PGVIM Symposium 2021 Programme

PRINCESS GALYANI VADHANA INSTITUTE OF MUSIC
INTERNATIONAL SYMPOSIUM
การประชุมวิชาการนานาชาติ
สถาบันดนตรีกัลยาณิวัฒนา
23RD - 27TH AUGUST 2021

Princess Galyani Vadhana
Institute of Music
The Princess Galyani Vadhana Institute of Music, Thailand takes

a contemporary approach to classical music education, scholarship and
performance. The institute was initiated in 2007 as a royal project
celebrating the occasion of the 84th birthday of Her Royal Highness Princess
Galyani Vadhana Krom Luang Naradhiwas Rajanagarindra. The Princess
graciously gave her name to the new endeavour, and thus the Princess
Galyani Vadhana Institute of Music (PGVIM) was born.
Following her royal vision to develop Thai musicians to the highest standard
and to educate new audiences, the Institute created its Education Populaire
and Audience Development Projects for students, musicians, music scholars
and the general public to share in musical experiences, engage in dialogues,
and learn from one another.
PGVIM aims to be a leading international institute of music, with the following

missions: 1) to support young Thai talents in their pursuit of musical excellence,
2) to promote a better understanding of music among the general public and
expand the role of music within society, and 3) to develop new knowledge
in music and through interdisciplinary research. Our undergraduate and
masters curricula and Music for Society programs provide opportunities for
students and the general public to learn the skills of music-making while
developing their ability to use music as a tool for the advancement of
humankind, both within their local communities and on the world stage.
PGVIM INTERNATIONAL SYMPOSIUM 2021
Traditions are embedded within the fabric of all human beings. They connect us to the past, yet
they are constantly evolving. They are living entities that breathe and progress just as we do.
Our musical traditions are themselves part of a larger cultural ecosystem which reflects our
relationship to one another and the environments we live in.
Creative musicians and composers have long drawn inspiration from deeply rooted ancient practices,
preserving the resonance of original expressions while adapting them to their contemporary cultural
landscapes. Today, an emerging generation of musicians is finding innovative ways to revitalise
traditional practices while projecting their own unique voice. The remarkable malleability of music
makes it capable of being molded to embrace new forms while preserving the original spirit from
which the artistic expression emanated.
For the PGVIM International Symposium 2021 we invite you to join us for an examination of the
enduring qualities of our musical traditions and the forces that shape their evolution. How and
why do musical traditions emerge and fade over time? What traditions grow out of cultural exchanges
between different groups? How are musical traditions being adapted today to speak to our current
technological, ecological, and social realities?
MESSAGE FROM
CLINICAL PROFESSOR EMERITUS

PIYASAKOL SAKOLSATAYADORN, M.D.
CHAIRMAN OF PRINCESS GALYANI VADHANA

INSTITUTE OF MUSIC’S COUNCIL
Welcome to the Princess Galyani Vadhana Institute of Music’s International Symposium 2021.
The International Symposium was initiated in accordance with the goals and objectives of the institute,
which strives to fulfill Her Royal Highness Princess Galyani Vadhana’s vision of bringing people together
through music. The aim of this symposium is to foster communication and encourage new findings in
the field of music.
Over the past seven years, we have had opportunities not only to welcome music experts and young
musicians from Southeast Asia and all over the world, but to cultivate and foster friendships that transcend
geographical and political boundaries. Each year, our symposium provides a platform for musicians,
students, teachers, and researchers to exchange ideas and establish constructive discussion. It is an
event where new collaborations and projects can start.
This year, the symposium is taking place online with the aim to explore different musical traditions
from around the world and to investigate the ways in which they have and continue to evolve.
While we regret that we cannot welcome all of our guests in person, we are excited to see the new
ideas and artistic expressions that the online presentation format will engender. I hope that during
the coming days, whether you are near or far, you will feel a part of our community, and that from
this event further research, dialogues, and artistic collaborations will flourish.
Clinical Professor Emeritus Piyasakol Sakolsatayadorn, M.D.

Chairman of Princess Galyani Vadhana Institute of Music’s Council
MESSAGE FROM
ASSOCIATE PROFESSOR NARAPORN CHAN-O-CHA
CHAIRPERSON OF PRINCESS GALYANI VADHANA INSTITUTE

OF MUSIC BOARD OF COMMITTEE FOR PROMOTING
INSTITUTE AFFAIRS
Welcome to the Princess Galyani Vadhana Institute of Music International Symposium 2021. This is our
eighth year hosting this annual event at which we bring together music practitioners, educators,
and scholars from around the world to reflect on the ways in which music and society have shaped one
another. We hope that the symposium this year, as in years past, will foster positive, meaningful ideas
that will promote and bring about a brighter future for the global musical community.
Over the past seven years, we have provided different themes for participants to reflect on, discuss,
and express through performance. In 2016, the symposium theme, ”Music and Socio-Cultural
Developments of the ASEAN,” invited participants to reflect on the complex and reciprocal relationship
between music and culture within an ASEAN context. In 2017, we studied the role of myth in musical
cultures and, in 2018, the ways in which musical styles and meanings evolve over time. In 2019,
our theme ”Music Matters” helped us to examine and appreciate the myriad sonic expressions of musical
”matter,” while in 2020, we explored the meaning and consequences of the digital revolution and the
nature of musical communities in the twenty-first century. This year, we will engage with musical
traditions and see how they emerge, fade or adapt to changing technological, ecological, and social
realities. We hope that this celebration of music’s powerful ability to morph and change to suit the
moment will help bring us closer together in this difficult time marked by social distancing.
I would like to congratulate each and every one of you for taking part in this special event and thank
you for helping to make this symposium an engaging and thought-provoking experience for us all,
even in this difficult time. Let us continue to advance together on our rewarding and important
musical journey.
Associate Professor Naraporn Chan-o-cha

Chairperson of Princess Galyani Vadhana Institute of Music
Board of Committee for Promoting Institute Affairs
MESSAGE FROM
ASSISTANT PROFESSOR CHOOWIT YURAYONG
PRESIDENT OF PRINCESS GALYANI VADHANA

INSTITUTE OF MUSIC
Welcome to the Princess Galyani Vadhana Institute of Music International Symposium 2021.
For eight years now, this annual symposium has represented an important milestone in the realization
of HRH Princess Galyani Vadhana's inspiring vision of bringing people together through music.
Due to the COVID-19 pandemic, this year will be our second year of presenting the symposium fully
online. We are grateful that technology allows us to connect and share musical experiences with artists
and scholars all around the world. During the coming days, we will examine different musical traditions
and explore how they are cultivated and adapted as social norms and practices change.
On behalf of the Princess Galyani Vadhana Institute of Music, I would like to thank our invited
speakers for sharing their knowledge, and all presenters whose works contribute to the development
of music in all fields.
Welcome once again to the Princess Galyani Vadhana Institute of Music and thank you for being with
us during this challenging time.
Assistant Professor Choowit Yurayong

President of Princess Galyani Vadhana Institute of Music
8‌‌‌‌
SYMPOSIUM INFORMATION
SYMPOSIUM LOCATION PRESENTATION REQUIREMENTS
• All events of the symposium will be conducted • The institute will be the host of the Zoom Webinar.
online, with keynote addresses, panel discussions, Please log in to the meeting room at least 15 minutes
and performances streamed on Zoom Webinar prior to your session in order to be ready to be promoted
and Facebook Live. as a presenter from the webinar audience
• More information can be found at http://www.pgvis. • Presenters are given 30 minutes for each session.
pgvim.ac.th (5 minutes to set up, 20 minutes for presentations and
5 minutes for questions and answers).
• If you have any questions regarding the technical
REGISTRATION requirements for presentation, please email
symposium@pgvim.ac.th.
• The Opening Ceremony of the symposium will be • If you would like PGVIS to play your presentation
streamed online at 09:30 hrs (GMT+7) on Monday 23rd videos, please kindly send them to symposium@pgvim.
August 2021 from PGVIM. ac.th at least 24 hours prior to your presentation time.
• If you are joining us only on subsequent days,
you can register directly to the event you’re interested
in through the PGVIS website: http://www.pgvis. RECORDING OF YOUR PRESENTATION
pgvim.ac.th
• The symposium will record your session for educational
and archival purposes.
PAPER PRESENTATION SESSION
• Th e r e a r e s i x p a p e r p r e s e n t a t i o n s e s s i o n s .
Paper presentation session 1 is at 10:00 – 12:00 hrs on
24th August 2021. Paper presentation session 2 is at
09:00 - 10:30 hrs and paper presentation session 3 is
at 11:00 - 12:00 hrs on 25 th August 2021. Paper
presentation session 4 and 5 are at 09:00 - 12:00 hrs
on 26th August 2021. Paper presentation session 6 is at
09:30 - 11:30 hrs on 27th August 2021. Presenters are
each given 30 minutes. Each session will be followed
by a panel discussion with all presenters, led by the
session moderator.
http://www.pgvis.pgvim.ac.th
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MONDAY
MONDAY 23RD AUGUST 2021
23RD
AUGUST
2021
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KEYNOTE 09:00 - 09:30 HRS (GMT+7)
THE LOVE AND KINDNESS OF TEACHERS

PROLOGUE TO PGVIS
DR. ALEX DEA

Indonesia
Through mini-profiles of teaching, performing, casual talking Biography

and laughing, we become aware of the spirit of kindness,
unselfish energy, and strength found in the older generation of American-born Chinese Alex Dea trained in Western music and
music teachers. This spirit is expressed through their embodied received an Ethnomusicology PhD from Wesleyan University,
archives of old and new knowledge and their understanding. where he specialized in Javanese gamelan music and studied
composition with avant-garde minimalist ”Bad Boys” La Monte
This presentation is intended to inspire and remind the new Young, Terry Riley, and Robert Ashley. He studied voice culture
Javanese practitioners of intangible cultural values; values which from 1971 to 1975 with Pandit Pran Nath, master Hindustani singer.
may be imperceptibly slipping away due to modernization. He was a member of Young’s Theatre of Eternal Music, and was
the first tuning assistant for his masterpiece ”The Well-Tuned Piano”.
We see gamelan master Pak Cokro speaking on the importance
of musical understanding after just having recovered from a stroke Dedicated to full-time ethnography and research, living in
and heart attack. We see S. Ngaliman, paramount dance master, Surakarta and Yogyakarta, Java Indonesia since 1992, he has
finishing a video of his work Pamungkas. Bu Tarwa, the main studied with many of the last remaining masters of music,
dance teacher of the Mangkunegaran palace, is only able to walk dance, and theatre of the pre-independence era. These include
with assistance, yet he continues to lead while sitting on a raised Cokro Wasitodiningrat, Bu Bei Mardusari, Sastrotugiyo,
seat and gesturing with his hands and the upper half of his body. Sri Hartono, Bu Yudonegoro, Mloyowidodo, and Suhardi.
We see prominent classical singer Sastrotugiyo who, in spite of
his lowly village environment, teaches at his humble home, As ethnographer-performer, he has documented over 1,000
singing and using jokes to impart the meaning behind the melodies hours of video, received permission to record in Yogyakarta
and lyrics, all the while giving snacks and lunch along with Palace, and is the only non-Javanese to sing regularly in Surakarta
lessons, and teaching for hours without tiring. Palace with title K.R.A.T Candradiningrat.
While large changes to the transmission of performing arts are He performs and composes with both traditional classical and
clear, there is not a ”catastrophic loss of tradition.” Yet, there is avant-garde approaches to create intercultural musical works.
some loss. The current teachers find their own new ways to attract
and teach younger performers. Examples are the Selasa Legen He has collaborated with Asia’s Didik Nini Thowok, the late
get-together of over 60 dancers every 35-days commemorating Ben Suharto, Ramli Ibrahim, and others. In 2014, Maya Dance
the late Rama Sas; the ”sekilur” performances at the high school Theatre expanded his work, Angst Angel: Returns.
of arts; and the practices of the Pakarti group of students led by He intertwines old classical and new avant-garde imagined
a master musician and leading dancer. These events are histories and futures from the lush flower-bed of harmonic
announced through mobile phone social networks. In this manner, overtones.
love and kindness are continued, but in new ways.
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CEREMONY 09:30 - 09:40 HRS (GMT+7)
OPENING CEREMONY
ASSISTANT PROFESSOR CHOOWIT YURAYONG
President of Princess Galyani Vadhana Institute of Music,
Thailand
ENSEMBLE KEYNOTES 09:45 - 11:15 HRS (GMT+7)
TRADITIONS IN TRANSITION:
MAPPING THE PAST,
CHARTING THE FUTURE
ENSEMBLE KEYNOTES
ANANT NARKKONG
CHRISTOPH WICHERT
ASSISTANT PROFESSOR DR. DENNY EUPRASERT
DR. ELISSA MILLER-KAY
PROFESSOR DR. KEE YONG CHONG
DR. KIT YOUNG
PROFESSOR DR. SHAHANUM MOHD SHAH
DR. VERNE DE LA PEÑA
HOST
DR. ANOTHAI NITIBHON
During the last century, music in Southeast Asia has the collaborative partnerships they have forged, and on the
blossomed, with a colourful array of new styles and artistic tensions between expectations set in other times and places
expressions. This flourishing of musics would not be and the needs of the here and now. Drawing on their own
possible without the efforts of a diverse array of artists, experiences and knowledge, the speakers will also share
both from within the region and from abroad. their hopes and dreams for the next generation. Please join
us for a lively discussion of the ways in which the musical
The guest speakers in this ensemble keynote address will traditions of Southeast Asia have and continue to thrive,
r e f l e c t o n t h e m u s i c a l t ra d i t i o n s t h e y i n h e r i t e d , inspiring artists around the world.
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BIOGRAPHY
ANANT NARKKONG
Faculty of Music, Silpakorn University,
Thailand
Born in 1965, Anant Narkkong grew up in several places before Pattravadi Theatre at Vic HuaHin as Music Director, where he
settling down in a quiet Bangyikun district along the Chaopraya produced many challenging contemporary theatre projects
river, where he enjoys the vibrant artistic and musical such as PraLor (2008 - 11), Wiwah Prasamut (2012) and
environment. After earning his B.F.A. in Thai Music from Rocking Rama (2013). He hosts three weekly radio programs
Chulalongkorn University in 1989, Anant went to SOAS, in Thai music and World music at the Parliament Radio
University of London, for his M.Phil study in Ethnomusicology. Broadcasting Station and Khonmuang Radio online.
His comprehensive journeys in Southeast Asian countries, both
mainland and islands, made him acquainted with the musical Anant has written and published a large number of articles in
cultures of this region. In 1983, he founded a fusion music the areas of Musicology and Cultural Anthropology for
group, Korphai (meaning a bunch of Bamboo), which became newspapers, and monthly magazines. Since 2008, Anant has
internationally renowned for its excellent renditions of Thai represented the Ministry of Culture Thailand as a specialist in
Classical Music and Thai Contemporary Music. Thai music and is a working committee member of the Asia
Traditional Orchestra (ATO) and the Asia Traditional Ensemble
For the past 30 years, Korphai has released a number of albums (ATE), which produce several new ASEANKorea compositions
and has performed in numerous public concerts in Thailand and concerts every year.
and abroad. The group is also extensively involved in making
background music for Thai films, documentaries, theatres, Furthermore, he established and has served, since 2015,
plays, and festival presentations. as Music Director of a highly unique C-ASEAN Consonant
youth ensemble under the initiative and support of the Thai
In 2004, his group worked on original music for a successful Beverage Company Ltd.
Thai film, ”Homrong (the Overture),” which was inspired by
his socio-music historical book – the life story of the great Currently, Anant works at the Faculty of Music, Silpakorn
Thai xylophonist and composer Luang Pradithphairoh. University as a full-time lecturer in ethnomusicology,
The film and its music received high acclaim from international world music, and composition. Anant is the recipient of the
media critics and the general public. 2019 Silpathorn Award in the field of Music. This award is
given annually by the Office of Contemporary Art
Anant’s other interests in music include improvisational and Culture, Ministry of Culture of Thailand, to a Thai
performance, soundscape, fieldwork recordings, sound contemporary artist who has made notable contributions
installations, and theatre works. He often collaborates with to Thai Fine Arts and Culture.
theatre and dance companies. Recently, he worked with
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CHRISTOPH WICHERT
Bassoonist, Singapore Symphony Orchestra,
Singapore
The Austrian Bassoonist joined the SSO in 2008. He is a and at the music school of Tulln. Christoph has performed in
graduate of the Conservatory Vienna. many recitals and as a soloist with orchestras and is currently
also a faculty member of the Yong Siew Toh Conservatory of
Already during his university years, Christoph was gathering Music and guest artist at the Princess Galyani Vadhana
experience in various ensembles in Vienna. As a substitute Institute of Music in Bangkok.
player at the State Opera of Vienna and the Vienna
Philharmonic Orchestra, he was able to work under such He co-founded with Dr. Ruth Rodrigues and like-minded
Conductors like Zubin Mehta, Seiji Ozawa, Ricardo Muti, musicians SETTS, Singapore’s first professional Ensemble for
or Nikolaus Harnoncourt,… contemporary music.
Before moving to Singapore, Christoph was working as Solo

Bassoonist at the Orchester der Vereinigten Bühnen in Wien
ASSISTANT PROFESSOR DR. DENNY EUPRASERT

Dean of Rangsit University Conservatory of Music
and the Director of RSU Jazz Orchestra,
Thailand
Dr. Denny Euprasert earned a Doctor of Arts degree in Music Jazz Workshop, Cyprus Jazz Workshop, Thailand Jazz
Theory and Composition with a secondary emphasis in Jazz Workshop, Shanghai Jazz Summer Camp, University of South
Pedagogy from University of Northern Colorado. He is the Africa International Piano Competition, Greeley Jazz Festival,
recipient of the Silpathorn Contemporary Artist Award from and West Virginia International Piano Competition. Dr. Denny
the Ministry of Culture for his notable contributions to fine arts Euprasert was a visiting assistant professor of music at
and culture. He has served as a jury member and/or guest Washington and Lee University. Currently, he is the Dean of
faculty at numerous national and international music festivals Rangsit University Conservatory of Music and the Director of
and competitions such as Thailand Jazz Competition, Lebanon RSU Jazz Orchestra.
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DR. ELISSA MILLER-KAY

Princess Galyani Vadhana Institute of Music,
Thailand
Dr. Elissa Miller-Kay is a pianist, music educator, and scholar Performance and Musicology, and she now continues to teach
specializing in Beethoven reception and nineteenth-century at PGVIM remotely on a part-time basis from Washington, D.C.
performance practices. She has performed in cities throughout She has previously taught at the New School for Music Study
North America and Southeast Asia, where she lived and worked in Kingston, New Jersey and at New York University, where she
from 2014 to 2020. Engagements have included solo recitals was an adjunct instructor of piano and keyboard harmony.
on the Phnom Penh Classical Concert Series and at the Bangkok
International Piano Festival, as well as performances at Steinway Dr. Miller-Kay’s scholarship explores intersections of cultural
Hall and Weill Recital Hall at Carnegie Hall in New York City; values and performance practices, with a particular focus on
the Beethoven Club in Memphis; and Markham Theater in the music of Beethoven. She has published papers and presented
Markham, Ontario. As a concerto soloist, she has appeared with her work at several international conferences, including most
the Mississauga Symphony, the Oakville Symphony, recently, the Beethoven-Perspectives conference hosted by
the Kitchener-Waterloo Chamber Orchestra, the York Symphony, BTHVN 2020 and Beethoven-Haus in Bonn, Germany in
and the Greater Toronto Philharmonic. Awards include first prize February 2020.
in the International Beethoven Piano Sonata Competition in
Memphis, TN (2009) and the Ben Steinberg Musical Legacy Inspired by a desire to improve access to music education in
Award (2006). Thailand, Dr. Miller-Kay created a beginner piano method book,
”Piano, So Fun!” (เปียโนสนุกจัง) with the assistance of Surachoke
Dr. Miller-Kay was a full-time faculty member at the Princess Satraphai in 2018. She has made this book freely available to
Galyani Vadhana Institute of Music (PGVIM) in Bangkok, all online. Please visit pianosofun.com for more information.
Thailand from 2016 to 2020, where she taught Piano

Executive producer and artistic director, SMCC ”SoundBridge” Contemporary Music Festival
Director of Studio C and Ensemble Studio C,
Executive members, ”Society of Malaysian Contemporary Composers” (SMCC),
Malaysia
Chong Kee Yong, one of Malaysia’s leading contemporary by composer Jonathan Harvey. The uniqueness of his music
music composers, possesses one of the most exciting voices stems not only from a rich palette of sounds, but from his
in new music today. Indeed, his work has been hailed as experimentation with traditions. His works are infused with
”imaginative and poetic” by leading conductor-composer his own Chinese and multicultural Malaysian heritage.
Peter Eötvös, and as ”very inventive and artistically pure”
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Dr. Chong’s distinctive style has won him many awards and To recognize Dr. Chong’s contributions to South East Asia’s
commissions. His list of prizes is remarkable, and include contemporary music scene, Huddersfield University (UK)
2 times Prix Marcel Hastir, 2nd Seoul International Competition, awarded him a full scholarship for PhD study by publication,
the Malaysian Philharmonic Orchestra International 2014-2016, under the guidance of Prof. Liza Lim.
Composers’ Award, the Lutoslawski Award, the BMW Award
of Isang Yun Music Prize, the commission grant award by the Dr. Chong is the creative director of Studio C, former president
Serge Koussevitzky Music Foundation, the ”Outstanding (2017-2019) and recent executive committee member of the
Young Malaysian Award” and many more. Society of Malaysian Contemporary Composers. He was the
artistic director of the 2009 Kuala Lumpur Contemporary Music
Dr. Chong has been awarded the the position of composer-in- Festival and SMCC Contemporary Music Festival ”SoundBridge”
residency with Akademie der Künste (Germany), Herrenhaus in 2013, 2015, 2017 and 2019. 2016-2017 he was visiting
Edenkoben (Germany), Asian Cultural Council (USA), the professor at the Shanghai Conservatory of Music, and in 2018,
Center Henri Pousseur (Belgium), SWR EXPERIMENTALSTUDIO visiting professor at the Danish Royal Academy of Music.
(Germany), Civitella Ranieri Foundation Fellowship 2014 (USA/
Italy), Korea National Gugak Center fellowship, IGNM-VS / Please visit https://chongkeeyong-studio-c.com/ for more
Forum Wallis in Leuk Switzerland, spring workshop information.
Hong Kong and CulturalSummit Abu Dhabi 2018.
DR. KIT YOUNG

Founder, Gitameit Music Center,
The United States of America
Kit Young lived in Bangkok as a child and studied the Dr. Young founded the Gitameit Music Center with Burmese
Thai ranat and saw-u for a year at Silpakorn University. colleagues (www.gitameit.com), a community music school
Since 1987, she has investigated and performed the Burmese with campuses in Yangon and Mandalay.
sandaya: Burmese traditional music styles on the piano.
Dr. Young pursued a career involving solo and chamber piano She collaborated with Wu Na, prize-winning gu qin player
performance, teaching, improvisation in ensembles, writing, on many concerts held in Beijing and Hang Zhou from 2009
and other musical interests while living in Thailand, Malaysia, to 2014. Her music for theater, Nya La Ka, Monsters of Inya
Burma and China from 1992 to 2012. Dr. Young taught on Lake, Sandaya: Burmese Lessons, Visits with San Oo and
the piano faculty of Thai universities Sri Nakarin Wirot and On Loan have been performed internationally. Dr. Young
Payap, and founded and directed the Lanna Chamber Music holds degrees in piano performance from Bennington College,
Festival in Chiang Mai with Thai colleagues. She recorded two New England Conservatory and studied performance at the
CD’s: TRI, violin and piano music of composers in Thailand doctoral level at the University of Michigan and Peabody
with Nora-ath Chanklum, and Akhanee Kita, improvisations Conservatory.
with Nop Sotthibhandu. In 2003, while living in Myanmar,
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PROFESSOR DR. SHAHANUM MOHD SHAH

