessons. Kidungs are used to enhance the aesthetics of communicating wisdom values, even in humorous parodies. Artists, including spiritual artists such as Kidung performers, are therefore also referred to as Guru Loka when it comes to educating the public about human values in the broadest sense. Sevanam refers to providing quality service, such as assisting others or providing the best service possible. Those with the ability to sing religious songs are obligated to participate in the system of mutual cooperation without submitting a formal request to help each other with sincerity by providing spiritual songs. As a form of devotion and a means of legitimizing the success of family members carrying out a Yadnya, the service provided here is not measured by material goods as a means of achieving a balance. Chanting Kidung is a Yadnya, hard work that has certain effects on the performer’s body. Sound vibrations can provide positive vibrations to neutralize blood circulation so that Kidungs become a healthy therapy for devotees who can fulfill their wishes in carrying out their Yadnya: namely seeking happiness and being physically and spiritually healthy. The makidung tradition is the activity of reading as well as developing Kidung texts (Suarka, 2007, p. 149). The makidung tradition in Bali began in the 16th century with the arrival of Javanese Kidungs to Bali (Hinzler, 1981, p. 443; Suarka, 2007, p. 149). The makidung tradition, together with the makakawin, mageguritan, malawakia, and nyloka (other singing traditions), are preserved through the mabebasan tradition, an activity of reading as well as developing, translating and reviewing traditional literary texts (2007, p. 149). In Bali, this tradition is increasingly alive and growing in society, so groups called themselves Sekaa Santi or Sekaa Pesantian, collective groups who do the mebasan tradition, are formed. Many positive and useful things can be learned by getting involved in vocal training activities in Sekaa Santi groups, especially regarding the formation of morals and ethics. Aesthetic Factors. Aesthetics is a science that examines all aspects of what we call “beauty” (Djelantik, 1990, p. 6). As a concept of aesthetic beauty, it colors every aspect of 24 Malaysian Journal of Music Vol. 12, Issue 2 (18-34) ISSN 2600-9366, eISSN 2600-9331 human existence, reminding us that every action has an aesthetic basis. This concept penetrates the human soul and subtly reflects every aspect of daily life. Aesthetics explains the essence of beauty and the experience of beauty (Waesberghe, 2016, p. 21), whereas Literary Arts is an art that uses language to express aesthetic intuition. In relation to the material’s essence, the aesthetic experience of literary art appears to be a synthesis of the auditory (hearing) and visual (appearance) aspects of language (p. 5). The songs are sung with beautiful language formations and melodic strains, which are woven into literary and melodic sequences. Whether we realize it or not, this song would have never been written if the composer had not utilized aesthetic principles. Kidung literature is formed using lingsa (conventional rules). These rules pertain to uger-uger (framework), such as the guru wilang rule (the number of syllables in each line and the number of lines in each stanza) and the vowel fall in each line. Considering the concepts of logic, ethics, and aesthetics, the series of words are formed in such a way that they become compositions bound by certain rules and contain beautiful literary compositions. The aesthetic sensibility of the author in composing Kidung literature is frequently influenced by the strains of love, so that a great deal of Kidung literature is composed of a series of love-related words. As in the example of the Kidung Wilet Mayura (see below), the feeling of love has penetrated and stimulated the author’s soul, resulting in the creation of a very poetic literary description in beautiful literary language that touches everyone who reads or sings it. Wilet Mayura (panawa), laras pelog. The beauty of love expressed in Kidungs addressed to the opposite sex, differs from the beauty of love for the Almighty God. In describing the Kidung Malat, Vickers (1989) mentioned aspects of the Kidung is deemed significant. This element is a painting depicting sexual or romantic scenes (Soekatno, 2013, p. 286; Laksmi, 2022b, p. 169). According to Vickers, composing a Kidung is also a form of worship, which may not include composing a kakawin, but is nevertheless a form of worship in which the poet is one with the Creator. A poet uses sexual means to compose Kidungs - emotional means, particularly those related to feelings of love and sexuality (Teeuw, 2013, p. 286). The composition of Kidung literature is highly dependent on the author’s pursuit of aesthetics. According to Zoetmulder and Robson (2011), a pangawi or a poet is a seeker of beauty and a nomad. They wandered the forests and coastlines, worshiping the God of Beauty and attempting to unite with him, beginning with yoga and concluding with eternal liberation (Agastia, 1987, p. 82). Aestheticians distinguish six points or categories of beauty: glorious, beautiful, tragic, comical, pretty, and ugly. All these types of beauty can be found in all art forms (Waesberghe, 2016, p. 7, cited in Laksmi, 2022a, p. 170). Since Kidung literature is based on a deep sense of love from its Creator, who is said to be a hunter of beauty, we can conclude that it contains a great deal of literary complexity. The beauty that attracts is not Angrerimang sang ulangun, Sang lara angunur guyu, Sang karwa lingnya kasemaran, Amawas istri kaleson, Dadyata amuwuhing angrawit, Sasolah irasang arum, Sang