EVERY child, woman and man possesses an inherent musical ability. This talent, when nurtured and developed, can lead to healthier, more enriching lifestyles.
Research consistently demonstrates that quality music education stimulates creativity, builds confidence and fosters a child’s holistic development.
As they grow into adulthood, individuals with a background in music often enjoy enhanced social recognition due to their ability to listen, interpret, perform, and express emotions through music.
With this understanding, the country’s Education Ministry introduced music as a compulsory subject in primary schools in 1983. The rationale behind this policy was that music education offers numerous benefits to a child’s overall academic and personal growth.
To study music is to study the basics of learning itself. Music is a comprehensive art form that integrates various disciplines, allowing students to engage with subjects like mathematics, science, social studies, languages, and even physical education.
While music is a subject with its own distinct body of knowledge and intrinsic value, its interdisciplinary nature provides a foundation for a well-rounded educational experience. At least, this is the idealistic notion.
In practice, what happens is often a far cry from these aspirations.
Over the years, changes in the curriculum have significantly reduced music’s prominence.
Music is now a component of arts education, confined to a mere 30 minutes of a one-hour slot in primary schools.
In one school in Kota Samarahan, for instance, students receive only 60 minutes of music instruction per week (split into two class periods).
According to the headmaster – a music enthusiast and a friend of mine – very few musical instruments are used or taught.
Much of the allocated time is spent on music theory, and the teachers, while well-meaning, are primarily trained in other disciplines.
I wanted to ask whether it might be too early to focus on the academic aspects of music for such young pupils, but my friend and I likely share similar views: our opinions hold no weight against the established policy.
Presumably, the syllabus was devised by experts.
In Kuching’s secondary schools, the situation is slightly different. The most qualified teachers with formal training in music education are assigned to Sekolah Seni Malaysia Sarawak, also known as Sekolah Seni Kuching, located at Jalan Sultan Tengah in Petra Jaya.
Two friends of mine, both degree holders in music education, teach there. They also perform regularly with their respective bands and have been featured at Dayak Artistes and Musicians Association (DAMA) events.
However, other schools in the region are not as fortunate. They lack access to such talents and, consequently, do not offer music lessons as part of their timetables.
This disparity is deemed acceptable though it highlights an ongoing inequity in the distribution of music education resources.
A 1999 survey conducted across 136 preschools in various districts of Selangor provides further insight into the state of music education.
Of the 96 valid responses collected, it was revealed that the most frequently conducted music activities were group singing, music and movement, listening, sound exploration and instrument playing.
Remarkably, 95.8 per cent of respondents reported conducting group singing daily, while only 28.1 per cent engaged in music and movement activities daily.
Over 70 per cent of respondents seldom or never implemented sound exploration activities.
The majority of respondents acknowledged that music contributed to personal and social development, fostered musical skills and knowledge, aided in classroom management and offered a variety of other benefits.
However, there was no unanimous agreement on the significance of music in childhood development. Alarmingly, about one-third of respondents confessed to lacking confidence in conducting music activities, with many feeling unprepared to teach the subject.
This lack of confidence is unsurprising, considering that over 30 per cent of the surveyed teachers were untrained in preschool education, and 92 per cent lacked qualifications in instrumental proficiency.
A similar trend has been observed in Sarawak schools since the introduction of music education. Many teachers tasked with teaching music in primary schools lack formal training or the necessary skills in the subject.
This unfortunate scenario is akin to “the blind leading the blind”.
This leadership gap has contributed to the shortcomings of Malaysia’s music education model.
A 2000 survey on music teaching in primary schools revealed that teaching competency was a significant challenge in curriculum implementation. Other issues included a lack of teaching resources and insufficient support for educators.
To address these challenges, there is an urgent need to train more music educators for the nation’s schools.
The subject has failed to attract sufficient interest from aspiring teachers, leading to a shortage of qualified professionals. In the absence of dedicated music teachers, other subject teachers are often instructed – much to their frustration – to teach music.
The local teachers’ union has voiced strong objections, insisting it is unfair to expect untrained educators to take on a subject they are ill-equipped to teach.
This is a critical issue that the Education Ministry must urgently address. Schools nationwide require adequately trained and qualified music teachers.
Music, as a subject, holds the potential to motivate students, which can, in turn, improve their performance in other disciplines.
Countries like the Philippines and Indonesia offer valuable examples of successful music education systems.
In Indonesia, music education is integrated into both secondary schools and tertiary institutions. The use of expatriate teachers has provided local educators with opportunities for professional growth through collaborative, on-the-job training.
Malaysia could benefit from adopting a similar approach.
In the Philippines, music education dates back to the Spanish colonial era in the 1500s, when missionaries established schools that included music instruction.
During the subsequent American colonial period, public schools were established throughout the islands, and music remained an integral part of the curriculum.
Early instruction drew from the Progressive Music Series, an internationally recognised collection of songs and its localised Philippine edition.
Both countries have successfully avoided the acute shortage of music teachers that continues to plague Malaysia.
Their music education programmes have thrived, underpinned by a long history of investment in the subject.
Malaysia could learn valuable lessons from their experiences. By revisiting its music education policies and drawing inspiration from its neighbours, Malaysia could pave the way for a more robust and effective music education system.
I think Malaysia must adopt a more proactive and aggressive approach to integrating music into its education reforms. There is no shame in learning from neighbouring countries.
After all, music transcends borders – it is a universal language that enriches lives and strengthens communities.
The views expressed here are those of the writer and do not necessarily represent the views of Sarawak Tribune. The writer can be reached at tawisalok@yahoo.com.