Faculty of Music,Universiti Teknologi MARA,
Malaysia
Currently working as Professor of Music Education at Universiti Her research interests are primarily in the areas of music
Teknologi MARA, Dr Shahanum holds a Master of Music in teaching and learning, psychology of music, assessment in
Music Education, and PhD Degree with major in Music music and the Malay gamelan.
Education and minors in Ethnomusicology and Administration
from Indiana University, USA.
DR. VERNE DE LA PEÑA

Dean, College of Music, University of the Philippines,
Director of the UP Center for Ethnomusicology,
the Philippines
Professor LaVerne de la Peña is the Dean of the College of His most recent work is Putri Anak, a theatre piece premiered
Music at the University of the Philippines and the Director of at the Cultural Center of the Philippines in April of 2017.
the UP Center for Ethnomusicology. He obtained his PhD in The work fuses the Philippine Spanish colonial genre called
Ethnomusicology from the University of Hawaii. Research komedya with Southeast Asian stylistic elements. As a member
areas include Benguet Kankana-ey, Tagalog, and Filipino of the faculty in the University of the Philippines College of
hiphop. He has presented papers and lectures on burial rites Music, Professor LaVerne de la Peña handles graduate and
and prestige feasts in Buguias Benguet as well as repartee undergraduate courses in World Music, Philippine Music and
singing and drinking events in Sariaya Quezon. Musicology. He has given lectures and seminars in the same
areas all over the country and internationally.
Professor LaVerne de la Peña received Bachelor’s and Master’s
degree in composition from the University of the Philippines, He is also music director of Tugma (Tugtugang Musika
and has written for various media, including chamber, choral, Asyatika), a student ensemble specializing in Philippine and
dance and theatre. His works have been published and Asian music.
performed in parts of Asia and America.
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VIRTUAL GUIDE 11:15 - 11:30 HRS (GMT+7)
NAVIGATING YOUR WAY

IN PGVIS 2021
SYMPOSIUM CONVENOR
Welcome to PGVIS 2021! The team would like to give you a happening this past year — both here in Southeast Asia and
quick overview of the exciting events we have planned for the around the globe. At this, our 8th International Symposium,
coming days. This is our second year presenting the symposium we are also delighted to be launching a new virtual exhibition
online, and we have a wonderful lineup of prominent keynote and hangout area. Bring your coffee, and come meet up
speakers, presenters, panelists, and performers in store for you. with old friends and make new ones. We look forward to
We’re excited to share with you some of the innovative, creative enjoying this year’s symposium together with you.
musical scholarship and vibrant music-making that has been
KEYNOTE 11:30 - 12:30 HRS (GMT+7)
THE HORNED MAN AND THE DRAGON:

HOLOGRAPHIC REPLICA
IN MUSIO-CULTURAL TRANSITIONS
ASSOCIATE PROFESSOR DR. JONATHAN DAY

Co Director of the Performance Research Cluster, Royal Birmingham Conservatoire
Associate Professor of Transmedia Arts, Birmingham Institute of Creative Arts,
United Kingdom
Since transition is change over time and tradition rests in the (nations, hierarchies, language groups, histories, ‘artists’).
tension between story and dogma, we can conclude that the Stories that tell us what music is, who owns it, and even
constant and inevitable transitions happening all the time in sometimes who is allowed to make it.
traditions rest heavily on story. Stories we tell ourselves about
who we are, where we come from and where we are going. In recent years, perhaps the most strident and pressing change
Stories about our identity as people and groups of people in most of our stories worldwide is the thunder clash of
‌‌‌‌ 18
globalisation – and, as we approach the ‘post pandemic’, Biography

rumours of retrenchment and a renewed regionalism.
Perhaps the greatest driver in all of this is the homogeneity of Jonathan Day works as a musician, writer and image-maker.
humanity — the links, similarities and kinships of all humans. He has released a series of musical works, including most
As Camille Sforza discussed, the 7 billion or so living humans recently A Spirit Library (NiiMiiKa, 2019), which was voted
have so far demonstrated less genetic diversity than exists in an Album of the Year 2019 by Folk Radio UK who called it
one nuclear family of chimpanzees. We all have an extreme ”Utterly Beautiful”. In the world before Covid he toured
‘family likeness’, and our shared genesis, according to today’s internationally, but this year has instead been broadcasting
best estimate, was in a series of caves on the South African — with the BBC, Channel 4 television (UK) and in Holland,
Cape, from which we spread rapidly along the littoral margins Australia and the US. He has also ‘performed’ at a range of
to populate the planet. virtual festivals, including Small World, Radnor Festival, Raising
Steam and others. He has published four books and numerous
It is then perhaps unsurprising that a number of intensely chapters and articles. His works include Postcards from the
interesting mysteries exist within earlyish human cultural Road (University of Chicago Press), Atlantic Drifter (Proper
outputs. The Horned Man occurs constantly in cultures with Records), The Politics of Navigation (VDM), Carved in Bone
seemingly little or no possible contact — and across both time (Proper Records), The Stain of Time (Aalto University) and Art
and space. Iconography is shared between Lascaux France and and Terror (Routledge). These have been described as ”Beautiful
the Drakensberg in the Karoo desert, while dragon-like creatures music” BBC, ”Seductive, complex and poetic” ARTnews
infest the myths of peoples on most of the planet’s continents. magazine, New York, ”Scratching at the transcendent”
Planetary anthropomorphisms are shared by Greek and Chinese the Independent, London, ”Expansive, intelligent and
culture. Despite intense study, no apparent mechanism has eloquent” South China Morning Post, ”Breathtakingly beautiful,
been found for the sharing of these ideas. Similar musical Jonathan’s voice floats like an ancestral spirit” Folk Radio UK,
themes, moods and instrumental regimes also pop up across ”Visionary” fRoots magazine, ”a voice dark as chocolate on
apparently dissociated cultural moments. We will explore these a still night” Stirrings Magazine.
images and sounds and our specific responses to them.
Jonathan is Co-director of the Performance Research Cluster,
This evidence of some kind of paleolithic cultural globalisation Royal Birmingham Conservatoire and Associate Professor of
allows for a significant re-reading of ideas around cultural Transmedia Arts at the Institute of Creative Arts, Birmingham
patrimony. Contemporary acts of ‘claiming’ ownership of
musico-cultural traditions, while being certainly based on the Please see
innate human inclination to claim territory that is common to jonathanday.net
many large predators, also has an aroma of high capitalism https://jonathanday.bandcamp.com
— the stink of profit, the stench of money — what Marx would https://open.spotify.com/artist/5BS9hKCZ9jV0mYozSnajk-
call ownership of the means of production. While it may be m?si=dM4iyIrAQwyNEEplhAKQLg
somewhat an act of location within a self and socially attributed
story, examining our common, interrelated and co dependent
cultural roots allows for a window opening, a celebration of
co-ownership and a powerful platform for expansion. This,
it seems to me, is at the heart of the PGVIM/S mission. We can
together celebrate and explore ourselves by celebrating and
exploring others. We become more realised, more whole by
opening up and exploring those aspects of ourselves that we
first find in others. By exploring and indwelling the music of
the ancestors we are better equipped for the challenges of today.
19
KEYNOTE AND CURATED PAPER SESSION 14:00 - 17:00 HRS (GMT+7)
WE ALL COME FROM SOMEWHERE ELSE

PRESENTERS
BERGLIND MARÍA TÓMASDÓTTIR
Professor and program director of NAIP: European Master in Music
ANA LUISA S. DIAZ DE COSSIO

FREYA BETZY DINESEN SIMMONS
SIGURÐUR HALLDÓRSSON
HOST
KHETSIN CHUCHAN
NAIP: European Master in Music, Iceland University of the Arts
MODERATOR
Iceland was an uninhibited landmass until the second half In this showcase, we reflect on how the ”settlers” became the
of the ninth century, when settlers from Norway and ”dwellers,” Icelandic traditions, and how these were
elsewhere sailed across the Atlantic ocean and inhabited constructed and reinforced. Featuring both Icelanders
the place. A former colony of Denmark, Iceland became and non-Icelander, we also examine the way Icelandic
an independent nation in 1944. ”Icelandic traditions” were traditions are perceived through the eyes of ”people from
pivotal in constructing the national identity which played somewhere else,", and vice-versa.
a big part in the fight for independence. While the Icelandic
language and sagas became emblematic of Icelandic
traditions, some heritages — such as music — did not
receive the same level of recognition.
‌‌‌‌ 20
SHOWCASE 14:00 - 17:00 HRS (GMT+7)
NEXT TRADITION:
TRANSITION TO INNOVATIVE
ARTISTIC PROJECTS
PRESENTERS
JIRASIRI KANGVANNAVAKUL
ANUSORN PRABNONGBUA
NADIS BOONROD
JIRAYUT THAOLIPO
SONGKLOD NUNTHAKASEM
PRADNAMPETCH KANOKNAK
HOST
ASSISTANT PROFESSOR DR. CHANYAPONG THONGSAWANG
PROVOCATEUR
PROFESSOR DR. JACQUES MOREAU
MODERATOR
DR. KOMSUN DILOKKUNANANT
The second graduating class of the PGVIM Master program Classical Music Made More Accessible by an ”Ensemble Music
will present and discuss their research-in-progress with Stage Play”
Prof. Dr. Jacques Moreau and Asst. Prof. Dr. Chanyapong By Jirasiri Kangvannavakul
Thongsawang.
Anusorn: Marimba Concertino with Khon Performance
Our student’s projects cover a wide range of research areas — By Anusorn Prabnongbua
from music aesthetics and expression, to stage play with classical
chamber music; from percussion mallet pedagogy to arrangements Learning four Mallet Technique for Intermediate Percussionist
for Marimba with Thai cultural elements; from space film music By Nadis Boonrod
to sonic art. Each of these projects displays a unique interdisciplinary
approach to the creation of musical experiences. Expressing Music: Playing Sounds, Expressing Minds
By Jirayut Thaolipo
These researchers combine academic knowledge and musical
practice, and thereby create ”next tradition” in ”innovative Music and Moving Images: ”Film Music in the Sci-fi (Space)”
artistic projects” for 21st century. By Songklod Nunthakasem
Please join us for this open discussion. Come share and Pradnampetch: A Sonic Self-portrait : a Multidisciplinary
exchange ideas so that together we can find the next traditions Investigation of Everyday Life
for musicians and music lovers. By Pradnampetch Kanoknak
21
CEREMONY 17:00 - 18:00 HRS (GMT+7)
MOU SIGNING CEREMONY MDW & PGVIM

HOST
MOU Signing Ceremony between Princess Galyani Vadhana Institute of Music

and The University of Music and Performing Arts, Vienna (MDW, Universität für Musik
und darstellende Kunst Wien)
RECITALS, REDEFINED:
MIGRATION TO THE ONLINE PLATFORM
IN THE PANDEMIC ERA
CURATORS
MARGARET HAYNE KIM
DR. APICHAI CHANTANAKAJORNFUNG
PATTARAPOL SUKVAJEEPORN
YOTSAKORN RUENGCHAICHAROEN
Online performances have become a new standard, This year’s showcase features a wide array of musical fare,
with unpredictable circumstances necessitating a redefinition ranging from imaginative arrangements to brand new
of the concept of the recital. A situation that once may have compositions, spirited interpretations of familiar repertoire to
felt like an anomaly has quickly become a new reality, bold representations of lesser-known works. The selected
as performances have migrated from traditional communal potpourri of works provides a sampling of new offerings to a
public spaces to online spaces with unseen audiences. changing concept of the recital performance.
The students of PGVIM have colourfully responde to this

migration of platforms, channelling their creative energies into
formats suitable for the times.
‌‌‌‌ 22
PROGRAM

Concrete Jungle (2021) Patidta Atiwattananggoon
Patidta Atiwattananggoon, guitar

Prannathorn Terrarojanakul, oboe
Krittaya Lorpiyanon, violin
Kansiree Chirawattanaphan, piano
Thawatchai Janfai, flute
Dunyawat Thanakornchai, saxophone
Piphat Choybamphen, double bass
Sonata for Flute and Piano, Op. 23 Lowell Liebermann

II. Presto
Chatkul Wisutthisara, flute

Morakot Cherd-choongarm, piano
Rebonds B Iannis Xenakis
Anupon Cheychum, percussion
The Solo I for Tuba (2020) Pongtorn Techaboonakho
Sakda Pharchumchana, tuba
Sonata for Flute and Piano Paul Hindemith

III. Sehr lebhaft
Siraphob Maitreesirimongkol, flute

Journeys (2021) Khongchai Greesuradej

V. Irish
Man of La Mancha Mitch Leigh

I. Don Quixote arr. Suthipa Temrat
Suthipa Temrat, trombone
Piano Sonata No. 8 in A minor, K. 301 Wolfgang Amadeus Mozart

II. Andante
Krongkwan Tassanapak, piano
23
Soir Païen (from Chansons lointaines) Georges Huë
Panupop Jakklom, tenor

Cello Suite No. 2 in D minor, BWV 1008 Johann Sebastian Bach

I. Prelude arr. Pulish Likhitwatanasad
VI. Gigue
Pulish Likhitwatanasad, cello

Andrew Healey, cello
Patidta Atiwattananggoon, guitar
Aus den Himmelsaugen droben (from Drei Lieder, Op. 3a) Adolf Busch
Pishayatan Sungvornvetchapharn, soprano

Kawalee Phakarat, viola
Wild Pleasures (2021) Phumthana Mu

V. Violin and Bird Duet
VIII. "I love man not less, But Nature the more"
6 Metamorphoses Benjamin Britten

I. Pan (with original accompaniment by Prannathorn Teerarodjanakul)
Prannathorn Teerarodjanakul, oboe
Violin Sonata No. 3 in C minor, Op. 45 Edvard Grieg

III. Allegro animato
Jirapahn Khaokum, violin

Napasorn Lawasinarporn, Piano
Undone (2021) Vorakit Kamolraksa
Vorakit Kamolraksa, voice

Estampes Claude Debussy

I. Pagodes
Kansiree Chirawattanaphan, piano
‌‌‌‌ 24
25
TUESDAY
TUESDAY 24TH AUGUST 2021
24TH
AUGUST
2021
‌‌‌‌ 26
PANEL DISCUSSION 09:00 - 12:00 HRS (GMT+7)
CULTIVATING NEW ARTISTIC DIRECTIONS

IN SOUTHEAST ASIAN MUSIC:
A COMPOSITION PANEL DISCUSSION
PANELLISTS
DR. ALEX DEA, Indonesia
DR. ANOTHAI NITIBHON, Thailand
DR. CHUNG SHIH HOH, Singapore
DR. JONAS BAES, the Philippines
PROFESSOR DR. KEE YONG CHONG, Malaysia
HOST
DR. JEAN-DAVID CAILLOUËT, PGVIM
The spiritual and emotional essence of traditional musical Philippines. In the composition, these patterns are subject to
practices are an endless source of inspiration for modern dissolution, symbolizing the cultural politics within a mode
composers. Functional aspects, from rituals to community of production dominated by powerful stakeholders and
music-making, as well as artistic components — sonorities, institutionalized culture brokers.
timbres, patterns, or the modes of communication
themselves — can be explored and re-interpreted to mold Hoh Chung Shih will share his piano works ‘reef weave’ and
novel musical forms. ‘rub dub’ which examine the definitions of ‘tradition’ and
‘transition’ within a creative process, with references to
During this panel discussion, five established composers from traditional Chinese practices, both from the perspective of
five Southeast Asian countries will each present one piece music and the visual arts.
illustrating their philosophies and approaches to the adaptation
of traditional elements. From their unique perspective, With ‘Sound of slow tears’, Kee Yong Chong combines various
they will share their views on how to reinvent the past in order elements that are at once original and eclectic. The composer
to chart new pathways for the creation of music within the will discuss his particular interest in incorporating various
Southeast Asian context. Asian musical practices such as Chinese dialect folk songs
(Hakka storytelling and mountain songs), Gamelan music from
Alex Dea’s ‘Gangsaran Sapto’ involves sixty players of different South East Asia, Indian ritual and ceremonial music, ancient
ages using every note of four gamelan sets of pelog and slendro, Chinese court music, chanting of classical Chinese poetry,
resulting in a wonderful horizontal poly-microtonal sound. Korean Pansori music, and Japanese Gagaku music to create
The composer will share his views on composition and the his own compositional techniques and language.
use of non-European music, approaches, and aesthetics.
Anothai Nitibhon uses ‘The Pause’ to reflect on how to restore
Jonas Baes discusses a musical composition which is part of a more engaged experience involving human interactions and
a series of five separate environmental ”soundscapes.” promote meaningful communication between a violinist,
‘DALUY 2’ is written for five interlocking, flat gongs (Gangsa) pianist and cellist. The piece involves a series of game processes
played in patterns that invoke Kalingga music of the Northern aimed at rediscovering the fun of music making.
27
BIOGRAPHY
DR. ALEX DEA

Indonesia
(See page 11)

Thailand
Composer / Pianist / Artist, Anothai completed her bachelor Working on cultural frontier, Anothai creates and curates
degree with 1st class honours from Chulalongkorn University, many concerts, exhibitions and involves in many activities
Thailand. She then continued her studies at the master which promote the collaboration between musician/artist
programme in music composition at the University of from different disciplines and musical cultures. She also
Edinburgh under Professor Nigel Osborne in 2002. hosted an annual International Symposium and ASEAN Youth
After graduating with a Master Degree and being awarded Ensemble Project at PGVIM; both events focus on exploring
a distinction, she was further awarded scholarship from the the context in which western and local musics can encourage
University and from the Overseas Research Students Awards dialogue while remaining connected to the people and their
Scheme, and obtained her PhD in composition in May 2007. local value. Dr. Nitibhon was granted the Silpathorn Award
in 2021 by the Office of Contemporary Art and Culture,
Ministry of Culture of Thailand.
‌‌‌‌ 28
DR. CHUNG SHIH HOH

President, Composers Society of Singapore,
Singapore
Hoh Chung Shih studied at King's College London and led him to collaborate with some of the world’s premier
completed a PhD in Composition at the University at Buffalo, musicians. Chung Shih is also a sound artist, who works in
where he also studied computer music at the Lejaren Hiller interdisciplinary collaborations with MLuM, an international
Computer Music Studios. Since 1996, he has also studied the artist collective. His interest can be described as an exploration
guqin (Chinese 7- string zither) with Master Ji Zhiqun. of a double intersection: one between the avant-garde and the
His international presence as composer, through works by experimental, and the other between the international
commissions and requests from Asia, Europe and America, have contemporary and the traditional Chinese literati cultures.
DR. JONAS BAES

University of the Philippines,
the Philippines
Dr. Baes studied composition with Ramón Pagayon Santos at received the Nippon Foundation Senior Fellowship for Asian
the University of the Philippines Diliman in Quezon City from Public Intellectuals (2008–09).
1977–82, where he earned his BMus in composition. He also
studied musicology there with José Maceda from 1982–85. As a musicologist, he has studied extensively the music of the
He later studied composition and musical politics with Mathias Philippines and has written articles for publications in Australia,
Spahlinger at the Hochschule für Musik Freiburg in Freiburg im Germany, Japan, the Philippines, South Korea, the UK,
Breisgau from 1992– 94. He finished his PhD in Filipino studies and the USA. He has contributed articles on the politics of the
at the University of the Philippines Diliman in 2004 with his music of the Philippines to Perfect Beat: The Pacific Journal of
dissertation Modes of Appropriation in Philippine Indigenous Research on Contemporary Music and Popular Culture (1998,
Music: The Politics of the Production of 'Cultural Difference'. 2001–02, Macquarie University, Sydney) and Changing
Sounds: New Directions and Configurations in Popular Music
Among his honours are the CCP-LFC Composition Prize (1980, (2000, edited by Toni Mitchell, University of Technology,
for Awit ng Ibon) and three awards from the chancellor, Sydney). He has also written articles on José Maceda and
which earned him the Hall of Fame Award for best research Ramón Pagayon Santos for Komponisten der Gegenwart
at the University of the Philippines, entitled Gawad Chancellor (2002–03, edited by Walter-Wolfgang Sparrer, edition text +
para sa Pinakamahusay na Mananaliksik (2001–03). He later kritik). He later wrote the article ”Mangyan Internal Refugees
29
and Spaces of Low-Intensity Conflict in the Philippines” for Dr. Baes has taught analysis and composition at the University
the journal SHIMA: The International Journal of Research into of the Philippines Diliman since 1996 and has lectured in
Island Cultures (2007, Small Island Cultures Research Initiative, Germany, Indonesia, Japan, Malaysia, Mexico, the Philippines,
Macquarie University). Taiwan, Thailand, the USA, and Vietnam.