kakung lingnya, Duh yayi paran denkwa, Amunung saking larasta. Daydreaming creates feelings of love, He who languishes enjoys the beauty of love, They both show love-stricken words, Looking at a lover who is struggling, So it adds to the sense of beauty of love, Her every behavior is beautiful, The man now said, Oh my sister, why brother, Tempted? It's because of your beauty Desak Made Suarti Laksmi & I Wayan Sudirana 25 only the beauty of a woman, but also the beauty of the panorama of the universe and the beauty manifested by a feeling of love for the Creator that unites and penetrates the poet’s soul. This event’s underlying indicators include the noble, the tragic, the beautiful, and the ugly comic. Agastia (1987) states in Wrtsacaya classical poetry that Mpu Tanakung is a poet who is full of the desire to enjoy beauty and is intoxicated by it. It is also stated that one must seek beauty in nature, which Agastia considers to be an excellent place for self-training (1987, p. 83). According to Zoetmulder and Robson (2011), the praise addressed to God by poets is actually a form of yoga, with God of Beauty as the focus of meditation, who is believed to reside in the lotus of the heart during mental concentration (Koentjaraningrat, 1987, p. 84). By meditating on God’s special descent and appearance within it, what happens to the hidden core of his sense of beauty (sandining lango), will then become apparent, as he reveals God in his literary work as in a temple. Consequently, a kawiswara (a poet-king) is also a siddhayogi (a perfect yogi). What a kawiswara aims for is essentially the same as what every yogi aims to achieve: liberation (sadhana sang kawiswara asadhya kalĕpasani sandhi ning mango) ((Koentjaraningrat, 1987, p. 84). Song compositions are one-of-a-kind divine works of art resulting from the author’s expressive and universal religious aesthetic creativity, which successfully moves the audience’s emotions. The literary beauty of the song is greatly bolstered by the musical beauty of the melodies, which bind and form an interdependent beauty. As a component of traditional vocal music, Kidung singing is intimately connected to the melody, rhythm, dynamics, and harmony. Taking into account that the concept of the guru dingdong or the song’s melodic guideline which is formed according to each line and stanza concludes with the fall of specific notes that reflect the composer’s aesthetic sensibility. The beauty of a Kidung’s melody is highly dependent on the succession of the selected tones (murwa kanti) that create a beautiful harmony. A Kidung composer closely relates his feelings, attitudes, values, and behavior into the melody he wrote. In other words, a composer’s affective life includes feelings, interests, attitudes, and emotions. In such a circumstance, composer can freely express his emotions according to the flow of emotions surrounding him. Melody is a continuous musical event that, in addition to being about the affective nature of a composer, is also about intellectual power, reason, auditory power, and emotional power. Another view that must be maintained is that there is a special relationship between sound structure and affective and emotional life or human emotions (Waesberghe, 2016, p. 59). If the experience of beauty already has an affective nature, then the affective nature must be specified in great detail. Just as visual imagination turns out to be related to intellectual power, specifically reason, auditory imagination turns out to be related to emotional power. Therefore, music undeniably establishes a relationship with human affective life that is more specific than any other art form (p. 59). The beauty of a Kidung can be seen in its melodic flow, woven from a series of notes that create an enjoyable harmony. Numerous Yadnya songs have distinctive melodic characteristics, allowing sensitive singers to identify them easily. Unlike a statis melodic progression (or in Bali is called ngalekeh), many Kidungs feature melodic, dynamic, and contrasting melodies that move from high to low notes or vice versa. However, singing such songs, especially when is sung by talented vocalists using high-quality vocal processing techniques, the singer must keep in mind that songs with monotonous melodies, which appear less interesting to sing, do not necessarily produce a sound that is not beautiful. The value of a Kidung’s beauty can be determined by the perspective from which it is viewed and the occasion for which it is sung. As in the case when the song is sung during the Dewa Yadnya ceremony, the significance of the song’s melody can evoke solemnity and other spiritual emotions. However, melodic, dynamic, and romantic melodies are required when the Kidung is sung during the Manusa Yadnya (wedding) ceremony. Figure 1 is Rangga Noja kidung and Figure 2 is Demung Gulaganti kidung, two Yadnya Kidungs with contrasting melodies. 