(P25) Educational Practices for Teaching Gifted Young Musicians in Europe and Asia: Comparative Study
Wed 11:00-12:30 K10 | 2.40
- Nikolay Demerdzhiev Johann Sebastian Bach Music Academy
- Nikolay Demerdzhiev Johann Sebastian Bach Music Academy
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Developing a Program for Gifted Music Students in Malaysia
Nikolay Demerdzhiev Johann Sebastian Bach Music Academy
The paper is a part of the theoretical sampling process on an international research on gifted music education. Two case studies are taken into consideration for the current project: the Malaysian gifted child programs Permata & Sekolah Seni. A preliminary theory has been already created using the Grounded Theory during the author’s postdoctoral study at Sultan Idris Education University [UPSI] in Perak, Malaysia. Since this theory was developed “in the context of a specific sample” , the theory is yet to be tested and further developed in order to apply to other communities elsewhere in Malaysia. This is a question of the transferability of the theoretical constructs appeared in the first study to other research samples, even though the specific content is slightly different. This is a similar case sampling, since the research settings from the previous study in UPSI are similar to those in Permata & Sekolah Seni. The research had been completed by creating codes, which are highlighting the most important themes, similarities and differences between the views of the interviewed persons. The research method, which came in use for this was the thematic analyse (Braun/Clarke 2006) and the fine structure analyze (Froschauer/ Lueger 2003).
Hanns Christian Stekel Johann Sebastian Bach Musikschule
Exchange projects are in vogue. There is hardly any music school that does not have a partner or associated institute in one or more other countries, and great attention is paid to fostering and making the most of these contacts. Along with competitions and talent programs, this has certainly become another area in which it is possible to achieve greater understanding of other cultures. “Globalization” is, moreover, taking place at many levels of music school systems: the participants in European and worldwide conferences such as those of ISME are no longer just scholars and representatives of universities and public educational bodies.
Music schools use these platforms to present their projects, often taking an orchestra or ensemble along that can give a performance and distinguish itself. Platforms of this type and their related literature also encourage the transfer of ideas and methods: from El Sistema to Colour Strings. Brands develop worldwide that are in tune with the latest trends, and everyone wants to have them in their own country and school in order to be at the cutting edge.
The many aspects of this development that could be discussed at a theoretical level will not be addressed in this paper, which instead focuses on the ways in which the international work of a music school actually began and progressed in practice. It tells the story of the international project work of the Vienna Johann Sebastian Bach Music School (JSBM), which over a period of more than 15 years has had abundant experience in this area. What took place during the first 15 years of the JSBM’s international work can be chronologically subdivided into the following three phases: the Pioneer Stage (exploring all possibilities), the Reflection Stage (What are we actually doing? Who is benefiting?) and the Implementation Stage, the founding of International Society for Music Education
K-pop idol training system, is this business production or gifted education?
Yunhwa Koh Korea National Open University
The K-pop idol training system generally targets young students around their teens and is conducted with a small number of young people selected through highly competitive auditions. And they receive special education (training). In this respect, it can be said to be a kind of “gifted education”. However, unlike the general gifted education, the main purpose of the K-pop idol system is “business”. Since the 1990s, when Korean idol groups first appeared, this training system has changed in various forms and the form of idols has also changed. And now idol musicians are also taking the industry and format, but many of them with “artist abilities” are appearing, and this trend is accelerating (Kim, 2021). So far, the analysis of this system has been conducted in the business aspect or comparative aspect with other countries Joe (2019), Kim & Shin (2018), but in terms of the aspect of the gifted education, cultural and social factors have not been discussed in earnest.
In this study, K-pop, which is recognized as a global phenomenon, and the idol system that is the basis of it, will be examined in terms of gifted education. Meanwhile, the difficulties experienced by trainees for business purposes and problems with the system will also be analyzed. Interviews with students who have actually received K-pop idol education(training) will be included.
This panel aims to compare the gifted music education in Asia and Europe. Particularly the students of The Education University in Tanjong Malim, Perak (hereafter called UPSI) and the Music University in Vienna (henceforth called MDW) are involved in the research. The general assumption is that UPSI music diploma programme has similar aims to the
advancement of the gifted within the MDW, but they both use different methods to reinforce the talents and skills of the students. The panel will also compare the Korean K-POP programme for gifted child education with their counterparts Permata and Sekolah Seni in Malaysia, which is part of the theoretical sampling’s process. The author Dr. Christian Stekel,
who is based in Vienna, looks at the programme for the gifted in Vienna, Dr. Yunhwa Koh based in Seoul, at the K-POP programme in Korea, while Dr, Demerdzhiev, based in Hong Kong, compares the findings of his postdoctoral appointment at Sultan Idris Education University in Perak, Malaysia, with the other two above mentioned studies in Vienna and Korea.
While it is said that the Western style of music education focuses more on curriculum, evaluation and technical equipment, some of the traditional music teaching styles can nevertheless still be found in the music teaching in Southeast Asia. It emphasises more on the relationship between teacher and student and on the development of the personality of the
students, rather than focusing only on its instrumental technique. Assuredly, both sides could learn from each other in order to improve their capacities whilst the comparison between them could prompt other parties around the world to undertake a critical review of their own programmes.