Executive producer and artistic director, SMCC ”SoundBridge” Contemporary Music Festival
Director of Studio C and Ensemble Studio C,
Executive members, ”Society of Malaysian Contemporary Composers” (SMCC),
Malaysia
(See page 15)
PAPER SESSION 10:00 - 12:00 HRS (GMT+7)
PAPER PRESENTATION SESSION 1

HOST
MARGARET HAYNE KIM
PRESENTERS
DR. ABIGAIL SIN, SULWYN LOK AND JADE TAN SHI YU
LIM JING JIE, PRISCILLA FONG AND STEPHANIE TAN
KRITTAYA LORPIYANON
10:00 - 10:30 hrs (GMT+7)

Artfully Interrupting the Fantasy: Reimagining Ravel’s Asie
Dr. Abigail Sin, Sulwyn Lok and Jade Tan Shi Yu
10:30 - 11:00 hrs (GMT+7)

Clair de Lune: A Musical Film Exploration of the 21ST-Century Musician Identity
Lim Jing Jie, Priscilla Fong and Stephanie Tan

11:00 - 11:30 hrs (GMT+7)
Revolutionary Aspects of Rochberg’s Caprice Variation for Unaccompanied Violin
Krittaya Lorpiyanon

‌‌‌‌ 30
11:30 - 12:00 hrs (GMT+7)

Prasidh Silapabanleng and His Advisor Klaus Pringsheim: Cross-cultural Transfer and Transition
From Thai Traditional to European Classical Music
Assistant Professor Dr. Chanyapong Thongsawang
SHOWCASE 14:00 PM - 17:00 HRS (GMT+7)
CONTEXTUAL STUDIES:
TRANSITION TO STUDENTS’ RECITAL
PRESENTERS
PGVIM 1ST & 2ND YEAR STUDENTS
KANSIREE CHIRAWATTANAPHAN
PHUMTHANA MU
SIRAPHOB MAITREESIRIMONGKOL
PGVIM ALUMNI
PINK SKY ORCA
HOST
DR. APICHAI CHANTANAKAJORNFUNG
PROVOCATEUR
PROFESSOR DR. JACQUES MOREAU
MODERATOR
THANISA DURONGKAVEROJ
From the start of their university studies, the students at When the students enter their senior year, the courses are
Princess Galyani Vadhana Institute of Music (PGVIM) called ‘Graduate Project 1 and 2.’
complete a series of courses that culminate with their
graduate recital projects. These courses are called The term ‘contextual studies’ speaks to skills outside of music that
‘Contextual Studies’ from students’ first semester to the first enable the students to fulfil the objectives of creating personal,
semester of their junior year. For the second semester of innovative, and engaging recitals. These are obligatory courses
their junior year, the course name is ‘Junior Recital Project’. for all PGVIM students that reflect the university’s mission.
31
PRESENTERS
YEAR 1 YEAR 2 YEAR 3 - 4 PGVIM ALUMNI
Niratda Manochart Narat Klimthong Time in a Frame: From the Past Pink Sky Orcas
Phanuphong Chanthosri Pakpong Kantiwong to the Music We Now See Kawirat Saimek
Phanuwat Rattanakun Phannaporn Pansanit Kansiree Chirawattanaphan and Dhorn Taksinwarajan
Supparang Sujarit Phoom Santipornwit
Rujikorn Trikham Classical Soundscape
Thantawan Sainapa Phumthana Mu
Waris Warindarawej
Wattikorn Dipprakon Listening to the Twentieth
Century
Siraphob Maitreesirimongkol
KEYNOTE & PANEL DISCUSSION 14:00 - 17:00 HRS (GMT+7)
ASEAN YOUTH ENSEMBLE

BEYOND BORDERS
HOSTS
PROFESSOR DR. DIETER MACK
PETER VEALE
PANELLISTS
CHIE TSANG LEE
DWI CAHYO SEPTIAN
HAROLD ANDRÉ SANTOS
JOCELYN TAN
TONTRAKUL KAEWYONG
With its first performance in 2014, in conjunction with the commissions for young composers in the region and beyond,
PGVIM International Symposium, AYE or The ASEAN Youth with the aim to find new ways of combining our respective
Ensemble, a partnership project between the Ministry musical traditions.
of Culture, Thailand and the Princess Galyani Vadhana
Institute of Music. Throughout the years, we have explored Since 2017, we have started our collaboration with
many possibilities in working between local and western art the Studio Musikfabrik under the baton of Peter Veale and
music, from the arrangement of local tunes to the new the tutelage of Professor Dieter Mack. We have seen many
‌‌‌‌ 32
young composers working for new possibilities in Mentors

exploring the sound of S.E.A with performers of different Professor Dr. Dieter Mack (Musikhochschule Lübeck)
cultures. With more than 30 new commissions and many Peter Veale (Studio Musikfabrik)
young participants from the region, AYE still hopes
to extend possibilities, cross borders, and bring traditions Project Director
towards the new era. Dr. Anothai Nitibhon (PGVIM)
Project Coordinator
Nusamol Jongprakitpong
www.aye.pgvim.ac.th/
AYE BEYOND BORDER: SHOWCASE

CURATORS
PROFESSOR DR. DIETER MACK & PETER VEALE
PROGRAM
Asian Voice? (2019) Septian Dwi Cahyo

Indonesia
Htet Arkar, Pat Wiang

My Nguyen, Dan Trahn
Yanini Pongpakatien, Violin
Petpairin Luenpaen, Violin
Phattarapoj Sawangchaeng, Viola
Pulish Likitvattanaset, Cello
Käthe Luise Schmidt, Harp
Jirut Burapornchaikul, Percussion
Alejandro Sarriegui, Percussion
Peter Veale, Conductor
33
Labyrinth Trap (2019) Hilmi Ridha Mahardika

Indonesia
Dini Pratiwi, Saron Pelog

Nattawut Deejing, Saron Slendro
Siraphob Maitreesirimongkol, Flute
Reephaw Saenthawidet, Cello
Hilmi Ridha Mahardika, Conductor
Hininga (2018) Jose Antonio Buencamino

The Philippines
Harold Andre Santos, Kulintang

Hojin Jeong, Violin
Hee Jung Keal, Cello
Peerawit Aunruan, Guitar
Eun Hye Kim, Vibraphone
If Flowers Were to Bloom Again (2019) Zhe Qui Joey Yeo

Singapore
Htet Arkar, Pat Waing

Dini Pratiwi, Saron Barung
Orawan Kadenoum, French Horn
Sikaret Saknaveeporn, Trumpet
Petpairin Luenpan, Violin
Kawalee Phakarat, Viola
Pronnapas Santiwarangkul, Cello
Ji (2017) Kok Jun Phang

Malaysia
Lim Teik Chuan, Erhu

Tanika Prasood, Violin
‌‌‌‌ 34
Monolamento (2017) Tanapon Chiwinpiti

Thailand
War War San, Voice

My Nguyen, Dahn Trahn
Nitiruch Junsiri, Bassoon
Thanaporn Songkiattisak, Piano
Wathusiri Karawapong, Double Bass
Anupon Cheychum, Percussion
Kodchakon Chantana, Percussion
Jirut Burapornchaikul, Percussion
Lost in Jungle (2018) Pongtorn Techaboonakho

Thailand
Harold Andre Santos - Kulintang

Eun Hye Kim - Percussion
Tanasit Siripanichwattana, Percussion
Anupon Cheychum, Percussion
Pawit Jindakitprasert, Percussion
Junyoung Kim, Conductor
Nostalgic Portrait (2018) Chow Jun Yan

2018, Singapore
Chow Jun Yan, Erhu

Phataporn Preechanon, Flute
Max Riefer, Percussion
Welcome Dawn (2019) Thuy My Nguyen

2019, Vietnam
My Nguyen, Dan Trahn

Netchanok Chinchakkaeo, Cello
Anakorn Rongsak, Percussion
Jirut Burapornchaikul, Marimba
Sunrise (2017) Thar Nge

Myanmar
Nakriss Jirarattapat, Khim

War War San, Seang Kor
Muhammad Qays Muzini, Accordion
35
Re-Sketches (2017) Chie Tsang Lee

Malaysia
Novan Yogi Hernando Maupula, Suling

Rukaya Suprayedno, Sampek
Tontrakul Kaewyong, Khean
Jocelyn Tan Li Yun, Soprano Sheng
My Nguyen, Dahn Trahn
Hak Tokla, Roneat
Kammathep Theeralertrat, Ranaad
Lim Teik Chuan, Erhu
Sornsak Suksong, Oboe
Chanya Anansaksaward, Bassoon
Natthapat Kirawiroj, French Horn
Arturo Ernesto Uribe Portugal, Percussion
Louisa Kaltenbach, Cello
Katharina Roth
Nobody Knows Where the Truth Grows (2018) Germany
Nguyen Thu Thuy, Dan Tranh

Hee Jung Keal, Cello
Kittaporn Wongphayak, Guitar
Max Riefer, Vibraphone
Peter Veale , Conductor
… Au Blanc (2019) Tanapon Chiwinpiti

Thailand
Kathleen Nicole Cahis, Kulintang

Dini Pratiwi, Saon Barung
Sara Cubarsi, Violin
Narat Klimthong, Trumpet
Tanapon Chiwinpiti, Live Audio
Moritz Koch, Percussion (Concrete box with hammer)
‌‌‌‌ 36
BIOGRAPHY
PROFESSOR DIETER MACK

Vice President, Musikhochschule Lübeck,
Germany
Dieter Mack (*1954) was born in Speyer/ Germany and studied research for music education in Indonesia. He was head of
composition, music theory and piano in Freiburg. After various the DAAD music selection committee from 2007 - 2019 and
lectureships, he taught music theory in Freiburg from 1986 also head of the music advisory board in the Goethe Institut
-2003, and from 2003 until now composition at the University from 2009 - 2016. He was vice-president of the university for
of Music in Lübeck. In 1978 he started to study Balinese international affairs until March 2021 when he retired.
gamelan music and since then he has spent altogether more As a composer, he writes mainly for ensembles and orchestra
than 10 years in Indonesia, including a long-time lectureship with a focus on percussion instruments. As an author,
at UPI Bandung from 1992 - 95 and further ethnomusicological he publishes on intercultural issues.
PETER VEALE
Studio Musikfabrik,
Germany
Peter Veale, who was born in New Zealand, grew up in a in Cologne and for more than 20 years at the International
family of musicians in Australia. He studied Oboe with Heinz Summer Courses for NEW Music in Darmstadt (Germany).
Holliger and conducting with Francis Travis in Freiburg
(Germany). He’s been a member of Ensemble Musikfabrik Along with various education programs, which he developed
since 1994, and performs worldwide as a soloist. He is author and realised with and for Ensemble Musikfabrik, he has been
of the book “The Techniques of Oboe Playing“ which was the artistic director of Studio Musikfabrik, the youth ensemble
published in 1994 by Bärenreiter. Peter Veale has been teaching for contemporary music of Landesmusikrat NRW (North-
oboe at Frankfurt University of Music and Performing Arts since Rhein-Westfalia) since 2012.
1996 and since 2013 at the Hochschule für Musik und Tanz
37
WEDNESDAY
WEDNESDAY 25TH AUGUST 2021
25TH
AUGUST
2021
‌‌‌‌ 38
KEYNOTE 09:00 - 10:00 HRS (GMT+7)
TRADITION, COMMUNICATION
AND COMPOSITION
MAKOTO NOMURA
Japan
MODERATOR
ANANT NARKKONG
What is the border between traditional music and contemporary Bangkok in 2015 and Jogjakarta in 2016 to exchange community
music? What is the border between Asian music and Western music-making with Asian musicians. Since 2020, together with
music? Is it possible for both contemporary and traditional PMCB, I started creative music-making online.
music to coexist? How can Asian tradition happily meet
Western music? As a composer I have explored how different
notes, different instruments, different people, different cultures Biography
and different philosophies can coexist, and have organised
many participatory music projects. One such project is Senju Makoto Nomura, born in Nagoya in 1968, is one of the most
Pun-filled Music Festival (SPMF), an ongoing participatory active Japanese composers. He has worked not only in the
project to connect different ideas through wordplay and music. field of music but also in the fields of visual art, performing
arts, community arts, and whatever he likes. His works are
I launched SPMF in 2011 soon after the major earthquake in also diverse, such as concert music, exhibition, site-specific
Japan. I felt nuclear disasters divide people into camps, such as project, theatre piece, historical research, etc. He loves
capitalism versus environmentalism etc. People did not listen to collaborations and has collaborated with animals, children,
other opinions. That was why my project focused on listening to dancers, vegetables. He is the director of creative participation
each other and understanding other aesthetics. In 2014 SPMF for Japan Century Symphony Orchestra, the director of Senju
organized a big participatory outdoor concert called ”Music for Pun-filled Music Festival, and co-founder of Japan Association
1010 people,” which included 3 new compositions for 1010 of Composers for Sumo Hearing Arts.
performers, including Javanese gamelan, Thai piphat, Japanese
koto, tsuzumi drum, strings, winds, brass, percussions, various His works have been performed by Japan Century Symphony
found objects, baseball players, etc. Anant Narkkong from Orchestra, Bochumer Symfoniker, Tokyo City Philharmonic
Thailand composed ”Super Fisherman” for storytelling, gigantic Orchestra, Tomoko Mukaiyama, Yuji Takahashi, Mie Miki, Aki
puppet and large ensemble. Memet Chairul Slamet from Indonesia Takahashi, Tomomi Ota, Grzegorz Stopa, Mari Fujiwara, Katsuya
composed and conducted ”Senju 2014.” I composed ”1010 Matsubara, Yoshiko Kanda, Kenichi Nakagawa, Enrico Bertelli,
people in Senju,” in which baseball players or rope-jumping Yusuke Kataoka in a number of countries including UK,
became conductors of the orchestra. For the rehearsal of ”Music Germany, France, Italy, USA, Russia, Bulgaria, Korea, China,
for 1010 people,” we divided 1010 people into 30 groups, Taiwan, Hong Kong, Indonesia, Belgium, Netherland, Malaysia.
each of which is about 35 people and we needed 30 facilitators. He has played with Charles Hayward, Otomo Yoshihide, Makoto
After the event, these 30 facilitators became the core members Yoshimori, Kazutoki Umezu, Hugh Nankivell, Anant Narkkong
of the Pun-filled Music Community Band(PMCB). PMCB visited etc. He is also known as the pioneer of melodica performance.
39
KEYNOTE 10:30 - 11:00 HRS (GMT+7)
TRANS-PRESENCES - OR OWNING
OUR PLACE(S) AND TIME(S):
SOME REFLECTIONS AT A POINT
OF SIGNIFICANT PERSONAL
AND GLOBAL TRANSITION
PROFESSOR BERNARD LANSKEY

Queensland Conservatorium, Griffith University,
Australia
MODERATOR
”The past is never dead. It’s not even past” This presentation will take as its starting point considerations
(from William Faulkner, Requiem for a Nun (1951)) which emerged from a range of creative/performative
experiences others have shared in the past twelve months.
”We start believing now that we can be who we are” The intention will be to offer some provocations for
(from Jim Jacobs and Warren Casey, Grease (1971)) re-imagining traditions. Having moved from Southeast Asia to
Queensland, I will also seek to establish some possibilities for
others to develop greater regional connection and awareness.
Building out from last year’s PGVIS Opening Locks presentation Through these experiences, I believe more than ever that ‘now’
and inspired by this year’s Traditions in Transition theme, I will offers a special opportunity for cross-disciplinary opportunity,
seek to take forward some of the issues of student agency, for experimental play, connecting people’s potential to be
genre diversity, multi-layered connectivity and power/inclusion becoming collaborative makers of magic as they open up to
raised last year. Over the past 12 months, my personal their time(s), place(s), histories, stories and dreams.
circumstances have involved significant change in ways I had
not anticipated and in a context where musical practice
globally has also been radically disrupted. Now in a different Biography
continent from where I might have then been imagining, I will
explore issues of institutional, artistic and personal identity in Active internationally for over 35 years as an administrator,
a context where our sense of presence in the present becomes collaborative pianist, scholar, recording producer and festival
ever more complicated. How do we find ourselves and our director, I have just begun my new role as Director and
place in a reality which involves such ever-increasing Professor of the Queensland Conservatorium Griffith University
complexity and uncertainty? More specifically, what might in Australia. For the previous fifteen years, I led the Yong Siew
this mean for music education when futures have never been Toh Conservatory of Music, National University of Singapore,
so clearly (truthfully?) unknown? where I continue to hold a Visiting Professorship. I am currently
President of the Southeast Asian Directors of Music Association,
‌‌‌‌ 40
a co-opted Council member of the European Association of Keynote speaker for PGVIM, it has been a true privilege to
Conservatoires and a member of the International Advisory have watched this symposium evolve so distinctively over the
Board for the Tianjin-Juilliard School in China. A Founding past decade.
TECH TRANSITIONS AND COMMUNITY

TRADITIONS: A CONTINUING
CONVERSATION
HOST
SOUTHEAST ASIA MUSIC ACADEMY ONLINE
PANELLISTS
GABRIEL LEE
AIRIN EFFERIN
ASSOCIATE PROFESSOR DR. ANDREW FILMER
KENNY OOI
SULWYN LOK
MODERATOR
The Great Migration to online teaching and learning has taken The Academy has engaged renowned pedagogues from across
the SEA Music Academy Online in two directions. First, the region and international keynote speakers including
to embrace the transition to technology, exploring not only Benjamin Zander. It brings these to a new online community
gear and software, but new pedagogical approaches. of teachers, students and parents who are getting to know one
Second, the most important tradition of all: building a another in a continuing conversation on making music
community in this new virtual playground. continually vital in challenging times (and better times beyond).
41
BIOGRAPHY
GABRIEL LEE
Singaporean violinist Gabriel Lee enjoys a multi-faceted and the Performer’s Present International Artistic Research
career: he performs in diverse sound worlds with his baroque Symposium. He is currently Managing Director of the
and modern violins, and builds new frontiers in the Southeast Southeast Asia Music Academy Online, Adjunct Faculty at
Asian musical landscape as a music educator and the Yong Siew Toh Conservatory of Music and the School of
entrepreneur. Gabriel has performed solo recitals in the the Arts, Founder and Director of the Music Society of
United States, Singapore, Malaysia and Myanmar, and has Myanmar, and has conducted masterclasses and coached
been featured as a soloist with the Baltimore Baroque Band, various ensembles in Singapore, Malaysia, Myanmar and
Red Dot Baroque, Resound Collective, Asian Cultural Cambodia. As a competition adjudicator, Gabriel has served
Symphony Orchestra, Orchestra of the Music Makers, on the jury of the Alessandro Giuliani Violin Competition
Malaysia Bach Festival, Jakarta Festival Orchestra, PSPA and Asia Arts Festival.
International Ensemble, Braddell Heights Symphony
Orchestra and the Peabody Conductor’s Orchestra. Gabriel has received various awards and scholarships,
including the JC Van Hulsteyn Award in Violin and the Paul
As a music educator, Gabriel constantly seeks to innovate Abisheganaden Grant for Artistic Excellence. He graduated
and incorporate technology in his teaching, and has published with two Master of Music degrees in Violin Performance and
and presented research in the Australian and New Zealand Baroque Violin Performance from the Peabody Conservatory,
Viola Society Journal, Australian Strings Association’s and a Bachelor of Music (Hons) degree from YSTCM as
Stringendo Magazine, ABRSM Music Teacher Conference Valedictorian of his cohort.
AIRIN EFFERIN
Airin Efferin is the CEO and Co-Founder of Bandung Venezuela, the Bandung Phil launched its orchestra education
Philharmonic, which was established in 2016. Since then the programs in four underprivileged communities around the
orchestra consistently brough international standard music to cities: two orphanages, one refugee learning center, and one
citizens of Bandung, Indonesia. Inspired by El Sistema in suburban center. She received her Bachelor of Arts and Master
‌‌‌‌ 42
of Music degrees in piano performance at Calvin College Indonesia with the piano trio she co-founded: Cascade Trio.
(Grand Rapids, Michigan) and Southwestern Baptist Active in the musical theatre scene in Indonesia, Airin has
Theological University (Fort Worth, Texas). produced Musikal Belakang Panggung in 2020 (an original
musical) and The Last Five Years in 2021 (an off-Broadway
Upon returning to Indonesia in 2011, she worked as Music musical).
Director in Grace Church of Indonesia with a wide variety
of responsibilities ranging from music ministry for liturgical A survivor of various traumas, she actively writes and
purposes to children, youth, and adult choir and orchestras. advocates for women empowerment in South East Asia via
From 2014-2019 she actively performed concerts around www.airinefferin.com.
ASSOCIATE PROFESSOR DR. ANDREW FILMER
Dr. Andrew Filmer is an associate professor at Sunway University the Royal Northern College of Music in the UK, and the Elder
in Malaysia and performs in the Sutera Ensemble. He holds a Conservatorium in Australia. With a dedication towards
PhD from the University of Otago, and a master’s in viola teaching, Andrew has facilitated string pedagogy workshops
performance from Indiana University South Bend. He is versatile for Trinity College London and the Associated Board of the
in the arts, combining his musicology training with that of viola Royal Schools of Music (ABRSM). He has a side speciality in
performance and a passion for teaching. Andrew has won technology for education, has facilitated workshops in Malaysia
commendations and prizes in teaching, public speaking, and New Zealand, and won Best Presentation for his research
research, performance and leadership. at the International Conference on Education and Multimedia
Technology in Kyoto, Japan in 2020. Outside of classical music,
As an active supporter of historically-informed performance, he he was a member of the jazz band The Troubles,
was part of a three-person team that constructed the first whose inaugural recording was released by Rattle Records.
harpsichord built in Malaysia. Andrew performs frequently as
a chamber musician and narrator, with occasional roles as In addition to his music degrees, he has an honours degree in
orchestra conductor and concerto soloist. He was Editor of the communications and a certificate in User Experience (UX).
Journal of the American Viola Society and is a consultant for the Andrew studied with Donald Maurice and Anthony Ritchie in
Australia and New Zealand Viola Society. His research on Bach New Zealand, and Anthony Devroye of the Avalon Quartet in
and Mozart has been presented at three International Viola the United States. He plays on a viola by Malaysian luthier Tan
Congresses and other international conferences, and has been Chin Seng, a modern bow by Benjamin Fabre of France, and
published in the US, Europe, and Australasia. Andrew has been baroque bows by Stephen Gibbs of New Zealand.
a guest speaker at the Yong Siew Toh Conservatory in Singapore,
43
KENNY OOI
A native of Penang, Kenny Ooi is an active musician and arts He has taken part and performed in masterclasses by Chris
administrator in Asia. He has performed with various orchestras, Moyse, Pasi Pirinen, Bill Williams, Anthony Plog, Jason Evans,
chamber groups and masterclasses in Malaysia, Singapore, Adam Rapa, Bill Williams, Lukas Beno, Daniel Mendelow and
Australia, Hong Kong, and many others. He founded the the Boston Brass. In 2019, he has been selected as one of the
inaugural Penang International Brass Festival in 2019, and two representatives from Malaysia to perform with the Asian
subsequently, The Rondo Production, with the aim to develop Youth Orchestra in a concert tour across 11 cities in Asia. Kenny’s
Malaysia into a country which provides top-notch quality of previous teachers include William Theis, Alexander White,
music education and performance. William Day and Dato’ Woon Wen Kin. During the Italian Brass
Week 2017 in Florence, he studied with trumpet virtuoso, such
His passion and effort have led to this recent achievement as as Sergey Nakariakov, Pacho Flores, Otto Sauter, Rex Richardson
one of the top 20 social enterprises in Australia & ASEAN, and Andrea Tofanelli. Besides performing, Kenny has been
recognised by the Australian-ASEAN Council by the Australian actively involved in concert and festival productions in Singapore
Government. In the same year, he was selected as one of the and Malaysia. He did his internship with the Conservatory
30 Young Music Leaders by the Southeast Asia Directors of Ensembles Office, where he assisted and managed the
Music (SEADOM). He has also appeared as a substitute musician ensembles’ activities.
with the Malaysian Philharmonic Orchestra. He is a recent
graduate from the Yong Siew Toh Conservatory of Music, In 2019, he founded the inaugural Penang International Brass
National University of Singapore, under the tutelage of Jon Dante Festival and The Rondo Production, as its founder and director
and Lau Wen Rong from the Singapore Symphony Orchestra. since then. He was also appointed as the Symposium Liaison
Kenny has performed with the Malaysian Philharmonic for Yong Siew Toh Conservatory of Music’s International Artistic
Orchestra, Malaysian Philharmonic Youth Orchestra, Research Symposium 2019.
Metropolitan Festival Orchestra, Orchestra of the Music Makers,
Yong Siew Toh Conservatory Orchestra, The Young Musician’s Throughout his music journey, Kenny has worked with renowned
Foundation Orchestra, Penang Philharmonic Orchestra, Penang artists, such as Bruno Weil, Gabor Takac-Nagy, Igudesman & Joo,
Symphony Orchestra, West Australian Youth Orchestra (in Perth) Jason Lai, Jorma Panula, Masaaki Suzuki, London Haydn Quartet
and Asia Pacific Youth Symphony Orchestra (in Hong Kong). and Shlomo Mintz. Kenny is currently a member of the
Federation of Asian Cultural Promotion (FACP), Classical:Next,
As a chamber musician, Kenny has performed with many Penang Arts Council, United Nations Association of Malaysia
chamber groups, such as the Brassminute Quintet, Brass5ive, Youth and Malaysian Association for Music Education.
OpusNovus, Orchestra Collective and YST Trumpet Ensemble.
‌‌‌‌ 44
SULWYN LOK
Singaporean composer-conductor Sulwyn Lok advocates for produce arrangements, backing tracks and education materials
the human connection in music and for going beyond cultural for the ”Singapore Youth Festival Goes Online!” in 2020.
boundaries. With a deep interest in global music cultures, he
integrates different folk and contemporary music elements in Sulwyn is currently pursuing a Master of Music in Music Theory
his works, which include music composed for film and the stage. and Composition at New York University, specializing in Screen
Scoring, supported by the Singapore Digital Scholarship from
His works have been showcased at the Cannes Film Festival the Infocomm Media Development Authority. Having graduated
and Busan International Film Festival, and have been as valedictorian from the National University of Singapore YST
commissioned by the Singapore Chinese Orchestra, Asian Conservatory of Music with honours (Highest Distinction)
Cultural Symphony Orchestra and Sichuan Symphony Orchestra majoring in Audio Arts and Science, Sulwyn is also lead
Tianzi Ensemble. As an educator, he has taught composition composer and co-founder of Poco Productions, and production
masterclasses and facilitated collaborations at the annual Music director and co-founder of the SEA Music Academy Online.
Society of Myanmar Festival and Competition, and was
commissioned by the Singapore Ministry of Education to