26 Malaysian Journal of Music Vol. 12, Issue 2 (18-34) ISSN 2600-9366, eISSN 2600-9331 Figure 1. Kidung Rangga Noja in Pelog Scale Figure 2. Kidung Demung Gula Ganti in Selendro Scale The two Kidungs in Figures 1 and 2 use two different tunings. The first uses the Pelog scale and the Desak Made Suarti Laksmi & I Wayan Sudirana 27 second the Selendro scale. The characteristics of these two scales are very different—like the major and minor scales in Western music. The melodies built into the two Kidungs indicate ceremonial activities for humans, but with different feelings that arise from the use of two different scales and lyrics according to the ongoing ritual. Entertainment and Education Factors. The terms entertainment and education are like complementary currencies that add value to an artistic performance, including religious rituals, particularly a performance of the performing arts. “Spectacle” and “guidance” is the primary content for determining the quality of an artistic performance. In addition to its entertaining nature, the content of meaning, philosophy, and wisdom becomes psychological content that can be used as a guide and awakens the viewers’ awareness of living this life. Kidung, in addition to being a subgenre of sekar madya, is a referenced and incorporated source for enhancing dance drama presentations in performing arts. In this instance, the intended entertainment and educational factors will extend to songs presented in religious rituals and songs used to strengthen the dramatic structure, and content of a performing arts performance. Even though it is not formatted as is the case in performing arts in general, the position of Kidung in religious rituals between the audience and the presenter is mingled with the tasks and activities of each. It can be said that the presentation of Kidungs in religious ceremonies is part of performing art. Two senses play an active role in appreciating it: the sense of hearing and the sense of sight. These two senses also dominate in appreciating performing arts presentations specifically for display. Even though the Kidung singer is more dedicated to his expertise in the presentation, the elements of logic, ethics, and aesthetics are the main elements that underlie the performing arts. It is not much different from the world of performing arts, where entertainment and education are two things that complement each other. The late I Gusti Ngurah Windia (a famous Topeng dancer of Topeng Tugek Carangsari group from Badung regency) said that when an artist can make the audience laugh, it indicates that their attention is focused on what the dancer is doing on stage. At that time, it was also important to provide moral education or religious teaching in the form of speech, philosophy of life as a reinforcement of identity and the formation of human/society character. The title of an artist as a local teacher has power over time, place, and opportunity to convey abilities and expertise in their field, both concerning the presentation of the aesthetic form of the appearance of their work (dramatic form) as well as the dramatic content (interview, January 17, 2018 before he passed away). In accordance with the “tegak gede” tradition, a prestigious event for invited singers at a grand temple ceremony, sekaran songs have always been an integral part of the ceremony. It is an essential role that the songs must be performed. With a total of 18 people representing the number of characters in the Balinese script, it indicates that the ceremony carried out was based on the dresta literature, a local literature that has been passed down from generations. Education based on literacy is the objective of the Yadnya. These characters come to life and contribute significant meaning to the maprawerti (traditional ritual singing tradition), which is permeated by a series of beautiful notes from the selected songs. If the meaning of the song is derived from the singing tradition, it also refers to the human life cycle, which reflects utpeti (birth), stiti (life), and pralina (death). As in performing arts, the presenter of a religious ceremony must be aware of the selection of Kidung lyric stanzas in order to comprehend the form and content of the ceremony. In performing arts (in the main dance drama presentation), the dancers (pragina) choose the appropriate and relevant Kidung to be performed so that it is consistent with the activities supported by the presence of the art in the ceremony. If a performance at the Dewa Yadnya ceremony focused on marriage, it would be difficult and out of context to display it. It would be strange and distorted if the Dewa Yadnya ceremony discussed death and the recitation process in a given context. The same awareness should be carried out by Kidung artists to both educate and entertain the congregation attending ongoing religious ceremonies. 28 Malaysian Journal of Music Vol. 12, Issue 2 (18-34) ISSN 2600-9366, eISSN 2600-9331 Functions of Kidung in Hindu Religious Ceremonies in Bali Functions of Kidung in Rituals. Sound (paswaran) is an essential element in a ceremony. Conscience, intentions, and desires underlie all rituals that proceed from the beginning to the peak as well as the completion of rituals. Organizing large-scale ceremonies; natural sounds, human voices, and the sound of instruments/barungans, blend harmoniously “bustlingly” as an expression of celebration. In large-scale “Dewa Yadnya” ceremonies, for example: the sounds of nature (sunari, pindekan, penimpug, kulkul, ketipluk, panglepugan), gentorag bell, chanting of Kidung, ritual drama, gamelan sounds, coming together to complement each other for the successful of the ceremony. Thus, the function of sound in religious rituals plays an important and essential role as an expression of offerings before Him. There are three classifications based on the function of performing arts, including Kidung, within the ceremony: wali (sacred and religious function), bebali (ceremonial function), and balih-balihan (secular function) (Sudirana, 2013, p. 26). The bebali function dominates the Kidung’s more specific function. The Kidung can also serve as a wali or balih-balihan in certain other regions. Despite the fact that we recognize this partition is not a rigid division, it is joined flexibly, as Sudirana states ambiguity in its application (p. 30). Kidung acts explicitly as a wali when it is an integral part of the continuity of a ritual. Without the Kidung, the ceremony would be impossible to carry out. For