Chan Kai Song
Lieder-based voice pedagogy: the balanced “ah” vowel
Lieder refers to German songs usually performed by a singer and pianist, and is represented by composers such as Schubert, Brahms and Schumann. The often introverted personality of the poetry and music has influenced the desired vocal qualities of singing Lieder. This workshop will focus on the “ah” vowel which is the balance between the front and back vowels; crucial for intonation and expression.
Through listening to short Lieder excerpts, participants would seek to identify some “ah” vowel traits. Nuanced negative examples will also be played for comparison. After which, participants would play a multiple-choice game to put their listening awareness to the test, submitting their answer anonymously via the free-to-use Mentimeter.com. There will be no live singing involved for participants.
Suggestions to find the balanced “ah” will be proposed for participants’ further exploration, who will also receive the workshop outline that includes the vocalises demonstrated and accessible online resources.
Kai Song was the originator and coordinator of the Teaching and Artistry Voice Pedagogy Conference in 2019 which connected professional voice users in the SEA region and raised awareness of voice pedagogy concepts. He graduated in 2020 from the YST Conservatory majoring in Music, Collaboration and Production, and is currently in the Arts Management and Entrepreneurship program at The New School, where he also actively pursues his interest in voice and opera at the Mannes School of Music.
The 25-min long presentation was first given to the Spring 2021 Vocal Pedagogy class at Mannes and is now adapted to a workshop for the conference primarily targeted at singers and voice teachers but also accessible for singing enthusiasts.
“This workshop arises from my personal journey and struggle to find the balanced “ah” and I’m excited to share my findings with more people through this conference!”
Crafting Fresh Narratives - Music through Poe-try
When dealing with the work of an unfamiliar composer, or of an unfamiliar musical form, practitioners, teachers and learners are equally prone to the frustrating delight that comes with sense-making. Last summer, when learning Ravel’s Oiseaux Tristes, I stumbled upon a new approach- to examine the piece through the methods of a famous American writer/poet, Edgar Allan Poe. It has since then inspired a new way into music.
This workshop features the application of Edgar Allan Poe’s composition technique in Oiseaux Tristes and two works from the 2021/22 ABRSM Grade 5 syllabus:
- Beethoven Bagatelle in G minor, Op. 119 No. 1
- Amy Beach Arctic Night (No.1 from Eskimos, Op. 64)
- This workshop also aims to:
Demonstrate the richness that cross-disciplinary analysis brings to musical interpretation
- Encourage creativity and personalisation when crafting fresh narratives, through research and performance
Born in 1997, Xiangning’s childhood passions included dancing to Bollywood musical films, playing pretend school teacher with her grandparents, and being with the piano. Though things look slightly different now, at the heart of it, these instinctive passions for music and education remain aglow with curiosity and creativity, and ultimately through
Recently graduated from Yong Siew Toh Conservatory’s Master’s program in piano performance, Xiangning is currently working as a Teaching Assistant in relation to the areas of Music Cognition and Artistic Research.
All On Board: Skills for 21st Century Musicians, Through a Board Game
Not only that the majority of music graduates are not working in the music industry, but some of them are also unemployed due to the competitive nature within the industry. Factors such as job security, work culture and overall disequilibrium in Thailand’s classical music industry are accountable for said problem.Thus, Thai musicians then need to adapt in order to thrive in their careers. In addition, educational institutions may not be able to rival the fast-moving world.
Most of the courses offered only focus on developing one’s musical skills, but not much of the integration courses and career guides for working within the field. COVID-19 has greatly affected the classical music industry, professional musicians, teachers and music students included. Online platforms are being applied heavily in music industry; such as, online teaching, asynchronous learning and live concert streaming. Thus, stakeholders within the industry are obliged to enhance other skills necessary, apart from performing, to strive in the changing world.
As a researcher, I had studied and analyzed the 21st century skills necessary for classical musicians in order to establish guidelines and engage more awareness in music students.
Moreover, I had designed a board game based on the idea of the 21st century skills necessary for music students. It includes a board game tournament and a seminar on said topic. All in all, this thesis’ main aim is to raise awareness about the 21st century skills in music students and to better Thailand’s classical music industry in the long term.
Thai horn player, Chalankorn Kadenoum began her horn studies at the age of twelve with Miss Natsarun Tissadikun, Mr. Nantawat Waranich and Mr. Akanok Khorcharoen at Matthayom Sangkeet Witthaya School.
In 2015, she enrolled into Yong Siew Toh Conservatory of Music with a full scholarship where she studies Mr. Han Chang Chou, who is a principal horn of Singapore Symphony Orchestra from 1987-2020.
In 2019, she enrolled into Princess Galyani Vadhana Institute of Music for her master degree where she currently doing her thesis in the topic of Raising Awareness of 21st Century Musician Skills Through Board Game.
Wong Yong En
Find My iDentity - Creating a Digital Music Resource
Yong En’s presentation outlines her ongoing research and technical process of setting up the SEACAM Database, a database for contemporary Southeast Asian repertoire. Initially motivated by broader issues of cultural representation in Western art music, she eventually came to wonder the extent to which music encapsulates who we are, leveraging technology and information systems to find out. Going forward, she hopes the database will encourage musicians to perform more Southeast Asian work, and help us understand Southeast Asian contemporary styles and trajectories.
Wong Yong En is a final year student at the Yong Siew Toh Conservatory of Music, majoring in Music & Society and Voice (soprano). Her current research interests lie in musical identity, especially national and cultural identities, from the 19th to 21st centuries. As a performer, Yong En appreciates inter/multidisciplinary art, and loves to move and act while she sings.