HOST
ASSISTANT PROFESSOR DR. DNEYA UDTAISUK
PRESENTERS
KHOO HUI LING, CHEN ZHANGYI AND KARST DE JONG
JEANNAE DORMIDO
CHALANKORN KADENOUM
09:00 - 09:30 hrs (GMT+7)

Getting to the Heart of Why Students Struggle: Motivation in Conservatory Music Students
Khoo Hui Ling, Chen Zhangyi and Karst De Jong
45
09:30 - 10:00 hrs (GMT+7)

Banyuhay: Tugma’s Endeavor to Survive Its Musicking Traditions in the Remote Setup
Jeannae Dormido
10:00 - 10:30 hrs (GMT+7)

Raising Awareness of 21st Century Musician Skills Through Board Game
Chalankorn Kadenoum
HOST
PRESENTERS
KALAYA PHONGSATHORN
DR. SUPPABHORN SUWANPAKDEE, DR. PONGTHEP JITDUANGPREM,

RITTICHUT PHETMUNIN, NATEEPHAT MANUCH AND SIRAVITH KONGBANDALSUK
11:00 - 11:30 hrs (GMT+7)

Capabilities and Roles of the Piccolo in the 21st Century: Performance Practice Studies
of Selected Repertoire for Piccolo by Contemporary Composers
Kalaya Phongsathorn
11:30 - 12:00 hrs (GMT+7)

PYO in Transition, Transformation of Orchestra Organisation through Online Platform
During the Pandemic
Dr. Suppabhorn Suwanpakdee, Dr. Pongthep Jitduangprem, Rittichut Phetmunin,
Nateephat Manuch and Siravith Kongbandalsuk
‌‌‌‌ 46
EMPATHY IN MUSICAL PERFORMANCE

PROFESSOR DR. MIEKO KANNO
Sibelius Academy DocMus Doctoral School,
Finland
MODERATOR
MARGARET HAYNE KIM
Music can touch you while you cannot touch music. more strategic in the approach towards musical communication.
Empathy requires both equality between the people who
Empathy characterises the power of music. We know much experience it and an effort from them in order to gain a holistic
about how empathy works in canonical art music (and in understanding of something that is previously unknown to
commercial popular music), but we know less about how to them. We focus on these features of empathy in developing
generate empathy in music. The knowledge is even more scarce the new interface in musical performance.
when it comes to communicating lesser-known or outside-of-
the-norm musics and perspectives. The empathic power of
music lies in its intangibility, yet this intangibility is often the Biography
barrier in musical communication.
Mieko Kanno is a violinist, Professor in Artistic Doctoral Studies
This presentation explores the idea of an ‘interface’ between at DocMus Doctoral School of Sibelius Academy at the
musicians and audience in contemporary art music today. University of the Arts Helsinki, and Director of the Centre for
We ask: what kind of relationship can we imagine and design Artistic Research (CfAR) in the same university. She first came
between musicians and listeners? How do we create an to international attention in the 1980s when she won prizes
environment in which non-canonical music can be in violin competitions such as the Carl Flesch, Queen Elisabeth
experienced in their own right, from their own perspectives? of Belgium and Hannover. Later she developed an interest in
These questions arise from observations in recent years that performing contemporary music and received the Kranichsteiner
how we present music is in fast transition: the transformation Musikpreis at the Darmstadt New Music Institute in 1994.
is in the how, more than in the what we present. Since then her work as performer and scholar centres on the
development of music-making as live performance practice.
I propose a system called ‘scalable performance’ to enable She is especially known for her pioneering work on notation-
calibration of concrete parameters in the development of this as-technology, and her research ranges from performing
interface for communication. ‘Scalable performance’ may be on the Violectra electric violin with live electronics and
described as an operational toolbox with parameters that can commissioning works for it, to a long-term project on
be adjusted according to each performance situation. John Cage’s Freeman Etudes. Since her doctorate in 2001,
We examine and analyse the existing system; and then consider she has worked at Durham University (2001-12, UK) and the
additional or alternative parameters and their scalability. Royal Conservatoire of Scotland (2013-16), and in Finland
Rather than creating something completely new, my intention she continues to promote artistic practice as means of
is to develop musicians’ existing craftsmanship, and become knowledge production and dissemination.
47
‘INTERFACE’ IN CONTEMPORARY ART MUSIC

HOST
PROFESSOR DR. MIEKO KANNO
Sibelius Academy DocMus Doctoral School, Finland
PRESENTERS
VILLE RAASAKKA
LUCY ABRAMS-HUSSO
MARIA PUUSAAR
MODERATOR
MARGARET HAYNE KIM
This session features ‘interface’ as a shared theme, approached art music. They present solutions to specific challenges
by three music practitioners at the DocMus Doctoral School encountered in their own work, and suggest new directions
of the Sibelius Academy, Uniarts Helsinki. The three musicians in the practice of music-making as part of a larger community
(composer, clarinetist, and violinist) search for an appropriate practice.
‘interface’ in their individual specialist practice in contemporary
AGENCY IN ECOLOGICAL COMPOSITION

VILLE RAASAKKA
Finland
Coal, oil and wood are key agents in the processes of climate ‘sonic agency’, Jane Bennett’s concept of ‘vibrant matter’
warming. In each composition of my doctoral project, I present calls for an affective relationship towards materials,
an ecological case concerning coal, oil or wood. I focus on the and Timothy Morton’s concept of ‘hyperobject’ reaches for
sounds of these materials in their various stages: their natural a direct experience of massive ecological systems.
state, their extraction, energy use, product use, and dispersion.
With close-distance recordings of these materials, I try to bring In my doctoral research, I am asking two core questions: Could
the materials as close as possible to the listener. I aim to create listening become a strategy for ecological agency, and, if so,
an affective bond between the listener and the material. could composition using such strategies be a part of the
ecological discussion? I discuss my compositional work that is
Strategies have been proposed by scholars in cultural studies: centered on concepts from sound studies, in particular the
Brandon LaBelle has proposed a listening strategy called soundscape as presented by Murray R. Schafer and the sonic
‌‌‌‌ 48
effect by Jean-François Aygoyard & Henri Torgue. Since my His orchestral work gained a recommendation at the
practice is based on transcribing field recordings, I also briefly International Rostrum of Composers in 2019. He has been
discuss the differences between imitation and representation, commissioned by the Gaudeamus Muziekweek, Royaumont
and how this has been reflected in a musicological context by and the Finnish Radio Symphony Orchestra. Raasakka’s works
Roger Scruton, Lawrence Kramer and Lydia Goehr. have been programmed at Eclat, ISCM World Music Days,
Archipel, Klang Festival, Mise-en Music Festival and the SWR
and BBC radios.
Biography
In season 2021-2022 his works will be performed by the
Ville Raasakka works with material ecology in musical Klangforum Wien and the Auckland Philharmonic. Raasakka
composition. His recent compositions are based on the sounds studied with Veli-Matti Puumala at the Sibelius Academy and
of coal, oil and wood — their formation, extraction, energy use, privately with Georges Aperghis in Paris. He is currently pursuing
product use and their dispersion. He has recorded and gathered a doctoral degree in composition at the Sibelius Academy,
sounds from coal power stations in Finland, coal mines in focusing on material ecology in musical composition.
Pennsylvania, British oil rigs, packaging materials and cosmetics
with petrochemical by-products, and forest logging and
harvesting in Finland.
CONSIDERATIONS, OBLIGATIONS,
AND EXPECTATIONS: PERFORMER
PERSPECTIVES ON CONTEMPORARY
MUSIC PERFORMANCE
LUCY ABRAMS-HUSSO
Finland
My doctoral research project is an artistic and sociocultural evolving contemporary music practice on local, regional and
study of contemporary clarinet repertoire composed by Finnish national scales.
and American composers. The aim is to further develop my
artistic practice in new music repertoire, and to understand how To demonstrate, I will take three case studies from my research
and why contemporary American and Finnish repertoire are project: the recording of my first solo CD Duel that finished this
performed and practiced differently. spring, a concert series being organized for performance in
Helsinki this fall, and my international contemporary music
I am currently halfway through the project and already I detect programming study comparing American and Northern
the effects that my research has had on how I execute my job European programming practices. Ranging in scale from
as artist and performer. I have a newly heightened awareness personal to international, all three demonstrate the intersections
of how and why I make artistic decisions, those that sound between performer, audience and composer in the performance
through the clarinet and as well as those peripheral to the music. of contemporary art music.
I would argue that these performance considerations, obligations
and expectations are unique to our present, and reflect an
49
Biography Sibelius Academy Symphony Orchestra, Mikkeli String

Orchestra, and Haapavesi Chamber Orchestra.
Lucy Abrams-Husso is a Chicago native based in Helsinki,
Finland. She received Bachelor's degrees with High Honors An orchestral musician with a passion for contemporary music,
in Clarinet Performance and Anthropology from the University Abrams-Husso’s doctoral project focuses on the study of
of Illinois Urbana-Champaign and Master of Music degrees contemporary repertoire for clarinet composed post-1980 by
from the Eastman School of Music and the Sibelius Academy. Finnish and American composers. Her research has been funded
Abrams-Husso is currently a salaried doctoral student in the by the Sigma Alpha Iota International Music Fraternity, the Jenni
Arts Study Program at the Sibelius Academy, University of and Antti Wihuri Foundation, the Finnish Cultural Foundation
the Arts Helsinki. and the Emil Aaltonen Foundation.
Formerly Co-principal and E-flat clarinetist of the Oulu Abrams-Husso’s debut solo album, Duel, will be released in the
Symphony, Abrams-Husso currently freelances in southern Winter 2021. The CD features works for clarinet and electronics,
Finland, performing with the orchestras of Helsinki, Lahti, including a newly commissioned solo work by American
Turku and Pori. She has been featured as a soloist with the composer Molly Joyce.
LEADING AS A MODE OF INTERACTION

AND COMMUNICATION IN THE
PERFORMANCE PRACTICE OF MUSIC FOR
SOLO VIOLIN
MARIA PUUSAARI
Finland
‘Leading’ means directing or conducting a music that leading a solo performance has two directions:
ensemble with physical indications while playing an leading my own actions, and leading the audience to
instrument. Leading gestures are used to guide, cue and perceive and participate in the listening.
synchronise ensemble playing both in chamber music
ensembles and in conductor-directed ensembles. Several Toccatina for solo violin by Helmut Lachenmann and Gesti for
temporal and expressive musical features can be violin, electronics and video by Jouni Hirvelä include soft
communicated through leading. dynamics and extended playing techniques that demand new
performance strategies. Through the video performance of
When I am in the ensemble my attention is focused these works, I demonstrate that leading helps to emphasize
externally on multidirectional musical interaction with rhythmic structures, musical gestures and extended playing
the other musicians and the audience. When I am in a techniques, shape phrases, and create an embodied narrative
solo performance my attention may be more focused to music. The embodied metaphors, focus of attention and
internally on my physical actions. Hence, I explore musical gestures form the framework for this presentation.
whether or not leading and the leader’s attitude can be
used as a mode of interaction and communication when
performing a contemporary solo violin work. I suggest
‌‌‌‌ 50
Biography Since 2002, Puusaari is a member of the Finnish Radio

Symphony Orchestra.
The violinist Maria Puusaari is a contemporary music activist
best known for her work with the Uusinta Ensemble and the Puusaari has recorded solo and chamber works for both CD
Uusinta String Quartet. She has commissioned and premiered and the Finnish Broadcasting Company (YLE). She has made
a large number of works. Puusaari has performed at various several TV transmissions of orchestral and chamber music
festivals and concert series in Europe and the United States. for YLE television.
She teaches contemporary music regularly to composers and
musicians in Finland as well as abroad. In 2019, Puusaari Maria Puusaari started her studies at the Oulu Conservatoire
became the artistic director of the Uuden Musiikin Lokakuu under Anne Siira and Lara Lev, and continued them with
Contemporary Music Festival in Oulu, Finland. Merit Palas at the Sibelius Academy, Helsinki. She graduated
from the Sibelius Academy in 2003 with the highest possible
Apart from contemporary music, Puusaari plays classical grades. Puusaari complemented her studies in Budapest under
chamber music in her own recitals, with the Airo String Quartet Vilmos Szabadi, and in Paris under Hae-Sun Kang. As of
as well as with the Fräki-Puusaari-Rysä piano trio. She 2017, Puusaari is doing artistic doctoral studies on
combines music and poetry in projects with the poet Suvi Valli. contemporary violin music at the Sibelius Academy under
Apart from western art music, she has co-operated with the the supervision of professor Mieko Kanno.
flamenco dancer Katja Lundén and the Beninese musician and
composer Noël Saïzonou.

HEAR AND FOUND

CURATOR
SIRASAR BOONMA
Hear and Found Co., Ltd.
In recent years, we travelled throughout Thailand to work with In this showcase event, we invite you to travel with us by
indigenous musicians to record their music in order to preserve perceiving the sounds of the Karen people together. Karen is one
overlooked sounds. We then digitized this audio and created of the biggest indigenous groups in Thailand, and are known for
a digital sound archive that people can access through an taking care of the forest and performing shifting cultivation to
online channel. We undertook this project because we want survive. Their way of life will be expressed through their music.
the new generation to listen to the songs and to get to know Plus, the sounds of their natural surroundings will be adapted
more about our ancestors. and displayed in order to help people become aware of the
atmosphere of how and where they live.
51
THURSDAY
THURSDAY 26TH AUGUST 2021
26TH
AUGUST
2021
‌‌‌‌ 52

HOST
DR. JIRADEJ SETABUNDHU
PRESENTERS
DAMRIH BANAWITAYAKIT
DR. CHOW JUN YAN
DR. JONAS BAES
TANASIT SIRIPANICHWATTANA
SIRAVITH KONGBANDALSUK AND THANAPAT OGASLERT
09:00 - 09:30 hrs (GMT+7)

Musical Explanation and Structural Analysis: Symphonic Tribute to the Late King Composed
by Damrih Banawitayakit
Damrih Banawitayakit
09:30 - 10:00 hrs (GMT+7)

Innovation and Preservation for the Practice of Composing Mixed Ensemble Composition
With Southeast Asian Traditional Instruments
Dr. Chow Jun Yan
10:00 - 10:30 hrs (GMT+7)

On How a Work Becomes a ”Work”: Aesthetics, Performance and the Reshaping
of a Musical Tradition
Dr. Jonas Baes
11:00 - 11:30 hrs (GMT+7)

The Aspect of Traditional Symbolic Notations Adapts to Modern Music Notations and Its
Reflection on Music Performance
Tanasit Siripanichwattana
11:30 - 12:00 hrs (GMT+7)

Buzzwire for Trombone, Sensor and Computer: Developing a New Tradition of Electroacoustic
Performance With an Installation
Siravith Kongbandalsuk and Thanapat Ogaslert
53

HOST
DR. THANAPOL SETABRAHMANA
PRESENTERS
YOUNJEE PARK
YOOL LEE
PUNTWITT ASAWADEJMETAKUL
WONG YONG EN AND LEIA DEVADASON
09:00 - 09:30 hrs (GMT+7)

A Hybrid Performance LYE-BUHL (1968/2021) in the Pandemic Era
YounJee Park
09:30 - 10:00 hrs (GMT+7)

The Song and Dance for New Hope
Yool Lee
10:00 - 10:30 hrs (GMT+7)

Another Metaphor of Traditions in Transition: From a Mission in Taekwondo to a Transmission
in Thai Traditional Music
Assistant Professor Dr. Dneya Udtaisuk

11:00 - 11:30 hrs (GMT+7)
Applying Daito Ryu Body to Body Teaching into Music
Puntwitt Asawadejmetakul
11:30 - 12:00 hrs (GMT+7)

Devotions: Choreographing Western Operatic Repertoire With Indian Dance Vocabulary
Wong Yong En and Leia Devadason
‌‌‌‌ 54
CURATING THE CONNECTIONS:

RECENT CURRICULUM APPROACHES
AT HIGHER MUSIC INSTITUTIONS
DR. PAUL CRAENEN

Lector Music, Education & Society
Royal Conservatoire The Hague,
Netherlands
MODERATOR
Education in European music conservatories has long been Biography

founded on disciplines and traditions whose cultural relevance
and authority were not in question. The transfer of skills and Paul Craenen is a researcher, composer and music curator and
expertise within these disciplines was mainly based on master- a frequently demanded expert at the intersection of artistic
apprentice learning models. Recent social and cultural practice, education and research. He studied piano and
developments, a rapidly changing professional landscape, and chamber music at the Lemmens Institute, Leuven and received
the increasing importance of cross-disciplinary values have a PhD from Leiden University (2011) for an artistic research
put pressure on this traditional one-to-one learning model. on the status of the performing body in contemporary
composed music. His thesis has been published by Leuven
As a result, curricula in higher music education are evolving University Press under the title "Composing under the Skin:
towards more modular and flexible programmes in which the The Music-making Body at the Composer's Desk" (2014).
student is given the responsibility for creating coherence within He taught piano and experimental music at various music
the learning trajectory. This shift raises new questions about schools and intermedia studies at the Conservatory of
expertise, professionalism and assessment in higher music Amsterdam. He has been director of Musica, a Flemish
education. Using the example of recent master curriculum organisation for art education, from 2012 to 2018.
reforms at the Royal Conservatoire in The Hague, I will address In 2018, he was appointed Research Professor and head
some of the challenges of a radically student-centred of the lectorate Music, Education and Society at the
curriculum. I propose a role for music conservatories to foster Royal Conservatory The Hague. He is also a guest lecturer
new connections, but also to curate exchanges between at Leiden University.
traditional and emerging areas of expertise in a critical way.
55
CURATING THE CONNECTIONS:

RECENT CURRICULUM APPROACHES
AT HIGHER MUSIC INSTITUTIONS:
STUDENT CONTRIBUTIONS
HOST
DR. KATHRYN COK
Head of Master Research, R
oyal Conservatoire The Hague,
Netherlands
PRESENTERS
RENEE JONKER
IRMA KORT
NOPPAKORN AUESIRINUCROCH
ALESSANDRO DI GENNARO
DR. KATHRYN COK

Head of Master Research,
Netherlands
Biography She works regularly as a soloist and continuo player with the
Amsterdam Baroque Orchestra, and other important early
Kathryn Cok pursues a varied career as a harpsichordist, music ensembles in Europe such Het Nederlands Kamerkoor,
fortepianist and academic on both sides of the Atlantic. Het Tulipa Consort, Musica Temprana, and Harmonie
She is well sought after both as a soloist as well as a continuo Universelle. In addition, Kathryn works with top symphonic
player. Born in the city of New York, USA, Kathryn now lives orchestras such as Het Concertgebouw Orkest, Deutsches
in The Hague, Holland where she completed a Masters degree Symphonie-Orchester Berlin and Berliner Philharmoniker.
at the Royal Conservatoire and was awarded her doctoral Kathryn performs regularly as a soloist in many of the world’s
degree from Leiden University on the subject Basso Continuo most renowned concert series and early music festivals such
sources from the Dutch Republic 1620-1790. Kathryn won as Oude Muziek Utrecht, Brunnenthaler Concert Zomer,
first prize in the first solo competition for baroque instruments Amherst Early Music Festival and the Bodensee Festival.
in Brunnenthal, Austria. Kathryn is co-founder of the Caecilia-Concert, a dynamic
‌‌‌‌ 56
international group of instrumentalists specialising in Kathryn teaches at the Royal Conservatoire in The Hague
performance and research of 17 th century music for where she is also Head of Master Research. An active
instruments and voices and Concerto Delaborde, specialising researcher, she regularly gives lectures about her research,
in 18th century repertoire for winds and strings. and contributes to music related magazines and journals
such as Harpsichord and Fortepiano magazine, Tijdschrift
In addition, she forms a duo with her husband, bassoonist Oudemuziek, and Early Music America. In 2019, Kathryn
Wouter Verschuren performing well-known and unfamiliar was made a member of Het Clavecimbel Genootschap.
work for historical bassoon and harpsichord/fortepiano.
WHAT IS THE WORD

WHEN MUSICIANS SPEAK
RENEE JONKER
Netherlands
”What is the word,” this is the title of a text Irish writer Biography
Samuel Beckett wrote after having suffered from aphasia.
In fact, it is the last text he prepared for publishing. Interesting Renee Jonker studied classical percussion with Frans van der Kraan
is the absence of a question mark in the title. This text inspired at the Royal Conservatoire in The Hague. For 30 years he played
composer György Kurtág to write a pivotal work in his oeuvre: with Slagwerk Den Haag, the Amsterdam based
Samuel Beckett: What is the word Op. 30b. Kurtág wrote the Asko|Schönberg Ensemble and Ensemble Modern in Frankfurt
piece for Hungarian actress Ildiko Monyók, who suffered from and as such worked closely together with many composers.
aphasia and regained her ability to speak after a long period He also participated in music theatre productions in Italy and
of stammering. The question whether music can be referential Germany and was on advisory boards for various funds in
and be the carrier of meaning stands at the core of this study. The Netherlands and IRCAM in Paris. He presented radio and
Most people know moments in which they have experienced television programs for the Dutch national broadcast
music as very meaningful. This research is asking fifteen and was a member of the Dutch Arts Council. Since 2002
musicians (including György Kurtág) that create such he has been director of the Société Gavigniès, a private fund
meaningful moments as composer, improviser or interpreter for music. In 2012 he was appointed Head of the Master
what they have to say about the moments in which their music New Audiences and Innovative Practice at the Royal
'does the talking'. What is the word when musicians speak. Conservatoire. In 2019 Renee Jonker curated Aus Licht,
Is that a question or a statement? What can they say about a co-production of the Holland Festival, the Dutch National
their intentions when composing or playing? And if intentions Opera and the Royal Conservatoire around the music of
are projected in a musical performance, who is projecting? Karlheinz Stockhausen.
57
HOW CAN AUTONOMY AND ACTIVE