example, singing the pangundang roh Kidung (a Kidung to invite the divine soul) is essential to the Sanghyang dance at the padudusan ceremony (grand ceremony). Combining the Kidung’s melodies serves as a medium for the trance process. Kidung must be included in the intended process. Without his participation, the ritual cannot be performed. The function of Kidung as balih-balihan is clear when it has no religious ties. Especially when Kidung is contested to improve aesthetic quality and performance presentation, it will only functions as secular performance. Similarly, when Kidung is cited in secular performing arts, it will position itself as a secular performing art. However, even though there is no ritual context, Kidung is often considered a sacred vocal art by most people because sacred values are still felt to be attached to it, even though it is sung without any religious ceremony. Giving Spiritual Norms and Metaphysical Encouragement To Ceremonial Structures. The most basic thing in offering a religious ritual is that it is presented and intended for things of a transcendental nature related to the niskala (unseen world). It is believed that this classical nature exists and resides in the God realm (the upper realm or Swahloka) and the Bhuta realm (the lower realm or Bhurloka). Humans live in the Bwahloka realm the middle realm), endowed with the advantage of having a tripremana (three abilities: to think, to move, and to speak) compared to other creatures living in the same realm. The position of humans and other creatures in the middle realm will have the opportunity to balance the Bhuta realm with the God realm. The middle realm is a place to carry out prawerti (noble pathway) which can have an impact according to karma wesana (deed): namely falling into the realm of hell due to sinful actions during their lifetime; or even being able to ascend to the heavenly realm of mukti bhukti (virtuous deeds) and can even achieve moksha (to merge back into the soul original “place) or in Balinese is called mawali ke sangkan paraning numadi (merge back to God).Therefore, Kidung, with an integral function in death ceremonies, can help guide the spirit to see the path according to the deeds carried out during life. Performing Obligations. In all forms of Balinese rituals, the mutual assistant or ngayah is an integral concept of work in preparing all elements in the ritual. Most people in the society participated sincerely in a religious ritual. This is because of their devotion, sacrificing of work, time, and offerings to ancestors and Gods. Prioritizing the ngayah attitude from the planning stage through the implementation of the ritual, and until the completion of the Desak Made Suarti Laksmi & I Wayan Sudirana 29 ritual. These activities are carried out voluntarily, or away from business considerations. There are traditional “payment” made out of offerings as a complement for particular implements, such as sulinggih (high priest), pregina (ritual performers/dancers), and sekaa Kidung/gong (musicians and singers). There is also an occasional reward in the form of sesari (the reward for the essence of the work done at a ceremony). The Kidung performers, whether coordinated in groups or individually, are also performed more based on the dedication of the ngayah concept. Participating in ceremonial needs, such as playing traditional instruments, dancing/memendet, makidung (situal singing), and other activities, in order to fulfill one’s obligations, instills a sense of pride that stems from the encouragement of sincerity in doing so. By devoting what you can do as an act of devotion, you will be proud of yourself, and be expressed in the clan of the path of karma as an act of gratitude for the abundance of blessings and grace. Adding Solemnity to the Ceremony. A Balinese ritual whose domain is assigned to one of the five Yadnya has a distinct purpose, even though the five Yadnya are an integral component. Certain types of Kidung with specific texts related to the ritual purpose is chosen to support the specificity of the ritual. The high priest, Ida Pedanda Gede Putra Bajing from Geria Sumerta Denpasar, opined that the strength of the Yadnya carried out by combining all the ritual elements will contribute to the solemnity of the Yadnya being held. Bajing said, “the Priest’s Puja with the Panyomya Bhutakala (neutralizing the demonic power), Vedic Puja accompanied by Baleganjur Music (Balinese marching music), Bhuta Yadnya Kidungs (demonic theme chanting), and the bustle of the Yadnya caused the vortex of the offerings to reach its zenith, are the excitement that occurs in rituals in Bali. When all of these are done, the Bhutakala received their sacrificial offerings and the Bhutadinya (demonic nature) became neutral and did not disturb the peace of the people (interview, July 22, 2018). Philosophically, this is a play on concentration on the realm of spiritual taste and belief, as a piercing shot that concentrates or repeats the mind on a single target. The specific Kidung for this ritual is called Pupuh Jerum (see below), and is sung during the Bhuta Yadnya sacrifice ceremony. Another Kidung that provides a structural picture of how God in His precarity is depicted in the verses of the poetry called Wargasari. It is also believed that the Kidungs sung according to what events occur at a particular ceremony will immerse the devotees in surrender. When the ngaturang piodalan (the peak of the ceremony) is taking place, the singers will accompany the ritual with Kidungs that glorify divine qualities. Below is an example of the first stanza of Kidung Warga sari sung at the peak of ceremony. Kidung pangundang ring Bhuta, Basa lumrah pupuh jerum, Bhuta asih widhi asung, Caru pesajine reko, Genep saha upacara, Manut warna lawan ungguh, Sekul iwak pada bina, Olah‐olahan sadulur.‐ Bhutakala’s inviting song, Commonly spoken in the Pupuh Jerum, God bless Bhutakala, With sacrificial offerings, Complete with ceremonies, According to the color and position, The composition and meat are different, processed in an order according to their relatives.- 30 Malaysian Journal of Music Vol. 12, Issue 2 (18-34) ISSN 2600-9366, eISSN 2600-9331 At the end of the ritual, the priest usually takes the tirta (purified holy water) to bless all offerings and people who attended the ceremony. At this moment, the situation is usually quiet and peaceful. Only the specific Kidung (the last stanza of Wargasari) is chanted. Everyone manifests their strong will to receive good health, prosperity, joy, and to be safe from harmful situations. For the Balinese, grace is realized by sprinkling tirta to the people. Below is the last stanza of Wargasari that reverberates during this last ritual stage. The Manusa Yadnya ceremony of matatah (tooth filing) is to repay the parents’ deeds and allowing their children to be more mature. The purpose of this ceremony is to philosophically remove bhutakala traits from adolescence who participates in this ceremony. The symbol of removing these traits is by filing the six upper teeth (four incisors and two canines). Below is the song of Pupuh Jerum as an example of an explicit literary connection to the tooth-filing ritual. Pawiwahan (marriage) is the stage of life that follows a tooth-filing ceremony. This ceremony is a symbolic spiritual meeting of the purusa (man) and the predana (woman). Ida Ratu saking luhur, The Gods from above holiness, Kawula nunas lugrane, Mangda sampun titiang tandruh, Mengayat Bhatara mangkin, Titiang ngaturang pajati, Canang suci lan daksina, Sami sampun puput, Pratingkahing saji. Your servant begs for blessings, May I clearly know, Asking before You now, I presents the offerings of Pejati, Sacred Canang and Daksina, Everything is complete, The order of the offering ceremony. Turun tirtha saking luhur, nenyiratang pemangkune, Mekalangan muncrat mumbul, Mapan tirtha mrtajati, Paican Bhatara sami, panglukatan dasa‐mala, Sami pada lebur, Malane ring gumi.‐ Holy water descends from the pinnacle of purity, The one who sprinkles it is the priest, The splash spreads all around, Truly it is the water of life, A gift from the Gods, Cleanser of the ten defilements, All are purified, Including the filth on earth.- Puja kalapati muwang, sadwaja yogya pinutur, Seri catur karo siyung, Puja Kalapati and Six teeth are filed, Four incisors and two canines, ika ngaran sarwa kawon, Pawakaning Bhutakala, paraganing sarwa letuh, Ngardi wudan pejagatan, pangrubedan isadripu.‐ All of these are called symbols of ugliness, The body is Bhutakala, The symbol is all dirty, Making trouble in society, The turmoil of the six enemies within. Desak Made Suarti Laksmi & I Wayan Sudirana 31 This religious ceremony confirms the couple’s commitment to each other for life and death. Through this ceremony, they are expected to be able to continue the family lineage. The sequence of the ceremony begins with mabyakala (purification), which eliminates internal impurities (leteh). After the cleansing ritual, the bride and groom perform scenes of family responsibilities in accordance with real life, for example, grocery shopping, cooking, and symbolically act to consume the fruits of their labor. In the literature it is explained that this ceremony strengthened the meeting of the God Samara and the Goddes Ratih (the two Gods of love), which represented the meeting of Sukla (man) and Swandita (woman) through physical relations. In the Manusa Yadnya ceremony, the song from the story of Tantri Kamandaka can be used as a reference. The final part of the wedding ceremony is the mawinten ceremony. This ceremony aims to purify bride and groom. This is because they will be responsible for carrying out activities at the Pemerajan/Sanggah (family temple) in all rituals that will periodically continue. Madiksa is a ceremony of self-purification both physically and mentally from a Wilaka (ordinary person) to become a holy priest or sulinggih. The Madiksa ceremony is included in the Rsi Yadnya ceremony or sacred sacrifice ceremony. The Madiksa ceremony is a form of expression of gratitude to the teachers or Maha Rsi who have taught religious knowledge, sacred knowledge and led ceremonies. Madiksa is also called Madwijati, which means second birth. A person who will become a priest is obliged to take part in this ceremony, because it will provide teaching for himself and others. Kidung of Rsi Yadnya is sung for this ritual. The lyrics tells when a person is raised in status from an ordinary person to a priest. In the Pitra Yadnya ceremony (death/cremation ritual), or traditionally also called Mamukur, the Kidung legitimizes this ritual by confirming the implementation of the Yadnya being held. When washing a corpse (nyiramang layon), the wirama Girisa is recited in a choir style. Death is a cycle of life which is continued by the spirit treading a long journey to return to its origins. This is the final physical body cleansing that is carried out before the body’s elements are returned to their origin. Wirama Girisa is as follows: Wuwusan Bhupati, Ring Patali nagantun, Subaga wirya siniwi, Kajrihin sang para ratu, Salwaning jambu warsadi, Prasama hatur kembang tawon. There was a king, In the land of Patali, Famous, brave, and respected, Feared by other kings. Throughout the Jambu Dwipa region, All of them offer tribute every year. Nihan polahing sang tatas wiku. Nawang bhumi langit. Dija ento warangane. Punika tegakan wiku. Wulan surya lawan wintang. Sampun kawasne ring langit. Endi pamating ipun. Mwang riuriping banyu asri. Someone who understands as a priest (dwijati), knows the earth and the sky, where everything is connected, That is the foundation of being a priest, the Moon, sun and stars, Already mastered by the mysteries of the sky, Where is death, And life from holy water. 