LEARNING BE STIMULATED IN A BLENDED
OBOE CLASS PROGRAM?
IRMA KORT
Netherlands
This research is an exploration into stimulating autonomy and combined aspects of active learning and self-regulation. After
active learning in musical tuition. Through an explorative three design cycles, there is a blueprint of a toolkit that can
journey in my teaching practice, I developed tools to increase be used in a flexible way and there is a blueprint for blended
autonomy, active learning and self-regulation in students, using learning in instrumental music classes. The changes in my
the self-determination theory, new learning and self-regulation teaching style, the implementation of the learning theories and
as the main learning theories to find answers to my research the reflections on the program using the online environment
question. In my lesson practice, students rarely come in as had a great impact on the teacher-student dialogue, the content
active, self-directing autonomous learners. However, literature of my lessons and the overview of the program. In students, I
and the experiences of other teachers show us that students saw an increase in motivation, autonomy and effectiveness.
— even beginners — can learn to become active, self-directed They are very engaged young learners, they learned to choose
learners. It is not common practice yet to implement these repertoire and strategies in their practice, they are able to plan,
theories in music classes. This is why I would like to create a practice and reflect on their process and they have covered
toolkit and a user manual for teachers who would like to more repertoire and technique over the last year in comparison
incorporate autonomous supportive teaching and self- to the year before. They started sharing their music outside of
regulation in their practices. I will also create a blueprint for classes and started thinking about their own goals in their oboe
working with blended programs in music classes. A flipped practice.
classroom can trigger an ongoing learning process in the week,
it can aid students in their practice and it is a tool to reflect on
teaching practices, teaching styles and programs. The research Biography
took place in the BASIS oboe classes at the School for Young
Talent, in The Royal Conservatoire of The Hague. There were Irma Kort (1975) started her oboe studies at the Prins Claus
5 beginning oboe players, in the age group of 7 till 13 years. Conservatoire in Groningen, with Frank Mulder. She finished
I used a combination of design and action research. With the her bachelor and master degree at the Royal Conservatoire of
design research, I developed the online learning space and The Hague, with Bart Schneemann. During her master degree
the tools for active learning and self-regulation. With action she studied with Omar Zoboli at the Musik-Akademie Basel.
research I reflected on my teaching, students learning, She is a member of the Netherlands Wind Ensemble and the
development and well-being and the use of the tools. Martin Fondse Orchestra. She was the principal oboe player
of The Ballet Orchestra in Amsterdam and played English Horn
It was possible to use learning theories in different ways. I used in the BBC Symphony Orchestra in London. She finished her
tables and frameworks to reflect on my teaching, I used existing Master in Music Education in June 2021 as a teacher at The
tools, I tailored tools to the age group of my students and I Royal Conservatoire of The Hague.
‌‌‌‌ 58
STUDENT CONTRIBUTIONS
NOPPAKORN AUESIRINUCROCH AND ALESSANDRA DI GENNARO
The world is changing and the demands being made on student’s artistic and intellectual development. Two recently
musicians and music students are growing all the time. They graduated Masters students, Noppakorn Auesirinucroch and
are not only expected to deliver excellent artistic products, Alessandra Di Gennaro will contribute to the theme of the
they must also be capable of reflecting and innovating. In PGVIM conference, Traditions in Transition via their own,
addition to education and production, therefore, the third pillar recently completed Master research projects. A Q&A will
of the Royal Conservatoire’s activities is research. The research follow and discussion is welcome.
component in the educational programs focuses on the
INNOVATIVE PRACTICE OF ENHANCING

MUSICAL PERCEPTIONS
NOPPAKORN AUESIRINUCROCH
MMus, Royal Conservatoire The Hague,
Netherlands
Since ancient civilisations and cultures, music has infiltrated the importance of the collaborative process, and further, to
deeply into human rituals, whether in religious practices, wars, introduce crossmodal correspondence to the general audience.
concert halls, or restaurants. Music has always been connected
with other practices or social movements from time to time.
In ancient society, humans usually used music in combination Biography
with food to fulfil their desires, need for pleasure, or their own
prosperity in the form of a feast. Even in our time, a musical Bangkok-born guitarist Noppakorn Auesirinucroch has
element is indispensable in a restaurant setting. There is various participated in many prestigious masterclasses, competitions
evidence in our history that humans are more likely to gain and music festivals worldwide and received several awards
more pleasure and satisfaction when two or more sensory and recognitions during his study. Besides instrumental solo
modules are congruently in the same context. The fascinating achievements, he actively participated in various
results of combining sensories affect the researcher exploring collaborative projects.
a specific sensorial phenomenon: a crossmodal correspondence.
He obtained his B.M. and M.M. in the major of classical guitar
The study aims to introduce another inventive method of performance at Koninklijk Conservatorium, The Hague,
presenting music by comprehending and using crossmodal The Netherlands, with Professor Enno Voorhorst. He was
correspondences to design multisensory performances with selected for ”Fund for Excellence,” the full scholarship for the
an emphasis on sound-taste associations. This research is best Master’s candidates for his M.M. in classical guitar
designed to inspire the artistic community by demonstrating performance at Koninklijk Conservatorium, The Hague,
59
with Professor Zoran Dukic. He received the absolute highest Currently, Noppakorn conducts research on the topic of
mark with distinction for his master final presentation. ”Multisensory sonic experiences” in cooperation with an
Noppakorn had also studied with world-known classical external mentor, Charles Michel, a former chef in residence
guitarists, including Roland Dyens, Costas Cotsiolis, at the Experimental Psychology Department, Oxford University
Raphaella Smiths, Xuefei Yang, Aniello Desiderio
and Duo Melis. Currently, he works as a part-time guitar instructor at College
of Music, Mahidol University, as well as a guitarist in Tacet(i)
Apart from the classical side, he also dedicates himself to ensemble and organizes music events across Southeast Asia,
contemporary music, through which he explores several East Asia, Europe, and the U.S. under the name of the Thailand
musical ideas for his performance, such as sound, time, space, Music and Art Organization and Southeast Asia New Music
multi-sonic cultures, and cross-modal relations. and Arts Foundation.
PIANO FOUR-HANDS, ”ONCE AGAIN”
ALESSANDRA DI GENNARO
MMus, RoyalConservatoire The Hague,
Netherlands
Everyone knows that the piano four-hands medium was and performance innovation which absolutely deserves to be
extremely popular in Europe during the 18 and the 19
th th
discovered, performed and analyzed.
century; everyone can whistle at least couple of masterpieces
from the piano four-hands literature of that time; but has My trust is that this debate can raise awareness about the topic,
somebody wondered why this fascinating practice almost encourage pianists to consider the piano four-hands repertoire
disappeared during the 20 century and why in that period
th
not only a valid pedagogical tool but also an exciting concert
the duet music was definitively stigmatized as an ”inferior medium, with the ultimate aim of inspiring composers to write
genre” despite its unquestionable beauty? new adventurous pieces and contribute to the actual
renaissance of the medium.
My contribution will frame the medium in the concept of
musical ”tradition” in its pure anthropological meaning taking
the cue from my research ”Piano four-hands, ‘once again’” (see Biography
https://www.researchcatalogue.net/view/1183802/1183803)
where I tried to answer extensively these questions by setting Born in 1994 in L’Aquila (Italy), Alessandra began her piano
the history of the piano four-hands medium into its socio- studies at age 4 with her father. In 2005 Elena Matteucci
cultural context, with particular attention to its evolution and welcomed Alessandra to her class at the Conservatorio di
to the agents of change: demise, innovation, revival. Musica ”Alfredo Casella” in L’Aquila, where in 2014 she
obtained her Master degree ”cum laude.” In 2015, after
The results of the investigation point out that once the historical winning Erasmus scholarship, she moved to The Hague (NL),
and sociological factors that have allowed the extreme where she is now completing her master studies at ”Koninklijk
popularity of the medium fell short, it could finally assume a Conservatorium” Den Haag under the guidance of pianist Ellen
completely new value and it could be a site of compositional Corver. In 2019 she obtained her second Bachelor Degree in
‌‌‌‌ 60
Classical Piano with a special mention assigned by the jury Her education in multiple international environments makes
for her ”artistic personality.” Alessandra a refined artist with consuming passion, endless
enthusiasm and broad interests, in which her excellent
During her studies in Italy and in Holland, she had the chance technique meets brilliant musical intuition for chamber music,
to meet great internationally acclaimed professors such as ensemble leading and contemporary repertoire.
Frank Braley, Denis Proshayev, Kalman DraYi, Ronald
Brautigam, Naum Grubert, David Kuyken, Vsevolod Dvorkin, ABOUT | Alessandra Di Gennaro
Severin von Eckardstein, Boris Petrushansky, Kostantin Bogino, https://www.alessandradigennaro.com/about/
Franco Medori, Laura Pietrocini, Daniel Buranovsky, Fausto
Di Cesare etc.
REINVENTING EXPRESSIVE TRADITIONS:

REFLECTIONS ON THE LEGACY OF RAMON
P. SANTOS
PANELLISTS
DR. RAMON P. SANTOS
PROFESSOR CHINO TOLEDO
DR. JONAS BAES
DR. VERNE DELA PEÑA
HOST
DR. JEAN-DAVID CAILLOUËT
In celebration of Professor Ramon P. Santos’ 80th birthday, be primarily on aspects of his work that combine Western
we are extremely pleased to announce the online premiere and non-Western sounds, taking inspiration from local
of the documentary film ‘TINIG-TUNOG-AN: The Life and ethnic musical systems and modes of thinking to shape the
Work of Ramon Pagayon Santos’. This feature film covers fabric of a unique modern musical language.
the exceptional journey of Dr. Santos as one of the most
prolific and innovative composers in the Philippines and Ramon Santos is a prolific ethnomusicologist who has
Southeast Asia. written extensively about the Philippines as well as the
cultures of Southeast Asia. His research process has greatly
During this introductory online discussion, Ramon Santos informed the evolution of his rich compositional output.
and his guests will engage in an exploration of the
multifaceted oeuvre of the National Artist. The focus will
61
BIOGRAPHY
DR. RAMON P. SANTOS

National Artist for Music (2014),
the Philippines
Ramon Pagayon Santos, composer, conductor and musicologist, execution of sound-creating tasks. All these would lead to the
is currently the country’s foremost exponent of contemporary forging of a new alternative musical language founded on a
Filipino music. A prime figure in the second generation of profound understanding and a thriving and sensitive awareness
Filipino composers in the modern idiom, Santos has of Asian music aesthetics and culture.
contributed greatly to the quest for new directions in music,
taking as a basis non-Western traditions in the Philippines and Simultaneous with this was a reverting back to more orthodox
Southeast Asia. performance modes: chamber works and multimedia works
for dance and theatre. Panaghoy (1984), for reader, voices,
He graduated in 1965 from the UP College of Music with a gongs and bass drum, on the poetry of Benigno Aquino,
Teacher’s Diploma and a Bachelor of Music degree in both Jr. was a powerful musical discourse on the fallen leader’s
Composition and Conducting. Higher studies in the assassination in 1983, which subsequently brought on the
United States under a Fulbright Scholarship at Indiana victorious People Power uprising in 1986.
University (for a Master’s degree, 1968) and at the State
University of New York at Buffalo (for a Doctorate, 1972) An active musicologist, Santos’ interest in traditional music
exposed him to the world of contemporary and avant-garde cultures was heretofore realized in 1976 by embarking on
musical idioms: the rigorous processes of serialism, electronic fieldwork to collect and document music from folk religious
and contemporary music, indeterminacy, and new vocal and groups in Quezon. He has also done research and fieldwork
improvisational techniques. He received further training in among the Ibaloi of Northern Luzon. His ethnomusicological
New Music in Darmstadt, Germany and in Utrecht, the orientation has but richly enhanced his compositional outlook.
Netherlands. His initial interest in Mahler and Debussy while Embedded in the works of this period are the people-specific
still a student at UP waned as his compositional style shifted concepts central to the ethnomusicological discipline, the
to Neo Classicism and finally to a distinct merging of the varied translation of indigenous musical systems into modern musical
influences that he had assimilated abroad. discourse, and the marriage of Western and non-Western sound.
An intense and avid pedagogue, Santos, as Chair of the
His return to the Philippines marked a new path in his style. Department of Composition and Theory (and formerly, as Dean)
After immersing himself in indigenous Philippine and Asian of the College of Music, UP, has remained instrumental in
(Javanese music and dance, Chinese nan kuan music), espousing modern Philippine music rooted in old Asian
he became more interested in open-ended structures of time practices and life concepts. With generation upon generation
and space, function as a compositional concept, environmental of students and teachers that have come under his wing, he
works, non-conventional instruments, the dialectics of control continues to shape a legacy of modernity anchored on the
and non-control, and the incorporation of natural forces in the values of traditional Asian music.
‌‌‌‌ 62
PROFESSOR CHINO TOLEDO

Professor of music composition and theory, University of the Philippines
Executive director of Miriam College Center for Applied Music
Music director of Metro-Manila Concert Orchestra (MMCO) and GRUPO 20/21,
the Philippines
Josefino Chino Toledo (b. 1959) is a composer-conductor. Toledo is cited in the New Grove Dictionary of Music and
He is a full professor of music composition and theory at the Musicians (UK); 20th Century Composers of Asia (Japan);
University of the Philippines; executive director of Miriam Komponisten der Gegenwart (Germany); Philippine
College Center for Applied Music; and currently the music Encyclopedia for the Arts; Who’s Who in International Music
director of Metro-Manila Concert Orchestra (MMCO) and (England); and Who’s Who in Australasia and Far East (England).
GRUPO 20/21, a modular music ensemble.
Toledo’s music has been described as "pure and powerful,"
Toledo is noted for premiering works of Filipino composers as and has been cited for its fusion of contemporary western
well as other Asian composers and has conducted concerts in language and Southeast Asian aesthetics. Music critic
Japan, Indonesia, Australia, and China. According to Philippine Rosalinda Orosa described Toledo as “a composer-conductor
art critic and National Artist Leonor Goquingco, “Toledo is of considerable worth” and “...an ingenious, remarkably
one of the (Philippines’) finest and best conductors ever.” original composer of singular creativity and imagination.”
His own compositions are regularly performed in international Toledo’s music is characterized by great energy and often bears
festivals, concerts, music competitions and recitals in US, a relationship to the traditional music of Southeast Asia.
Canada, Lithuania, Brazil, Israel, Australia, New Zealand, Italy,
France, Austria, Netherlands, Germany, Switzerland and The U.S. premiere of his composition “SULYAP SA SIMBAHAN
several Asian countries. NG QUIAPO MULA SA KALYE ECHAGUE” at Lincoln Center,
New York was critically praised by the New York Times and
Among his awards are the University of the Philippines Artist New York Concert Network. His critically acclaimed new opera
III (highest university artist rank) for 2009-2014, The 2014 “San Andres B.” received Philstage / Gawad Buhay awards for
Natatanging Guro (Outstanding Mentor) – UP Gawad Outstanding Musical Direction, and Outstanding Original
Chancellor, The UP Centennial Professorial Grant, Musical Work.
The Outstanding Young Men Award (TOYM, Arts), International
Award for the Arts, Civitella Ranieri Fellowship Award in Italy, Toledo’s works also include music for theater, films and
the ASCAP-Raymund Hubbel Award in Composition, PMPC revisions and editing of Philippine Sarsuwelas.
Star Award for Best Music, The Golden Screen Award for Best
Music, Outstanding Distinguished Alumni Award from Far
Eastern University, and Chancellor Award/s for Outstanding
Musical Works from the University of the Philippines.
63
DR. JONAS BAES

the Philippines
(See page 29)
DR. VERNE DELA PEÑA

Dean, College of Music,
Director of the UP Center for Ethnomusicology,
the Philippines
(See page 17)
TINIG-TUNOG-AN: THE LIFE & WORKS

OF RAMON PAGAYON SANTOS
A Documentary by Dr. Jean-David Caillouët - 145 mins
Celebrating the legacy of Ramon P. Santos, this film-portrait illustrates not only the broad scope
of the composer’s vast musical output but also offers in-depth insights into his philosophies
about culture, art and history. Combining exclusive interviews as well as a wealth of archival
materials, the documentary investigates the exceptional vision of an artist driven by a vision
of unity, connecting people and expressive traditions through an eclectic and yet incredibly
coherent oeuvre.
‌‌‌‌ 64
65
FRIDAY
FRIDAY 27TH AUGUST 2021
27TH
AUGUST
2021
‌‌‌‌ 66
RENEWED
HOST
SEADOM 30 UNDER 30
KHOO HUI LING
PANELLISTS
CALISTA LIAW, Singapore
HTET ARKAR, Myanmar
KENNY OOI, Malaysia
LAWRENCE GALVE PARCON, the Philippines
NICKY JUANITE, the Philippines
NIRANJAN PANDIAN, Singapore
RACHEL HO, Singapore
STEFANIE QUINTIN, the Philippines
SULWYN LOK, Singapore
THANISA DURONGKAVEROJ, Thailand
PROVOCATEUR
PROFESSOR BERNARD LANSKEY
MODERATOR
‘ReNEWed’ features the artistic work, research projects, 09:00 - 10:00 hrs, ”If we are to preserve culture, we must
outreach endeavours and educational ideals of SEADOM 30 continue to create it.” - Johan Huizinga
Under 30 artists. In this showcase, these innovative musicians
question how past values and traditions may be re-evaluated Panellists
and rediscovered. Through honest dialogues, they seek to Sulwyn Lok (Singapore), Stefanie Quintin (Phillipines), and
identify and overcome prejudices between the old and new. Htet Arkar (Myanmar)
Guided by a strong desire to serve the community around
them, they will attempt to show how the above juxtapositions Presenting outstanding artistic output of SEADOM 30 Under
can actually be opportunities in the Southeast Asian musical 30 artists to launch a discussion of how innovation and
context. Hosted by Anothai Nithibhon and Khoo Hui Ling, preservation of culture may be bridged.
alongside provocateur Bernard Lanskey, ‘ReNEWed’ comprises
three sessions, each inspired by a quote:
67
10:00 - 11:00 hrs, ”Potential audiences are real people found 11:00 - 12:00 hrs ”If we teach today’s students as we taught
in real places.” - Suzanne Lacy yesterday’s, we rob them of tomorrow.” - John Dewey
Panellists Panellists
Kenny Ooi (Malaysia), Nicky Juanite (Phillipines), Niranjan Thanisa Durongkaveroj (Thailand), Lawrence Galve Parcon
Pandian (Singapore), Rachel Ho (Singapore) (Phillipines), Calista Liaw (Singapore)
Presenting meaningful community projects that SEADOM 30 Presenting the teaching and learning experiences of SEADOM
Under 30 artists have embarked on, as a means to explore 30 Under 30 artists, and how they redefine what it means to
how new audiences in the arts may be cultivated. teach for tomorrow.

HOST
APINPORN CHAIWANICHSIRI
PRESENTERS
ASSISTANT PROFESSOR CHAOMANAT PRAPAKDEE
SARUPONG SUTPRASERT
DR. PONGTHEP JITDUANGPREM
STUDIO ENSEMBLE LABORATORY
09:30 - 10:00 hrs (GMT+7)

Looking Back and Moving Forward: Three Decades of Music Culture Study in the Thai Social
Context
Assistant Professor Chaomanat Prapakdee
10:00 - 10:30 hrs (GMT+7)

Witness of Change in Thai Gender Ideology
Sarupong Sutprasert
10:30 - 11:00 hrs (GMT+7)

When a Music Education Volunteer Organization Transitions to a Social Organization
Dr. Pongthep Jitduangprem
11:00 - 11:30 hrs (GMT+7)

A Story of Someone, Sounds the Song of Music: A Showcase
Studio Ensemble Laboratory
‌‌‌‌ 68
TRANSCULTURAL TECHNOLOGIES
FOR CREATIVE EXPRESSION
KEYNOTES & HOSTS

LAMTHARN HANOI HANTRAKUL
PRESENTERS
ASSOCIATE PROFESSOR BOB L. T. STURM
ISABELLA SALAS
KHYAM ALLAMI
MOISÉS HORTA
MODERATOR
DR. POUMPAK CHARUPRAKORN
Faculty of Music, Silpakorn University, Thailand
Transcultural Technologies empower cultural pluralism at every This workshop brings together researchers, artists and
phase of engineering and design. We often think of technology practitioners at the forefront of Music and Technology that
as a neutral tool, but technology is always created and optimized transcend geographical boundaries. We will learn about
within the cultural scope of its inventors. This cultural mismatch innovations from musical traditions including the Middle East,
is most apparent when tools are used across a range of South America, Irish and Scandinavian Folk tunes and beyond.
contrasting traditions. Music and Art from different cultures, and What will music of the future sound like? What will art of the
the people that create and breathe these mediums, are an future look like? What will creative tools of the future feel like?
uncompromising sandbox to both interrogate these limitations Come and find out!
and develop breakthroughs that empower a plurality of cultures.
BIOGRAPHY
LAMTHARN HANOI HANTRAKUL

AI Research Scientist @Tiktok,
Ex Google AI Resident
69
Hanoi is a Bangkok-born Shanghai-based Cultural Technologist, At TikTok, he continues to develop AI tools that empower
Research Scientist and Composer. As an AI researcher, Hanoi music making across borders and skill levels. As a Cultural
focuses on audio ML that is inclusive of musical traditions Technologist, Hanoi has won international acclaim for his
from around the world. At Google AI, he co-authored the cross-cultural fiddle ”Fidular” (Core77, A'), which has been
breakthrough Differentiable Digital Signal Processing (DDSP) displayed in museums and exhibitions in the US, EU and Asia.
library with the Magenta team and led its deployment across He is fluent in French, Thai, English and is working on his
two Google projects: Tone Transfer and Sounds of India. Mandarin.
ASSOCIATE PROFESSOR BOB L. T. STURM

KTH Royal Institute of Technology, Stockholm,
Sweden
Bob Sturm is Associate Professor of Computer Science at the of applications of artificial intelligence to music, and in
KTH Royal Institute of Technology, Stockholm, Sweden. He particular the living traditional music of Ireland and
has degrees in physics, music, multimedia, and engineering, Scandinavia. He also plays Ai-generated folk music on his
and specializes in signal processing and machine learning accordion (https://tunesfromtheaifrontiers.wordpress.com).
applied to music data. He currently leads the MUSAiC project
funded by the European Research Council (https://musaiclab. https://musaiclab.wordpress.com/
wordpress.com), which is exploring the benefits and detriments https://tunesfromtheaifrontiers.wordpress.com/
ISABELLA SALAS
Isabella Salas Studio
Isabella Salas is an AI interdisciplinary artist and producer design and sound architecture of healthcare facilities to reflect
working at the Phi Center in Montreal, Canada. She has a BFA and serve their cultural communities, while also contributing
degree in Film Production, and is a self-taught multimedia to patient and staff health and well-being.
director and creative director, specializing in neuroaesthetics
creatively applied to biometrics. On her artistic projects, her mission is to preserve nature and
recover ancient wisdom with AI to create more meaningful
Currently, she is the creative lead for the Fundamental and personalized collective experiences.
Frequencies and Memory Lane, presenting at the Health Design
Forum, USA. These prototypes aim to implement the inclusive www.isabellasalas.com
‌‌‌‌ 70
KHYAM ALLAMI
Royal Birmingham Conservatoire, part of Birmingham City University,
United Kingdom
Khyam Allami (born in Damascus 1981) is an Iraqi-British microtonality. He holds a BA and Masters in Ethnomusicology
multi-instrumentalist musician, composer, researcher and from SOAS, University of London and is currently completing
founder of Nawa Recordings. Primarily a performer of the an M4C/AHRC funded PhD in composition at the
Oud, his artistic research focuses on the development of Royal Birmingham Conservatoire, Birmingham City University.
contemporary and experimental repertoire based on the
fundamentals of Arabic music, with a focus on tuning and https://khyamallami.com
MOISÉS HORTA
moiseshorta.audio / 𝔥𝔢𝔵𝔬𝔯𝔠𝔦𝔰𝔪𝔬𝔰
Moisés Horta Valenzuela (1988, he/him) is an autodidact sound others. He is currently leading independently organized
artist, creative technologist and electronic musician from workshops around creative AI art practices centered around
Tijuana, México, working in the fields of computer music, sound and image synthesis and the demystification of neural
Artificial Intelligence and the history and politics of emerging networks, developing SEMILLA, an interface for interacting
digital technologies. As 𝔥𝔢𝔵𝔬𝔯𝔠𝔦𝔰𝔪𝔬𝔰 , he crafts an uncanny with generative neural sound synthesizers, and OIR, an online
link between ancient and state-of-the-art sound technologies channel for semi-autonomous meta-DJ trained on thousands
channeled through a critical decolonial theory lens in the of hours of visuals and music from global electronic club music
context of contemporary electronic music and the sonic arts. and techno.
His work has been presented in Ars Electronica, MUTEK
México, Transart Festival, MUTEK: AI Art Lab Montréal, Elektron http://moiseshorta.audio
Musik Studion, CTM Festival: Music Makers Hacklab, among http://hexorcismos.bandcamp.com
71
PERFORMANCE 19:00 - 21:30 HRS (GMT+7)
ORIGINS AND DESTINATIONS:

THE TRANSITORY PHASE
CURATOR
DR. JEAN-DAVID CAILLOUËT
To close our week-long series of reflections and explorations re-imagining of the motet combining an original text by
of the concepts of traditions and transitions, we have selected Margaret Hayne Kim with the melody of the chant Sitientes
pieces that illustrate the theme from several distinct perspectives. venite ad aquas, pondering the role of history as a source of
The evening event compiles together an eclectic mix of musical inspiration and stability amid the constantly morphing myriad
offerings, each celebrating in their unique ways the idea of impressions of our present realities.  Dion Nataraja’s
belonging and departure, traveling from traditional origins to ‘Herutjokro as Posthuman’ attempts to deconstruct and build
novel destinations.  Flautist Phataporn Preechanon takes us new ideas based on the Javanese idea of rasa; rasa is
through ‘The half-light of dawn’, a suite of twelve sketches by secularized, reinterpreted, and translated into formal and
the South Korean composer Hyeri Kang, evoking the tradition extra-musical processes through the use of extended techniques
and environment of Asia in a modern sonic context. Jonathan Day on the gamelan, improvisation, alternative tuning (the gendèr
takes us on a mythological journey with 'the Horned Man and suling in this piece are re-tuned), spectral harmony,
and the Dragon’ in which the Tescatlipoca disguised as and algorithmic processes.  The Pink Sky Orcas give us an
Wepwawet steals the sun, and Qetzalcoatl as Y Ddraig Goch excerpt of their upcoming show at BACC in Bangkok with
with some help from Noah and a whale, rescues it de profundis, ‘Mermaid feedback’, imagining a future in which the Thai
restores it to the heavens, resurrects the skeletons and supplies capital has been submerged under rising water levels.  
them with corn. With musical accompaniment.  Italian Septian Dwi Cahyo’s ‘CO[L]OTO[MI]C[NAL]’ is based
composer Paolo Marchettini’s Ad Aquas for violin solo (2013), on the colotomic structure of Ladrang Wilujeng, a traditional
performed by violinist Margaret Hayne Kim, transforms the gamelan piece. The harmony and timbre are derived from the
ancient melody of the Gregorian chant, Sitientes venite ad spectra of each instrument in the colotomic pattern.
aquas (everyone that thirsteth, come ye to the waters) into the Micro-intervals are explored and the resulting new sonorities
language of contemporary music. As the text of the chant applied to the classical guitar, with traditional materials serving
extends an invitation to the spiritually thirsty, so also the music as a starting point to open new horizons.
of Ad Aquas invites the listener to reflect upon the simultaneity
of the timeless and the new; a coexistence that is sometimes  Nursalim Yadi Anugerah’s ‘Lawing’ interweaves memories
conflicted, yet always full of vitality. and experiences surrounding the events and issues caused by
deforestation in Kalimantan. Memories come from empirical
In the genre of the medieval motet, polyphonic vocal lines data and the data from deforestation maps, which the composer
create impressionistic lyrics above a stable cantus firmus, collected between 2006 and 2013. This data was then
usually based on a chant melody. Moment by Margaret Hayne Kim translated into a musical composition and installation piece,
& Jean-David Caillouët proposes a modern electro-acoustic including the modified-kaldii’, a modified traditional mouth
‌‌‌‌ 72
organ (free-reed) of the Dayak people. The piece is performed performed by any number of players. The overall form is clearly
by Juan Arminandi, Ridho Firman, and Nursalim Yadi Anugerah defined, as are dynamics and articulation. This process recalls
of the Balaan Tumaan Ensemble and was commissioned by the medieval idea of a canon (”rule”), using instructions to
Salihara Arts Center (Indonesia) in 2020.  Frederic Rzewski’s derive polyphonic music from a single line. The result is a
‘Coming Together’ is based on the treatment of a recitation of performance which asserts an enduring moral and musical
a text by Samuel Melville, a draftsman who became radicalized presence. Tonight’s performance features Prachaya Srisukkho,
by apartheid when his company put him to work on new bank Natpynya Kosilp, Thanapat Ogaslert, Nithit Rujikajorndej,
offices in South Africa. Here the recitation follows a few words N a w a m o n g k o l N a w a c h a i s u p a s r i , a n d Th a n a p o l
at a time, over a driving pentatonic bass line of steady 16th Anantakrittayathorn.
notes. The open instrumentation allows the piece to be
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PAPER
PAPER PRESENTATION SESSIONS
PRESENTATION
SESSIONS
‌‌‌‌ 74
TUESDAY 24TH AUGUST 2021 10:00 - 12:00 HRS (GMT+7)

HOST
MARGARET HAYNE KIM
Thailand
ARTFULLY INTERRUPTING THE FANTASY:

REIMAGINING RAVEL’ ASIE
DR. ABIGAIL SIN, PIANIST

Instructor, Yong Siew Toh Conservatory of Music,
National University of Singapore,
Singapore
JADE TAN, MEZZO-SOPRANO

Independent Artist

SULWYN LOK, COMPOSER AND SOUND DESIGNER
New York University,
the United States of America
Ravel’s gorgeous setting of Klingsor’s poem Asie is one of the not an attempt to accurately showcase Asian musical cultures.
most beloved art songs in the repertoire, yet its exoticized Rather, to borrow Edward Said’s words, ”what it is trying to
depiction of Asia, as viewed through Western orientalist lenses, do... is at one and the same time to characterise the Orient as
is discomfiting. Klingsor’s longing descriptions paint scenes of alien and to incorporate it schematically on a theatrical stage
sadistic rulers, cruel assassins and bloodshed as if they were whose audience, manager, and actors are for Europe, and only
self-evident, self-perpetuating facts. Stock characters of for Europe.”
princesses, fat bureaucrats and corrupt merchants populate
this fantasy which drifts through Persia, India and China - vast In August 2020, mezzo-soprano Jade Tan, pianist Abigail Sin
empires reduced to broad-brush stereotypes. and composer and sound designer Sulwyn Lok embarked on
a project to reframe and reimagine Ravel’s Asie through the
Ravel’s music responds to Klingsor's text with lush sororities lens of 21st Century Asian musicians. Having recorded the
conjuring an alluring, fantastical atmosphere. The orchestral song with voice and piano, we gathered a library of sounds
timbres allude to Asian instruments such as the oboe imitating and instrumental timbres and programmed them directly onto
the Sornā and the flutes portraying the Dizi. However, this was the timing and nuances of the voice-piano recording. This
75
sound design reconceptualizes Ravel’s orchestra score - itself This presentation articulates the values, process and techniques
a transcription of an abstract idea - replacing the imitation- used to create this recording, sound design and animation,
timbres with the vivid colours of various Asian traditional challenging traditional performance practice with new
instruments and natural elements like the sound of waves and technology and a contemporary South-East Asian outlook.
sea birds. This performance is presented along with animation We will also screen the completed short film (approximately
using cut-outs from traditional Persian miniatures, created in 10 mins long). Our reimagination of Asie ”artfully interrupts”
collaboration with Iranian filmmaker Mahan Khomamipour. the Oriental fantasy of Klingsor/Ravel by confronting it with
real images and sounds from the Orient.
CLAIR DE LUNE: A MUSICAL FILM EXPLORATION

OF THE 21ST-CENTURY MUSICIAN IDENTITY
LIM JING JIE
Artistic Director, Researcher and Performer for ”Clair de lune reimagined”
Teaching Assistant, Yong Siew Toh Conservatory of Music, National University of Singapore,
Singapore
”Clair de lune reimagined” is a musical film which tells the to reimagine the possibilities of music using the lens of the
story of a protagonist at odds with their truth, ultimately finding 21st-century present-day musician.
the courage and might to face reality and accept consequences.
Centered on Claude Debussy’s Clair de lune from Fêtes This project is based on predominantly Singaporean
galantes, the music is reimagined in two seemingly distinct perspectives and contexts, which could be viewed as a
elements: the first, a traditional western classical performance limitation. The members of the project and the plot of the film
of the song with some electronic modifications; the second, depend on a ”Singaporean” vision of reality. However, with
a translated rewrite of Paul Verlaine’s text in the style of Singapore being a subset of Southeast Asia, the project can
synthwave, a 1980s synthpop revival genre. With this unique nonetheless affect contemporary aesthetics and spur progress
synthesis of French melodié and synthwave, coupled with in music making within the region. This project is in no way
visual elements, we aim to reimagine the possibilities of a definitive representation of the 21st-century musician, be it
western classical music, not just in terms of performative in Singapore, Southeast Asia or the world at large, but is rather
conventions, but also in terms of stylistic interpretations. a demonstration of one new approach to music making. It is
”Clair de lune reimagined” also aims to fuel further investigation our hope that this work will serve to inspire further thought
into the ways in which we think about music in the present and introspection on the development of the music scene
day, and the evolution and restructuring of musicians’ within Southeast Asia.
identities. At its core, this project is an experiment designed
‌‌‌‌ 76
REVOLUTIONARY ASPECTS OF ROCHBERG’S CAPRICE

VARIATION FOR UNACCOMPANIED VIOLIN
KRITTAYA LORPIYANON
Thailand
Music is continually undergoing revolutionary changes in style. violinist Niccolò Paganini’s iconic Caprice 24 for violin, each
It is often the case, however, that composers acquire ideas or variation either directly quotes music from other composers
inspiration from composers of the past. In this way, revolution such as Bach, Brahms, and Schubert, or makes reference to
and tradition are linked together. In the twentieth century, musical styles of the nineteenth and twentieth century,
George Rochberg (1918-2005) was one such composer who exposing a pluralistic view of music. This paper is a critical
often borrowed inspiration from composers of bygone eras. exploration and analysis of Rochberg’s Caprice Variations as
After a major shift in his writing style in which he turned away an example of a piece that presents new ideas from the
from the serialism of his earlier works and returned to the tonal composer’s own perspective, in combination with traditional
system, Rochberg composed Caprice Variations for and modern styles.
unaccompanied violin in 1970. Based on nineteenth-century
PRASIDH SILAPABANLENG AND HIS ADVISOR KLAUS

PRINGSHEIM: CROSS-CULTURAL TRANSFER
AND TRANSITION FROM THAI TRADITIONAL
TO CLASSICAL MUSIC
ASSISTANT PROFESSOR
DR. CHANYAPONG THONGSAWANG
Thailand
Prasidh Silapabanleng, a prominent Thai composer and composed theatrical plays with his wife, Ladda, for Phakavali
”National Artist” (1988), was trained from his childhood in theatrical troupe (1947-51) and orchestral works such as
traditional Thai music by his father Luang Praditpairoh ”Siamese Suite” and ”Siang Tian”.
(Sorn Silapabanleng) before his further study in composition
at the Imperial Academy of Music, Geidai University, Inspired by Asian culture, Pringsheim wrote instrumental as
Tokyo (Japan) under the supervision of German Professor well as orchestral transcriptions of Japanese and Thai songs
Klaus Pringsheim (1883-1972), who was a former pupil of for instrumental music as well as for an orchestra. During his
Gustav Mahler and Richard Strauss. Prasidh Silapabanleng stay in Thailand in 1938, he composed ”Siamese Melodies -
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Suite for violin and piano,” op. 37, consisting of five songs by This research aims to describe how a European musician
Luang Vichitr Vadakarn. Compared to the historical recording interprets Thai traditional music with his artistic approach and
of the original songs, Pringsheim notated simple tunes for the how a Thai artist combines classical compositional technique
violin part, accompanied by a piano with dense polyphonic and Thai traditional characters in his creative works. This cross-
texture and the use of chromatic chords in the late German cultural transfer also shows the ”Traditions in Transition” of
romantic style. In the score, he also deliberately indicates the interpretation and the compositional style in each period.
musical expression and tempo markings. Since Thai songs of
this era were not normally notated in such detail, these long-
forgotten arrangements are an especially important written
source for these Siamese songs.
WEDNESDAY 25TH AUGUST 2021 09:00 - 10:30 HRS (GMT+7)

HOST
Faculty of Education, Chulalongkorn University,
Thailand.
GETTING TO THE HEART OF WHY STUDENTS STRUGGLE:

MOTIVATION IN CONSERVATORY MUSIC STUDENTS
KHOO HUI LING
Lecturer in Contextual Studies
Yong Siew Toh Conservatory of Music, National University of Singapore,
Singapore
CHEN ZHANGYI
Assistant Professor in Composition
Singapore
KARST DE JONG
Recurring Visiting Professor, Yong Siew Toh Conservatory of Music, National University of Singapore
Professor of Music Theory and Improvisation, Royal Conservatoire of the Hague
Professor of Music Theory and Improvisation, Escola Superior de Mùsica de Catalunya
‌‌‌‌ 78
It is not an uncommon scenario in music conservatories that students learned about their personality and learning styles
students are proficient instrumentalists but fare poorly in aural through tests, and designed a personal project to tackle their
skills, theory and music history. Hence, three faculty members, weaknesses. The process was mentored by faculty through
Karst De Jong, Chen Zhangyi and Khoo Hui Ling, at the individual advising sessions.
Yong Siew Toh Conservatory of Music (YST) designed a nine-
week programme to provide extra help to such students. It was found that these students faced issues that affected their
motivation to excel in various areas of their studies. This
We selected students who had low grades and high levels of reflective paper describes this nine-week study program and
absences in a first-year theory support class, and conducted offers possible solutions for motivational issues faced by music
a nine-week project for them. This project was open and students at YST.
optional for all other students too. During these nine weeks,
BANYUHAY: TUGMA’S ENDEAVOR TO SURVIVE

ITS MUSICKING TRADITIONS IN THE REMOTE SETUP
JEANNAE DORCAS DORMIDO

the Philippines
As students of musicology and performers of traditional music, from live rehearsals to online meetings raises the question:
members of Tugtugang Musika Asyatika are always conscious how can this group of young musicians sustain the musicking
of three objectives: to conserve Asian music, observe its culture traditions that their agency has upheld since its beginnings?
and traditions, and further the value of its performance as a How can they comply with these principles while physically
service to the community. Musicking activities closely follow distant?
the music cultures that the local performing group adopts. In
particular, their performances of traditional Asian music are Exercising autoethnography while following Schippers’
mostly given as an ensemble, hardly ever as solo performances. framework of ”ecosystems of music” (Schipper 2015:134-146),
Naturally, the group members enhance their musicianship this case study examines the efforts of Tugtugang Musika
while they rehearse and interact with each other. Most Asyatika to maintain its traditions as it transitions its activities
importantly, workshop-performances are designed to be online and finds revival through the creation of a year-long
experiential in accordance with the group’s long-standing project, while also documenting the obstacles it faces as a
efforts to raise global awareness of Philippine Indigenous dependent agency.
music. The recent migration of the group’s musicking activities
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RAISING AWARENESS OF 21ST CENTURY MUSICIAN SKILLS

THROUGH BOARD GAME
CHALANKORN KADENOUM
Thailand
Not only is it true that the majority of music graduates in platforms are being applied heavily in the music industry for
Thailand are working outside the music industry, but some of online teaching, asynchronous learning and live concert
those who have chosen to stay in music are unemployed due streaming. Thus, other essential skills are required by the
to the competitive nature of the industry. Factors such as job stakeholder within the industry to accomplish the job.
security, work culture and overall disequilibrium in Thailand’s Musicians are obliged to enhance other necessary skills, apart
classical music industry are accountable for this problem. Thus, from performing, to adapt in the changing world.
Thai musicians need to adapt in order to thrive in their musical
careers. Educational institutions for musicians are often not I have studied and analyzed the 21st century skills needed by
able to adequately prepare music students for the fast-moving classical musicians in order to create guidelines for music
world. Most of the courses offered only focus on developing students, and a board game based on these guidelines.
students’ musical skills. Not enough time is spent on the career Following the development of the game, I conducted a board
skills needed for working within the musical field. game tournament and a seminar on this topic. This presentation
will outline my work to raise awareness of the 21st century
COVID-19 has greatly affected the classical music industry, skills needed by music students in order to help them thrive
professional musicians, teachers and music students. Online in Thailand’s classical music industry in the long term.
WEDNESDAY 25TH AUGUST 2021 11:00 - 12:00 HRS (GMT+7)

HOST
Thailand
‌‌‌‌ 80
CAPABILITIES AND ROLES OF THE PICCOLO

IN THE 21ST CENTURY: PERFORMANCE PRACTICE STUDIES
OF SELECTED REPERTOIRE FOR PICCOLO
BY CONTEMPORARY COMPOSERS
KALAYA PHONGSATHORN
Thailand
My ten years of work as an orchestral musician and flute perform with utmost technical capability, while retaining
lecturer in Bangkok has created in me an ambition to “fill in flexibility and the stylistic quality of the composition.
the gap;” to further advance the knowledge and appreciation
of classical music in Thailand from my field of expertise. My Pablo Aguirre’s “Recuerdos” for Piccolo and Piano resonates
thesis aims to bring a less mainstream instrument, the piccolo, the Argentinian musicality with the use of dance-like rhythmic
into the spotlight. I hope that this project will be a starting motives, modes, special effects that replicate jazz big band,
point that will encourage further studies, performances, as well as beautiful improvisational sections both in the
compositions and ultimately enhance career opportunities piccolo and piano part. This composition in 3 movements
for Thai musicians and contribute to improving the quality is a flavourful, expressive piece of music that can very well
of classical music production in Thailand. Compiled in this display the involvement of traditional music idioms in the
research project are pedagogical approaches, promotional form of a classically structured composition. The composer
procedures and documentation of performance practices further discussed in the interview that there is always room
of selected piccolo repertoire by international contemporary for traditional music involvement in academic music, and
composers. that Latin American and Asian traditional musicians are
always interested in the classical music community.
In correspondence to the theme “Traditions in Transition” of
the Princess Galyani Vadhana Institute of Music International Morakot Cherchoo-ngarm’s Sonata for Piccolo and Piano
Symposium 2021, I would like to discuss the composers’ is the first established solo piccolo repertoire with Thai
intentions, as communicated to me during interviews. Their musical idioms. The piccolo resembles “Wot,” Thai north-
works give clear illustrations of the technical ability and eastern panpipe, as the piano resembles “Kaen,” Thai
resonance of the piccolo and are thus musically compelling, north-eastern mouth organ. The music involves the highly
enriching cultural aspects of musical compositions. energetic piano solo from the composer’s earlier composition
“Isaan Toccata," some famous Thai traditional tunes, and
The famous Sonata for Piccolo and Piano by British composer the layering combinations of playful Thai rhythmic motives.
Mike Mower gives the audience access to unexpected The composer was successful in combining pentatonic tunes
timbres of the piccolo. Involving jazz styles, this Sonata is with lavish western harmony.
full of wit and character. The low and middle register of the
piccolo, which are often unheard in the larger ensemble, Spanish composer, Salvador Brotons offered in his well-
are mainly displayed in this chamber music setting, with crafted Concerto for Piccolo, “Dialogues with Axels” the new
some exclamations from top pitches at times. The off-beat idioms for the piccolo as a solo instrument in 21st century.
finger clicks, the woody tone colour expressed with the use Having piccolo as his first instrument as a child, the composer
of flutter tongue and air-sound encourages the piccoloist to related the piccolo to childhood, and plotted the four
81
movements after the novel based on a true story by Fortuny Facing the challenge of working on this project during the
from Menorca. The composition unveils the expressiveness pandemic in 2020, most of the project’s activities had to be
and depth of sound with a wide dynamic range to depict the conducted online. Having an opportunity to introduce myself
feelings of a child facing severe illness, fighting to accept and as a performer to international composers, and to learn about
eventually find the sense of his life. different cultures even in the hard situation has truly been my
privilege as a musician.
PYO IN TRANSITION, TRANSFORMATION OF ORCHESTRA

ORGANISATION THROUGH ONLINE PLATFORM
DURING THE PANDEMIC
DR. SUPPABHORN SUWANPAKDEE

RITTICHUT PHETMUNIN
NATEEPHAT MANUCH
SIRAVITH KONGBANDALSUK
Princess Galyani Vadhana Institute of Music Youth Orchestra,
Thailand
Faced with the preventive measures of the COVID-19 This presentation will show that the use of online platforms
pandemic, many orchestras have been unable to organise has been effective in encouraging pre-professional orchestra
traditional performances and other activities that require players to learn and develop their skills online. Zoom was used
in-person interactions. In this new normal, orchestral as a primary application for workshops, with its newly
organisations and musicians have had to seek alternative developed audio transmission features. For the virtual
methods of running the programme. The Princess Galyani performances of Carmen, the process started with creating
Vadhana Institute of Music Youth Orchestra, or PYO, midi backing tracks with metronome beats to be used by
has transformed orchestral tradition to cope with musicians when recording, based on the soloist's interpretation.
the challenges by organising musical events via online Organising online workshops is a viable alternative for keeping
platforms. These events aimed to educate young musicians a training orchestra running during the lockdown as it provides
and the general public by replacing live performances with young musicians with the opportunity to learn from experts;
two sets of online workshops: 1) PYO Workshop Series, further, online performances improve musicians’ development
training young musicians on standard orchestral excerpts according to the usage of technology and will augment live
combined with discussions with professional orchestral concert seasons in the years to come, as online experiences
musicians; and 2) PYO Excerpt from Carmen, a series of online become increasingly ubiquitous in all aspects of daily life.
workshops and performances exploring the possibility of
creating a new concept of performance on online platforms.
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THURSDAY 26TH AUGUST 2021 09:00 - 12:00 HRS (GMT+7)

HOST
DR. JIRADEJ SETABUNDHU
Thailand
MUSICAL EXPLANATION AND STRUCTURAL ANALYSIS:

SYMPHONIC TRIBUTE TO THE LATE KING COMPOSED
BY DAMRIH BANAWITAYAKIT
DAMRIH BANAWITAYAKIT
Lecturer of Music at Faculty of Music,
Silpakorn University
Vice President of Administrative Affairs,
Princess Galyani Vadhana Institute,
Thailand
Symphonic Tribute to the Late King was premiered at the Lament to the Father of Thai Nation for the Grand Winds
Thailand Cultural Center on December 18, 2018 by Feroci Symphony and International Choir. The performance included
Philharmonic Winds and the Bangkok Music Society Chorus. 100 musicians from various communities. The performance
The piece commemorated the death of King Bhumibol was co-hosted by national corporations and other associations
Adulyadej on October 13, 2016. including the Department of Cultural Promotion at the Ministry
of Culture, Bangkok Music Society Chorus, and the Alumni
At the performance, His Excellency Mr. Chuan Leekpai, the association of Silpakorn University.
former prime minister of Thailand, was a Guest of Honor,
narrator, and honorary performer. The audience consisted of Lament to the Father of Thai Nation showcases the capabilities
approximately 1,000 people, both Thai nationals and foreign of the Grand Winds Symphony. The piece lasts for 18 minutes
citizens, who had gathered to reminisce on the virtues of and is through-composed. It has six movements performed
King Bhumibol Adulyadej. without pause between: Lament - Mournful Farewell
Procession, Yearning for Beloved Father, Remember of King’s
I revised Symphonic Tribute to the Late King to create a new Masterpieces, Time of Ailment, Adieu of the Dearest, and
version under the name of Symphonic Tribute to the Late King: Journey to Heaven.
83
In working on this composition, I carefully considered the ensemble. As a result, I widened the sound dimensions and
orchestration. I experimented in order to create exotic colors sound quality. The effect is similar to that of a symphony
of sound for the wind symphony by including Thai ethnic orchestra in the late Romantic period.
music and by adding cello, contrabass, and a large choral
INNOVATION AND PRESERVATION FOR THE PRACTICE OF

COMPOSING MIXED ENSEMBLE COMPOSITION
WITH SOUTHEAST ASIANTRADITIONAL INSTRUMENTS
DR. CHOW JUN YAN

Academic Faculty (Adjunct) and PhD
Singapore
Why do I compose using instruments from different regions/ As a composer and Erhu performer, I will share the motivation
cultures? What issues should I be concerned with when for my compositional journey with local instruments and give
choosing specific combinations of instruments? What should insight into my creative process, unfolding the musical
I do to maintain momentum with the performers? elements, including the choice of timbre, melody and playing
techniques. I will also explain how I develop adequate
Addressing these essential questions for composing with local strategies for achieving mutual engagement with local
instruments, this presentation offers reflections based on the instrumentalists, especially when making decisions about how
writers’ personal experiences and observations while to combine traditional playing with extended techniques. This
participating in the ASEAN Youth Ensemble (AYE) project paper aims to provide general guidance for both composers
organised by Princess Galyani Vadhana Institute of Music and performers, encouraging them to engage in similar
(PGVIM) between the years 2018 and 2020. collaborations in order to explore new possibilities.
‌‌‌‌ 84
ON HOW A WORK BECOMES A ”WORK”: AESTHETICS,

PERFORMANCE AND THE RESHAPING OF A MUSICAL
TRADITION
DR. JONAS BAES

Professor of Composition and Music Theory
the Philippines
”The sound of fate nuanced where with contemporary composers in Southeast

knocking at the door... Asia, tradition finds its way into the material, the construction,
but those are only or the conceptual framework of a musical work; now reshaped
for the first two bars. to be rendered in modern performance spaces, and within
A movement emerges modernizing landscapes. Two significant aspects of production
from then, are discussed: the aesthetic, a consideration from which
not to demonstrate ‘fate’, composers draw out materials from tradition; and the
but to cancel, preserve performative, which subjects tradition to the processes set by
and elevate (aufheben) the mode of modernist creation. Central to the discussion is
those pretentious beats” my recent work epos for alto clarinet, commissioned by the
Goethe Institut, in collaboration with Lübeck-based clarinetist
Adorno, 1998:66 Nora Louise Müller. Inspired by the ambahan, a sung poetic
form from among the Hanunoo-Mangyan of Mindoro Island
This paper addresses the question of how a musical work in the Philippines, the creation and the subsequent journey
becomes a musical work; a question that implicates the modes and engagement with epos underscore the dialectical
and sites of production, and how those inform — and in turn undertaking of how tradition is reshaped to befit the aesthetic
is informed by — the process of creation. The question is further and performative aspects of a contemporary musical work.
THE ASPECT OF TRADITIONAL SYMBOLIC NOTATIONS

ADAPTS TO MODERN MUSIC NOTATIONS AND ITS
REFLECTION ON MUSIC PERFORMANCE
TANASIT SIRIPANICHWATTANA
Thailand
Nowadays, the rhythmic patterns of traditional music are very to both performers and the listeners. However, the traditional
popular among both percussion musicians and composers, rhythm often hasn’t been notated in written form, and this can
possibly due to the charming melodies which are very touching cause difficulties for later generations. It makes it difficult for
85
them to appreciate traditional music, which can then result in the performer should take into account factors that make the
it becoming less popular over time. music more profound, vivid and appealing to the listeners.

Most of the time, percussionists try to imitate sounds based on Adapting symbolic notation from the past to modern notations
what they hear, since not so many people notate these is one great way to realize ”traditions in transition.” It can help
traditional rhythms in the scores. This article will focus on musicians improve their sound production. Even before the
percussion music notation that can be used to describe methods age of traditional music, however, this method was used in
for producing the correct sound on percussion instruments, many countries including various African nations, China, Japan,
including classical percussion, traditional percussion, and South Korea and countries in South-East Asia. In the past, music
various types of sounds that require the use of various muscle was learned by replicating sounds that the student heard, and
groups to create grooves. This paper will also describe various trying various hitting methods on instruments to make different
playing techniques used to create a wide range of colors and sounds. For example, in Thai Classical Music, the practice of
power in music performance. ‘Joh, Jah, Ting, Tung and etc.’ on different types of percussion
instruments has been passed down for many generations.
Some genres of music are performed by reading a score and
trying to play the notes correctly. In some performances, such In addition, these sounds often help add groove and direction
pieces are interpreted incorrectly by the performers. For to the music better than Western music patterns. In many African
example, some performances lack the correct sound cultures, music performers must first be able to dance. As a
characteristics, stylistic elements, and vivacity. Thus, they fail result, applying playing methods from various traditional
to capture the true nature of the music that the composers musical styles to Western music, and also adapting traditional
intended. These performances will likely also fail to please symbolic notations to modern music notations, has become a
audiences as well. Therefore, when performing a piece of music, very useful method for creating compelling rhythms and sounds.
BUZZWIRE FOR TROMBONE, SENSOR, COMPUTER,

AND INSTALLATION: DEVELOPING TRADITION
OF INSTRUMENTAL WESTERN MUSIC PERFORMANCE
WITH INTERACTIVE SOUND INSTALLATION.
SIRAVITH KONGBANDALSUK
THANAPAT OGASLERT
Thailand
In the twentieth-first century, interactive sound installation has sensor, computer, and installation” is simulated from the concept
developed according to the development of technology such of the ”Buzzwire” game, which is an electronic circuit of moving
as various mediums or expansion of using instruments, tools, a loop along a wire maze by imitating a trombone slide for the
or systems, for creating a broader experience and sensation to loop and steel/aluminium pipes for the wire maze. The musical
humans. To develop the tradition of western music instrumental sound in this performance is a combination of acoustic trombone
performance with interactive sound installation performance, sound and live-electronic sound controlled by the performer's
the electroacoustic performance ”Buzzwire for trombone, gestures as an extended instrument. Moreover, each time the
‌‌‌‌ 86
trombone slide unintentionally has contact with the wire maze, As a result, the performance aims to create an entirely
the live-electronic sound system is manipulated by changing unexpected situation for creating unfamiliar sounds with an
timbres or creating various unexpected sound patterns. The extended sound controller to explore human behaviour,
occurring motion during a performance is captured from a realizing interaction and also collaboration between humans
motion sensor attachment using the ZIG SIM application, which and machines using technological developments of the
then generates this data with the Puredata program to control twentieth-first century.
electronic sound effects in the Ableton program as an overall
live-electronic sound creating process.

THURSDAY 26TH AUGUST 2021 09:00 - 12:00 HRS (GMT+7)

HOST
DR. THANAPOL SETABRAHMANA
College of Music, Mahidol University,
Thailand
A HYBRID PERFORMANCE LYE-BUHL (1968/2021)

IN THE PANDEMIC ERA
YOUNJEE PARK
College of Music, Seoul National University,
Republic of Korea
Composer Sukhi Kang (1934~2020) is known as a pioneer of Seoul National University recently produced the music sources
Korean contemporary music. He composed Korea's first to re-enact Lyé-Buhl, maintaining social distancing due to the
electronic music and, during the 1988 Seoul Olympics, he Covid 19 crisis. In addition, efforts were made to combine
showcased electronic music during the torch relay for the first song and video for a new platform. In August 2021, the first
time ever. He also taught many composers of the next generation, anniversary of Kang’s death, the hybrid performance of old
including Unsuk Chin, and communicated with the global music and new, Lyé-Buhl, will be given.
community through various international initiatives.
In this presentation, I will introduce the different production
One of his earliest works, Lyé-Buhl (1968), is an innovative methods and experimental attempts we are using for the
piece. H-owever, it has been largely forgotten for nearly 50 performance.
years since its first performance.
87
THE SONG AND DANCE FOR NEW HOPE
YOOL LEE
K-Music Makers,
Republic of Korea
The Gut is the rites performed by Korean shamans, after the death of Oh Yong-rok, a scholar who paid
involving offerings and sacrifices to gods, spirits and attention to the practicality of Gut.
ancestors. They are characterised by rhythmic movements,
songs, oracles and prayers. These rites are meant to create We want to create the possibility of new performing arts with
welfare, promoting commitment between the spirits and good wishes for the younger students and the heart to comfort
humankind. Gwanak Ogu Gut was produced in 2013 people all over the world who are suffering due to COVID-19.
ANOTHER METAPHOR OF TRADITIONS IN TRANSITION:

FROM A MISSION IN TAEKWONDO TO A TRANSMISSION
IN THAI TRADITIONAL MUSIC

Division of Music Education, Chulalongkorn University,
Thailand
There are two perspectives when it comes to protecting or It is wise to be aware of and ready for the many social and
preserving traditional arts. One is to preserve it as if to freeze cultural changes of the 21st century so that we can plan what
time, while another is to keep it practical and applicable to should be done. Some adaptations or changes in the transition
real life. While those who reconstruct authenticity aim to of tradition may involve loss, while others may offer new
protect, collect, and document all that the artform has been advantages. Information technology and social media are
in the past, those who search for new identity and authenticity creating new possibilities, ranging from online studios to open
focus on how it should proceed and survive over time. webinars. However, compared to in-person interaction, the
Taekwondo, a traditional martial art that adapts and improves values of sensitivity, compassion, kindness, and a warm sense
validity and reliability in scoring, has not only set a ground of caring can be compromised in the online environment.
rule but has spurred international understanding and Despite the challenges, the unique traditional characters in
cooperation. This martial traditional art survives through Thai music, such as Thai notation and Thai pitch-and-tone
transition, although with scarification in consecutive vocal syllables, for example, can transition smoothly and
transformations. Practitioners of traditional arts must navigate remain relevant. Thai notation is a great teaching tool for
between conservative preservation and global acceptance, notation due to its simple format and syntax. It is a user-friendly
and between subjective values and objective standards. and versatile system that can be used for many kinds of music.
Achieving balance between the two poles is even more The Thai pitch-and-tone vocal syllable, called ”Noy,” is a subtle
challenging when disruptive societies work against authenticity. vocal syntax representing the pitch and, at the same time,
different tones for each performing technique. Its applicability
‌‌‌‌ 88
proves how aural transmission intertwines with the written Drawing on the examples of Taekwondo and Thai traditional
mode of transition. music, this paper proposes a guide to help practitioners of all
traditional arts navigate transition in the 21st century.
APPLYING DAITO RYU BODY TO BODY TEACHING TO MUSIC
PUNTWITT ASAWADEJMETAKUL
Thailand
The search for a remedy began when I noticed that what I do Haru (波留) is the first stage, in which one must sense the
is not exactly what I describe to my student. Demonstration awareness of the neutral boundaries in the body, energy and
through instruments and sounds can only bring us so far; mind, to heighten the sensitivity of oneself.
imitation of sounds produced without proper understanding
of the mechanical movement within can lead to injuries after Irimi (入り身) is the introductory stage of connection between
long hours of practice. With the help of anatomical two objects, both inward and outward, to create the entering
understanding, some students may logically understand a bit touch and to create the point of contact.
better, but struggle to fully grasp the workings of the internal
process. For instance, the word ”relax” is very commonly Awaze (合わせ) is the stage of harmonizing by expanding,
misunderstood. The word can misleadingly evoke the image absorbing and stretching the point of connection along the
of a loose or collapsing body, when in fact a better explanation structure of given objects to strengthen the connections to the
of the desired posture would be to stand firmly but freely and maximum.
ready to move, which is a quite subjective description that is
not as accurate as I would hope for it to be. After spending Tenkan (転換) is the stage of conversion in which one senses
much time on this issue, I have come to realize that the or initiates the change and adapts to maintain connections.
”language barrier” may be the problem. Instead of trying to
describe a sensation in our body that cannot be fully expressed The interdisciplinary application between Daito Ryu’s method
by words, body to body teaching may help to facilitate a better and music teaching has not been evidenced before either in
understanding where language falls short. Thailand, Japan or any other countries. By experimenting with
this method to both singers and instrumental musicians in a
Daito Ryu, the origin of many Japanese martial arts, is a training span of approximately one month, my students and I were
of both the external and internal that can only be learned able to communicate with the same understanding of the
through touch. The student must feel what is given in order to quality, quantity, timbre, shape, size, and direction and music
generate it themselves. Daito Ryu categorises its teaching into in a more efficient way. Moreover, students were able to refine
four stages. Each stage gives an explanation of how the body, their realization of each body part and organ applications.
energy and mind work. All of the stages can be applied to the
body, energy and mind individually and in unity to create
connections both internally and externally.
89
DEVOTIONS: CHOREOGRAPHING WESTERN OPERATIC

SONGS WITH INDIAN DANCE VOCABULARY
WONG YONG EN
Singapore
LEIA DEVADASON
Singapore
University of Oxford,
United Kingdom
Devotions is a project in which two dancer-musicians come of abhinaya, thereby allowing the storytelling properties behind
together to choreograph Western opera/oratorio repertoire each art form to reinforce each other. From a practical
using Indian Classical dance vocabulary. A performance of performer’s perspective, a secondary aim of ‘Devotions’ is to
the choreographies is scheduled to take place in September devise a movement practice which supports healthy operatic
2021 at the Esplanade Concourse. In embarking on this project, technique and expression while singing. Beyond performance,
the collaborators aim to put two distinct traditions in dialogue this project anticipates further development in the form of an
and, through the investigation of their compatibilities and auto-ethnographic document.
potential tensions, cultivate an intercultural aesthetic with
theoretical and practical dimensions. In performance, we aim Our presentation at this symposium aims to outline the
to convey the operatic songs’ narrative themes with movement ongoing process, background research, and findings of this
vocabulary adapted from the expressive representational idiom work in progress.
‌‌‌‌ 90
FRIDAY 27TH AUGUST 2021 09:30 - 11:30 HRS (GMT+7)

HOST
APINPORN CHAIWANICHSIRI
Thailand
LOOKING BACK AND MOVING FORWARD:

THREE DECADES OF MUSIC CULTURE STUDY
IN THE THAI SOCIAL CONTEXT
ASSISTANT PROFESSOR CHAOMANAT PRAPAKDEE

Thai Music Department, College of Music,
Bansomdejchaopraya Rajabhat University,
Thailand
This article explores and synthesizes data from a number groups of musical instruments and songs related to music.
of music research papers published between 1980 and In the area of folk, local and ethnic music, the focus was
2020. Among the approximately 7,778 papers studied were on researching the structure of the music, performance
papers in the following areas: Thai music, western music, practices and the role of music in society and daily life.
country music, music education, folk music, various ethnic Music therapy papers involved research on music in relation
musical genres, music therapy, foreign music education, the to human well-being from birth to old age, illness and
creation of musical works, band instrument practice, musical death. Music research abroad focused on song structure.
instrument production, history, the work of Thai musicians, Music composition papers examined the creation of new
and the development of practice skills. musical works, both Thai and Western, under the concept
and model of the artist's work in a social and cultural
It was found that Thai music research most often focused context. The analysis presented in this paper can be used
on song structure. Western music and country music papers to create research models in line with policy issues and to
often centered on melody analysis. Music education papers respond to current and future needs of music professionals
focused on research, teaching and learning management, and the general public in various social contexts.
survey, evaluation and educational innovation, with target
91
WITNESS OF CHANGE IN THAI GENDER IDEOLOGY
SARUPONG SUTPRASERT
Faculty of Fine and Applied Arts, Thammasat University,
Thailand
Thai pop songs have contained sexist content for years, alongside this ban – the movement against rape scenes in
and many of them are popular. The audience’s voice of Thai TV series and the attempt to move forward the status of
disagreement is not loud or clear enough, though social Thai LGBTQ+ lives with the Y series.
media has been widely used to directly contact the music
makers for many yeaIn late 2019 and early 2020, 2 Thai The ban of these 2 songs and other events have reflected
hip-hop songs, Wib Wub and Puk Gorwe were launched the changing trend of gender ideology in Thailand. The
and reached high popularity. Later, the ban of these 2 songs connection to the global mindset through social media takes
spread throughout Twitter for their s xist content. The ban part in this movement, and the use of social media is a tool
has run after the global movement of #MeToo and the Thai for gaining power to move society.
youth’s flash mob on gender equality. There are 2 events
WHEN A MUSIC EDUCATION VOLUNTEER ORGANIZATION

TRANSITIONS TO A SOCIAL ORGANIZATION

Thailand
In the present pandemic situation, music organizations involved with music, helping them engage with each other
must keep socially distanced and stop their normal process through ensemble playing and participating in music and
following the public health rule of the Thai government. art activities.
Some of these changes involve using online platforms to
transfer knowledge to students. Due to the increase in coronavirus cases since 2019,
however, music organizations have transformed
Many music organizations and music schools provide themselves into social organizations. Confronted with the
music education for students. In crowded communities, problem of physiological needs, they began to work with
such as Khlongtoey, the music organizations are run by the community to improve access to food, consumables,
volunteers and supported by donations and sponsors. health care, small trading systems, and occupation
Organizations such as Music Sharing, Music for Life development in the communities, especially Music
Foundation and Khlongtoey Music Program give music Sharing in the name of ”Khlongtoey Dee Jung.”
education to children who have no opportunity to get
‌‌‌‌ 92
In conclusion, for the crowded community, music government officials, donors, and volunteers. Now, the
education is considered unnecessary in this situation. ”music organization” has transitioned to serve urgent
However, the working system of music organizations can community needs. They will have enormous data and
help communities with emergent needs, for example: networks to develop their music and arts education further
participatory systems, co-work with the community, when the pandemic passes.
A STORY OF SOMEONE, SOUNDS THE SONG OF MUSIC:

A SHOWCASE
STUDIO ENSEMBLE LABORATORY

Thailand
Studio Ensemble Laboratory aims to create a space for videos, poems, and paintings to present original music on
students and learners to discover musical experiences the website.
while perceiving more about ourselves. Together with
Roong Aroon School, we have implemented a project- This project brings forth a fascinating perspective on how
based music study course, developing ideas for integrating the distance of virtual space creates challenges in music
music with people as well as using music as a tool for making. It is a signal for us to adapt and overcome by
understanding oneself while creating an aesthetic balance making changes in the teaching and learning experience.
in life. Because of the current difficulties in Thailand, We strongly believe that developing music is not only
we depended on online sessions which led to interesting about technical skills, but also the many views and
challenges and solutions starting from exploring interests angles music provides, because music creates a society of
in musical styles, looking at music from different angles, sharing. It gives us the ability to perceive beauty as it has
composing new music, along with creating media such as the power to indefinitely inspire people.
93
‌‌‌‌ 94
SHOWCASES
SOUTHEAST ASIAN MUSIC SESSION (SEAMS)
HOST • provide a platform for young performing artists to promote

ANANT NARKKONG their music and enable them to reach new audiences
DR. VERNE DE LA PEÑA • provide a venue that stimulates a healthy dialogue and
DR. ANOTHAI NITIBHON exchange of ideas among young musicians in the
region, promoting intercultural understanding as well
as artistic growth.
A monthly informal online gathering of selected performing • establish and enhance links between music practitioners
artists in Southeast Asia with each session devoted to a in the region.
particular country which aims to:
The sessions will feature live or prerecorded performances as
well as discussions.
SATURDAY 15TH MAY 2021 18:00 - 19:30 HRS (GMT+7)
SEAMS SESSION 1 # THE PHILIPPINES
ARTIST
YON - MANILA-BASED MULTI-INSTRUMENTALISTS ASIAN QUARTET
PERFORMERS
HAROLD ANDRE SANTOS
DANIEL ROI CALINGASAN
JULIA EUNICE YABES
JACQUES DUFOURT
PROGRAM
‘YON 2017 Harold Santos & Jacques Dufourt
JAN KEN PON (2018) ‘YON
Sa Kabundukan [“in the mountains”] (2020) arr. Harold Santos

a medley of “Salidummay”
Dahil Sa Isang Bulaklak Leopoldo Silos

[“because of a flower”] (2021) arr. Daniel Calingasa
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SHOWCASES
Susi [“key”] (2021) Ben & Ben

arr. Harold Santos
España [“Spain”] (2021) Chick Corea

arr. Harold Santos
SATURDAY 14TH AUGUST 2021 18:00 - 19:30 HRS (GMT+7)
SEAMS SESSION 2 # BRUNEI DARUSSALAM

"RHYTHM OF DARUSSALAM"
ARTIST
PAK DADANG
ENSEMBLE DIRECTOR
DADANG SUPRIATNA
PRESENTERS
ELISHA TIGA
HJ YAZID HJAWG DAMIT
PERFORMERS
DIDI
ELISHA TIGA
HADI NAS
HERY
MIRA UFAIRAH
SIRAJ MUNIR
UBAI HAD
YAZID DAMIT
ZULFADHLI HARUN
PROGRAM
Overture
Umakruma
Alus Jua Dendang
Hope
Ketika Dua sungai bertemu di muara
‌‌‌‌ 96
SHOWCASES
SEAMS SESSION 3 # THAILAND
ARTIST
MA KAO HANG
ENSEMBLE DIRECTOR
PRATCHAYA NANTACHAI
GUEST
ASSISTANT PROFESSOR DR. JARERNCHAI CHONPAIROT
PERFORMERS
PATCHAYA NANTACHAI
PHAIROT WICHIANLOED
TANYATHEP KRONGSAENMEANG
WIWAT MUANKANYA
SAHAPHAP NOMRAWEE
SUNTICHAI PLUEMJAI
PROGRAM
The Ma Ma Laew (Here come the dogs)

Khaen Pajjubun (Past, Present and Future)
Lam Plearn Plearn Dee (Ma Kao Hang, the stories)
Khaen Sam Tao (The Three Khaens)
Long Kong (Lost in Mekong River)
Lan Num Kan (Run Along)
Yaw Yaw (Fight for it)
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SHOWCASES
SEAMS SESSION 4 # SINGAPORE

ARTISTS
NIRANJAN PANDIAN,
SYAFIQAH 'ADHA SALLEHIN
WEI XUAN NG
ENSEMBLE DIRECTOR
CHOW JUNYAN
Musical showcases from Singapore
‌‌‌‌ 98
SHOWCASES
SUNDAY 22ND AUGUST 2021 16:00 - 16:30 HRS (GMT+7)
PYO - BEYOND THE CAGES