32 Malaysian Journal of Music Vol. 12, Issue 2 (18-34) ISSN 2600-9366, eISSN 2600-9331 Similarly, during the Memukur ritual, the Kidung of Aji Kembang revealed the relationship between the bhuwana agung (macrocosm) governed by Brahman and the bhuwana alit (microcosm) governed by Atman. A concept of life based on pasuk wetu (the inhaled and exhaled breath), which teaches many things about seeking God within oneself. Selecting the pupuh Kidung stanzas that correspond to the rituals of the ongoing Yadnya ceremony will lend legitimacy to the ceremony and heighten its solemnity. The appropriateness and propriety of vocals in specific rituals can be bolstered by selecting various types and texts (lyrics) from the Kidung at hand. As a Means of Ceremony. To confirm the success of a ceremony, it requires the presence of essential elements and other supporting factors. Ida Pedanda Gede Putra Bajing said that “a priest who performs ‘ngagem Shiva,’ a manifestation of the God Shive in his Vedic Puja offerings, is equipped with tools that must exist, such as puja japa/mantram (the chanting of sacred mantras), puspa (flower), tirta (holy water), fire, mudra (hand gestures), and bajra (holy bell). This is the attitude and behavior of a sulinggih (high priest) practicing swadharma (duty) to become yogiswaraning Yadnya (the main person who perform the ritual). The creation of symbols from the universe is reflected in the various functions and personifications of the upakara/banten (offerings). The flower is associated with the Yadnya ceremony, the tinkling of the bajra gives birth to the art of percussion, the priest’s “mudra” gives birth to the art of dance, and the priest’s puja mantram gives birth to the art of sound. In most communities, this element is an integral part of a Yadnya. The priests acknowledge that the means of upakara (the elements of Yadnya) are not only in the form of the offerings but also elements of other arts such as the art of sound, percussion, dance, and wayang (shadow puppet). These elements are inseparable parts of ascending to the peak of spirituality and for the success of a Yadnya. The Concept of Tatwa, Susila, Upakara. The traditional Balinese framework consists of upacara, etika, and tattwa as a process of tradition that is highly flexible. The concept of kanista-madya- utama, desa-kala-patra, and desa-mawacara provides a space of freedom yet is still bound by the Bala ugu dina melah manuju tanggal sasih, Pan Brayut panamaya asisig adyus akramas, Sinalinan wastra petak mamusti madayang batis, Sampun puput maprayoga Tan aswe ngemasin mati. Wuku Bala and Ugu are good days, especially in the calendar month, It is time for Pan Brayut to clean his teeth, bathe and wash his hair, wear a white dressing cloth, it will not be long before death comes to him.- Ring purwa tunjunge putih, Hyang Iswara Dewatanya, Ring papusuh pranahira, Alinggih sira kalihan, Pantesta kembange petak, Ring tembe lamun dumadi, Suka sugih tur rahayu, Dana punya stiti bhakti.‐ The lotus in the east is white, Hyang Iswara is the god, His position is in the heart, its second stana, the journey of the white lotus; it becomes incarnated, happy, safe and sound, The philantrope is bowing down in filial piety. Desak Made Suarti Laksmi & I Wayan Sudirana 33 traditional Balinese framework. It is strongly linked to each other. If one element is not fulfilled, it will lead to failure. It is in a similar manner to the “egg of life” where the three of them strengthen each other in synergy from bakti, karma, jnyana. As previously mentioned, sekala and niskala are the essence of offerings. As many performing artists have cited, karma sandyasin and yoga sandyasin are two sides of the coin that complement each other with values. An expression of offering that uses elements of nature available on this earth, as found in the Bhagawadgita verse 26: “patram puspam phalam toyam, yo me bhaktya prayacchati, tad aham bhakty-upahrtam, asnami prayatatmanah” (Whoever bows down to Me with an offering, a leaf, a flower, a fruit or a sip of water, I accept as a devotional offering from a sincere person). From this procedure of offering, culture emerges, with all its completeness and efforts should be made to fulfill it to the greatest extent possible as expected. In this instance, synergy between the two elements is required. When a person can live the life of a wanaprasta (the life of a monk) and biksuka (the life of a priest) who rely solely on the depths of jnyana to draw closer to God, the earthly offerings diminish until they are no longer necessary. Conclusions Kidung as a religious song (dharmagita) is an integral and structured component of the Hindu religious ceremony implementation. In accordance with the order of events, this religious chant is always present at religious ceremonies. Regarding the Hindu religion in Bali, its rebirth remains extremely difficult, given that older generations still dominate the Kidung interpreters in its practice. However, during religious ceremonies involving the Panca Yadnya ceremony, the Kidung will continue to exist. Although it is undeniable that the wealth of Kidungs has undergone numerous extinctions, this fact cannot be refuted. As a result of the fact that several Kidungs are only recorded by name and genre, it is extremely difficult to find people who can