CONDUCTOR
PETER VEALE
Princess Galyani Vadhana Institute of Music Youth Orchestra (PYO)

in collaboration with Studio Musikfabrik (Germany)
PROGRAM
Concert for Piano and Orchestra (1957 – 1958) John Cage
Form 2 ”in memoriam John Cage” (1912-1992) James Tenney
John Cage – Concert for Piano and Orchestra New York School and Fluxus group,” and consequently
(1957 – 1958) European compositional figures like Pierre Boulez, who
popularized the term ”Aleatoric Music” or ”Chance Music,”
John Cage’s Concert for Piano and Orchestra (1957 - 1958) is which featured in many of Cage’s compositions. From the 1950s,
recognized as a work of importance to the music repertoire of Cage and his friend, an American pianist and composer, ”David
the twentieth century. Cage’s ”Concert” explores and focuses Tudor” worked together on a piano series that explored the
on the idea of indeterminacy, in which the piece is left open ideas of indeterminacy and Chance Music. During this period,
to free interpretation based on musical notations. Orchestral Cage consulted the I-Ching, an ancient Chinese divination text
performers have to execute dynamics, durations, and timbres (hexagram fortune-telling), in order to create the element of
from their own determinations and perform any pre-selected ”chance” during the compositional process. To get away from
passages in a soloistic manner, while the conductor acts as a his personal taste, he tossed coins to select sounds, tempo,
chronometer, simulating the movements of the hands of a clock. duration, length of silences, dynamics, and polyphony density
As for the pianist, the part consists of 84 different types of from the musical charts system. The use of I-Ching became one
notation in coordination with the use of 84 different of Cage’s prominent compositional tools in many of his mid-late
compositional techniques. The pianist may execute the material works, including almost all the piano series, the premiere of
in whole or in part, choosing any notations, elements, or parts, which David Tudor was responsible for giving.
and playing them in any order.
Due to fastidious notation and technical demands which required
Indeterminacy in music has been featured ever since the early very precise interpretation, Tudor was known to be the only pianist
twentieth century, especially in compositions by Charles Ives. that Cage willingly worked and collaborated with until the late
From 1930 to the 1950s, the indeterminacy concept began to 1960s, when Tudor decided to pursue his own compositional
spread among American composers starting with Henry Cow,ll, career. While Tudor was a pioneer who performed Cage’s music
who was the very first to adopt Ives’ idea, followed by ”The and advocated for it, others did not find themselves in a similar
99
SHOWCASES
position. During the premiere of Cage’s Concert for Piano and Despite having several compositional models (e.g. Webern,
Orchestra on the 15 of May 1958 at New York Town Hall, the
th
Ruggles, Varese, Gaburo, Partch, and more), Tenney always
13 musicians (excluding Tudor) that comprised the orchestra remained true to his interest and searched for relevant practices
behaved in a way that Cage described as ‘foolish’ and for his compositional output which made his works unparalleled
‘unprofessional’. Their wretched acts included exaggerated corny compared to any composers before him. It was Cage, however,
blues riffs, hitting the stands and laughing at each other, and a who made a strong impact on Tenney’s compositions, especially
tuba ostinato from Stravinsky’s Le Sacre du Printemps. This was the works he composed during the 1960s which can be
followed by a long sarcastic applause from the audience. compared with Cage’s indeterminate works, such as Ergodos
I & II (1963 – 1964). Hence, some of Tenney’s scholarly works,
Although the issue during the premiere of Concert for Piano like Computer Music Experiences 1961 - 1964 and others,
and Orchestra was one of many [bad] experiences that happened reflectCage’s insights. Similarly to Cage, Tenney was trying to
to Cage during the 1950s, when his works featured indeterminate remove his presence – self-ego and personal preference –
notation, Cage was not simply interested in just any kind of from his music.
foolish freedom. As he described it, ‘I must find a way to let
people be free without their becoming foolish. So that their The following year after John Cage's death in 1992, Tenney
freedom will make them noble. How will I do this?’ completed his composition Form II ”in memoriam John Cage.”
The piece is not intended to share any similarities with Cage’s
In 1992, Concert for Piano and Orchestra was featured as a part music, even though the notation of the piece expresses a
of Cage’s 80th Birthday Celebration Event which was performed certain degree of indeterminacy. In Tenney’s program notes,
by David Tudor and Ensemble Modern. However, the composer he described:
had passed away several weeks before the event.
‘No allusion to Cage’s music is intended here, although the
‘In all my works since 1952, I have tried to achieve what would degree of indeterminacy in my own work would have been
seem interesting and vibrant to David Tudor. Whatever succeeds inconceivable before his musical explorations of nature’s manner
in the works I have done has been determined in relationship of operation.’
to him… Tudor was present in everything I was doing.’
The world premiere recording of this Form II was made by
John Cage Ensemble musikFabrik with its initial release in 2003.

[James Tenney’s notes of Form 2]
James Tenney – Form 2 ”in memoriam John Cage”
(1912-1992) For a mixed ensemble of woodwinds, brass, strings (bow and
plucked), and pitched percussion – the more instruments the
American composer James Tenney was known for his better, but no fewer than 16. The players are to be arranged in
contribution to spectral music (e.g. Spectral Canon for Conlon four groups – in front of, behind, to the left and to the right of
Nancarrow 1974) and developing a tuning system which the audience – in a way that maintains, as much as possible,
includes the extension of just intonation. He was also known an equal distribution of pitch-registers and timbres with respect
to be acquainted with John Cage’s ideology in the 1960s, to spatial location. Each player is equipped with a stopwatch.
when Tenney became one of the active ”Fluxus'' members. There is no conductor.
‌‌‌‌ 100
101
SYMPOSIUM CONVENORS MODERATORS
Dr. Anothai Nitibhon Assistant Professor Dr. Anothai Nitibhon

Dr. Jean-David Caillouët School of Music, Princess Galyani Vadhana Institute of Music
Dr. Elissa Miller-Kay
Margaret Hayne Kim Assistant Professor Dr. Chanyapong Thongsawang
School of Music, Princess Galyani Vadhana Institute of Music
Assistant Professor Dr. Dneya B. Udtaisuk

PEER REVIEWERS Division of Music Education, Chulalongkorn University
Anant Narkkong Dr. Jiradej Setabundhu

Assistant Professor Dr. Chanyapong Thongsawang School of Music, Princess Galyani Vadhana Institute of Music
Assistant Professor Dr. Denny Euprasert
Assistant Professor Dr. Dneya B. Udtaisuk Margaret Hayne Kim
Dr. Elissa Miller-Kay School of Music, Princess Galyani Vadhana Institute of Music
Professor Dr. Jacques Moreau
Dr. Jean-David Caillouët Dr. Thanapol Setabrahmana
Dr. Jiradej Setabundhu College of Music, Mahidol University
Margaret Hayne Kim
Professor Sngkn Kim Dr. Poumpak Charuprakorn
Dr. Verne dela Peña Faculty of Music, Silpakorn University
Dr. Yos Vaneesorn
Apinporn Chaiwanichsiri
Thanisa Durongkaveroj
EDITORS

Margaret Hayne Kim PROJECT COORDINATORS
Thitima Suksangjun
Nusamol Jongprakitpong
Sakrapee Raktaprajit
Chaimongkol Wiriyasatiporn
Chamamas Kaewbuadee
Chanissara Mekwattanalert
Pattarapol Sukvajeeporn
Fuangfaa Rakrong
Chanita Pholudom
‌‌‌‌ 102
SCHEDULE
Time Program
09:00 - 09:30 The Love and Kindness of Teachers

Prologue to PGVIS
Keynote
Dr. Alex Dea
09:30 - 09:40 Opening Ceremony

Assistant Professor Choowit Yurayong
President of Princess Galyani Vadhana Institute of Music
09:45 - 11:15 Traditions in Transition:

Mapping the Past, Charting the Future
Ensemble Keynotes
Anant Narkkong
Christoph Wichert
Assistant Professor Dr. Denny Euprasert
Professor Dr. Kee Yong Chong
Dr. Kit Young
Professor Dr. Shahanum Mohd Shah
Dr. Verne de la Peña
Host
Dr. Anothai Nitibhon
11:15 - 11:30 Navigating your way in PGVIS 2021
Symposium Convenor
11:30 - 12:30 The Horned Man and the Dragon:

Holographic Replication in Musico-Cultural Transitions
Keynote
Associate Professor Dr. Jonathan Day
Royal Birmingham Conservatoire
12:30 - 14:00 Break
103
SCHEDULE
Time Program
14:00 - 17:00 We All Come from Somewhere Else Next Tradition:

Transition to Innovative Artistic Projects
Presenters
Professor Berglind María Tómasdóttir Presenters
Program director of NAIP: Anusorn Prabnongbua
European Master in Music Jirasiri Kangvannavakul
Jirayut Thaolipo
Ana Luisa S. Diaz de Cossio Nadis Boonrod
Freya Betzy Dinesen Simmons Pradnampetch Kanoknak
Sigurður Halldórsson Songklod Nunthakasem
Host Host
Khetsin Chuchan Assistant Professor Dr. Chanyapong Thongsawang
NAIP: European Master in Music,
Iceland University of the Arts Provocateur
Moderator
Dr. Anothai Nitibhon Moderator
Dr. Komsun Dilokkunanant
17:00 - 18:00 MOU Signing Ceremony MDW & PGVIM
Host
18:00 - 19:00 Break
19:00 - 20:30 Showcase
Recitals, Redefined: Migration to the Online Platform in the Pandemic Era
Curators
Margaret Hayne Kim
Dr. Apichai Chantanakajornfung
Pattarapol Sukvajeeporn
Yotsakorn Ruengchaicharoen
‌‌‌‌ 104
SCHEDULE
Time Program
09:00 - 10:00 Cultivating New Artistic Directions

In Southeast Asian Music
10:00 - 12:00 Paper Presentation
Panel Discussion Session 1
Panellists Host
Dr. Alex Dea Margaret Hayne Kim
Dr. Chung Shih Hoh (10:00-12:00)
Dr. Jonas Baes
Professor Dr. Kee Yong Chong

Host
Dr. Jean-David Caillouët
12:00 - 14:00 Break
14:00 - 17:00 Contextual Studies: Transition to Students’ Recital ASEAN Youth Ensemble: Beyond Borders
Presenters: Host
PGVIM 1st & 2nd Year Students Professor Dr. Dieter Mack
Kansiree Chirawattanaphan Peter Veale
Phumthana Mu Dr. Anothai Nitibhon
Siraphob Maitreesirimongkol
Panellists
PGVIM Alumni Chie Tsang Lee
Pink Sky Orcas Dwi Cahyo Septian
Harold André Santos
Host Jocelyn Tan
Dr. Apichai Chantanakajornfung Tontrakul Kaewyong
Provocateur
Moderator
Thanisa Durongkaveroj
17:00 - 19:00 Break
19:00 - 20:30 AYE Beyond Borders: Showcase
ASEAN Youth Ensemble
Curators
Professor Dr. Dieter Mack & Peter Veale
105
SCHEDULE
Time Program
09:00 - 10:00 Tradition, Communication and Composition Paper Presentation

Session 2
Keynote
Makoto Nomura Host
Assistant Professor Dr. Dneya Udtaisuk
Moderator
Anant Narkkong (09:00-10:30)
10:00 - 10:30 Break
10:30 - 11:00 Trans-presences - Or Owning Our Place(s)

And Time(s): Some Reflections at a Point
of Significant Personal and Global Transition
Keynote
Break
Professor Bernard Lanskey
Queensland Conservatorium, Griffith University
Moderator
11:00 - 12:30 Tech Transitions and Community Traditions: Paper Presentation

A Continuing Conversation Session 3
Host Host
Southeast Asia Music Academy Online Assistant Professor Dr. Chanyapong Thongsawang
Panellists (11:00-12:00)
Gabriel Lee
Airin Efferin
Associate Professor Dr. Andrew Filmer
Kenny Ooi
Sulwyn Lok
Moderator
12:30 - 14:00 Break
14:00 - 15:00 Empathy in Musical Performance
Keynote
Professor Dr. Mieko Kanno
Sibelius Academy DocMus Doctoral School
Moderator
Margaret Hayne Kim
‌‌‌‌ 106
SCHEDULE
Time Program
15:00 - 17:00 ‘Interface’ in Contemporary Art Music
Host
Professor Dr. Mieko Kanno
Sibelius Academy DocMus Doctoral School
Presenters
Ville Raasakka
Lucy Abrams-Husso
Maria Puusaari
17:00 - 19:00 Break
19:00 - 21:30 Hear and Found
Curators
Sirasar Boonma
Time Program
09:00 - 12:00 Paper Presentation Paper Presentation

Session 4 Session 5
Host Host
Dr. Jiradej Setabundhu Dr. Thanapol Setabrahmana
12:00 - 14:00 Break
14:00 - 14:30 Curating the Connections: Recent Curriculum Approaches at Higher Music Institutions
Keynote
Dr. Paul Craenen
Royal Conservatoire The Hague
Moderator
107
SCHEDULE
Time Program
14:30 - 17:00 Curating the Connections: Recent Curriculum Approaches at Higher Music
Host
Dr. Kathryn Cok
Head of Master Research
Royal Conservatoire The Hague
Presenters
Renee Jonker
Irma Kort
Noppakorn Auesirinucroch
Alessandra Di Gennaro
17:00 - 18:00 Break
18:00 - 19:30 Reinventing Expressive Traditions:

Reflections on the Legacy of Ramon P. Santos
Panellists
Dr. Ramon P. Santos
Professor Chino Toledo
Dr. Jonas Baes
Dr. Verne de la Peña

Host
19:30 - 21:55 Showcase
TINIG-TUNOG-AN:
The Life & Works of Ramon Pagayon Santos
A Documentary by Dr. Jean-David Caillouët
‌‌‌‌ 108
SCHEDULE
Time Program
09:00 - 12:00 ReNEWed Paper Presentation

Session 6
Host
SEADOM 30 Under 30 Host
Khoo Hui Ling Apinporn Chaiwanichsiri
Panellists (09:30 - 11:30)

Calista Liaw (Singapore)
Htet Arkar (Myanmar)
Kenny Ooi (Malaysia)
Lawrence Galve Parcon (Philippines)
Nicky Juanite (Philippines)
Niranjan Pandian (Singapore)
Rachel Ho (Singapore)
Stefanie Quintin (Philippines)
Sulwyn Lok (Singapore)
Thanisa Durongkaveroj (Thailand)
Provocateur
Professor Bernard Lanskey
Moderator
12:00 - 14:00 Break
14:00 - 17:00 Transcultural Technologies for Creative Expression
Keynotes & Hosts

Lamtharn Hanoi Hantrakul
Associate Professor Bob L. T. Sturm
Isabella Salas
Khyam Allami
Moisés Horta
Moderator
Dr. Poumpak Charuprakorn
17:00 - 19:00 Break
19:00 - 21:30 Performance
Origins and Destinations: The Transitory Phase
Curator
109
SCHEDULE

10:00 - 12:00 HRS
Paper Presentation Session 1

Time
Moderator: Margaret Hayne Kim
10:00 - 10:30 Artfully Interrupting the Fantasy: Reimagining Ravel’s Asie
Dr. Abigail Sin, Sulwyn Lok and Jade Tan Shi Yu
10:30 - 11:00 Clair de Lune: A Musical Film Exploration

of the 21st-Century Musician Identity
Lim Jing Jie, Priscilla Fong and Stephanie Tan
11:00 - 11:30 Revolutionary Aspects of Rochberg’s Caprice Variation

for Unaccompanied Violin
Krittaya Lorpiyanon
11:30 - 12:00 Prasidh Silapabanleng and His Advisor Klaus Pringsheim: Cross-cultural Transfer and Transition
From Thai Traditional to European Classical Music
‌‌‌‌ 110
SCHEDULE

09:00 - 10:30 HRS

Time
Moderator: Assistant Professor Dr. Dneya Udtaisuk
09:00 - 09:30 Getting to the Heart of Why Students Struggle:

Motivation in Conservatory Music Students
Khoo Hui Ling, Chen Zhangyi and Karst De Jong
09:30 - 10:00 Banyuhay: Tugma’s Endeavor to Survive

Its Musicking Traditions in the Remote Setup
Jeannae Dormido
10:00 - 10:30 Raising Awareness of 21st Century Musician Skills Through Board Game
Chalankorn Kadenoum
11:00 - 12:00 HRS

Time
Moderator: Assistant Professor Dr. Chanyapong Thongsawang
11:00 - 11:30 Capabilities and Roles of the Piccolo in the 21st Century:
Performance Practice Studies of Selected Repertoire for Piccolo by Contemporary Composers
Kalaya Phongsathorn
11:30 - 12:00 PYO in Transition, Transformation of Orchestra Organisation

through Online Platform During the Pandemic
Dr. Suppabhorn Suwanpakdee, Dr. Pongthep Jitduangprem,

Rittichut Phetmunin, Nateephat Manuch and Siravith Kongbandalsuk
111
SCHEDULE

09:00 - 12:00 HRS
Paper Presentation Session 4 Paper Presentation Session 5
Time
Moderator Moderator
Dr. Jiradej Setabundhu Dr. Thanapol Setabrahmana
09:00 - 09:30 Musical Explanation and Structural Analysis: A Hybrid Performance LYE-BUHL(1968/2021)

Symphonic Tribute to the Late King Composed in the Pandemic Era
by Damrih Banawitayakit
Damrih Banawitayakit YounJee Park
09:30 - 10:00 Innovation and Preservation for the Practice The Song and Dance for New Hope
of Composing Mixed Ensemble Composition
With Southeast Asian Traditional Instruments
Dr. Chow Jun Yan Yool Lee
10:00 - 10:30 On How a Work Becomes a “Work”: Another Metaphor of Traditions in Transition:
Aesthetics, Performance and the Reshaping From a Mission in Taekwondo
of a Musical Tradition to a Transmission in Thai Traditional Music
Dr. Jonas Baes Assistant Professor Dr. Dneya Udtaisuk
11:00 - 11:30 The Aspect of Traditional Symbolic Notations Applying Daito Ryu Body
Adapts to Modern Music Notations to Body Teaching into Music
and Its Reflection on Music Performance
Tanasit Siripanichwattana Puntwitt Asawadejmetakul
11:30 - 12:00 Buzzwire for Trombone, Sensor and Computer: Devotions: Choreographing Western Operatic
Developing a New Tradition of Electroacoustic Repertoire With Indian Dance Vocabulary
Performance with an Installation
Siravith Kongbandalsuk Wong Yong En and Leia Devadason

and Thanapat Ogaslert
‌‌‌‌ 112
SCHEDULE

09:30 - 11:30 HRS
Time
Moderator
09:30 - 10:00 Looking Back and Moving Forward:

Three Decades of Music Culture Study in the Thai Social Context
Assistant Professor Chaomanat Prapakdee
10:00 - 10:30 Witness of Change in Thai Gender Ideology
Sarupong Sutprasert
10:30 - 11:00 When a Music Education Volunteer Organization

Transitions to a Social Organization
Dr. Pongthep Jitduangprem
11:00 - 11:30 A Story of Someone, Sounds the Song of Music: A Showcase
Studio Ensemble Laboratory
113
‌‌‌‌ 114
2014 - 2020
Since 2014, the annual international Symposium at PGVIM invites international
participants of all music related fields to engage in a series of collective reflections
over the role of music education and music practice in Southeast Asia.
Those events combine presentations, workshops and talks as well as concerts

curated specifically to illustrate the year’s chosen theme through an eclectic
mix of musical and artistic expressions. A highlight of the Symposium, those
concerts also give our guests a unique opportunity to engage with our audiences
in ways that are both meaningful and essential. Those annual rituals have been
essential in establishing fruitful collaborations within our growing community
and have fostered a deeper understanding of the rich diversity of aesthetics that
characterise our current musical landscape.
Visit the archive on our webpage to explore our past events
2014 - ‘Classical Music in ASEAN Context‘

2015 - ‘Classical Music of ASEAN on the World Stage : New/ Authentic/ Classic’
2016 - ‘Music and Socio-Cultural developments of the Asean’
2017 - ‘Music, Myths and Realities’
2018 - ‘Music & Metamorphosis‘
2019 - ‘Music Matters: A celebration of the Sonic Experience’
2020 - ‘IS THE VIRTUAL REAL? : Musical Communities in the 21st Century‘
115

PGVIM Symposium 2021 Programme

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What is the Princess Galyani Vadhana Institute of Music?

What is the Princess Galyani Vadhana Institute of Music?

What are the missions of the Princess Galyani Vadhana Institute of Music?

What are the missions of the Princess Galyani Vadhana Institute of Music?

PRINCESS GALYANI VADHANA INSTITUTE OF MUSIC

23RD - 27TH AUGUST 2021

The Princess Galyani Vadhana Institute of Music, Thailand takes

PGVIM aims to be a leading international institute of music, with the following

CLINICAL PROFESSOR EMERITUS

CHAIRMAN OF PRINCESS GALYANI VADHANA

Clinical Professor Emeritus Piyasakol Sakolsatayadorn, M.D.

ASSOCIATE PROFESSOR NARAPORN CHAN-O-CHA

CHAIRPERSON OF PRINCESS GALYANI VADHANA INSTITUTE

Associate Professor Naraporn Chan-o-cha

ASSISTANT PROFESSOR CHOOWIT YURAYONG

PRESIDENT OF PRINCESS GALYANI VADHANA

Assistant Professor Choowit Yurayong

SYMPOSIUM LOCATION PRESENTATION REQUIREMENTS

KEYNOTE 09:00 - 09:30 HRS (GMT+7)

THE LOVE AND KINDNESS OF TEACHERS

DR. ALEX DEA

Through mini-profiles of teaching, performing, casual talking Biography

CEREMONY 09:30 - 09:40 HRS (GMT+7)

ENSEMBLE KEYNOTES 09:45 - 11:15 HRS (GMT+7)

Before moving to Singapore, Christoph was working as Solo

ASSISTANT PROFESSOR DR. DENNY EUPRASERT

DR. ELISSA MILLER-KAY

PROFESSOR DR. KEE YONG CHONG

DR. KIT YOUNG

PROFESSOR DR. SHAHANUM MOHD SHAH

DR. VERNE DE LA PEÑA

VIRTUAL GUIDE 11:15 - 11:30 HRS (GMT+7)

NAVIGATING YOUR WAY

KEYNOTE 11:30 - 12:30 HRS (GMT+7)

THE HORNED MAN AND THE DRAGON:

ASSOCIATE PROFESSOR DR. JONATHAN DAY

globalisation – and, as we approach the ‘post pandemic’, Biography

KEYNOTE AND CURATED PAPER SESSION 14:00 - 17:00 HRS (GMT+7)

WE ALL COME FROM SOMEWHERE ELSE

ANA LUISA S. DIAZ DE COSSIO

SHOWCASE 14:00 - 17:00 HRS (GMT+7)

CEREMONY 17:00 - 18:00 HRS (GMT+7)

MOU SIGNING CEREMONY MDW & PGVIM

MOU Signing Ceremony between Princess Galyani Vadhana Institute of Music

SHOWCASE 19:00 - 20:30 HRS (GMT+7)

The students of PGVIM have colourfully responde to this

Patidta Atiwattananggoon, guitar

Sonata for Flute and Piano, Op. 23 Lowell Liebermann

Chatkul Wisutthisara, flute

Rebonds B Iannis Xenakis

Anupon Cheychum, percussion

The Solo I for Tuba (2020) Pongtorn Techaboonakho

Sakda Pharchumchana, tuba

Sonata for Flute and Piano Paul Hindemith

Siraphob Maitreesirimongkol, flute

Journeys (2021) Khongchai Greesuradej

Man of La Mancha Mitch Leigh

Suthipa Temrat, trombone

Piano Sonata No. 8 in A minor, K. 301 Wolfgang Amadeus Mozart

Krongkwan Tassanapak, piano