play and sing the melody. The government has consistently guided the younger generation through competitions held in Utsawa Dharmagita, a venue for contesting various religious songs. The participants included children, adolescents, and adults who sing vocally. Recording devices, such as cell phones, greatly facilitate the learning process in today’s efforts to develop a cadre of Kidung singers. In addition, the emergence of Kidung with a modern touch of arrangement, accompanied by melodies from Western musical instruments, has become an alternative innovative concept. In the context of Hindu religious rituals, every religious ceremony is always accompanied by traditional classical music. However, the lack of participation of the younger generation in singing religious Kidungs remains a problem that must be addressed. References Agastia, I. B. G. (1987). Sagara Giri: Kumpulan esei sastra Jawa kuno. Wyasa Sanggraha. Agastia, I. B. G. (2008). Ida Pedanda Wanasara Bramara Sangupati. Yayasan Dharma Sastra. Bhagawad Gita. (n.d.). Pancama Weda. Paramita. Djelantik, A. A. M. ( 1990). Pengantar dasar ilmu estetika, Jilid I, Estetika Instrumental. Indonesian College of Arts (STSI) Denpasar. Hinzler, H. (1981). Bima Swarga in Balinese Wayang. Brill. Koentjaraningrat, R. M. (1987). Sejarah teori antropologi I. Universitas Indonesia (UI- Press). Laksmi, Desak Made Suarti. (2007). Kidung manusa Yadnya: Teks dan konteksnya dalam masyarakat Hindu di Bali. Department of Karawitan, Faculty of Performing Arts, Indonesian Art Institute, Denpasar. Laksmi, Desak Made Suarti. (2022a). Pemahaman dan strategi pembinaan Kidung keagamaan Hindu di Kota Denpasar. Fakultas Seni Pertunjukan, Indonesian Art Institute Denpasar Collaborating with the Citta Usadhi Art Studio, Badung Regency. Laksmi, Desak Made Suarti. (2022b). Imba Kidung Yadnya (Dharmagita). CV Karya Ranah Baru Collaborating with the Citta Usadhi Art Studio, Badung Regency. Purwadarmita, W. J. S. (1987). Kamus Umum Bahasa Indonesia. Balai Pustaka. 34 Malaysian Journal of Music Vol. 12, Issue 2 (18-34) ISSN 2600-9366, eISSN 2600-9331 Sanjaya, P. (2008). Acara agama Hindu. Paramita. Sudirana, I. W. (2013). Gamelan gong luang: Ritual, time, place, music, and change in a Balinese sacred ensemble. [Doctoral Dissertation, University of British Columbia]. https://open.library.ubc.ca/soa/cIRcle/collections/ubctheses/24/items/1.0071979 Teeuw, A. (2013). Sastra dan ilmu sastra: Pengantar teori sastra. PT. Dunia Pustaka Jaya. Tim Penyusun. (1990). Kamus Besar Bahasa Indonesia. Balai Pustaka. Vickers, A. (1989). Bali: A paradise created. Periplus Edition. Waesberghe S. J., F. H. Smits van. (2016). Estetika musik. Thafa Media. Warna, I Wayan. (1988). Arjuna wiwaha. Bali Provincial Elementary Education Office. Yuda Triguna, I. B. G. (2003). Estetika Hindu dan pembangunan Bali. The Masters Program in Religion and Culture at the Universitas Hindu Indonesia collaborates with Widya Dharma Publishers Zoetmulder, P. J. & Robson, S. O. (2011). Kamus Jawa kuno Indonesia. PT Gramedia Pustaka Utama. Biographies Desak Made Suarti Laksmi is a well known scholar and performer of Balinese dance, including Arja (Balinese opera), and gamelan. She is ranked as one of few internationally renowned female composers from Bali, Indonesia. Desak earned her bachelors degree in dance in 1984 and a post-bachelors degree (SSKar) in Karawitan in 1987 from the National College of the Arts (formerly STSI) in Denpasar but graduated at ISI Yogjakarta. Desak has performed in a variety of international tours in Australia, Europe, India, Japan, Canada, and the United States. She has been a professor at ISI since 1986, and has also taught classes at Clark University, Emerson College, the Eastman School of Music, the College of the Holy Cross, and the Massachusetts Institute of Technology where she was a co founder of Gamelan Galaktika (MIT Community Group Gamelan). Desak was a Luce Assistant Professor of Balinese Music, Theater, and Dance for four years and then completed another year residency as the first Visiting Fellow in Balinese Dance and Music at the College of the Holy Cross. She received her masters degree in music composition at Brown University in May 2005. She finished her Doctor degree in religion and culture at Hindu University of Indonesian with coumloude predicate after presenting her dissertation in the title of “Understanding and Training Strategy on Hindu Religious Choir in Denpasar City: A Teo- Aesthetic Analysis in April 2020. Desak published books such as Vocal Placement in Balinese Vocal Arts, 2006; Kidung Manusa Yadnya: Text and Context in Hindu Society in Bali, 2007; and Imba Kidung Yadnya (Dharmagita), 2022. ORCID: 0000-0002-6308-2109. I Wayan Sudirana is a composer and ethnomusicologist who graduated from the University of British Columbia, Canada. He diligently studied ancient music in Bali. In addition, he also studied many world music traditions, such as Samulnori music from Korea, ensemble drumming from Ghana West Africa, South Indian drumming traditions, and also some Western classical music. With this experience, he developed his music with a strong foundation to seek a new identity in the realm of new music for gamelan. Sudirana has written two books about gamelan Gong Luang and edited a book about Gabor, a genre in Gamelan Gong Kebyar tradition. He has written many articles published in journals with the theme of traditional approaches in studying Balinese gamelan and world music, and new music development in Bali and Indonesia. His current research is focused on the development of new music in Bali and the ancient Balinese manuscript of Gamelan philosophy and theory. ORCID: https://orcid.org/ 0000-0003-2357-048X

https://ejournal.upsi.edu.my/index.php/MJM/article/view/8537

https://ejournal.upsi.edu.my/index.php/MJM/issue/view/531

Kidung:

"In this article, the concept of “distributed capitalism” (Rifkin, 2011) is used to shift power (...TRUNCATED)

Malaysian Journal of Music Vol. 12 No. 2 (2023)

https://ejournal.upsi.edu.my/index.php/MJM/article/view/8108/4757

distributed capitalism, eco-organology, participatory design, plastic recorder, standardisation

"Kang Ching-Jie & Made Mantle Hood \n \n35 \n \n \n \n \n \n \nTowards Eco-Organology and Paper Flu(...TRUNCATED)

https://ejournal.upsi.edu.my/index.php/MJM/article/view/8108

https://ejournal.upsi.edu.my/index.php/MJM/issue/view/531

Towards Eco-Organology and Paper Flute Design to Disrupt the Plastic Recorder Industry

"The music of the Banyumas region in west Central Java contains a complex blend of cultural influenc(...TRUNCATED)

Malaysian Journal of Music Vol. 12 No. 2 (2023)

https://ejournal.upsi.edu.my/index.php/MJM/article/view/8079/4786

bamboo music, Banyumas, borderland, calung, Javanese

"Sean Hayward & Darno Kartawi \n \n \n \n \n \n \n \n61 \n \n \nCalung Banyumasan: Borderland Identi(...TRUNCATED)

https://ejournal.upsi.edu.my/index.php/MJM/article/view/8079

https://ejournal.upsi.edu.my/index.php/MJM/issue/view/531

Calung Banyumasan:

"The present study employed experience sampling methodology (ESM) to examine the role of music in re(...TRUNCATED)

Malaysian Journal of Music Vol. 12 No. 2 (2023)

https://ejournal.upsi.edu.my/index.php/MJM/article/view/8098/4808

emotion regulation, gender differences, music listening, strategies and mechanisms

" \n \nMalaysian Journal of Music Vol. 12, Issue 2 (76-94) \n \nISSN 2600-9366, eISSN 2600-9331 \n76(...TRUNCATED)

https://ejournal.upsi.edu.my/index.php/MJM/article/view/8098

https://ejournal.upsi.edu.my/index.php/MJM/issue/view/531

Gender Differences in the Function of Music for Emotion Regulation Development in Everyday Life:

"Despite the growing recognition of the importance of Pedagogical Content Knowledge (PCK) in music e(...TRUNCATED)

Malaysian Journal of Music Vol. 12 No. 2 (2023)

https://ejournal.upsi.edu.my/index.php/MJM/article/view/8081/4811

music education, Pedagogical Content Knowledge (PCK), systematic literature review

"Mat Yusoff, Mohamad Marzaini, Hassan & Zakaria \n \n95 \n \n \n \n \nInvestigating the Roles of Ped(...TRUNCATED)

https://ejournal.upsi.edu.my/index.php/MJM/article/view/8081

https://ejournal.upsi.edu.my/index.php/MJM/issue/view/531

Investigating the Roles of Pedagogical Content Knowledge in Music Education:

"In every culture and time period, music has always been a medium of expression that gathers people (...TRUNCATED)

Malaysian Journal of Music Vol. 12 No. 2 (2023)

https://ejournal.upsi.edu.my/index.php/MJM/article/view/7776/4816

Biedermeier style, chamber music performance, Rattanakosin era, social context, Thai music

"Kim, Chantanakajornfung & Suwanpakdee \n 115 \n \n \n \n \n \nProximity to Daily Life: Parallel M(...TRUNCATED)

https://ejournal.upsi.edu.my/index.php/MJM/article/view/7776

https://ejournal.upsi.edu.my/index.php/MJM/issue/view/531

Proximity to Daily Life:

"Contemporary Classical Music (CCM) emerged from Classical Music (CM) in the early 20th century; how(...TRUNCATED)

Malaysian Journal of Music Vol. 12 No. 1 (2023)

https://ejournal.upsi.edu.my/index.php/MJM/article/view/7390/4404

"audience perception, audience profile, contemporary classical music, music consumption, music socio(...TRUNCATED)

"Poon Chiew Hwa & Wang I Ta \n \n1 \n \n \n \n \nAudience’s Profile and Perception Towards Contemp(...TRUNCATED)

https://ejournal.upsi.edu.my/index.php/MJM/article/view/7390

https://ejournal.upsi.edu.my/index.php/MJM/issue/view/491

Audience’s Profile and Perception Towards Contemporary Classical Music:

"The concept of meter in music has existed probably as old as music itself. Scholars had a variety o(...TRUNCATED)

Malaysian Journal of Music Vol. 12 No. 1 (2023)

https://ejournal.upsi.edu.my/index.php/MJM/article/view/7303/4406

5 Early Songs, meter, music theory, Razak Abdul Aziz, theoretical analysis

"Mohd Fairuz Zamani, Nur Fadilla Nadia & Tan Jin Yin \n 17 \n \n \n \n \n \nWhat’s the Time? Dec(...TRUNCATED)

https://ejournal.upsi.edu.my/index.php/MJM/article/view/7303

https://ejournal.upsi.edu.my/index.php/MJM/issue/view/491

What’s the Time? Deciphering “Meter” in Razak Abdul Aziz’s 5 Early Songs

"The Ta Oi people in Thua Thien-Hue province continue to preserve and promote numerous unique indige(...TRUNCATED)

Malaysian Journal of Music Vol. 12 No. 1 (2023)

https://ejournal.upsi.edu.my/index.php/MJM/article/view/7291/4579

"folk music heritage, folk music in indigenous cultural festivals, folk music in life cycle events,(...TRUNCATED)

" \n34 \n \nMalaysian Journal of Music Vol. 12, Issue 1 (34- 47) \n \n (...TRUNCATED)

https://ejournal.upsi.edu.my/index.php/MJM/article/view/7291

https://ejournal.upsi.edu.my/index.php/MJM/issue/view/491

Preserving Folk Music in Community Cultural Events as a Method of Preserving Traditional Heritage: