Latest RK Ismp (Muzik) 2016

1
1. Name of Course/Module: MALAY DRUMMING

(Gendangan Melayu)
2. Course Code: : AME3072
3. Name(s) of academic staff:

1) Assoc. Prof. Dr. Mohd. Hassan bin Abdullah
4. Rational for the inclusion of the course/module in the programme:
To provide students with knowledge and skills in playing various type of Malay traditional
drums.
5. Semester offered: First /Second
6. Total Student Total

Total Guided Total Learning
Learning Time Face to Face Independent
Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
56 24 80
P = Practical
O = Others 14 14 28 0
7. Credit Value: 2
8. Prerequisite (if any): None
9. Objectives (optional):
10. Learning Outcomes:
i. Play selected Malay traditional drums in various types of Malay traditional drums
ensemble. (P4, TS4)
ii. Compose music for the traditional drums ensemble. (C5, A4)
iii. Demonstrate the proper care and maintenance of Malay traditional drums instrument.
(C3, P4)
11. Transferable Skills:
Skills in playing various types of Malay traditional drums.
12. Teaching-learning and assessment strategy:
i. Lecture: Discussion (Question and answers)

ii. Practical: group ensemble
iii. Assessment Strategy
- Instruments playing
- Composition and performance
2
13. Synopsis:
This course covers discussion and practical aspect of the Malay Traditional drums
ensemble. It includes the playing techniques of the instruments, musical structure,
maintainance and other aspects related to the drum ensembles. Students will participate in
selected traditional drums ensemble as well as perform newly composed music.
(Kursus ini meliputi perbincangan dan aspek praktikal dalam ensembel gendangan Melayu.
Ia merangkumi teknik permainan alat, struktur muzik, penjagaan alat dan lain-lain aspek
yang berkaitan dengan ensembel gendang tradisional. Pelajar akan mengambil bahagian
dalam ensembel gendang tradisional pilihan disamping mempersembahkan komposisi baru.)
14. Mode of Delivery:
Lecture, Tutorial and Practical
15. Assessment Methods and Types:
Coursework : 100%
16. Mapping of the course/module to the Programme Aims:
Main Other
No. Program Aims
Contribution Contribution
1. Provide education and training, knowledge, and

professional skills in the field of music education.
2. To develop teaching skills, planning, and
managing the teaching of subjects in school 
music education.
3. Develop future music education teachers who
are committed and competent with the 
responsibilities as educators.
4. To produce graduates who are able to conduct

research in the field of music education.
17. Mapping of the course/module to the Programme Learning Outcomes:
No. Program Learning Outcome Contribution

1. Master knowledge and pedagogy in the field of music 1
2. Technical skills and teaching music 3
3. Use of educational technology and ICT 1
4. Adherence to the standards of professionalism, values, attitudes,
2
and ethical behavior
5. Exercise social responsibility 2
6. Communicate effectively and be able to work in teams 3
7. Able to efficiently manage information and lifelong learning 2
8. Think creatively and critically 2
9. Able to conduct research in the field of music education 1
10. Sensitive to current and global issues 1
3
18. Content outline of the course/module and the SLT per topic:
L = Lecture
T = Tutorial
P = Practical
O = Others
No. Topic L T P O Total

1. Drums history, culture and music. 2 0 0 0 2
2. Organological aspect of the drums 2 1 0 0 3
3. Maintenance of instrument 1 1 2 0 4
4. The Playing Techniques 1 2 4 0 7
5. Kompang Ensemble 1 2 4 0 7
6. Gendang silat and wayang kulit Ensemble 1 2 6 0 9
7. Kertuk and rebana ubi Ensemble 1 2 4 0 7
8. Composition for the Malay drums ensemble 4 2 2 0 8
9. Ensemble performance 1 2 6 0 9
Total 14 14 28 0 56
*Remainder is for independent learning time.
19.  Main reference supporting the course:
Nik Mustafa Nik Mohd Salleh, (2009). Alat muzik tradisional dalam masyarakat Melayu
Malaysia. Kuala Lumpur: Kementerian Kesenian, Kebudayaan dan Kesenian.
 Additional references supporting the course:
Lee, Elaine, & Mohd Hassan Abdullah (ed.), (2007). Ethnic musical instruments of Malaysia.
Subang Jaya: Win Publication.
Matusky, P., & Tan, S. B., (2004). The music of Malaysia: The classical, folk, and syncretic
traditions. New York: Ashgate Publishing Company
Mohd Ghouse Nasuruddin. (1992). The Malay traditional music. Kuala Lumpur: Dewan
Bahasa
Shamsiah Sabaruddin, Surya Hafida Bahari & Zuzitah Abdul Samad (1993). Kumpulan
kompang. Kuala Lumpur: Pustaka Bakti Wira.
Terry, E. M., & Sean, W., (2008). The Garland handbook of Southeast Asia music. New York:
Ashgate Publishing Company.
20. Other additional information: NIL
1. Name of Course/Module: VOCAL TECHNIQUE

(Teknik Vokal)
4
2. Course Code: AMS3032

1) Mr. Veselin Stefanov Kolev
2) Nor Ashikin Hitam
i. Basic singing skills play an important part which provide the foundation for professional
singing, playing a musical instrument and composing music.
ii. To equip students with good vocal production and technical skills prior to engaging in
singing or teaching.
5. Semester offered: First/Second

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
42 38 80
P = Practical
O = Others 12 0 30 0
7. Credit Value: 2
Students will be able to sing correctly using proper support, breath, and skills in diction, technique
and dynamics.
i. Explain the elements of vocal technique.(C2, A2)

ii. Demonstrate the correct vocal techniques. (C3, P4)
iii. Conduct a micro teaching on vocal technique.(P6, A4, CS7).

i. Performance skills.
ii. Teaching skills
i. Lecture
ii. Discussion (Question and answers)
iii. Demonstration
iv. Assessment Strategy
- Practical test
- Micro teaching
13. Synopsis:
This course is designed to develop basic vocal techniques such as breath control, tone
production, tone placement, articulation and diction through appropriate exercises and
repertoire. Students will be exposed to a diversified solo vocal repertoire in order to develop
5
basic musicianship and expressive singing.

(Kursus ini bertujuan untuk mengembangkan teknik asas vokal seperti pengawalan nafas,
pengeluaran ton, tone placement, artikulasi dan sebutan. Pelajar akan didedahkan dengan
repertoire solo untuk membentuk musicianship dan juga penghayatan dalam nyanyian).
Lecture, modeling, practice, performance, and discussion
Coursework 100%
Main Other
No. Program Aims

music education.


2
6
L = Lecture
T = Tutorial
P = Practical
O = Others

1. Fundamentals of vocal technique: terms and
2 0 2 0 4
concepts, posture, breathing and relaxation
2. Vocalizes and other vocal exercises; legato style 1 0 6 0 7
3. Diction 1 0 4 0 5
4. Tone quality, vowel production, diphthongs,
2 0 3 0 5
consonants
5. Register and ranges, resonance, vocal health 2 0 4 0 6
6. Interpretation, style, deportment 1 0 4 0 5
7. Vocal repertoire 1 0 2 0 3
8. Teaching vocal techniques 2 0 5 0 7
Total 12 0 30 0 42
Arman, M. J. (2010). The voice: A spiritual approach to singing, speaking and

communicating: What ever happened to great singing? (4th ed.). Charlston, SC:
CreateSpace.
Bickel, Jan E. (2007). Vocal technique: A psychological approach for vocal class and studio.
San Diego, CA: Plural.
Elliott, Martha. (2008). Singing in style: A guide to vocal performance practices. New Haven,
CT: Yale University Press.
Hamady, Jennifer. (2009). The art of singing: Discovering and developing your true voice
(Vocal instruction). Milwaukee, WI: Hal Leonard.
Paton, John Glenn. (2006). Foundations in singing: A guidebook to vocal technique and song
interpretation. New York: McGraw-Hill.
Zabriskie, Alan. (2009). Foundations of choral tone: A proactive and healthy approach to
vocal technique and choral blend (Foundations for choral conductors). Tallahassee,
FL: Usingers Publishers.
20. Other additional information:
1. Name of Course/Module: STRINGS TECHNIQUE

(Teknik Alat Bertali)
7

1) Madam Mayya Musaeva
2) Mr. Shafizan Bin Haji Sabri
String technique is a fundamental skill in music performance and pedagogy. School music
programs expect educators to have basic skills in string playing.

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
52 28 80
P = Practical
O = Others 30 0 22 0
7. Credit Value: 2
i. Explain the elements of strings technique.(C2, A2)

ii. Demonstrate the correct strings techniques. (C3, P4)
iii. Conduct a micro teaching on strings technique.(P6, A4, CS7).
ii. Teaching skills
i. Lecture
iii. Demonstration
- Practical test
- Micro teaching
13. Synopsis:
This course will develop students with the fundamentals of string techniques. It will
emphasize on basic playing and teaching string instruments in a classroom setting. The
students will select one stringed instrument either violin, viola, cello or double bass.
8
Terminology, tone production and care of strings the instruments will also be discussed.
(Kursus ini menyediakan pelajar tentang teknik-teknik asas untuk alat bertali.Ia juga
menekankan asas permainan dan pengajaran alat-alat bertali di bilik darjah. Pelajar-pelajar
akan memilih salah satu alat muzik bertali samada violin, viola, cello atau double bass.
Terminologi, pengeluaran ton dan penjagaan alat-alat bertali juga turut dibincangkan)
Coursework 100%
Main Other
No. Program Aims

managing the teaching of subjects in school 
music education.
are committed and competent with the 


2
9
L = Lecture
T = Tutorial
P = Practical
O = Others

1. General overview of the course and instruments.
2 0 2 0 4
2. Bowing techniques and open strings.
6 0 2 0 8
3. Left hand technique and intonation.
6 0 2 0 8
4. Note reading
4 0 2 0 6
5. Solo
2 0 2 0 4
6. Group Playing
2 0 2 0 4
7. Repertoire
2 0 2 0 4
8. Terminology, tone production and care of strings
2 0 2 0 4
the instruments
9. Teaching strings techniques 4 0 4 0 8
Total 30 0 22 0 52
Westberg, M. (2008). Sharpen your string technique book. CA: String Letter Publishing
Allen, Michael. Gilliespie, Robert. Tellejohn Hayes, Pamela. Arrangements by John Higgins.
(2008). A comprehensive string method. Milwaukee: Hal Leonard
Anderson,Gerald E and Frost, Robert S. (1990) All for strings: Comprehensive string
method book one. San Diego: Neil A Kjos Music Company
Hamann, Donald L. Gilliespie, Robert. (2004) Strategies for teaching strings: Building a
sucessful string and orchestra program. New York: Oxford University Press
Jo Nardolillo (2012). The canon of violin literature. NJ: Scarecrow Press
Chris Coetzee (2003). Violin - and easy guide. NJ: Holland Publishers
Robin Stowell (2001), The early violin and viola. Cambridge: University Press.

10
1. Name of Course/Module: BRASS TECHNIQUE

(Teknik Bras)
1) Dr. Mahayuddin bin Abdul Rahim
Brass technique is a fundamental skill in music performance and pedagogy. School music
programs expect educators to have basic skills in brass playing.
5. Semester offered: First and second

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
42 38 80
P = Practical
O = Others 14 0 28 0
7. Credit Value: 2
i. Explain the elements of brass technique.(C2, A2)

ii. Demonstrate the correct brass techniques. (C3, P4)
iii. Conduct a micro teaching on brass technique.(P6, A4, CS7).
ii. Teaching skills
i. Lecture
iii. Demonstration
- Practical test
- Micro teaching
11
13. Synopsis:
This course exposes students to the basic skills of playing brass instruments with emphasis
on methods, playing techniques and teaching methods. At the end of the course students
should be able to demonstrate and explain basic concepts of brass performance techniques
applicable to the brass student at the secondary school level.
(Kursus ini bertujuan untuk melatih pelajar memperolehi kemahiran asas memainkan alat-
alat brass meliputi aspek teknik bermain, pengendalian, penjagaan alat, kaedah mengajar
alat serta aplikasi melalui persembahaan individu. Di akhir kursus pelajar dapat menunjuk
cara dan menerangkan konsep asas permainan alat brass di peringkat sekolah menengah)
Coursework 100%
Main Other
No. Program Aims

music education.


2
12
L = Lecture
T = Tutorial
P = Practical
O = Others

1. Introduction to the Brass Instruments 2 0 4 0 6
2. Brass Technique 2 0 4 0 6
3. Exercises, Scale/ Sight reading 2 0 4 0 6
4. Tone characteristic for solo/ group 2 0 4 0 6
5. Teaching materials and solo repertoire 2 0 4 0 6
6. Micro teaching 2 0 4 0 6
7. Teaching Through Performance 2 0 4 0 6
Total 14 0 28 0 42
Ely, Mark (2010). Wind talk for brass: A practical guide to understanding and teaching brass
instruments. USA: Oxford University Press.
Bailey, Wayne (2006). A resource manual. New York: McGraw-Hill
Jagow, Shelly (2007). Teaching instrumental music: Developing the complete band program.
Maryland: Meredith Music.
Jenzon, Art (1999). Learning Unlimited. A complete beginning band method level l & ll
trumpet, trombone, french horn, tuba, baritone. Milwaukee: Hall Leonard Publishing
Whitener. Scott (2006). A complete guide to brass: Instruments and technique, Michigan:
Schirmer Books.
Williams. Joe E. & Neidig, Kenneth L. (2007). Rehearsing the band (1st Ed.). Baltimore, MD:
Meredith Music.
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1. Name of Course/Module: WOODWIND TECHNIQUE

(Teknik Tiup Kayu)

1) Dr. Margaret Jean Penny
Woodwind technique is a fundamental skill in music performance and pedagogy. School
music programs expect educators to have basic skills in woodwind playing.

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
56 24 80
P = Practical
O = Others 28 14 14 0
7. Credit Value: 2
i. Explain the elements of woodwind technique.(C2, A2)

ii. Demonstrate the correct woodwind techniques. (C3, P4)
iii. Conduct a micro teaching on woodwind technique.(P6, A4, CS7).
ii. Teaching skills
i. Lecture
iii. Demonstration
- Practical test
- Micro teaching
14
13. Synopsis:
This course will develop the basic skills of playing a woodwind instrument with emphasis on
accepted methods and techniques, how to teach these techniques and the application through
performance. Topics to be covered include proper maintenance, assembly, holding and playing
position, embouchure formation, breathing techniques, ability to produce and sustain a tone,
fingering systems and pitch adjustment. Teaching materials and performance repertoire are also
included.
(Kursus ini akan memperkembangkan kemahiran asas permainan alat tiup kayu dengan
penekanan kepada teknik dan kaedah, bagaimana mengajar teknik dan aplikasi teknik dalam
persembahan. Antara kandungan topik ialah penyelenggaraan, pemasangan, cara memegang
dan posisi permainan, pembentukan embouchure, teknik pernafasan, kebolehan menghasilkan
dan mengekalkan tone, sistem penjarian dan pengubahsuaian pic. Bahan pengajaran dan
repertoire juga diperkenalkan.)
Coursework 100%
Main Other
No. Program Aims

music education.


2
15
L = Lecture
T = Tutorial
P = Practical
O = Others

1. General overview of the course content. 2 2 2 0 6
2. Play competently using basic woodwind
8 2 2 0 12
technique.
3. Playing woodwind instruments in a group. 8 2 2 0 12
4. Transferring skills to a teaching situation. 4 2 2 0 8
5. Perform a solos 2 2 2 0 6
6. Developing reading skills. 2 2 2 0 6
7. Repairs and Maintenance 2 2 2 0 6
Total 28 14 14 0 56
Griswold, Gene (2008). Teaching woodwinds: New Jersey: Prentice Hall
Garofall, Robert, (2000). Improving intonation in band and orchestra performance. Baltimore,
MD: Meredith Music.
Jagow. Shelly. (2007). Teaching instrumental music: Developing the complete band program.
Baltimore, MD: Meredith Music.
Jenson Art. (1996). Learning unlimited: A complete beginning band method level 1 & 11
piccolo, flute, clarinet and saxophone. Milwaukee: Hall Leonard Publishing
Corporation.
Morris, Ganeth (1991) Flute technique. Oxford. OUP
Meredith Music.
16
1. Name of Course/Module: PIANO PROFICIENCY

(Kemahiran Bermain Piano)

1) Dr. Colleen Wong Huey Yi
2) Dr. Christine Augustine
To be able to interpret a musical score and perform competently on the piano because music
education program in schools expect educators to have basic skills in piano playing.

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
42 38 80
P = Practical
O = Others 14 0 28 0
7. Credit Value: 2

i. Perform proficiently on the piano with adequate techniques. ( P4, C3)
17
ii. Perform with other musicians in small ensemble.(A4,P6, TS4)

iii. Demonstrate efficient and organized practice. (A4,C3)
iv. Harmonizing a simple melody (C4, P6)
i. Acquire listening skills through reading music.

ii. Relating music notation and the ability to identify nuances in any musical activity to
performance.
- Lecture
- Demonstration
- Presentation
- Performance
13. Synopsis:
This introductory course focuses on piano techniques which include posture, hand position,
finger strengthening and note-reading. Students will also be exposed to basic melodic
harmonization, and play basic piano repertoire.
(Kursus pengenalan ini tertumpu kepada pelbagai teknik permainan piano seperti postur
badan, tangan, pengukuhan penjarian dan pembacaan not. Pelajar juga didedahkan kepada
asas pengharmonian melodi and bermain repertoir asas)
Lectures and demonstration
Coursework 100%
Main Other
No. Program Aims

music education.

18

3
L = Lecture
T = Tutorial
P = Practical
O = Others

1. Introduction to the course, the piano posture
2 0 0 0 2
technique .
2. 5 finger melodies, finger independence 2 0 4 0 6
3. Dynamcis, articulation 2 0 4 0 6
4. Major and minor scale, arpeggios, broken
2 0 6 0 8
chords, chords
5. Accompaniment patterns, harmonic
2 0 6 0 8
progressions
6. Solo performance 2 0 4 0 6
7. Sightreading 2 0 4 0 6
Total 14 0 28 0 42

Axelander, Dennis., Kowalchyk, Gayle. & Lancaster, E.L. (2010). Premier piano course
technique. Van Nuys, California: Alfred.

Heatley, Micheal & Brown, Allan. (2009). Sheet music piano illustrated. Fulham, London:
Flame Tree.
Kreader, Barbara. Kern, Fred. & Kereven, Phillip. (2009). Scales, patterns and
improvisations, five finger patterns, i-v7-1 chords and arpeggios: Basic skills.
Milwaukee: Hal Leonard
Meffen, J. (2001). Improve your piano playing. Tadworth: Right Way Plus.
19

20
1. Name of Course/Module: ADVANCE PIANO PROFICIENCY

(Kemahiran Bermain Piano Lanjutan)

1) Mdm Christine Augustine
2) Miss Colleen Wong Huey Yi
To be able to interpret a musical score and perform competently on the piano because music
education program in schools expect educators to have basic skills in piano playing.

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
42 38 80
P = Practical
O = Others 14 0 28 0
7. Credit Value: 2
8. Prerequisite (if any): AMS3062 Piano Proficiency
To be able to interpret a musical score and perform competently on the piano.
i. Perform proficiently on the piano with adequate techniques. ( P4, C3)

ii. Perform with other musicians in small ensemble.(A4,P6, TS4)
iii. Demonstrate efficient and organized practice. (A4,C3)
iv. Harmonizing intermediate level melodies (C4, P6)

ii. Relating music notation and the ability to identify nuances in any musical activity to
performance.
- Lecture
- Demonstration
- Presentation
- Performance
21
13. Synopsis:
No. Program Learning Outcome Contribution This cours

1. Master knowledge and pedagogy in the field of music 3 techniques
2. Technical skills and teaching music Students w
3
repertoire.
4. Adherence to the standards of professionalism, values, attitudes, and
3
ethical behavior (Kursus ad
5. Exercise social responsibility 2 teknik lanju
6. Communicate effectively and be able to work in teams 2 pembacaa
7. Able to efficiently manage information and lifelong learning and reperto
2
14. Mode of De
10. Sensitive to current and global issues 1 Lectures a
15. Assessmen
Coursewor
16. Mapping o
No.
1. Prov
prof
2. To
man
mus
3. Dev
are
resp
4. To p
rese

22
L = Lecture
T = Tutorial
P = Practical
O = Others

1. Introduction to the course, 2 0 0 0 2
2. Chromatic, Dominant 7th and Diminished 7th
2 0 4 0 6
scales
3. Rhythmic Drills - Studies 2 0 4 0 6
4. Technical Works 2 0 6 0 8
5. Accompaniment patterns, harmonic progressions 2 0 6 0 8
6. Sight-reading 2 0 4 0 6
7. Solo performance 2 0 4 0 6
Total 14 0 28 0 42
*Remainder is for independent learning time
Heatley, Micheal & Brown, Allan. (2009). Sheet music piano illustrated. Fulham, London:
Flame Tree.
Kreader, Barbara. Kern, Fred. & Kereven, Phillip. (2009). Scales, patterns and
improvisations, five finger patterns, i-v7-1 chords and arpeggios: Basic skills.
Meffen, J. (2001). Improve your piano playing. Tadworth: Right Way Plus

23
1. Name of Course/Module: CONDUCTING

(Kondukting)

1) Dr. Mohd Nizam bin Nasrifan
Future music educator needs to be equiped with practical and hands on experience of
rehearsing and conducting various styles of both instrumental and choral ensemble.

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
50 30 80
P = Practical
O = Others 28 2 16 4
7. Credit Value: 2
i. Demonstrate correct conducting techniques and rehearsal skills for vocal and
instrumental music. (P5, C3)
ii. Identify specific problems and issues that currently encounter in conducting and
discuss to deal with the problems. (A3, C5, EM2)
iii. Conduct diverse musical styles from various periods. (P3, C4)
iv. Provide a concert’s program note. (A4)
Skills to generate ideas, design concepts and disciplines to analyze elements in the
leadership of music such as leadership, ethics and training techniques.
i. Lecture
ii. Demonstration and Show how.
iii. Discussion and Analysis.
- Evaluation on basic conducting techniques
- Evaluation on ensemble conducting performance
- Evaluation on program note
24
13. Synopsis:
This course exposes student with basic conducting technique and skill for both choral and
instrumental ensemble. Student also will be exposed to conduct and organize a real
ensemble rehearsal.
(Kursus ini mendedahkan pelajar kepada asas teknik dan kemahiran kondukting dalam
bidang koral dan instrumental. Pelajar juga akan didedahkan untuk memimpin dan
mengendali latihan ensembel sebenar)
Lecture, Tutorial, Demonstration and Practical
Coursework 100%
Main Other
No. Program Aims

music education.


3
25
L = Lecture
T = Tutorial
P = Practical
O = Others

1.  Introduction to conducting techniques
 Historical background of conducting. 2 1 0 2 5
 Criteria of a good conductor
2.  Preparatory position
2 0 2 0 4
 Baton techniques.
3.  Preparatory beat
4 0 2 0 6
 Preparatory beat for all count
4.  Conducting divided meters 2 0 2 0 4
5.  Cut and release
4 0 2 0 6
 Cut and release for all count.
6.  Conducting musical styles 4 0 2 0 6
7.  The fermata 2 0 2 0 4
8.  The cue 2 0 2 0 4
9.  Analysis score and preparation
4 0 2 0 6
 Rehearsal technique
10  Program note 2 1 0 2 5
28 2 16 4 50
John F. Cholson (2012). Conducting and rehearsing the instrumental music ensemble:
Scenarios, priorities, strategies, essentials, and repertoire. Thornbury, PL: Scarecrow
Press Ltd.
Battisti, F. L. (2007). On becoming a conductor: Lessons and meditations on the art of

conducting. Galesville, MD: Meredith Music Publication.Inc.
Gehrkens K.W (2012). Essentials in conducting. Boston: Forgotten Books
Harris F. Jr. (2001). Conducting with feeling. Galesville, MD: Meredith Music Publications
Shepha, M, W. (2002). A conducting workbook. Belmont, CA: Wadsworth Group
Labuta, J. A. (2000). Basic conducting techniques. Upper Saddle River, NJ: Prentice Hall.
Neuen, D. (2002). Choral concepts. Belmont, CA: Wadsworth/Thompson Learning.

26
1. Name of Course/Module: COMPOSITION

(Komposisi)
2. Course Code: AMM3062

1) Dr. Robert Walter Burton Burrell
This program will provide the student with the knowledge of music composition and the
creation towards in improving the musical creativity aspects and the artistic issues.

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
56 24 80
P = Practical
O = Others 28 14 14 0
7. Credit Value: 2
8. Prerequisite (if any): AMM3143
i. Develop and expand motive for writing original composition .(C3, P7)
ii. Exhibit correct approach and echniques in composing a song / music. (C3, CT4,)
iii. Apply knowledge of the characteristics of tones and the construction of melody: the
influence of rhythm on phrases, devices to and contrast motives and the expansion of
this basic material into larger sections
iv. Able to compose music in different form of tonal music using all of the composition
techniques that have been learned; (C3, P7)
v. Ability to create new composition music works; (C3, CT4)
i. Listening, reading and performing music.
ii. Creating new creative music ideas.
i. Lecture
- Evaluation on construction of melody
- Evaluation on composition techniques used in new composition work
27
13. Synopsis:
This course is design to expose students to the basic techniques of composition. Students
are required to compose original work in various forms of tonal music using the composition
technique learned.
(Kursus ini mendedahkan pelajar kepada teknik – teknik asas ciptaan lagu. Setiap pelajar
dikehendaki menghasilkan ciptaan asli dalam pelbagai bentuk muzik tonal berdasarkan
teknik-teknik ciptaan yang dipelajari.)
Coursework 100%
Main Other
No. Program Aims

music education.


2
28
L = Lecture
T = Tutorial
P = Practical
O = Others

1. Introduction to Composition. 2 1 0 0 3
2. Critical Music Listening. 2 1 0 0 3
3. Composition Process. 2 1 0 0 3
4. Composition Techniques 1. 2 1 0 0 3
7. Presentation. 2 0 0 0 2
8. Composition and Management Techniques 2 1 0 0 3
9. Writing Concert Master Scores 1. 2 1 0 0 3
12. Performance Practice 1. 2 2 4 0 8
14. Final Performance. 2 0 6 0 8
Total 28 14 14 0 56
White, Gary. (2010). Music first (6th Ed.). New York, McGraw-Hill.
Blume, Jason. (2004). Six steps to songwriting success: The comprehensive guide to writing
and marketing hit songs (Rev. Exp. Ed.). CA: Billboard Books
Citron, Stephen. (2008). Songwriting: a complete guide to the craft (Rev. Updated Ed.).
Milwaukee: Hal Leonard.
Houlahan, Micheal & Tacka, Philip. (2008). From sound to symbol: Fundamentals of music.
London: Oxford University Press.
Henry, Earl. (2008). Fundamentals of music: Rudiments, musicianship and composition. (5th
Edition). New Jersey: Prentice Hall.
Reimer, Bennett. (2009). Minds on music: Composition for creative and critical thinking.
Maryland: Rowman & Littlefield Publishers, Inc.

29
1. Name of Course/Module: MALAYSIAN TRADITIONAL MUSIC

(Muzik Tradisional Malaysia)

1) Mr. Mohd Nizam bin Attan
To provide students with knowledge and skills of Malaysian Traditional Music as part of our
cultural heritage.

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
42 38 80
P = Practical
O = Others 22 14 6 0
7. Credit Value: 2
i. Explain the historical aspect of Malaysian Traditional Music. (C4, EM2)

ii. Classified Malaysian Traditional Music instruments. (C4, LL2)
iii. Differentiate the types of Malaysian Traditional Music. (C4,A4)
iv. Play the musical instruments of the selected Malaysian Traditional Music ensemble
(P3, CS8, A4)
Skills and how they are developed and assessed, project and practical experience.
i. Lecture
ii. Practical
iii. Workshop and presentation.
iv. Coursework and final examination.
30
13. Synopsis:
This course is to expose students to the types of Malaysian traditional music such as
classical/art music, folk music, and Idiosyncratic. This course will provide students with the
history, development, function, elements and characteristic of the Malaysian traditional
music. Students will also be exposed to the practical aspects of selected Malaysian
traditional music ensembles.
(Kursus ini memberi pendedahan kepada beberapa jenis muzik klasik, rakyat, sinkretik dari
pelbagai bangsa di Malaysia. Pelajar berpeluang mengenali dan mengkaji sejarah,
pengaruh, fungsi dan elemen-elemen muzik dalam bentuk muzik tradisional Malaysia.
Pelajar juga akan didedahkan dengan praktikal mengenai muzik tradisional yang terpilih).

Lecture, Tutorial, practical, Workshop.
Coursework : Minimum 60%
Final Examination : Maximum 40%
Main Other
No. Program Aims

music education.


2
31
L = Lecture
T = Tutorial
P = Practical
O = Others

1. History of Malaysian Music 2 1 0 0 3
2. Type and Classification of Malaysian Traditional 2 1 0 0 3
Music
3. Function of traditional Music in the Community 2 1 0 0 3
4. Music of the Royal and Little Tradition 2 1 0 0 3
5. Ethnic Musical Instruments of Malaysia 2 1 0 0 3
6. Dance Music and Theatrical Music 2 1 0 0 3
7. Traditional Percussion Ensembles 2 1 0 0 3
8. Indigenous music of Peninsular Malaysia 2 1 0 0 3
9. Music of Indigenous people of Borneo 2 1 0 0 3
10. Chinese Music in Malaysia 2 1 0 0 3
11. Indian Music in Malaysia 2 1 0 0 3
12. Traditional music practical workshop 0 1 3 0 4
13. Traditional music practical workshop 0 2 3 0 5
Total 22 14 6 0 42
Matusky, Patricia & Tan Sooi Beng (2004), The music of Malaysia: The classical, folk, and
syncretic traditions. Burlington, USA: Ashgate publishing Company.
Douglas, Gavin (2009). Music in Mainland Southeast Asia. England: Oxford University Press.
Gulam-Sarwar Yusoff, (2004). The Encyclopedia of Malaysia: Performing arts. Archipelago
Press
Lee, Elaine, (2007), Ethnic musical instruments of Malaysia, edited by Mohd Hassan
Abdullah, Subang Jaya: Win Publication.
Miller, Terry E., Williams, Sean, (2008), The Garland handbook of Southeast Asian music.
USA: Routledge.

32
1. Name of Course/Module: ARRANGING

(Gubahan)

1) Dr. Robert Walter Burton Burrell
This program will provide the student with the knowledge of music arrangement and the
creation towards in improving the musical creativity aspects and the artistic issues.

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
70 50 120
P = Practical
O = Others 42 14 14 0
7. Credit Value: 3
8. Prerequisite (if any): AMM3062, AMM3143
i. Exhibit the advanced principles of instrumental arranging. (C3, P4)

ii. Apply music arrangement techniques in creating good composition and music
arrangements. (C4, P6)
iii. Create new music style in the ensembles, concert band, brass band combo
and orchestra. (C5, CT4)
iv. Experiment new creative ideas in producing good quality music arrangements. (CT4,
P7)
v.
iii.
i. Lecture
- Evaluation on construction of music arrangment
- Evaluation on arranging techniques used in music arrangment work
33
13. Synopsis:
This course has been designed to expose students to the theoritical and practical aspects of
producing music arrangement. Techniques of voicing in instrumental music arrangements
and writing techniques of musical form will also be discussed.
(Kursus ini direkabentuk untuk mendedahkan pelajar tentang aspek teori dan amali dalam
menghasilkan gubahan muzik. Teknik ‘voicing’ dalam gubahan muzik instrumental dan teknik
penulisan gubahan bentuk muzik juga akan dibincangkan.)
Coursework 100%
Main Other
No. Program Aims

music education.


2
34
L = Lecture
T = Tutorial
P = Practical
O = Others

1. Introduction to Music Arrangement. 3 1 0 0 4
2. Critical Music Listening. 3 1 0 0 4
3. Music Arrangement Process. 3 1 0 0 4
4. Music Arrangement Techniques 1. 3 1 0 0 4
7. Presentation. 3 0 0 3
8. Music Arrangement and Management
3 1 0 0 4
Techniques
14. Final Performance. 3 0 6 0 9
Total 42 14 14 0 70
Suskin Steven, (2009). The sound of broadway music: A book of orchestrators and
orchestration. USA: Oxford University Press.
White, Gary. (2010). Music first (6th Ed.). New York, McGraw-Hill.
Reimer, Bennett. (2009). Minds on music: composition for creative and critical thinking.
Maryland: Rowman & Littlefield Publishers, Inc
Citron, Stephen. (2008). Songwriting: a complete guide to the craft (Rev. Updated Ed.).
Reck, Miranda, Eduardo (2003). Composing music with computers (2nd Ed.), Burlington, MA:
Focal Press.
Adler, Samuel. (2002). Study of orchestration (3rd. Edition). New York: W.W. Norton.

35
1. Name of Course/Module: APPLIED MUSIC I

(Aplikasi Alat Muzik I)

2) Dr. Margaret Jean Penny
6) Miss Colleen Wong Huey Yi
7) Dr. Andrew Blackburn
8) Mr. Mayco Axel Santaella
9) Mdm. Mayya Musaeva
10) Miss Violetta Ayderova
11) Mr. Shafizan Sabri

i. Develop students understanding and appreciation of music through practical skills and
creative work
ii. To equip students with good playing skills in musical performance activity

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
28 52 80
P = Practical
O = Others 0 14 14 0
7. Credit Value: 2

i. Demonstrate the correct techniques for good tone production.(C3)
ii. Demonstrate a good skill of principle study. (P5, A4)
iii. Perform studied material proficiently. (A4, P4, LL3)
iv. Demostrate music reading abilities through sight reading and assigned repertoire (C3.
P3, A2)
i. Technical competency of the instrument of choice or voice.

ii. Develop higher performance ability and evaluate the aspects of performing with
appropriate interpretation of the assigned repertoire.
36
i. Lecture:
a. Discussion
b. Demonstration & Modeling
c. Practical
d. Performance
ii. Assessment Strategy

a. Mid Assessment
b. Concert Practise
c. Final Assessment
13. Synopsis:
Development of knowledge and skills on students major instrument or voice. Proficiency in

performing standard literature, scales, arpeggios and sight-reading are stressed. At the end
of the course students should be able to perform and evaluate the mechanical, technical and
aesthetic aspects of major instrument performance.
(Memperkembangkan pengetahuan dan kemahiran alat utama pelajar atau suara.

Penekanan utama adalah tertumpu kepada produksi ton, teknik pernafasan, overtone series.
Kebolehan bermain skel, arpeggio, bacaan semerta serta memainkan lagu pilihan juga diberi
penekanan. Diakhir kursus pelajar dapat mempersembahkan dan menilai keperluan
teknikal, mekanisma dan estetik persembahan alat utama )
- Lecture
- modeling
- demonstration
- discussion
- one to one teaching
Coursework 100%
Main Other
No. Program Aims

music education.

37

3
L = Lecture
T = Tutorial
P = Practical
O = Others

1. Vocal / Instruments techniques 0 1 1 0 2
2. Technical studies
0 1 1 0 2
- scales, arpeggios
3. Articulation principles 0 1 1 0 2
4. Voice projection / tone production 0 3 3 0 6
5. Interpretation 0 3 3 0 6
6. Repertoire study 0 3 3 0 6
7. Sight reading / sight singing 0 2 2 0 4
Total 0 14 14 0 28
Allen, Michael. Gilliespie, Robert. Tellejohn Hayes, Pamela (2002). A comprehensive string
method. Milwaukee: Hal Leonard.
Adrian Griffin (2012). Buzz to brilliance: A beginning and intermediate guide to trumpet. NY:
Oxford University Press.
Bruce Pearson & Ryan Nowlin (2012).Tradition of Excellence Technique & Musicianship –
Trombone. San Diego, CA: Neil A. Kjos Music Company
Fraser, Alan. (2003). Craft of piano playing: A new approach to piano technique. Maryland:
38
Scarerow.
Geoffrey Burgess & Bruce Haynes. (2004). The oboe (Yale musical instrument series). USA:
Yale University Press.
Hoeorich, Eric. (2008). The clarinet (Yale musical instrument series): Yale University Press.
Marchesi, Mathilde (2009). Bel Canto: A theoretical and practical vocal method. NY: Dover
McKinney, James. (2005). Diagnosis and correction of vocal faults. long grove, IL: Genevox
Music Group
Reynolds, Verne. (2003). Horn handbook. (1st. Ed.). New York: Amadeus.

39
1. Name of Course/Module: APPLIED MUSIC II

(Aplikasi Alat Muzik II)

i. Dr. Mohd Nizam bin Nasrifan

ii. Dr. Margaret Jean Penny
iii. Dr. Mahayuddin bin Abdul Rahim
iv. Mr. Mohd Nizam bin Attan
v. Mr. Veselin Stefanov Kolev
vi. Miss Colleen Wong Huey Yi
vii. Dr. Andrew Blackburn
viii. Mr. Mayco Axel Santaella
ix. Mdm. Mayya Musaeva
x. Miss Violetta Ayderova
xi. Mr. Shafizan Sabri
1) Develop students understanding and appreciation of music through practical skills
and creative work
2) To equip students with good playing skills in musical performance activity

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
28 52 80
P = Practical
O = Others 0 14 14 0
7. Credit Value: 2
8. Prerequisite (if any): AMS3142

40
i. Lecture:
a. Discussion
c. Practical
d. Performance

a. Mid Assessment
b. Concert Practise
c. Final Assessment
13. Synopsis:
This course is an extension of Applied Music I course. Development of knowledge and

performance ability on students’ major instrument or voice. Correct fingering, tone
production, voice projection, overtone series, embouchure and equipment selection:
Proficiency in performing standard repertoire, scales, arpeggios and sight reading are
stressed.
(Kursus ini adalah lanjutan kepada kursus Applied Music I. Memperkembangkan

pengetahuan dan kemampuan persembahan alat utama atau suara pelajar. Penekanan
diberikan kepada produksi ton, teknik pernafasan, overtone series dan embouchure.
Kebolehan bermain skel, arppegio, bacaan semerta serta memainkan lagu pilihan juga akan
diberi penekanan).
- Lecture
- modeling
- demonstration
- discussion
Coursework 100%
41
Main Other
No. Program Aims

music education.


3
L = Lecture
T = Tutorial
P = Practical
O = Others

2. Technical studies 0 2 2 0 4
7 Sight reading / sight singing 0 2 2 0 4
Total 0 14 14 0 28
42
Scarerow.
Music Group

43
1. Name of Course/Module: APPLIED MUSIC III

(Aplikasi Alat Muzik III)

i. Dr. Mohd Nizam bin Nasrifan
ii. Dr. Margaret Jean Penny
iii. Dr. Mahayuddin bin Abdul Rahim
iv. Mr. Mohd Nizam bin Attan
v. Mr. Veselin Stefanov Kolev
vi. Miss Colleen Wong Huey Yi
vii. Dr. Andrew Blackburn
viii. Mr. Mayco Axel Santaella
ix. Mdm. Mayya Musaeva
x. Miss Violetta Ayderova
xi. Mr. Shafizan Sabri
i. Develop students understanding and appreciation of music through practical skills

and creative work
ii. To equip students with good playing skills in musical performance activity

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
28 52 80
P = Practical
O = Others 0 14 14 0
7. Credit Value: 2


44
i) Lecture:
a. Discussion
c. Practical
d. Performance
ii) Assessment Strategy

a. Mid Assessment
b. Concert Practise
c. Final Assessment
13. Synopsis:
This course is an extension of Applied Music II course. Development of knowledge and

performance ability on students’ major instrument or voice. Correct fingering, tone
production, voice projection, overtone series, embouchure and equipment selection:
Proficiency in performing standard repertoire, scales, arpeggios and sight reading are
stressed.
(Kursus ini adalah lanjutan kepada kursus Applied Music II. Memperkembangkan
pengetahuan dan kemampuan persembahan alat utama atau suara pelajar. Penekanan
diberikan kepada produksi ton, teknik pernafasan, overtone series dan embouchure.
Kebolehan bermain skel, arppegio, bacaan semerta serta memainkan lagu pilihan juga akan
diberi penekanan).
- Lecture
- modeling
- demonstration
- discussion
Coursework 100%
45
Main Other
No. Program Aims

music education.


3
L = Lecture
T = Tutorial
P = Practical
O = Others

2. Technical studies
0 2 2 0 4
- scales, arpeggios
7 Sight reading / sight singing 0 2 2 0 4
Total 0 14 14 0 28
46
Scarerow.
Music Group
20. Other additional information:NIL

47
1. Name of Course/Module: TECHNOLOGY IN MUSIC EDUCATION

(Teknologi dalam Pendidikan Muzik)
2. Course Code: AMP3013

1) Mr. Mohd Azam bin Sulong
To utilize audio synthesis and music software computer assisted in music education.
5. Semester Offered: First/Second

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
56 64 120
P = Practical
O = Others 28 14 14 0
7. Credit Value: 3

i. Apply the basic principles of sounds in the audio production. (C3, P2)
ii. Produce an audio production using music computer. (C5,CT3)
iii. Transcribe songs using music notation software. (C4, P3, A2)
iv. Programming music using sequencing software. (C4, CT4)
v. Discuss and explain the application of music technology in teaching and learning .
(A3, LL3).
i. Listening, reading and performing music with MIDI.

ii. Using music notation and production software in others music courses.
i. Lecture
ii. Discussion Lecture
iii. Problem Based Learning: Practical in Music Lab
- Presentation
- Audio and video production
48
13. Synopsis:
This course focuses on the theoretical and practical aspects of technology in music
education. Students will also explore the basic digital audio mixing in media, manipulation
and editing techniques, synthesis and signal processing, software-based: notation,
sequencing and interactive computer music.
(Kursus ini memberi tumpuan kepada aspek-aspek teori dan pratikal berkaitan teknologi
daalam pendidikan muzik. Pelajar juga akan menerokai asas pengadunan audio digital
dalam media, teknik manipulasi dan penyuntingan, sintesis dan pemprosesan signal,
pengkalan perisian: notasi, sekuenser dan interaktif muzik komputer).

Main Other
No. Program Aims

music education.

49

1
L = Lecture
T = Tutorial
P = Practical
O = Others

1. The basic sound principals. 2 1 1 0 4
2. Physics and Psychophysics of sound. 2 1 1 0 4
3. Acoustics and Psychoacoustics. 2 1 1 0 4
4. Microphones. 2 1 1 0 4
5. Analog and Digital Mixers. 2 1 1 0 4
6. Analog recording and mixing techniques. 2 1 1 0 4
7. Digital recording and mixing techniques. 2 1 1 0 4
8. Signal Processing. 2 1 1 0 4
9. Loudspeakers and Monitoring. 2 1 1 0 4
10. Notation software. 2 1 1 0 4
11. Sequencing software 2 1 1 0 4
12. Editing Audio and Video 2 1 1 0 4
13. Interactive software 2 1 1 0 4
14. Revision 2 1 1 0 4
Technology in Music Education
Total 28 14 14 0 56
Collins, Nick. (2010). Introduction to computer music. New Jersey: Wiley.

50
Alten, Stanley, R. (2011). Audio in media (9th. Ed). Boston: Wadsworth, Cengage Learning.
Eduardo, and Al Biles, John (2007). Evolutionary computer music. London: Springer –
Verlag, Limited.
Garrigus, Scott, R. (2014). Sonar X2 power!: Comprehensive guide. Boston: Cengage

Learning.
Humberstone, James (2013). Sibelius 7 music notation essentials. Boston: Avid Technology,
Inc.
Hugill, Andrew. (2012). The digital musician (2nd. Ed). New York: Rouledge.
1. Name of Course/Module: : INTEGRATED APPROACHES IN MUSIC EDUCATION

(Pendekatan Pelbagai Dalam Pendidikan Muzik)

To prepare students with the knowledge and skills in the teaching of music in schools and to
become good and effective teachers.
5. Semester and Year offered: Second

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
80 40 120
P = Practical
O = Others 42 14 12 12
7. Credit Value: 3

51
i. Use effective principles, methods, techniques, skills, styles and processes in teaching
and learning activities. (C4,CT5,LL2)
ii. Apply and demonstrate understanding of the integrated teaching approaches
especially of Orff Schulwerk, Zoltan Kodaly and Jacques Dalcroze in teaching music.
(C5,CS5,CT5)
iii. Discuss coherently the integrated approaches of teaching and learning music in
schools.(P5, CT5)
iv. Explain the development of music education and its effect in general.(A3, CT2)
Skills in generating ideas, constructing concepts and analyzing elements pertaining to

teaching of music in schools.
Assignments, presentation, microteaching, quizzes and discussions
13. Synopsis:
A study of various approaches, methodologies, techniques and resources for the teaching
and learning of music education focusing on the theoretical and practical aspects. Students
will be involved in the planning of teaching and learning music through micro teaching
activities.
(Kajian ke atas pelbagai pendekatan, kaedah, teknik dan bahan mengajar pendidikan muzik
melibatkan aspek teori dan amali pengajaran dan pembelajaran muzik. Pelajar juga dilatih
dalam menghasilkan rancangan pengajaran melalui aktiviti-aktiviti pengajaran mikro).

Lecture, Tutorial, Practical (Assignment, Quiz, Micro Teaching/ Lesson Plan).

52
Main Other
No. Program Aims

music education.


2
53
L = Lecture
T = Tutorial
P = Practical
O = Others

1. ORFF SCHULWERK
 History and Developments
3 1 0 0 4
 Philosophy
 Objectives
2. Elements of Orff
 Rhythm
3 1 1 1 6
 Melody
 Improvization
3.  Process
3 1 0 0 4
 Orff Instruments
4. KODALY
 Background 3 1 0 0 4
 Philosophy,Objective and Concepts
5. Method and Technique
 Solfege 3 1 2 2 8
 Curwen Hand Signs
6.  Inner Hearing
 Musical Memory 3 1 0 0 4
 Combination of Elements
7. DALCROZE
 Background
3 1 0 0 4
 Philosophy,Objectives and Concepts
8.  Improvization
 Movement 3 2 1 1 7
 Inner hearing
9.  Eurhythmic
 Rhythmic Theory of Dalcroze
3 2 2 2 9
 Solfege and Improvization
 Musical Intrepetation
10. Other approaches such as Gordon and Suzuki 6 1 0 0 7
11. Micro Teaching 0 1 3 3 7
12. Micro Teaching/Revision 0 1 3 3 7
Total 42 14 12 12 80
54
Johami, Abdullah. (2010). Pendidikan muzik kontemporari. Kuala Lumpur: Dewan Bahasa
dan Pustaka.
Abeles, Harold & Custodero, Lori A. (2009). Critical issues in music education:
Contemporary theory and practice. New York: Oxford University Press.
Choksy, L. (1999). Kodaly Method I: Comprehensive Music Education (3rd ed.). Prentice-
Hall: Calgary.
Dale, M. (2003). Songs without yawns music for teaching children through Dalcroze
Eurhythmics (or any method!). Maryland: MusiKinesis.
Erwin, J. (2003). Prelude to music education. Upper Saddle River: Prentice Hall, 2003.

55
1. Name of Course/Module: RESEARCH IN MUSIC EDUCATION

(Kajian dalam Pendidikan Muzik)
3. Name(s) of academic staff: Dr. Mohd. Nizam Nasrifan

To equip students with the knowledge and skills in research and academic writing in music
education.
5. Semester offered: First / Second

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
56 64 120
P = Practical
O = Others 27 9 20 0
7. Credit Value: 3
8. Prerequisite (if any):
i. Conduct research in music education (C4, A4)

ii. Demonstrate knowledge and understanding of research in music education by
conducting appropriate approach, methods of gathering and analyzing data to the
chosen research problem. (C4)
iii. Demonstrate the ability of writing a formal research in music education by submitting
a complete research report using appropriate format on the chosen research topic.
(A4,C6,LL3,CT5)

Skills to generate ideas, design concepts and analyze elements in the discipline of
educational research
i. Lecture
ii. Discussion and analysis.
iii. Research report presentation
56
13. Synopsis:
This course is an extension of Introduction To Research In Music Education. Student needs

to write a complete research report in the field of music education using the scholarly
research writing format.
(Kursus ini adalah lanjutan daripada Pengenalan kepada Penyelidikan dalam Pendidikan
Muzik. Pelajar dikehendaki menulis laporan lengkap hasil penyelidikan dalam bidang
pendidikan muzik berpandukan format penulisan kajian)
Lecture, Tutorial, Workshop
Coursework 100%
No. Program Aims Main Other

1. Provide education and training, knowledge, and 
2. To develop teaching skills, planning, and 
managing the teaching of subjects in school
music education.
3. Develop future music education teachers who 
are committed and competent with the
4. To produce graduates who are able to conduct 

4. Adherence to the standards of professionalism, values, attitudes, 3
57
L = Lecture
T = Tutorial
P = Practical
O = Others

1. Conduct research on field of Music Education 3 1 7 11
2. Data collection 9 3 4 16
3. Analysis of Data 6 2 4 12
4. Research Report 9 3 5 17
Total 27 9 20 56
19.  Main references supporting the course:
Thompson, Linda & Campbell, Mark (2008). Diverse methodologies in the study of music
teaching and learning. New York: Age Publishing
 Additional references supporting the course :
Cohen, Manion & Morrison (2000). Research methods in education (5th Edition). London:
Routhledge Falmer.
Colwell, Richard & Richardson (editor), Carol (2002). The new handbook of research on
music teaching and learning: A project of the music educators national conference.
Oxford: Oxford University Press
Creswell, J. W. (2008). Educational research: Planning, conducting, and evaluating

quantitative and qualitative research (3rd ed.). Upper Saddle River: Pearson.
Ferrara, Lawrence (2004). A guide to research in music education. New York: The Scarecrow
Press, Inc.
Rocco, T.S., Hatcher, T., & Creswell, J.W. (2011). The handbook of scholarly writing and
publishing. San Francisco, CA: John Wiley & Sons

58
1. Name of Course/Module: FINAL PERFORMANCE PROJECT

(Projek Persembahan Akhir)

1) YM Raja Azuan Nahar bin Raja Adnan
Performance project is a main platform for music student to show their ability and skills in
musical performance. School music programs expect teachers to have high skills in musical
performance.

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
70 50 120
P = Practical
O = Others 28 14 28 0
7. Credit Value: 3
8. Prerequisite (if any): Have completed at least 80% of major courses

i. Demonstrate knowledge and understanding of systematic and creative planning of
musical events by presenting a well written proposal paper for music events project.
(CT7,TS5)
ii. Demonstrate creative thoughts and innovative ideas in the design of concert items.
(CT7)
iii. Demonstrate the application of good musical knowledge, techniques and skills as well
as ensemble skills during presentation of items in the concert. (C6,A4,LS4)
iv. Demonstrate awareness of the importance of self discipline and team work skills as
vital criteria in producing musical projects. (CT7,TS5,LS4)
v. Produce a quality final year project by applying principles of systematic planning,
organisation and management of musical events. (C6, CT7,TS5,LS4)
Knowledge and skills of planning, organising, managing events.
i. Lecture
a. Discussion
c. Practical
d. Performance
59

a. Coursework
13. Synopsis:
This course is specially designed to provide final year music education students with the
knowledge and skills of planning, organizing, managing, producing and performing for a
musical concert. Students will be exposed to the various factors and considerations to be
taken into account in coming up with a successful musical show.
(Kursus ini dirangka khas untuk mendedahkan pelajar tahun akhir pendidikan muzik dengan
pengetahuan dan kemahiran merancang, mengelola, mengurus, menerbit dan membuat
persembahan untuk pertunjukan muzik. Pelajar akan didedahkan dengan pelbagai faktor
dan pertimbangan yang perlu diambil kira bagi menghasilkan pertunjukan muzik yang
berjaya)
Lecture, Tutorial, Workshop, Group Work, Performance
Coursework 100%
Main Other
No. Program Aims

music education.


3
60
L = Lecture
T = Tutorial
P = Practical
O = Others

1. Production Team 4 2 0 0 6
2. Designing the Show 4 2 0 0 6
3. Drafting the Budget 2 1 0 0 3
4. Set and Costume Design 2 1 0 0 3
5. Casting 2 1 0 0 3
6. Promoting the Show 2 1 0 0 3
7. Stage Management 2 1 0 0 3
8. Lighting and Sound Design 2 1 0 0 3
9. Rehearsal 2 1 14 0 17
10. Production Week 2 1 14 0 17
11. Other Factors and Considerations 4 2 0 0 6
Total 28 14 28 0 70

Dean Budnick and Josh Baron (2011). Ticket masters: The rise of the concert industry and
how the public got scalped. Toronto: Ecw Press,
Gardyne, John (2004). Producing musicals: A practical guide. Wilshire: Crowood Press Ltd.
Godlovitch, Stan (1998). Musical performance: A philosophical study. New York: Routhledge
Hal R. Abramson (2011). The concert & music festival promotions & production manual. MD,
USA: Rockville
Kelly, Thomas (1999). The backstage guide to stage management: Traditional and new
methods for running a show from first rehearsal to last performance. New York:
Backstage Books.
Leonard H. Hoyle (2002). Event marketing: How to successfully promote events, festivals,
conventions, and expositions (The wiley event management series). NY: John Wioley
& Son
Rink, John (2002). Musical performance: A guide to understanding. Cambridge: Cambridge

University Press (2002)
Meredith Music.

61
1. Name of Course/Module: PERCUSSION TECHNIQUE

(Teknik Perkusi)

Percussion technique is a fundamental skill in music performance and pedagogy. School
music programs expect educators to have basic skills in percussion playing.
5. Semester offered:
First/Second

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
60 20 80
P = Practical
O = Others 28 14 18 0
7. Credit Value: 2
i. Explain the elements of percussion technique.(C2, A2)

ii. Demonstrate the correct percussion techniques. (C3, P4)
iii. Conduct a micro teaching on percussion technique.(P6, A4, CS7).
ii. Teaching skills
i. Lecture
iii. Demonstration
- Practical test
- Micro teaching
62
13. Synopsis:
This course is designed to expose students to the basic technique skill of playing percussion
instruments. Aspect on writing arrangement and evaluation for percussion performance also
will be discussed.
(Kursus ini bertujuan untuk mendedahkan pelajar kepada kemahiran teknik asas bermain
alat perkusi. Aspek penulisan gubahan dan penilaian terhadap persembahan perkusi juga
turut dibincangkan)
Coursework 100%
Main Other
No. Program Aims

music education.


2
63
L = Lecturer
T = Tutorial
P = Practical
O = Others

2. Snare and bass drum techniques 4 4 4 0 12
3. Practical exercises for Bass drum and Snare
6 2 2 0 10
Drum.
4. Mallet instruments technique 4 2 2 0 8
5. Toys and school percussions technique 2 2 2 0 6
6. Timpani techniques 2 2 2 0 6
7. Arrangment for percussion 4 2 2 0 8
8. Evaluation in percussion 2 0 2 0 4
9. Teaching percussion 2 0 2 0 4
Total 28 14 18 0 60
Wessel, Mark (2011). Fresh approach to mallet percussion. TX: Mark Wessels Publications
Adler, Samuel (2004). How to write percussion. New York: SZ Solomon.
Charles, Paul. (2004). The complete guide to playing live. London: Omnibus Press.
Cirone, Grover & Whaley (2006). The art of percussion playing. Galesville: Meredith Music
Publications.
Jagow. Shelly . (2007). Teaching instrumental music: Developing the complete band
program. Baltimore, MD: Meredith Music.
Whaley, Garwood (2001). Primary handbook for snare drum. Galesville: Meredith Music
Publications.

64
1. Name of Course/Module: CHOIR I

(Koir I)
2. Course Code: AME3141
i. Learn to correctly use the voice and techniques used in learning songs and vocal
production in singing and learning music for teaching and performing.

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
28 12 40
P = Practical
O = Others 14 0 14 0
7. Credit Value: 2
Students will be able to sing correctly using proper support, breath, and skills in diction,
technique and dynamics
i. Sing in correct singing techniques with proper support, breath, dynamics and skills in
diction. (P6, C4)
ii. Analyze and explain solo and choral songs for style, dynamics, IPA language
elements, emotional content and meaning. (A5, C5)
iii. Sing in the correct pitch in unison and in parts and interpret the song for performance
(P3, TS2)
iv. Conduct choir with good technique for starting, cuing parts, cutting off, and varying
the dynamics and rhythms according to the score (P5, TS4, A4)
i. Acquire performance skills through singing music.

65
ii. Reading, singing, preparing, and performing music helps build listening skills,
performance, public speaking, and social skills in small and large groups.
i. Lecture:
a. Discussion
c. Practice
d. Question and answers
ii. Problem Based Learning : Group Activity

- Individual and group performance
13. Synopsis:
This is a continuation of vocal technique with emphasis on advanced performance

techniques, warm-up and practice routines. In preparation for potential singing at the
collegiate level, students will be exposed to varieties of songs selected from a broad range of
serious genres to develop musical content, structure and style. Students will also be given
techniques on choir performance and management.
(Kursus ini merupakan lanjutan dari teknik vokal dengan penumpuan terhadap teknik
persembahan, pemanasan suara dan rutin latihan. Sebagai persediaan nyanyian berpotensi
di aras yang lebih tinggi, pelajar akan didedahkan dengan repertoire muzik koral yang lebih
mencabar untuk mengukuhkan pengisian muzikal, struktur dan stail. Pelajar akan
mempelajari teknik tentang pengurusan dan persembahan koir)

Coursework 100%
Main Other
No. Program Aims

2. To develop teaching skills, planning, and 
music education.
3. Develop future music education teachers who 
4. To produce graduates who are able to conduct 
66

L = Lecture
T = Tutorial
P = Practical
O = Others

1. Introduction of course content and evaluation.
Know proper standing & sitting singing positions,
1 0 3 0 4
breathing, phrasing, stretching for singing. Sing
rounds & begin part singing
2. Know Solfege, Curwen Hand Signs, sight read
1 0 2 0 3
on Solfege, mark scores for solfege
3. Understand the function of warm ups for
different vocal purposes, Singing on vowels, 1 0 2 0 3
consonants, staccato.
4. Understand song & score preparation. Analyze
2 0 1 0 3
score for dynamics, solfege, breath.
5. Know categories for solo & choral music;
understand registers of all basic vocal 2 0 2 0 4
categories.
6. Understand vocal anatomy & structures of
3 0 2 0 5
singing.
7. Conduct in all the basic patterns, mark scores
2 0 1 0 3
for dynamics, expression, & vocal style
8. Translate Western languages into IPA & know
2 0 1 0 3
the pronunciation for vowels & consonants
Total 14 0 14 0 28
67
Arman Miriam Jaskierowicz. (2010). The voice: A spiritual approach to singing, speaking
and communicating: what ever happened to great singing? (4th ed.). Charlston, SC:
CreateSpace.
Elliott, Martha. (2008). Singing in Style: A Guide to Vocal Performance Practices. New
Haven, CT: Yale University Press.
Lamb, Gordon. (1988). Choral techniques. Dubuque, IA: Wm. C. Brown.
(vocal instruction). Milwaukee, WI: Hal Leonard.
vocal technique and choral blend (foundations for choral conductors). Tallahassee,
FL: USingersPublishers.

68
1. Name of Course/Module: CHOIR II

(Koir II)
i. Learn to correctly use the voice and techniques used in learning songs and vocal
5. Semester and Year offered: First

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
28 12 40
P = Practical
O = Others 14 0 14 0
7. Credit Value: 2
8. Prerequisite (if any): AME3141
technique and dynamics.
i. Sing in correct singing techniques with proper support, breath, dynamics and skills in
diction. (P6, C4)
ii. Analyze and explain solo and choral songs for style, dynamics, IPA language
elements, emotional content and meaning. (A5, C5)
iii. Sing in the correct pitch in unison and in parts and interpret the song for performance
(P3, TS2)
iv. Conduct choir with good technique for starting, cuing parts, cutting off, and varying
the dynamics and rhythms according to the score (P5, TS4, A4)
69

i. Acquire performance skills through singing music.
ii. Reading, singing, preparing, and performing music helps build listening skills,
i. Lecture:
a. Discussion
c. Practice
ii. Problem Based Learning
- Group Activity
- Individual and group performance
13. Synopsis:
This is a continuation of Choir II with emphasis on advanced performance techniques, warm-

up and practice routines. In preparation for potential singing at the collegiate level, students
will be exposed to varieties of songs selected from a broad range of serious genres to
develop musical content, structure and style. Students will also be given techniques on choir
performance and management.
(Kursus ini merupakan lanjutan dari Koir II dengan penumpuan terhadap teknik
persembahan, pemanasan suara dan rutin latihan. Sebagai persediaan nyanyian berpotensi
di aras yang lebih tinggi, pelajar akan didedahkan dengan repertoire muzik koral yang lebih
mencabar untuk mengukuhkan pengisian muzikal, struktur dan stail. Pelajar akan
mempelajari teknik tentang pengurusan dan persembahan koir)
Coursework 100%
70
Main Other
No. Program Aims

music education.


2
71
L = Lecture
T = Tutorial
P = Practical
O = Others

Know proper standing & sitting singing positions,
1 0 3 0 4
breathing, phrasing, stretching for singing. Sing
rounds & begin part singing
2. Know Solfege, Curwen Hand Signs, sight read
1 0 2 0 3
on Solfege, mark scores for solfege
3. Understand the function of warm ups for
different vocal purposes, Singing on vowels, 1 0 2 0 3
consonants, staccato.
4. Understand song & score preparation. Analyze
2 0 1 0 3
score for dynamics, solfege, breath.
5. Know categories for solo & choral music;
understand registers of all basic vocal 2 0 2 0 4
categories.
6. Understand vocal anatomy & structures of
3 0 2 0 5
singing.
7. Conduct in all the basic patterns, mark scores
2 0 1 0 3
for dynamics, expression, & vocal style
8. Translate Western languages into IPA & know
2 0 1 0 3
the pronunciation for vowels & consonants
Total 14 0 14 0 28
Arman Miriam Jaskierowicz. (2010). The voice: A spiritual approach to singing, speaking
and communicating: what ever happened to great singing? (4th ed.). Charlston, SC:
CreateSpace.
Elliott, Martha. (2008). Singing in style: A guide to vocal performance practices. New Haven,
Lamb, Gordon. (1988). Choral techniques. Dubuque, IA: Wm. C. Brown.
(vocal instruction). Milwaukee, WI: Hal Leonard.
vocal technique and choral blend (foundations for choral conductors). Tallahassee,
72
20. Other additional information:
Bertalot, John. (2008). Five Wheels to successful singing. Minneapolis: Augsburg Fortress.
Heirich, Jane. (2005). Voice and the Alexander technique. Berkeley, CA: Mornum Time
Press.
Murray, Dena & Hutchison, Tita. (2008). Advance vocal technique: Middle Voice, Placement,
Styles BK/CD (Essential Concepts).
73
1. Name of Course/Module: ENSEMBLE I

(Ensemble I)
2. Course Code: AMK3071

1) Mr. Zamrus Bin Hashim
Ensemble is a main platform for music performance. School music programs expect
educators to have basic skills in orchestra.

Learning Time
(SLT) Learning
L = Lecture
T = Tutorial L T P O
28 12 40
P = Practical
O = Others 14 0 14 0
7. Credit Value: 2
8. Prerequisite (if any): Applied 1
9. Objectives (optional): To provide experience in ensemble music performance.

i. Demonstrate ethics and discipline in ensemble performance. (C3,P3)
ii. Interpret and perform credible music performance. (TS4, A4)
iii. Analyze and interpret orchestral music piece/scores. (C4, A4)
iv. Able to work in team and communicate effectively. (TS4,LS3)
i. Technical competency of the instrument playing in an ensemble.
appropriate interpretation of the assigned repertoire
i. Lecture:
a. Discussion
c. Practical
d. Performance

a. Coursework
b. Practical
74
13. Synopsis:
This course provides opportunity for students to further develop skills on applied instruments
through practical experience in instrumental ensemble at advanced level of orchestral
repertoire.
(Kursus ini menyediakan peluang kepada pelajar untuk meningkatkan kemahiran bermain
alat utama melalui pengalaman praktikal dalam persembahan ensembel instrumental
menggunakan repertoire orkestra).
Coursework 100%
Main Other
No. Program Aims

music education.


3
75
L = Lecture
T = Tutorial
P = Practical
O = Others

1. Playing techniques 2 0 2 0 4
2. Repertoire and score analysis 2 0 2 0 4
3. Tone and Intonation 2 0 2 0 4
4. Tone quality 2 0 2 0 4
5. Balance and blend 2 0 2 0 4
6. Music Interpretations and expression 2 0 2 0 4
7. Credible Ensemble Performance 2 0 2 0 4
Total 14 0 14 0 28
Kennan, Kent, & Gratham, Donald. (2009). Technique of orchestration and cd

recording package (6th Ed.). Boston: Prentice-Hall.
Boonshaft, Peret Loel, (2002). Teaching music with passion conducting, rehearsing and
inspiring (1st Ed.). Galesville, MD: Meredith Music.
Garofall, Robert, (2000). Improving intonation in band and orchestra performance.

Galesville, MD: Meredith Music.
Jagow. Shelly. (2007). Teaching Instrumental music: Developing the complete band
program. Galesville, MD: Meredith Music.
Suskin Steven, (2009). The sound of broadway music :A book of orchestrators and
Williams. Joe E. & Neidig, Kenneth L. (2007). Rehearsing the band. (1st. Edition). Galesville,
MD: Meredith Music.

76
1. Name of Course/Module: ENSEMBLE II

(Ensemble II)
2. Course Code: AMK3081

Ensemble is a main platform for music performance. School music programs expect educators to
have basic skills in orchestra.

Learning Time
(SLT) Learning
L = Lecture
L T P O
T = Tutorial
28 12 40
P = Practical
O = Others 14 0 14 0
7. Credit Value: 2
8. Prerequisite (if any): AMK3071
i. Demonstrate ethics and discipline in ensemble performance. (C3,P3)

ii. Interpret and perform credible music performance. (TS4, A4)
ii. Analyze and interpret orchestral music piece/scores. (C4, A4)
iii. Able to work in team and communicate effectively. (TS4,LS3)
ii. Rehearsal technique
iii. Develop higher performance ability and evaluate the aspects of performing with
i. Lecture:
a. Discussion
c. Practical
d. Performance
a. Coursework
b. Practical
77
13. Synopsis:
This is a continuation of Orchestra I that provides opportunity for students to further develop skills
on applied instruments through practical experience in instrumental ensemble at advanced level
of orchestral repertoire.
(Kursus ini adalah lanjutan dari Orkestra I menyediakan peluang kepada pelajar untuk
meningkatkan kemahiran bermain alat utama melalui pengalaman praktikal dalam persembahan
ensembel instrumental menggunakan repertoire orkestra tahap lanjutan.)
Coursework 100%
Main Other
No. Program Aims

2. To develop teaching skills, planning, and managing

the teaching of subjects in school music education.
3. Develop future music education teachers who are
committed and competent with the responsibilities 
as educators.


3
ethical behavior
78
L = Lecture
T = Tutorial
P = Practical
O = Others

1. Playing techniques 2 0 2 0 4
2. Repertoire; Review of various type of ensemble
repertoire and Analyzing of orchestra musical 2 0 2 0 4
scores
3. Intonation; The production of good intonation
2 0 2 0 4
according to the instrument in the orchestra
4. Tone quality: Performing good tone quality. 2 0 2 0 4
5. Balance and blend: Adjustment of sound
2 0 2 0 4
balancing in orchestra performance
6. Interpretations and expression in performance 2 0 2 0 4
7. Performance ethic and Stage pride 2 0 2 0 4
Total 14 0 14 0 28
Kennan, Kent, & Gratham, Donald. (2009). Technique of orchestration and cd recording
package (6th Ed.). Boston: Prentice-Hall.
Boonshaft, Peret Loel, (2002). Teaching music with passion conducting, rehearsing and
inspiring (1st Ed.). Galesville, MD: Meredith Music.
Garofall, Robert, (2000). Improving intonation in band and orchestra performance.
Jagow. Shelly. (2007). Teaching Instrumental music: Developing the complete band
program. Galesville, MD: Meredith Music.
Suskin Steven, (2009). The sound of broadway music :A book of orchestrators and
Williams. Joe E. & Neidig, Kenneth L. (2007). Rehearsing the band. (1st. Edition). Galesville,
MD: Meredith Music.

79
1. Name of Course/Module: : WORLD MUSIC

(Muzik Dunia)

1) Dr. Clare Chan Suet Ching
2) Mr. Mayco Santaella
To develop an understanding of world musical and sound system

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
42 38 80
P = Practical
O = Others 14 14 7 7
7. Credit Value: 2

i. Describe the knowledge of globally diverse sound systems of the world. (C4, A4)
ii. Evaluate the musical form and elements of music in selected musical cultures (CT2,
C6)
iii. Synthesize the relationship between social and cultural changes with the musical
styles (C5, A5)
iv. Develop creative presentations or performancs to illustrate knowledge of musical
systems learnt (P4, C3)
Critical thinking skills

Critical musical analysis
Communication skills
Academic writing skills
i. Assignments
ii. Quiz/ Tests
iii. Group Performances/ Presentations
iv. Final Exam
13. Synopsis:
This course introduces to the art of listening to selected musical traditions from around the
80
world. Students will explore the manner in which these musical traditions are both shaped by
and give shape to the social-cultural settings in which they are performed. This course will
help students develop knowledge in music analysis, music criticism, academic writing, and
presentation skills, and a recognition of the value of music as a reflection of various aspects
of cultural systems, religious, political, economic, and social.
(Kursus ini adalah memperkenalkan seni mendengar pilihan muzik tradisi dunia. Pelajar-
pelajar akan meneroka tatacara bagaimana sesuatu muzik tradisi terbentuk dan bagaimana
ianya membentuk sosio-budaya persembahannya. Kursus ini juga akan membantu pelajar
pengetahuan dalam menganalisa, membuat kritikan serta mengenali nilai sesebuah muzik
yang melambangkan pelbagai sistem budaya, agama, politik ekonomi dan sosial).
Lecture, Tutorial, Group Discussions, Blended Learning, Multimedia


Main Other
No. Program Aims

music education.

3
81
L = Lecture
T = Tutorial
P = Practical
O = Others

1. Understanding and definining World music 2 2 1 1 6
2. Selected World Music genres in Southeast Asia 2 2 1 1 6
3. Selected World Musicgenres in the Asia-Pacific 2 2 1 1 6
4. Selected World Music genres in the Americas 2 2 1 1 6
5. Selected World Music genres in Europe 2 2 1 1 6
6. Selected World Music genres in Africa 2 2 1 1 6
7. Popular music 2 2 1 1 6
Total 14 14 7 7 42
Miller, T. E., & Shahriari, A. C. (2012). World music: A global journey. New York: Routledge.
Alexander Street Press. (2007). World music. Alexandria, Va: Alexander Street Press.
Alves, W. (2010). Music of the peoples of the world. Boston, Mass: Schirmer Cengage
Learning.
Bakan, M. B. (2012). World music: Traditions and transformations. Boston, Mass.: McGraw
Hill.
Frith, S. (2004). Popular music. London: Routledge.
Rojek, C. (2011). Popular music. Los Angeles: SAGE.

82
1. Name of Course/Module: HISTORY OF WESTERN MUSIC

(Sejarah Muzik Barat)

2) Cik Rozinah Mazlan
i. To provide students with knowledge of the history of Western music
ii. To enhance the listening skills and appreciation for Western music

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
42 38 80
P = Practical
O = Others 28 14 0 0
7. Credit Value: 2


i. Describe the development of Western music from the Middle Ages to the Twentieth
century. (CS2, TS2)
ii. Identify instrumental and vocal genres, composers, and musical styles from the
Middle Ages to Twentieth century. (C4, A3)
iii. Explain the relationship between social, political and cultural changes with the
musical styles of each period.(C3)
iv. Analyze the musical styles of selected composers through the understanding of the
elements of music (C4, TS2, LL3)

i. Ability to describe and evaluate historical musical performances of differrent genre.
ii. Critical thinking, research and analysis skills.

- Lecture
- Tutorial
- Presentation
- Quiz
13. Synopsis:
83
This course provides an overview of the historical development of the Western Classical
Music from the Middle Ages, Renaissance, Baroque, Classical and Romantic era to the
twentieth century and the various music genres of the past and composition styles of
selected prominent composers.
(Kursus ini membincangkan sejarah perkembangan Muzik Klasikal Barat merangkumi

perkembangan muzik dari Zaman Pertengahan, Renaissance, Zaman Barok, Zaman
Klasikal, Zaman Romantika abad ke-20 dan pengkaryaan muzik pelbagai genre dan stail
oleh komposer terulung yang terpilih.)
Lecture, Group Discussions, Tutorial, Individual Writing, Group Project, Audio-Visual and
Presentation.

Main Other
No. Program Aims
1. Provide education and training, knowledge, and 
music education.

1
ethical behavior
84
L = Lecture
T = Tutorial
P = Practical
O = Others

1. Music of the Ancient Greeks 3 1 0 4
2. Music of the Early Middle Ages 3 1 0 4
3. Music of the Late Middle Ages 3 2 0 4
4. Music of the Renaissance 3 2 0 4
5. Music of the Baroque Era 4 2 0 7
6. Music of the Classical Era 4 2 0 7
7. Music of the Romantic Era 4 2 0 7
8. Music of the 20th Century 4 2 0 7
Total 28 14 0 0 42
Bonds, M. E. (2010). A history of music in western culture: Combined volume. Upper Saddle
River, NJ: Prentice Hall.
Grout & Palisca (2009). A history of western music (8th ed.,). New York: W.W. Norton & Co.Inc.
Kamien, R. (2010). Music: an appreciation. New York: McGraw-Hill Humanities Social.
Hanning, B. R. (2002). Concise history of western music. New York: McGraw – Hill, Inc.
Wright, C. (2010). Listening to music (4th ed.). California. Wadsworth & Thomson Learning.
85
1. Name of Course/Module: TONAL HARMONY

(Harmoni Tonal)

2) Miss Rozinah binti Mazlan
To provide students with knowledge and skills on writing harmonic progressions and
understanding the structure of music.

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
56 64 120
P = Practical
O = Others 42 14 0 0
7. Credit Value: 3

i. Identify and spell diatonic triads and seventh chord.(C3)
ii. Notate diatonic triads and seventh chords. (C3)
iii. Harmonize melodies using diatonic triads and seventh chords. (CT1, C4).
iv. Analyze music excerpts based on harmonic and musical structure. (A4, C4, CS2)

Harmonic structure and progressions skills are developed in building chords to melodies and
analyzing music scores.

- Lecture
- Discussion,
- Assignments
- Quiz
86
13. Synopsis:
This course focuses on the fundamental components on harmony and forms. Other topics
covered in this course are the principles of voice-leading in four part writing, analysis on
harmonic structure and progressions in tonal music during 1650 until 1900.
(Kursus ini memberi tumpuan kepada komponen asas harmoni dan bentuk muzik. Ia juga
merangkumi prinsip tuju suara dalam susun gubah empat suara, menganalisa struktur dan
pergerakan harmoni dalam muzik tonal dari tahun 1650 sehingga 1900)
.
Lecture and Tutorial

Main Other
No. Program Aims

music education.


2
87
L = Lecture
T = Tutorial
P = Practical
O = Others

1. Structure and types of triads and seventh chords 6 2 0 0 8
2. Diatonic triads in major and minor keys 6 2 0 0 8
3. Diatonic seventh chords in major and minor
6 2 0 0 8
keys
4. Principals of voice- leading in four part writng 6 2 0 0 8
5. Structure and types of triads and seventh chords 6 2 0 0 8
6. Harmonic progressions and harmonization 6 2 0 0 8
7. Non-Chord-tones: Definition and classification 6 2 0 0 8
Total 42 14 0 0 56
Kostka, S. & Payne, (2009). Tonal harmony: With an introduction to 20th century music.
(5thEd). New York: McGraw-Hill, Inc
Benward, Bruce. & Saker, Marilyn. (2008). Music in theory & practice, volume I. (8th Ed). New
York: McGraw-Hill, Inc.
Scoggins, Nancy. (2010). Barron's AP music theory with audio compact discs. New York:
Barron’s Educational Series.
Spencer, P. (2003). The practice of harmony (5th Edition). Boston: Prentice-Hall
Steinke, G. (2009). Harmonic materials in tonal music part I. (10th .Edition). Boston: Prentice
Hall.
Tagliarino, Barrett. (2006). Music theory: A practical guide for all musicians. Milwaukee: Hal
Leonard Corporation.

88
1. Name of Course/Module: AURAL l

(Aural I)
3. Name(s) of academic staff: Mr. Affendi bin Hj. Ramli

To provide students with basic knowledge and skills solely by hearing, pitches, intervals,
melody, chords, rhythms, and other basic elements of music. Aural training is typically a
component of formal musical training.

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
52 28 80
P = Practical
O = Others 28 14 10 0
7. Credit Value: 2
Students will be able to listen to, comprehend, and identify pitch and duration.
i. Read, clap and rewrite various rhythms in Simple Time (C3,A2)

ii. Sing and rewrite melodies in various keys without using an instrument.C4, P3)
iii. React the competency in listening skills of keys, intervals and chords effectively
(LL3,A3).
iv. Show sufficient aural skills to support basic musicianship in singing, dictation etc
(C4,A4).
ii. Relating music notation and the ability to identify nuances in any musical activity.
ii. Problem Based Learning : Individual and Group Activity
- Evaluation of sight singing.
- Evaluation of interval recognitions .
- Evaluation of melodic and rhythmic dictations.
- Evaluation of chords structure analysis.
89
13. Synopsis:
The purpose of this course is to develop students’ notation reading and listening with sense
of pitch and rhythm as a preparation towards instrument playing and singing. Exposure in
recognising, analysing and commmenting on the concepts of music also will be included.
(Kursus ini bertujuan untuk memperkukuhkan pembacaan notasi dan pendengaran dengan
a kepekaan terhadap bunyi pic dan ritma sebagai persediaan kepada permainan alat muzik
dan nyanyian. Pendedahan dalam mengenalpasti, menganalisa dan memberi ulasan
terhadap konsep-konsep muzik juga akan disertakan)
Lectures, demonstration, presentation, practical lesson activities, group , pair and individual
work

Main Other
No. Program Aims

music education.

90

3
L = Lecture
T = Tutorial
P = Practical
O - Others

Name note durations on staff and the solfege 4 2 2 0 8
system in major and minor keys.
2. Simple Time, dotted notes and rhythmic
4 2 2 0 8
dictation.
3. Form recognition, articulation and dynamics 4 2 0 0 6
4. Rhythm identification and clapping 4 2 2 0 8
5. Sight-singing in 4 bars.Melodic dictation 4 2 2 0 8
6. Major and minor Intervals. 4 2 1 0 7
7. Major and minor Chord 4 2 1 0 7
Total 28 14 10 0 52
Jones E, Shaftel M, Chattah J. (2013). Aural skills in context: A comprehensive approach to

sight singing, ear training, keyboard harmoni and improvisation. USA: Oxford
University Press,
Cleland, K & Dobrea-Grindahl. (2010). Developing musicianship through aural skills: a

holistic approach to sight-singing and ear training. New York: Routledge
Benward, B & Kolosick, T. (2009). Ear training. (7th Ed.). NewYork: McGraw-Hill.
91
Schachnik, Gilson. (2007). Beginning ear training: ear training exercises. Boston: Berklee
Press.
Arkossy G, Marta & Powell, M. (2005). Solfege, ear training, rhythm, dictation, and music
theory: A comprehensive course. Alabama: University Alabama Press
Krueger, C. (2006). Progressive sight-singing. USA: Oxford University Press.
Duckworth, William. (2003). A creative approach to music fundamentals (6th Edition).

London: Wadsworth
1. Name of Course/Module: AURAL II

(Kemahiran Asas Muzik II)

Mr. Affendi bin Hj. Ramli
To provide students with advance knowledge and skills solely by hearing, pitches, intervals,
melody, chords, rhythms, and other basic elements of music. Aural training is typically a
component of formal musical training.

Learning Time
(SLT) Learning
L = Lecture
52 28 80
P = Practical
O = Others 28 14 10 0
7. Credit Value: 2
8. Prerequisite (if any): AMM3022 (Aural 1)
i. Show competency in listening skills for pitch and rhythm including time signatures and
cross-rhythms.
ii. Recognise and reproduce major and minor scales, identify intervals formed by two notes.
(C4, P3)
92
iii. Analysed chord structure such as Major, minor, Sus4th., Augmented, Diminished 7th.,
Dominant 7th., Major 7th and minMaj7th. (C3,A2)

ii. Relating music notation and the ability to identify nuances in any musical activity.
ii. Problem Based Learning : Individual and Group Activity
- Evaluation of sight singing.
- Evaluation of interval recognitions .
- Evaluation of melodic and rhythmic dictations.
- Evaluation of chords structure analysis.
13. Synopsis:
This course is an extension of Aural I that is to andvance students’ notation reading and
listening with sense of pitch and rhythm as a preparation towards instrument playing and
singing. Further exposure in recognising, analysing and commmenting on the concepts of
music also will be included.
(Kursus ini merupakan lanjutan daripada Kemahiran Asas Muzik I yang mana bertujuan
untuk lebih memperkukuhkan pembacaan notasi dan pendengaran dengan a kepekaan
terhadap bunyi pic dan ritma sebagai persediaan kepada permainan alat muzik dan
nyanyian. Pendedahan lanjut dalam mengenalpasti, menganalisa dan memberi ulasan
terhadap konsep-konsep muzik juga akan disertakan)

Lecture demonstration, presentation, practial activities (group, pair, individual) and discussion
Main Other
No. Program Aims

music education.

93

3
94
L = Lecture
T = Tutorial
P = Practical
O = Others

Name note durations on staff and the solfege 4 2 2 0 8
system in major and minor keys.
2. Simple and Compound Time, dotted notes and
4 2 2 0 8
rhythmic dictation.
3. Instrumental Timbres and musical styles,
4 2 0 0 6
Instrument recognition
4. Cross rhythms & syncopation 4 2 2 0 8
5. Rhythm clapping and sight-singing in 4 bars. 4 2 2 0 8
6. Major and minor triads. Intervals. 4 2 1 0 7
7. Analysed chord structure such as Major, minor,
Sus4th., Augmented, Diminished 7th., Dominant 4 2 1 0 7
7th., Major 7th, minMaj7th.
Total 28 14 10 0 52
Jones E, Shaftel M, Chattah J. (2013). Aural skills in context: A comprehensive approach to

sight singing, ear training, keyboard harmoni and improvisation. USA: Oxford
University Press,
Cleland, K & Dobrea-Grindahl. (2010). Developing musicianship through aural skills: a holistic
approach to sight-singing and ear training. New York: Routledge
Benward, B & Kolosick, T. (2009). Ear training. (7th Ed.). NewYork: McGraw-Hill.
Schachnik, Gilson. (2007). Beginning ear training: ear training exercises. Boston: Berklee Press.
Arkossy G, Marta & Powell, M. (2005). Solfege, ear training, rhythm, dictation, and music theory:
A comprehensive course. Alabama: University Alabama Press
Krueger, C. (2006). Progressive sight-singing. USA: Oxford University Press.
Duckworth, William. (2003). A creative approach to music fundamentals (6th Edition). London:
Wadsworth

95
1. Name of Course/Module: DEVELOPMENT OF MUSIC EDUCATION IN MALAYSIA

(Perkembangan Pendidikan Muzik di Malaysia)

1) Assoc. Prof. Zaharul Lailiddin Hj. Saidon
A study on the historical, philosophical, psychological, sociological and methodological
foundations of music education in the context of the development of music education in
Malaysia is important to be included in pre-service music teachers’ education program in
order to provide students with the understanding of the contemporary role and practice of
music education.
5. Semester and Year offered: First and Second Semester

Learning Time
(SLT) Learning
L = Lecture
56 24 80
P = Practical
O = Others 28 0 0 28
7. Credit Value: 2

i.
Discuss the historical, philosophical, psychological, sociological and methodological
foundations of music education in the context of the development of music education
in Malaysia. (C2,A3,EM1)
ii. Review critically issues, challenges, trends and future direction of music education in
Malaysia (C6,A3,CTPS2)
i. Knowledge and understanding on current issues, challenges, trends and future
direction of music education
ii. Presentation Skill

i. Lecture
ii. Group work
iii. Forum
iv. Presentation
96
13. Synopsis:
A study o
foundations
Current iss
in Malaysia
(Kajian tent
muzik dala
serta trend
14. Mode of De
i. Le
ii. Dis
15. Assessmen
Coursewor
Final Exam
16. Mapping o
No.
1. Prov
prof
2. To
man
mus
3. Dev
are
resp
4. To p
rese
17. Mapping o
No.
1. Mas
2. Tech
3. Use
4. Adh
and
5. Exe
6. Com
7. Able
8. Thin
9. Able
10. Sen
97
L = Lecture
T = Tutorial
P = Practical
O = Others

1. Historical foundations of music education 4 0 0 4 8
2. Philosophical foundations of music education 4 0 0 4 8
3. Sociological foundations of music education 4 0 0 4 8
4. Psychological foudations of music education 4 0 0 4 8
5. Methodological foundations of music education 4 0 0 4 8
6. Future trends and direction of global music 4 0 0 4 8
education practice.
7. Current issues, challenges, trends and future 4 0 0 4 8
direction of music education in Malaysia.
Total 28 0 0 28 56
19.  Main reference supporting the course
Abdullah, Johami. (2010). pendidikan muzik kontemporari. Kuala Lumpur: Dewan Bahasa
dan Pustaka.
 Additional references supporting the course
Abeles, Harold & Custodero, Lori A. (2009). Critical issues in music education:
contemporary theory and practice. New York: Oxford University Press.
Charles, R. Hoffer. (2009). Introduction to music education. Long Grove Illnios: Waveland
Press.
Elliot, D. (2005). Praxial Music Education: Reflections and dialogues. New York: Oxford
University Press.
Kementerian Pendidikan Malaysia. (2013). Pelan Pembangunan Pendidikan Malaysia 2013-

2025. Putrajaya: Kementerian Pendidikan Malaysia.
Volk, T. (2004). Music education and multiculturalism: Foundations and principles. New
York: Oxford University Press.

98
1. Name of Course/Module: INTRODUCTION TO RESEARCH IN MUSIC EDUCATION

(Pengenalan kepada Penyelidikan dalam Pendidikan Muzik)

1) Assoc. Prof. Zaharul Lailiddin bin Saidon
To equip students with the knowledge and skills in research and academic writing in music
education
5. Semester offered: First and Second Semester

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
56 64 120
P = Practical
O = Others 28 14 0 14
7. Credit Value: 3
i. propose a relevant and significant research problem and topic. (C6)

ii. choose an appropriate approach, methods of gathering and analysing data to the
chosen research problem. (C6)
iii. write a review of related literatures to the chosen research topic. (C5, LL1)
iv. write a research proposal using an appropriate format on the chosen research topic.
(C3, CS8)
Skills to generate ideas, design concepts and analyze elements of discipline in music
leadership as leadership, ethics and training techniques.

i. Lecture
ii. Group work
iii. Forum
iv. Presentation
99
13. Synopsis:
This course is designed to introduce students with the basic understanding of essential
aspects of formal research in the field of music education. The course is meant to help
students understand how research can inform practice and serve as a springboard for other
future advanced work in music education. Students are provided with an overview of the
major paradigms, methodology and methods of research in music education.
(Kursus ini dirangka untuk memperkenalkan pelajar kepada kefahaman asas tentang aspek-
aspek penting penyelidikan formal dalam bidang pendidikan muzik. Ia bertujuan untuk
membimbing pelajar memahami bagaimana penyelidikan dapat membantu amalan dan
menjadi pemangkin kepada kerja-kerja lanjutan dalam bidang pendidikan muzik. Pelajar
akan didedahkan kepada paradigma utama, metodologi dan kaedah penyelidikan dalam
bidang pendidikan muzik.)
Lecture and Tutorial

Coursework 100%
Main Other
No. Program Aims

music education.

100

L = Lecture
T = Tutorial
P = Practical
O = Others

1. Defining Music Education Research 2 1 0 0 4
2. Music Education Research Contexts, Problem &
4 2 0 0 12
Topics
3. Epistemology and Major Research Paradigma 4 2 0 0 8
4. Research Approach (Methodologies) 4 2 0 0 12
5. Research methods (Methods of Collecting Data)
4 2 0 0 8
6. Review of Literature 2 1 0 0 8
7. Research Ethics 2 1 0 0 0
9. Research Proposal 6 3 0 14 0
Total 28 14 0 14 56
Cohen, Manion & Morrison (2011). Research methods in education (7th Edition). London:
Routhledge Falmer.
Colwell, Richard (2006), MENC handbook of research methodologies. Oxford: Oxford

University Pre
Creswell, J. W. (2008). Educational research: Planning, conducting, and evaluating
quantitative and qualitative research (3rd ed.). Upper Saddle River: Pearson.
Ferrara, Lawrence (2004). A guide to research in music education. New York: The Scarecrow
Press, Inc.
101
Rocco, T.S., Hatcher, T., & Creswell, J.W. (2011). The handbook of scholarly writing and
publishing. San Francisco, CA: John Wiley & Sons
Thompson, Linda & Campbell, Mark (2008). Diverse methodologies in the study of music
teaching and learning (PB) (Advances in music education research). New York: Age
Publishing
1. Name of Course/Module: CAKLEMPONG DAN GAMELAN

(Caklempong and Gamelan)

1) Mr. Nor Azman bin Mohd Ramli
To provide students with knowledge and skills in playing Malay Gamelan, Caklempong and
methods of teaching at the secondary school level.

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
56 24 80
P = Practical
O = Others 28 14 14 0
7. Credit Value: 2
i. Play all the bronze instruments (Malay Gamelan and Caklempong) both solo and in
ensemble. (C3,A4,TS4)
ii. Write, compose and arrange music for the Malay Gamelan and Caklempong ensemble.
(A4,CT2)
iii. Read the Malay Gamelan and Caklempong score and apply creativity in playing the
102
instruments. (C3,A4)
iv. Apply methods of teaching Malay Gamelan and Caklempong instruments effectively.
(C3,P6,TS4)
v. Plan and organize a performance of Malay Gamelan and Caklempong ensemble. (TS4,LS3)
Skills in playing Malay Gamelan, Caklempong and methods of teaching at the secondary
school level.
12. Teaching-learning and assessment strategy :
ii. Problem Based Learning : Group activity
- Evaluation of playing instruments
- Composition/ arrangement and performance
13. Synopsis:
The purpose of this course is to introduce the students to the Malay Gamelan and Caklempong
music ensemble. This course will provide introductory studies in practical teaching related to a
particular instrument. Skills developed in this course include playing techniques, knowledge of the
music structure, history and other aspects related to the ensemble. This course is in practical
form. Therefore, at the end of the course the students are required to perform in performance.
(Kursus ini memberi pendedahan kepada ensembel Gamelan Melayu dan Caklempong. Pelajar
akan mempelajari kemahiran asas memainkan setiap peralatan yang terdapat dalam ensembel
tersebut. Pendedahan diberi kepada teknik memainkan alat, mempelajari struktur muzik dan lain-
lain aspek yang berkaitan dengan ensembel tersebut. Kursus ini berbentuk amali dan di akhir
kursus ini pelajar dikehendaki membuat persembahan secara ensembel)
Coursework 100%
Main Other
No. Program Aims

2. To develop teaching skills, planning, and managing

the teaching of subjects in school music education.
committed and competent with the responsibilities 
as educators.

103

1
ethical behavior
L = Lecture
T = Tutorial
P = Practical
O = Others

1. Malay Gamelan Ecology, Culture and Music.
4 2 2 0 8
2. Caklempong Ecology, Culture and Music.
4 2 2 0 8
3. Malay Gamelan, Caklempong – the instuments
2 2 2 0 6
4. The Playing Techniques Gamelan instruments
8 2 2 0 12
5. The Playing Techniques for Caklempong
6 2 2 0 10
instruments
6. Teaching Methods
2 2 2 0 6
Total 28 14 14 0 56
Lee Elaine (2006). Ethnic musical instruments of Malaysia. Kuala Lumpur: Win Publication
Sdn. Bhd.
Adnan, Abdul Hamid (2004). Muzik caklempong. Kuala Lumpur: Dewan Bahasa dan
Pustaka.
Henry Spiller (2004). Gamelan: The traditional sounds of Indonesia. California : ABC-CLIO
Inc.
104
Ibrahim, Ahmad Omar(2005). Joget gamelan Terengganu & Pahang. Kuala Lumpur:
Percetakan Al-Hikmah Sdn. Bhd.
Nik Mustafa Nik Mohd Salleh, (2009). Alat muzik tradisional dalam masyarakat Melayu
Malaysia. Kuala Lumpur Kementerian Kesenian, Kebudayaan dan Kesenian.
1. Name of Course/Module: MUSIC APPRECIATION

(Apresiasi Seni Muzik)

i. To expose students to different genre of music and able to discuss about the musical
concepts, elements and their functions.
ii. To provide students with knowledge to analyze western music, the non-western
music, the musical structures, forms and musical elements.
iii. To provide students with knowledge on how music is important to human and society.
5. Semester and Year offered:

Learning Time
(SLT) Learning
L = Lecture L T P O
T = Tutorial
56 24 80
P = Practical
O = Others 28 14 14 0
7. Credit Value: 2
105

i. Elaborate different types and genres of music, and musical concepts and elements.
(C3, A4)
ii. Analyze western music, the musical structures, forms, musical elements base on
Western Music theories.(C4,A3)
iii. Interpret text, styles, technology and trends in Popular Music.(CS4, C5)
iv. Present how music been transmit and practiced in different cultures.(C3,TS3)
v. Present critics in music appreciation theories music in class seminar.(C3, A4,TS3)
Skills and how they are developed and assessed, Project and practical experience and
Internship
i. Lecture – Discussion Lecture and Listening Analysis
ii. Problem Based Learning : Group Discussion in class
iii. Assessment Strategy (all course work during the course)
13. Synopsis:
The aim of this course is to understand the basic concepts and elements of music. The
students will listen to different kind of musical genres, instruments and will understand how
music grew in different cultures.
(Tujuan kursus ini ialah untuk memberi pemahaman tentang konsep asas dan elemen dalam
muzik. Pelajar akan diperdengarkan dengan pelbagai genre muzik dan memahami
bagaimana muzik berkembang dalam budaya-budaya yang berbeza).
Lecture, Tutorial, Workshop, Seminar, etc.

106
Main Other
No. Program Aims

music education.


3
107
L = Lecture
T = Tutorial
P = Practical
O = Others

2. To be able to understand the elements of musics 8 2 2 0 12
3. To be able to describe the musical concepts and 8 2 2 0 12
instruments classification.
4. To be able to explain musical genre and sub- 4 2 2 0 8
genre
5. To develop communication and problem solving 2 2 2 0 6
skills in related field of music.
6. To develop knowledge in western and non- 2 2 2 0 6
western music.
7. Able to understand and compare how music 2 2 2 0 6
been transmit and practiced in different cultures.
Total 28 14 14 0 56
Ferris, Jean & Worster, Larry. (2009). Music the art of listening. Boston: McGraw-Hill College.
Forney, Kristine & Machlis, Joseph. (2007). The enjoyment of music: An introduction to
perceptive listening. (Shorter 10th Ed.). New York: W.W. Norton & Company.
Kamien, Roger. (2008). Music: An appreciation. (9th Edition). New York: Mc Graw- Hill.
Kamien, Roger. (2002). Music: An appreciation. 8th edition,New York: Mc Graw- Hill.
Nik Mohd Salleh, Nik Mustafa. (2000). Alat Muzik Tradisional dalam Masyarakat Melayu di
Malaysia. Malaysia: Kementerian Kesenian, Kebudayaan dan Kesenian.
Wright, M.Craig. (2010). Listening to music (6th Ed.). Michigan: Schirmer.

108
1. Name of Course/Module : SCHOOL BAND MANAGEMENT

(Pengurusan Pancaragam Sekolah)
2. Course Code : AMB3043
3. Name(s) of academic staff :

1) Assoc. Prof. Zaharul Lailiddin Hj. Saidon
4. Rationale for the inclusion of the course/module in the programme :
To provide students with aspects of managing a successful band program in school.
5. Semester and Year offered : First and Second semester
6. Total Student Total Guided Total Independent Total Learning

Face to Face
Learning Time (SLT) Learning Learning Time
L = Lecture L T P O
T = Tutorial 56 74 120
P = Practical 30 2 24 0
O= Others
7. Credit Value : 3
8. Prerequisite (if any) : None
9. Objectives (Optional)
10. Learning outcomes :
i. outline the rationale, aims and objectives of band as co-curricular activity in schools.
(C2)
ii. propose an appropriate instrumentation, budgeting and organisation for a chosen band
concept. (C5, CS3)
iii. design an appropriate organisational chart to a given band concept. (C5)
iv. apply rehearsal techniques, care and maintenance of instruments. (C3, CS3)
v. design a ten minutes marching band show using a chosen drill design software . (C5)
Skills of managing uniform units in school
i. Lecture
ii. Group activity
iii. Demonstration
iv. Presentation
v. Micro Teaching
109
13. Synopsis :
The aim of this course is to provide students with aspects of managing a successful band
program in school. Students are exposed to the rationale of establishing band as a co-
curriculum activity, types of band ensembles as well as the administration and organisation of
a school band program which include aspects such as membership, maintenance of
instruments and uniforms, budgeting, training system and approaches, charting and drill
design for marching band as well as the planning of band activities.
(Kursus ini bertujuan untuk mendedahkan pelajar kepada aspek pengurusan program
pancaragam sekolah yang berkesan. Pelajar akan didedahkan kepada rational penubuhan
pancaragam sebagai aktiviti ko-kurikulum, jenis-jenis ensemble pancaragam serta
pentadbiran dan pengelolaan program pancaragam sekolah yang merangkumi aspek seperti
keahlian, penjagaan alat dan unifom, pencartaan dan formasi dan perancangan aktiviti
pancaragam.)
14. Mode of Delivery :
Lecture
Demonstration
15. Assessment Methods and Types
Final Exam : Maximum 40%
16. Mapping of the course/module to the Programme Aims
Main Other
No. Program Aims
1. Provide education and training, knowledge, and /
professional skills in the field of music education
2. To develop teaching skills, planning, and managing /
the teaching of subjects in school music education
3. Develop future music education teachers who are /
committed and competent with the responsibilities as
educators
4. To produce graduates who are able to conduct /
research in the field of music education
17. Mapping of the course/module to the Programme Learning Outcomes
110
18. Content outline of the course/module and the SLT per topic :
L= Lecture
T= Tutorial
P = Practical
O= Others

1. Rationale for School Band Program 3 0 0 0 3
2. Successful School Band 3 0 0 0 3
3. Organisational Structure of School Band Program 3 0 0 0 3
4. Membership 3 0 0 0 3
5. Budgeting 3 0 0 0 3
6. Care and maintenance of band instruments, 3 0 2 0 5
uniforms & accessories
7. Rehearsal Techniques 3 0 0 0 3
8. Drill Techniques 3 0 4 0 7
9. Drill Design 3 2 4 0 11
10 Evaluation of Band Performance 3 0 0 0 3
11 Presentation 0 0 6 0 6
12 Micro Teaching 0 0 8 0 8
Jumlah 30 2 24 0 56
*Reminder is for independent learning time.
Buyer, Paul (2009). Marching bands and drumlines: Secrets of success from the best of the
best. Galesville, U.S.A: Meredith Music Publication.
Gale, Bruce (2001). The band director’s handbook: A guide for college & secondary school
music directors Southeast Asia. London: Asean Academic Press Limited.
Hal Leonard Corp. (2005). The music director's cookbook: Recipes for a successful
program. Galesville, U.S.A.: Meredith Music Publication.
Wayne, Bailey (2003). The complete marching band resource manual: Techniques and
materials for teaching, drill design, and music arranging. Philadelphia: Pennsylvania
Press.
William Spencer-Pierce (2008) Marching band arranging: Methods, materials, techniques.

U.S.A: Create Space Independent Publishing Platform

111
1. Name of Course/Module : Choir

(Koir)
2. Course Code : AME3092
3. Name(s) of academic staff : Dr. Patricia Bowes
iii.
Basic singing skills play an important part which provide the foundation for professional
singing, playing a musical instrument and composing music.
iv. Learn to correctly use the voice and techniques used in learning songs and vocal
v. To equip students with good vocal production and technical skills prior to engaging in
singing or teaching
5. Semester and Year offered: 1st. Year. Ist Semester
6. Total Student Face to Face Total Guided Total Independent Total Learning
Learning Time Learning Learning Time
(SLT)
L = Lecture L T P O 42 38 80
T = Tutorial
P = Practical
O = Others 14 0 28 0
7. Credit Value : 2
8. Prerequisite (if any) : AMS3032
9. Objectives (Optional) :
technique and dynamics
i. Continuing to earn each part in internally and through playing songs, sing on solfege,
words, sing solo and in parts, given songs (C3,P3)
ii. Continue singing solfege and hand-signs, perform rhythm in body percussion and
internally, and conduct choir in a variety of rhythms (CS8,C4).
iii. Further analyze solo and choral songs for style, dynamics, IPA language elements,
emotional content and meaning. Explain all of these elements (C3, C4, TS2)
iv. Continuing singing in the correct pitch in unison and in parts and interpret the song for
performance (TS2)
v. Sing all the parts to more difficult choral songs, and take turns conducting the choir,
starting, cuing parts, cutting off, and varying the dynamics and rhythms according to the
score (CS8,LS3)
112
iii. Acquire performance skills through singing music.

iv. Reading, singing, preparing, and performing music helps build listening skills,
i. Lecture:
a. Discussion
c. Practice
ii. Problem Based Learning
 Group Activity
 Individual and group performance 100%
13. Synopsis
This is a continuation of vocal technique with emphasis on advanced performance techniques,

warm-up and practice routines. In preparation for potential singing at the collegiate level,
students will be exposed to varieties of songs selected from a broad range of serious genres to
develop musical content, structure and style. Students will also be given techniques on choir
performance and management.
(Kursus ini merupakan lanjutan dari teknik vokal dengan penumpuan terhadap teknik
persembahan, pemanasan suara dan rutin latihan. Sebagai persediaan nyanyian berpotensi di
aras yang lebih tinggi, pelajar akan didedahkan dengan repertoire muzik koral yang lebih
mencabar untuk mengukuhkan pengisian muzikal, struktur dan stail.)penggunaan ton bukan
kord dalam muzik tonal dari karya komposer dari tahun 1650 sehingga 1900.
15. Assessment Methods and Types :
Coursework 100%

1. Provide education and training, knowledge, and √
2. To develop teaching skills, planning, and managing the √
teaching of subjects in school music education
√
educators
4. To produce graduates who are able to conduct research √
in the field of music education
113

4. Adherence to the standards of professionalism, values, attitudes, and 2
ethical behavior
18. Content outline of the course/module and the SLT per topic

1. Introduction of course content and evaluation. Know 1 6 7
proper standing & sitting singing positions, breathing,
phrasing, stretching for singing. Sing rounds & begin
part singing
2. Know Solfege, Curwen Hand Signs, sight read on 1 4 5
Solfege, mark scores for solfege
3. Understand the function of warm ups for different 1 4 5
vocal purposes, Singing on vowels, consonants,
staccato.
4. Understand song & score preparation. Analyze score 2 3 5
for dynamics, solfege, breath.
5. Know categories for solo & choral music; understand 2 4 6
registers of all basic vocal categories.
6. Understand vocal anatomy & structures of singing. 3 3 6
7. Conduct in all the basic patterns, mark scores for 2 2 4
dynamics, expression, & vocal style
8. Translate Western languages into IPA & know the 2 2 4
pronunciation for vowels & consonants
Total 14 0 28 0 42
19.  Main references supporting the course
Arman Miriam Jaskierowicz. (2010). The Voice: A Spiritual Approach to Singing, Speaking and
Communicating: What Ever Happened to Great Singing? (4th ed.). Charlston, SC:
CreateSpace.
Bickel, Jan E. (2007). Vocal Technique: A Psychological Approach for Vocal Class and Studio.
Elliott, Martha. (2008). Singing in Style: A Guide to Vocal Performance Practices. New Haven,
Gordon, E.E. (2007). Learning Sequences in Music. Chicago: GIA Lamb, Gordon. (1988).
Choral Techniques. Dubuque, IA: Wm. C. Brown.
114
Hamady, Jennifer. (2009). The Art of Singing: Discovering and Developing Your True Voice
(Vocal Instruction). Milwaukee, WI: Hal Leonard.
McKinney, James. (2005). Diagnosis and Correction Of Vocal Faults. Long Grove, IL: Genevox
Music Group.
Miller, R. (2004). Solutions for Singers. NY: Schirmer Books.
Paton, John Glenn. (2006). Foundations in Singing: A Guidebook to Vocal Technique and Song
Interpretation. New York: McGraw-Hill.
Zabriskie, Alan. (2009). Foundations of Choral Tone: A Proactive and Healthy Approach to
Vocal Technique and Choral Blend (Foundations for Choral Conductors). Tallahassee,

Brinson, B. A. (1996). Choral Music: Methods and Materials. NY: Schirmer Books.
Caldwell, J.Timothy. (1995). Expressive Singing; Dalcroze Eurhythmics for Voice, Englewood
Cliffs, NJ: Prentice Hall.
Chrysty, Van A. (1998). Foundation In Singing: A Basic Textbook in Vocal Technique and Song
Interpretation (6th ed.). New York: McGraw Hill.
Combs, Ronald. (1995). Learning to Sing Non Classical Music. Englewood Cliffs, NJ: Prentice
Hall.
Garreston, Robert. (1993), Choral Music: History, Style & Performance Practice. Englewood
Marchesi, Mathilde. Bel Canto: A Theoretical and Practical Vocal Method. NY: Dover.
Philip, Kenneth H. (1992). Teaching Kids to Sing. NY: Schirmer Books.
20. Other additional information
Bertalot, John. (2008). Five Wheels to Successful Singing. Minneapolis: Augsburg Fortress.
DeBandi, Yvonne. (2001). Singing is Easy: Basic Foundation Series (2nd ed). Florida: Loti.
Hamady, Jennifer. (2009). The Art of Singing: Discovering and Developing Your True Voice
(Vocal Instruction) (Pap Com Edition). Milwaukee: WI: Hal Leonard.
Heirich, Jane. (2005). Voice and the Alexander Technique. Berkeley, CA: Mornum Time Press.
Murray, Dena & Hutchison, Tita. (2008). Advance Vocal Technique: Middle Voice, Placement,
Styles BK/CD (Essential Concepts).
115
1. Name of Course/Module : ORCHESTRA

(Orkestra)
2. Course Code : AME3102
3. Name(s) of academic staff: En. Mahayuddin bin Abdul Rahim
Orchestra is a main platform for music performance. School music programs expect educators
to have basic skills in orchestra.
5. Semester and Year offered: Sem 5 year 3
(SLT)
T = Tutorial
P = Practical
14 0 28 0
O = Others
7. Credit Value : 2
8. Prerequisite (if any) : Applied Music III
1. Demonstrate ethics and discipline in ensemble performance. (C3,P3)
2. Able to perform in group performance. (TS4, A4)
3. Able to analyse and interpret scores. (C4, A4)
4. Able to work in team and communicate effectively. (TS4,LS3)



116
i. Lecture:
a. Discussion
c. Practical
d. Performance

a. Coursework
b. Practical
13. Synopsis
This course provides opportunity for students to further develop skills on applied instruments
through practical experience in instrumental ensemble at advanced level of orchestral repertoire.
Kursus ini menyediakan peluang kepada pelajar untuk meningkatkan kemahiran bermain alat
utama melalui pengalaman praktikal dalam persembahan ensembel instrumental menggunakan
repertoir tahap lanjutan.
14. Mode of Delivery: Lecture, modeling, practice, performance, and discussion

Coursework 100%
Bil Program Aims Main Other

√
2. To develop teaching skills, planning, and managing the
√
committed and competent with the responsibilities as √
educators
4. To produce graduates who are able to conduct research in
√
the field of music education
Bill Program Learning Outcome Contribution
ethical behavior
117

No. Topic L T P 0 Total
1. Playing techniques 2 4 6
- According to the instrument performed by
student
2. Repertoire 2 4 6
- Review of various type of ensemble
repertoire
- Analysis of musical score
3. Intonation 2 4 6
- Production of good intonation according to
the instrument in the orchestra
4. Tone quality 2 4 6
- Perform with good tone quality on the
instrument in the orchestra
5. Balance and blend 2 4 6
- Adjustment of sound balancing in orchestra
performance
6. Interpretations 2 4 6
- Expression in performance
- Use a suitable dynamic in performance
7. Performance 2 4 6
- Ethic
- Stage pride
14 28 42
Garofall, Robert, (2000). Improving Intonation in Band and Orchestra Performance. Galesville,
MD: Meredith Music.
Battisti, Frank & Garofalo, Robert, (2000). Guide to Score Study for the Wind Band Conductor.
Boonshaft, Peret Loel, (2002). Teaching Music with Passion Conducting, Rehearsing and
Inspiring (1st Ed.). Galesville, MD: Meredith Music.
Jagow. Shelly. (2007). Teaching Instrumental Music: Developing the Complete Band Program.
Williams. Joe E. & Neidig, Kenneth L. (2007). Rehearsing the Band. (1st. Edition). Galesville,
MD: Meredith Music.
118

119
Name of Course: KEYBOARD APPLICATION

1.
(Aplikasi Kibod)
2. Course Code : AMS3112
3. Name(s) of academic staff : YM Raja Azuan Nahar bin Raja Adnan

Rationale for the inclusion of the course in the program:
Students will have the opportunity to practice piano basic skills to play keyboard. Students are also
4.
able to perform with keyboard handling skills
.
5. Semester and year offered : Semesters Two.

6. Total Student Face to Face Total Guided Independent Total
Learning Time Learning
(SLT)
L = Lecture L T P O
T = Tutorial 28 14 10 4 56 24 80
P = Practical
O= Others
7. Credit Value: 2 Hrs.
8. Prerequisite : (if any) None

10. Learning Outcomes :
At the end of this course, students are able to:
i. Perform proficiently on the keyboard, including the ability to read simple literature at sight,
(C3)
ii. Accompany a melody with fingered chords. (C3, TS4)
iii. Acquire proficiency in performing advanced repertoire on the keyboard in both solo and
ensemble settings.(CS 3)
iv. Do simple arrangement on fast recording technique. (Sequencing) (CT3)
1. Understanding the concept fingered chords

2. can play as a soloist and in the ensemble
3. can compose a simple song/melody
120
12. Teaching – Learning and Assessment Strategy
i. Lecture and Demonstration

ii. Solo and Ensemble performances
iii. Assessment Strategy – Practical Assessment.
13 Synopsis
This course students work on the electronic keyboard domains. Hands-on lesson includes the
application of theory into solo and group performances, fingered chords techniques and also
composing music sequencing into fast recording.
(Kursus ini pelajar akan mempraktik pemainan muzik pada kibod eletronik. Pembelajaran secara
hand-on termasuk mengaplikasikan pembelajaran teori ke persembahan solo dan berkumpulan,
fingered chords teknik dan muzik juga membuat rakaman dalam sekuensing).
Lectures conducted in the keyboard laboratory. Students will be exposed directly face to face from
the lecturer through demonstration. Students also have the opportunity to conduct training
individually and in groups.

Coursework 100%

No Program Aims Main Other
3. Develop future music education teachers who are √
educators
121

No Topic L T P O Total
.
1 Intoduction
 Introduction to Course Contains 2 2
 Introduction to Keyboard
2 Scales and chords

 Scale 4 sharp and 4 flat 6 3 9
 Chords –Primary and Secondary
3 Chords
 Fingered Chords 4 2 6
 Intelligence Chords
4
Scale and Modes
3 2
 Blues
 Oriental
 Hirajoshi 5
 Pelog
 Arabian
 Rag
5 Impovisation
 Improvisation in scales 3
3
 Improvisation in Chord I,IV dan V
6 Recording
 Fast Recording 2 3 2 7
- 5 track recording
7 Easy composition 4 2 4 10
8 Keyboard Ensemble 4 2 4 4 14
Total 28 14 10 4 56
19. Main References:
Hill, Brad (1998). The Complete Idiot’s Guide to playing the Piano and Electric Keyboards. Alpha
Books. Mac Millan General Reference.
Lindemn A Carolynn (1996). Piano Lab Introduction to Class Piano, 3rd ed. Wadswort Publishing
Com.
122
Meffen, J. (2001). Improve your piano playing. Tadworth: Right Way Plus.Frith,
Piano Scales and Arpeggios (Grade 6-8). The Associated Board of the Royal Schools of Music,
London.
Taylor, K. (1993). Principles of piano technique and interpretation. London: Novello.
Additional references supporting the course:
James, W. B. (1988). How to teach piano successfully. California: Neil A. Kjos Music Company.
Palmer & Lethco (1994). Creating Music at the Piano, Book 1,2,3,4,5 & 6. Van Nuys, Cal.: Alfred’s
Publishing Co., Inc.
Ruwe, Jordan (1995). Technical Exercise for the Intermediate Professional Musicians, for all
Instruments. Houston Publishing Inc.
Stephen D. (1997). Contemporary classics piano solo 1. Suffolk: Chester Music.
Other additional information:
Green, Elizabeth(1992). The Modern Conductor. Eaglewood Cliffs, New Jersey: Prentice Hall
20.
Mark, Michel (1986). Contemporary Music Education, 2nd ed. New
York: Schimer Books
123
1. Name of Course/Module : Modern Harmony

(Harmoni Moden)
2. Course Code : AMM3153
2) Rozinah Mazlan
To provide students with knowledge and skills in building chords of modern harmony in melodic
harmonisation used in the popular music style.
5. Semester and Year offered : 2nd Year 4th Semester
(SLT)
L = Lecture L T P O
T = Tutorial 42 14 56 64 120
P = Practical
O = Others
7. Credit Value : 3
8. Prerequisite (if any) :None
10. Learning outcomes
i. Spell and identify modern chords used in popular music. (C3)

ii. Interpret chord symbol to create music accompaniment from a lead sheet. (CT2)
iii. Distinguish aurally different chord types. (A2)
iv. Apply and voice modern chords to melodies. (C3,P2)
Listening, reading and writing modern harmonic structure and progressions to create effectively
in the popular genres.
Will be taught through listening, reading, writing exercises and discussion through question and
answer sessions.
13. Synopsis
124
This course provides knowledge and applications about selecting and how to voice modern
chords. Included are types of chord progressions, and ways into extending and altering chords.
This course would facilitate students of composition and musical arrangement to write modern
sounds and extend their harmonic vocabulary.
(Kursus ini memberi pengetahuan dan aplikasi mengenai memilih serta menyusun kord moden.
Ia merangkumi jenis pergerakan harmoni dan cara mengembangkan serta mengubah kord.
Kursus ini dapat membantu pelajar dalam komposisi dan gubahan muzik bagi menghasilkan
bunyi moden dan meningkatkan pengetahuan harmonik. )
14. Mode of Delivery: Lecture, Tutorial

 Coursework 60%
 Final Examination 40%

educators
No. Program Learning Out ome
Con Master knowledge and pedagogy in the field of music 3
trib
utio
n1.
125
1. Triads 6 2 8
 Major
 Minor
 Diminished
 Augmented
 Primary triads
 Secondary triads
2. Triads and Chord Symbols 6 2 8
 Triad Inversions
 Bass/chord theory
 Voice Leading
 Open PositionVoice and chorale notation
 Contrary, parallel motion voice leading
3. Inversions and Voice Leading 6 2 8
 Major 7th chords
 Dominant 7th chords
 Minor 7th chords
 Minor 7th b5 chords
 Diminished 7th chords
4. Seventh Chord Types and Symbols 6 2 8
 Inversions of seventh chords
 Voice leading seventh chords
 Contrary and parallel voice leading of seventh
chord
 Third, Fifth and seventh over the Bass
5. Harmony 6 2 8
 Harmonic accompaniment from lead-sheet
 Arpeggiating accompaniment chords
 Using the third, fifth and seventh over the root as
accompaniment
 Accompaniment patterns
6. Harmonizing and Accompaniment Patterns 6 2 8

 Melodic motion
 Writing a chord tone melody
7. Melody 6 2 8
 Melodic motion over change of harmony
 Repeating melodic phrase on different chords
 Melodic sequence
 Melody writing
Total 42 14 56
* Remainder is for independent learning time
Foote, Arthur & Raymond Spalding, Walter. (2010). A Key to the 501 Exercises in Modern
Harmony in its Theory and Practise. New York: Nabu Press.
126
Hull. (2010). Modern Harmony: Its Explanation and Application. New York: General Books LLC.
Rawlins Robert. & Bahha, Nor Eddine.(2005). Jazzology: The Encyclopedia of Jazz Theory for
All Musicians. Milwaukee: Hal Leonard Corporation.
Schmeling, Paul. (2011). Berklee Music Theory – Book 2. (2nd. Edition). Boston, Massachuettes
: Berklee Press.
William Grimm, Carl. (2010). A Simple Method of Modern Harmony Part 1 and 2. New York :
Nabu Press.

127
1. Name of Course/Module : Applied Music IV

(Aplikasi Alat Muzik IV)
1) Assc. Prof Zaharul Lailiddin bin Saidon – Percussion

2) Dr. Patricia Bowes – Voice
3) Dr. Sharon Lierse – Strings/ Woodwind
4) Mr. Zamrus bin Hashim – Woodwind
5) Mr. Nizam bin Attan – Strings
6) Mr. Mahayuddin bin Abd Rahim – Brass
7) Miss Rozinah binti Mazlan – Piano
8) Mr. Nizam bin Nasrifan - Percussion
i) Develop students understanding and appreciation of music through practical skills and
creative work
ii) To equip students with good playing skills in musical performance activity
5. Semester and Year offered: 3rd. Year. 5th Semester
(SLT)
T = Tutorial
P = Practical
14 14
O = Others
7. Credit Value : 2

ii. Demonstrate understanding of principle study. (C3, A4)
iii. Perform studied material proficiently. (C6, A4, CS2, CT3, LL2)
128
i. Technical competency of the instrument of choice or voice

i. Lecture:
a. Discussion
c. PracticAL
d. Performance

a. Mid Assessment
b. Final Assessment
13. Synopsis
This course is an extension of Applied Music III course. Development of knowledge and
performance ability on students’ major instrument. Correct fingering, tone production, voice
projection, overtone series, and embouchure and equipment selection: Proficiency in
performing standard literature, scales, arpeggios and sight-reading are stressed.
Kursus ini adalah lanjutan kepada kursus Applied Music III. Memperkembangkan pengetahuan
dan kemampuan persembahan alat utama pelajar. Penekanan diberikan kepada produksi ton,
teknik pernafasan, overtone series dan embouchure. Kebolehan bermain skel, arppegio,
bacaan semerta serta memainkan lagu pilihan juga akan diberi penekanan.
Coursework 100%
√
√
educators
129

ethical behavior
1. Vocal / Instruments techniques 1 1 2
2. Technical studies 1 1 2
- scales, arpeggios
3. Articulation principles 1 1 2
4. Voice projection / tone production 3 3 6
5. Interpretation 3 3 6
6. Repertoire study 3 3 6
7. Sight reading / sight singing 2 2 4
14 14 28
(2002). A Comprehensive String Method. Milwaukee: Hal Leonard.
Bailey, Wayne et al. (1998). Teaching Brass: A Resource Manual. New York: McGraw-Hill.
Interpretation (6th Ed.). New York: McGraw Hill.
Hall.
Feldstein, Sandy & John O’Reilly. (1989). Alfred’s New Band Book 1, 2, &3, Picollo, Flute,
Clarinet, Oboe, Saxophone. Van Nuys, CA: Alfred’s.
Fraser, Alan. (2003). Craft of Piano Playing: A New Approach to Piano Technique. Maryland:
Scarerow.
Geoffrey Burgess & Bruce Haynes. (2004). The Oboe (Yale Musical Instrument Series). USA:
130
Hoeorich, Eric. (2008). The Clarinet (Yale Musical Instrument Series): Yale University Press.
Jenson, Art (1996).Learning Unlimited: A Complete Beginning Band Method Level 1 & II: Hall
Leonard Publishing Corporation.
Kreader, Barbara, Kern, Fred & Kereven, Phillip. (2009). Scales, Patterns and Improvisations,
Five Finger Patterns, I-V7-1 Chords ang Arpeggios: Basic Skills. Hal Leonard Student
Piano Library, Songbooks. Milwaukee. Hal Leonard.
Marchesi, Mathilde. Bel Canto: A Theoretical and Practical Vocal Method. NY:
Dover.McKinney, James. (2005). Diagnosis and Correction Of Vocal Faults. Long Grove,
IL: Genevox Music Group
Miller, R. (1986). Structures of Singing. NY: Schirmer Books.
Reynolds, Verne. (2003). Horn Handbook. (1st. Ed.). New York: Amadeus.
Schleuter, Stanley. (1997). A Sound Approach To Teaching Instrumentalist (And application of

Content and Learining Sequences). New York: Schirmer Books, An Imprint of Simon and
Schuster Macmillan.
Vaccarino, Ariella. (2007). Voice To Go. Volume I: Pure Vowels. New York: She Sings Out.
http://www.shesingsout.com/
_______________ (2008).Voice To Go. Volume II: Vocalize and Breaths. New York: She Sings
Out. http://www.shesingsout.com/
Westphal, Frederick. (1998).Guide To Teaching Woodwinds, (5th Ed.) New York: McGraw-Hill.

131
1. Name of Course/Module : Applied Music V

(Aplikasi Alat Muzik V)
1) Assc. Prof Zaharul Lailiddin bin Saidon – Percussion

2) Dr. Patricia Bowes – Voice
3) Dr. Sharon Lierse – Strings/ Woodwind
4) Mr. Zamrus bin Hashim – Woodwind
5) Mr. Nizam bin Attan – Strings
6) Mr. Mahayuddin bin Abd Rahim – Brass
7) Miss Rozinah binti Mazlan – Piano
8) Mr. Nizam bin Nasrifan - Percussion
i) Develop students understanding and appreciation of music through practical skills and
creative work
ii) To equip students with good playing skills in musical performance activity
5. Semester and Year offered: 3rd. Year. 6th Semester
(SLT)
T = Tutorial
P = Practical
14 14
O = Others
7. Credit Value : 2

ii. Demonstrate understanding of principle study. (C3, A4)
iii. Perform studied material proficiently. (C6, A4, CS2, CT3, LL2)
132
i. Technical competency of the instrument of choice or voice

i. Lecture:
a. Discussion
c. PracticAL
d. Performance

a. Mid Assessment
b. Final Assessment
13. Synopsis
This course is an extension of Applied Music IV course. Development of knowledge and

performance ability on students’ major instrument. Correct fingering, tone production, voice
projection, overtone series, and embouchure and equipment selection: Proficiency in
performing standard literature, scales, arpeggios and sight-reading are stressed.
Kursus ini adalah lanjutan kepada kursus Applied Music IV. Memperkembangkan pengetahuan
dan kemampuan persembahan alat utama pelajar. Penekanan diberikan kepada produksi ton,
teknik pernafasan, overtone series dan embouchure. Kebolehan bermain skel, arppegio,
bacaan semerta serta memainkan lagu pilihan juga akan diberi penekanan.
Coursework 100%

√
√
educators
133

ethical behavior
1. Vocal / Instruments techniques 1 1 2
2. Technical studies 1 1 2
- scales, arpeggios
3. Articulation principles 1 1 2
4. Voice projection / tone production 3 3 6
5. Interpretation 3 3 6
6. Repertoire study 3 3 6
7. Sight reading / sight singing 2 2 4
14 14 28
(2002). A Comprehensive String Method. Milwaukee: Hal Leonard.
Bailey, Wayne et al. (1998). Teaching Brass: A Resource Manual. New York: McGraw-Hill.
Interpretation (6th Ed.). New York: McGraw Hill.
Hall.
Feldstein, Sandy & John O’Reilly. (1989). Alfred’s New Band Book 1, 2, &3, Picollo, Flute,
Clarinet, Oboe, Saxophone. Van Nuys, CA: Alfred’s.
Fraser, Alan. (2003). Craft of Piano Playing: A New Approach to Piano Technique. Maryland:
Scarerow.
Geoffrey Burgess & Bruce Haynes. (2004). The Oboe (Yale Musical Instrument Series). USA:
134
Hoeorich, Eric. (2008). The Clarinet (Yale Musical Instrument Series): Yale University Press.
Jenson, Art (1996).Learning Unlimited: A Complete Beginning Band Method Level 1 & II: Hall
Leonard Publishing Corporation.
Kreader, Barbara, Kern, Fred & Kereven, Phillip. (2009). Scales, Patterns and Improvisations,
Five Finger Patterns, I-V7-1 Chords ang Arpeggios: Basic Skills. Hal Leonard Student
Piano Library, Songbooks. Milwaukee. Hal Leonard.
Marchesi, Mathilde. Bel Canto: A Theoretical and Practical Vocal Method. NY:
Dover.McKinney, James. (2005). Diagnosis and Correction Of Vocal Faults. Long Grove,
IL: Genevox Music Group
Miller, R. (1986). Structures of Singing. NY: Schirmer Books.
Reynolds, Verne. (2003). Horn Handbook. (1st. Ed.). New York: Amadeus.
Schleuter, Stanley. (1997). A Sound Approach To Teaching Instrumentalist (And application of

Content and Learining Sequences). New York: Schirmer Books, An Imprint of Simon and
Schuster Macmillan.
Vaccarino, Ariella. (2007). Voice To Go. Volume I: Pure Vowels. New York: She Sings Out.
http://www.shesingsout.com/
_______________ (2008).Voice To Go. Volume II: Vocalize and Breaths. New York: She Sings
Out. http://www.shesingsout.com/
Westphal, Frederick. (1998).Guide To Teaching Woodwinds, (5th Ed.) New York: McGraw-Hill.

135
1. Name of Course/Module : FOUNDATIONS OF MUSIC EDUCATION

(Teras dalam Pendidikan Muzik)
2. Course Code : AMP3023
3. Name(s) of academic staff : Mr. Mohd Azam bin Sulong
To equip students with the knowledge and skills in the foundations of music education and teaching
music in schools.
5. Semester and Year offered:
Semester 4, Year 2
(SLT)
T = Tutorial 28 28 0 0
P = Practical
O= Others
7. Credit Value 3
8. Prerequisite (if any)
1. Explain the current roles and practices of music education pertaining to the historical,
philosophical, psychological and sociological perspectives. (C3)
2. Discuss current issues in the field and review principles of learning and curriculum and
instruction as they pertain to the discipline of music education particularly at the primary and
secondary school levels. (C3, P3, CT3)
3. Demonstrate and understand diversity and unity through music education, authentic music
teaching, music education for children with special needs, and music advocacy among others
in order to obtain multiple perspectives. (CT3, TS2, LL3).
Skills in generating ideas, constructing concepts and analysing elements pertaining to teaching of
music in schools.
a) Coursework : 60%
b) Examination : 40%
136
13. Synopsis:
This course is designed to provide music education students with a study of the current roles and
practices of music education pertaining to the historical, philosophical, psychological and sociological
perspectives. It also examines current issues, reviews principles of learning and curriculum and
instruction as they pertain to the discipline of music education particularly at the primary and
secondary school levels.
(Kursus ini mendedahkan pelajar pendidikan muzik dengan peranan dan amalan pendidikan muzik
dari perspektif sejarah, falsafah, sikologi dan sosiologi. Kursus ini turut mengkaji isu semasa, prinsip
pembelajaran serta kurikulum dan pengajaran pendidikan muzik khususnya di peringkat sekolah
rendah dan sekolah menengah.
Lecture, Group Discussions, Tutorial, Individual Writing, Group Project, Practical

Presentation/Seminar etc
1. Coursework 60%
2. Final Exam 40%
Total 100%

educators
B ill Program
Learning
Outcome
Co Master knowledge and pedagogy in the field of music 3
ntri
buti
on
1.
ethical behavior
137

1 History of Music Education: Western and Local 4 4 8
2 Current role and practice of Music Education in 2 2 4
Malaysia
3 Philosophical Foundation of Music Education: 2 2 4
Basic Philosophical viewpoints, Strengths and
Weakness.
4 Current issues in the field and reviews principles 4 4 8
of learning and curriculum & instruction as they
pertain to the discipline of music education
particularly at the primary and secondary school
level in Malaysia.
5 The Musical and Aesthetic Foundation of Music 2 2 4
Education
6 Sociological and Social Psychological Foundation
of Music Education
7 Psychological Foundation of Music Education: 2 2 4
Theoretical, Child Development, Cognitive
Process, Motivation, Contextual Factors and
Musical Ability.
8 Curriculum of Music Education 2 2 4
9 Assessing Musical Behaviors 2 2 4
10 Research and Music Education 2 2 4
11 Teaching Education and Future Directions 2 2 4
12 Revision of related topics 2 2 4
Total 28 28 56
Abeles, Harold F (1994). Foundations of Music Education, 2nd ed. New York: Schimer Books
 Additional references supporting the course :

Elliot, D. (2005). Practical Music Education: Reflection and Dialogues. New York: Oxford University
Press, Inc.
Reimer, B. (2003). A Philosophy of Music Education: Advancing The Vision (3rd ed). Englewood Cliffs,
NJ: Prentice-Hall.
Volk, T. (2004). Music, Education and Multiculturalism: Foundations and Principles. New York: Oxford
University Press, Inc.

138
1. Name of Course/Module : SUPERVISED OCCUPATIONAL PRACTISE

(Pemantauan Penglibatan Kerjaya)
2. Course Code : AMP3063
3. Name(s) of academic staff : Prof. Madya Zaharul Lailiddin Saidon
4. Rationale for the inclusion of the course/module in the programme:

Develop skills and methods necessary to practice in the profession.
5. Semester and Year offered: Semester 2
(SLT)
T = Tutorial
P = Practical
O = Others 14 14 14 0
7. Credit Value : 3
8. Prerequisite (if any) : Have completed at least 80% of major courses
9. Objectives (Optional):
Learning outcomes :
i. Demonstrate knowledge and understanding of systematic and creative planning of
musical events by presenting a well written proposal paper (CT7,TS5)
ii. Demonstrate creative thoughts and innovative ideas in the design of musical
performance items. (CT7)
iii. Demonstrate the application of good instrumental and vocal performance
knowledge, techniques and skills as well as ensemble skills during presentation of
show items. (C6,A4,LS4)
iv. Demonstrate awareness of the importance of self discipline, team work, and good
interpersonal and interpersonal skills as vital criteria in producing successful
musical projects by applying these values and qualities during group discussions,
practice sessions, rehearsals and shows. (CT7,TS5,LS4)
v. Demonstrate an increased personal ability to communicate musically through
performing. (C6,P5)
Knowledge and skills of planning, organising, managing events and performing.

139

i. Lecture
a. Discussion
c. Practical
d. Performance
a. Coursework
13. Synopsis:
This course provides opportunities for students to develop their knowledge and skills in
planning, organising, managing, producing and performing for musical shows. Students will be
exposed to the various factors and considerations to be taken into account in coming up with
successful musical shows for various types of events and functions.
(Kursus ini memberi peluang kepada pelajar memperkembangkan pengetahuan dan

kemahiran merancang, mengelola, mengurus, menerbit dan membuat persembahan untuk
pertunjukan muzik. Pelajar akan didedahkan dengan pelbagai faktor dan pertimbangan yang
perlu diambil kira bagi menghasilkan pertunjukan muzik yang berjaya untuk pelbagai majlis dan
tujuan.
Lecture, Tutorial, Workshop, Group Work, Performance
15. Assessment Strategy

Coursework 100%

/
/
committed and competent with the responsibilities as /
educators
4. To produce graduates who are able to conduct research
/
ethical behavior
140

1. Production Team 2 2 0 0 4
2. Designing the Show 2 2 2 0 6
3. Drafting the Budget 1 1 0 0 2
4. Set and Costume Design 2 2 2 0 6
5. Casting 2 2 2 0 6
6. Promoting the Show 1 1 0 0 2
7. Stage Management 2 2 4 0 6
8. Lighting and Sound Design 2 2 4 0 8
Total 14 14 14 0 42

Dilker, Barbara (1991). Stage Management Forms and Formats: A Collection of Over 100
Forms Ready to Use. New York: Drama Publishers.
Gardyne, John (2004). Producing Musicals:A Practical Guide. Wilshire: Crowood Press Ltd.
Godlovitch, Stan (1998). Musical Performance: A Philosophical Study. New York: Routhledge
Kelly, Thomas (1999). The Backstage Guide to Stage Management: Traditional and New
Methods for Running a Show from First Rehearsal to Last Performance. New
York: Backstage Books.
Ionazzi, Daniel (1992). The Stage Management Handbook. Cincinnati, Ohio: F & W
Publications.
Rink, John (2002). Musical Performance: A Guide to Understanding. Cambridge: Cambridge

University Press.

141
1. Name of Course/Module : FUNDAMENTALS OF MUSIC THEORY
3. Name(s) of academic staff: Cik Rozinah binti Mazlan
i) Provide students of little music background with an understanding of the functions and
structure of music.
ii) Impart the practical skills needed for students to be versed in fundamental levels of
music.
iii) Explain music terminology, basic elements of music theory and be able to read music.
5. Semester and Year offered: 1st Year, 1st Semester
(SLT)
T = Tutorial
P = Practical
O = Others
28 14 4 0
7. Credit Value : 2
1. Able to identify and define basic elements of musical notation. (C3, A4, LL1)
2. Able to perform the elements of rhythm extensively in reading and performing

rhythmic patterns. (P1, A4, CT1)
3. Define intervals and triads in major and minor keys. (C3, CS3)
4. Explain musical symbols, terminology and basic style of interpretation of musical

excerpts. (C3, A4)
i. Acquire skills at reading, identifying and notating pitches in different scales and musical
signs and symbols, including duration.
ii. Understand rhythmic patterns skills in basic meters.

142
i. Lectures
a. Discussion
b. Questions and answers
ii. Presentation - Group Activity
iii. Problem Based Learning - Group Activity

- Assignment 60%
- Final Examination 40%
13. Synopsis
This course introduce student to the written and theoretical aspects of musical
language including essential notation skills in all clefs, major and minor scales, modes,
intervals, basic chord structures, and basic musical terms. This course will also include
practice of rhythmic skills.
(Kursus ini memperkenalkan pelajar kepada aspek penulisan notasi dan teori muzik. Ia meliputi
pengetahuan terhadap muzik notasi, pic dalam pelbagai klef, skel major dan minor, mode, jeda,
struktur triad asas, dan asas terminologi muzik. Kursus in juga menjalankan latih tubi pelbagai
corak irama)
i. Coursework 60%
ii. Final Examination 40%

√
√
educators
√
ethical behavior
143

1. Music notation, staff, clefs, pitch reading, half steps, whole 7
steps, chromatic symbols, definitions of musical terms and 6
enharmonic equivalents.
2. Rhythmic elements bar, bar lines, notes, stems, flags 13
and beams, ties, slurs, dotted notes, triplets, beat, 6 2 4
pulse and tempo, and simple and compound meter.
3. Major scale structure. 3 2 6
4. Minor scale structure: natural, harmonic and melodic. 2 2 5
5. Modes. 2 2 5
6. Intervals and basic transposition. 5 2 9
7. Triads and inversion. 2 2 5
8. Musical terms and signs. 2 2 6
28 14 4 56
Duckworth, William. (2009). A Creative Approach To Music (10th Ed.). London: Schirmer.
Duncan, James & Ochse, Orpha. (2006). Fundamentals of Music Theory. Indo America Books.
Houlahan, Micheal & Tacka, Philip. (2008). From Sound to Symbol: Fundamentals of Music.
London: Oxford University Press.
Henry, Earl. (2008). Fundamentals of Music: Rudiments, Musicianship and Composition. (5th
Edition). New Jersey: Prentice Hall.
White, Gary. (2010). Music First (6th Ed.). New York,

McGraw-Hill.

144
1. Name of Course/Module : Asli
2. Course Code : AMT3043
3) Mr. Nor Azman Bin Mohd Ramli

4) Mr. Kamarulzaman Bin Mohamed Karim
To provide students with knowledge and skills in playing various type of Asli and methods of
teaching at the secondary school level.
5. Semester and Year offered : First/Second
T = Tutorial 28 14 28 O
P = Practical
O= Others
7. Credit Value : 3
1. Describe and demonstrate the correct way to play. (C1, C2, CS7)
2. Exhibit the correct technique formation for good tone production for each instruments.
(CS7, C1, C3, C4,C6)
3. Explain the importance of correct technique and patterns. (CS7, C1, C3)
4. Perform an original songs and technique of improvisation in ensemble. (C1, C4, P1,
P6, P7, A1, A2, CS7, EM3)
5. List recommended asli scores, ensembles and method books for primary and
secondary school. (C1, C2, C4, C5, C6, LL3)
Skills in playing various type of Asli and methods of teaching at the secondary school level.
145
12. Teaching-learning and assessment strategy

13. Synopsis :
This course will provide the students with theoretical and practical exposure to the ‘Asli”
music. This course will provide introductory studies in practical teaching related to a particular
instrument and vocal style. Students also learn the original repertoire including some musical
aspects such as structure of the songs and the basic technique of improvisation in ‘Asli’.
Therefore, at the end of the course the students are required to do an ensemble
performance.
(Kursus ini bertujuan memberi pengetahuan teori dan juga pendedahan praktikal kepada
muzik Asli. Juga memberikan pengenalan di dalam pengajaran secara praktikal bersesuaian
dengan instrumentasi khas muzik Asli dan juga stail vokal. Pelajar akan mempelajari karya-
karya asal muzik Asli termasuk aspek muzikal seperti struktur lagu-lagu ghazal dan teknik
asas improvisasi di dalam Asli. Oleh itu, di akhir semester pelajar dikehendaki membuat
persembahan di dalam ensemble.)
14. Mode of Delivery : Lecture, Tutorial and Practical
Coursework : 100%

1. Provide education and training, knowledge, and 
professional skills in the field of music
education
2. To develop teaching skills, planning, and managing 
3. Develop future music education teachers who are 
committed and competent with the responsibilities
as educators

146


1. Introduction to the ‘Asli’ music 4 0 0 0 4
2. Instrumentation 4 1 4 0 9
3. Technique of playing instruments 4 1 4 0 9
4. Technique of playing in ensemble 4 2 4 0 10
5. Basic technique of improvisation in Ghazal 4 2 4 0 10
7. Performance 4 2 8 0 14
Jumlah 28 14 28 0 70
Machfrida, Lailan. (1998). Kajian Muzik Ghazal Melayu. Johor: Yayasan Warisan Johor.
Hj. Abu Bakar, Yunus (1992). Sejarah Ghazal Johor, Johor: Jabatan Kebudayaan Negeri
Johor.
Lee Elaine (2007). Ethnic Musical Instruments of Malaysia. Selangor: Win Publication Sdn.
Bhd.
Matusky, Patricia & Tan Sooi Beng (1997). Muzik Malaysia: Tradisi Klasik, Rakyat dan
Sinkretik. Pulau Pinang: The Asian Centre.
Mohd Ghouse Nasuruddin, (1991). Muzik Melayu Tradisi. Selangor: Dewan Bahasa &
Pustaka.

147
1. Name of Course/Module : Ghazal

To provide students with knowledge and skills in playing various type of Ghazal and methods
of teaching at the secondary school level.
P = Practical
O= Others
7. Credit Value : 3
1. Describe and demonstrate the correct way to play. (C1, C2, CS7)
2. Exhibit the correct technique formation for good tone production for each instruments.
(CS7, C1, C3, C4, C6)
3. Explain the importance of correct technique and patterns. (C1, C3, CS7)
4. Perform an original songs and technique of improvisation in ensemble. (C1, C4, P1,
P6, P7, A1, A2, CS7, EM3)
5. List recommended ghazal scores, ensembles and method books for primary and
secondary school. (C1, C2, C4, C6, C7, LL3)
Skills in playing various type of Ghazal and methods of teaching at the secondary school
level.
148

13. Synopsis :
This course will provide the students with theoretical and practical exposure to the Ghazal of
Johor. This course will provide introductory studies in practical teaching related to a
particular instrument and vocal style. Students also learn the original repertoire including
some musical aspects such as structure of the songs and the basic technique of
improvisation in Ghazal. Therefore, at the end of the course the students are required to do
an ensemble performance.
(Kursus ini bertujuan memberi pengetahuan teori dan juga pendedahan praktikal kepada
muzik Ghazal di Johor. Juga memberikan pengenalan di dalam pengajaran secara praktikal
bersesuaian dengan instrumentasi khas Ghazal Johor dan juga stail vokal. Pelajar akan
mempelajari karya-karya asli Ghazal termasuk aspek muzikal seperti struktur lagu-lagu
ghazal dan teknik asas improvisasi di dalam Ghazal. Oleh itu, di akhir semester pelajar
dikehendaki membuat persembahan di dalam ensemble.)
Coursework : 100%

educators

149


1. Introduction to the Ghazal of Johor 4 0 0 0 4
2. Instrumentation 4 1 4 0 9
3. Technique of playing instruments 4 1 4 0 9
4. Technique of playing in ensemble 4 2 4 0 10
5. Basic technique of improvisation in Ghazal 4 2 4 0 10
7. Performance 4 2 8 0 14
Jumlah 28 14 28 0 70
Hj. Abu Bakar, Yunus (1992). Sejarah Ghazal Johor, Johor: Jabatan Kebudayaan Negeri
Johor.
Lee Elaine (2007). Ethnic Musical Instruments of Malaysia. Selangor: Win Publication Sdn.
Bhd.
Matusky, Patricia & Tan Sooi Beng (1997). Muzik Malaysia: Tradisi Klasik, Rakyat dan
Sinkretik. Pulau Pinang: The Asian Centre.
Mohd Ghouse Nasuruddin, (1991). Muzik Melayu Tradisi. Selangor: Dewan Bahasa &
Pustaka.

150
1. Name of Course/Module : Keroncong

To provide students with knowledge and skills in playing various type of Keroncong and
methods of teaching at the secondary school level.
P = Practical
O= Others
7. Credit Value : 3
1. Should be able to play all the keroncong instruments both solo and in ensemble. (C1,
C2, C3)
2. Should be able to write, compose and arrange music for all instruments include in the
keroncong ensemble. (C1, C2, C3, P7, CS7)
3. Should be able to read the keroncong score and apply creativity in playing the
instruments. (C1, C2, C3, C4)
4. Ability to apply learning methods for learning process in schools. (CS7, C1, C2, P1)
5. Ability to plan and organize a performance of a keroncong ensemble. (CS7, C1, C4,
TS5)
6. Should be able to demonstrate the proper care and maintenance of keroncong

instruments. (C1, C2, C3, CA7, A2, A3)
151
Skills in playing various type of Keroncong and methods of teaching at the secondary school
level.

13. Synopsis :
The purpose of this course is to introduce the students to the traditional keroncong music
ensemble. This course will provide introductory studies in practical teaching related to a
particular instrument. Skills developed in this course include playing techniques, knowledge
of the music structure, history and other aspects related to the ensemble. This course is in
practical form. Therefore, at the end of the course the students are required to do an
ensemble performance.
(Kursus ini memberi pendedahan kepada ensembel keroncong. Pelajar akan mempelajari
kemahiran asas memainkan setiap peralatan yang terdapat dalam ensembel tersebut.
Pendedahan diberi kepada teknik memainkan alat, mempelajari struktur muzik dan lain-lain
aspek yang berkaitan dengan ensembel tersebut. Kursus ini berbentuk amali dan di akhir
Coursework : 100%

educators
152


1. Keroncong Ecology, Culture and Music. 1 1 1 0 3
2. Keroncong Asli 1 1 1 0 3
3. Keroncong Stambul. 1 1 1 0 3
4. Keroncong Langgam 1 1 1 0 3
 Violin
 Flute

 Accoustic Guitar
 Cak
 Cuk

 Cello
 Double Bass
8. Texture 1 1 1 0 3
9. Scale 1 1 1 0 3
10. Rhythm 2 1 2 0 5
11. Melody 2 1 2 0 5
12 Harmony 2 1 2 0 5
13. Tonal System 2 1 2 0 5
14. Textual Themes 2 1 2 0 5
15. Musical Form 2 1 2 0 5
16. Teaching Methods 2 2 2 0 6
Jumlah 28 14 28 0 70
Ariff Ahmad (2001). Seni Muzik Keroncong. Bangi, Selangor: Universiti Kebangsaan
Malaysia.
153
Lee Elaine (2006). Ethnic Musical Instruments of Malaysia. Kuala Lumpur: Win Publication
Sdn. Bhd.
Patricia Matusky, Tan Sooi Beng (1997). Muzik Malaysia: Tradisi klasik, Rakyat dan
Singkretik, K. Lumpur:The Asian Centre.
Mohd Ghouse Nasuruddin. (1992). The Malay Traditional Music. Kuala Lumpur: Dewan
Bahasa dan Pustaka
.
Nik Mohd Salleh, Nik Mustafa (2000). Alat Muzik Tradisional dalam Masyarakat Melayu di
Malaysia, Kuala Lumpur: Kementerian Kesenian, Kebudayaan dan Kesenian.

154
1. Name of Course/Module : Wayang Kulit

To provide students with knowledge and skills in Wayang kulit and methods of teaching at the
secondary school level.
P = Practical
O= Others
7. Credit Value : 3
1. Should be able to play all the Wayang Kulit instruments both solo and in ensemble.
(C1, C2, C3)
2. Should be able to write, compose and arrange music for all instruments include in the
Wayang Kulit ensemble. ( C1, C2, C3, P7, CS7)
3. Should be able to read the Wayang Kulit score and apply creativity in playing the
instruments. (C1, C2, C3, C4)
4. Ability to apply learning methods for learning process in schools. (CS7, C1, C2, P1)
5. Ability to plan and organize a performance of a Wayang Kulit ensemble. (C1, C4,
CS7, TS5)
6. Should be able to demonstrate the proper care and maintenance of Wayang Kulit
instruments. (C1, C2, C3, CS7, A2, A3)
155
Skills in playing various type of Malay traditional drums and methods of teaching at the
secondary school level.
iv. Lecture: Discussion (Question and answers)

v. Problem Based Learning : Group activity
vi. Assessment Strategy
13. Synopsis :
The purpose of this course is to introduce the students to the traditional Wayang Kulit music
ensemble. This course will provide introductory studies in practical teaching related to a
particular instrument. Skills developed in this course include playing techniques, knowledge
of the music structure, history and other aspects related to the ensemble. This course is in
practical form. Therefore, at the end of the course the students are required to do an
ensemble performance.
(Kursus ini memberi pendedahan kepada ensembel Wayang Kulit. Pelajar akan mempelajari
kemahiran asas memainkan setiap peralatan yang terdapat dalam ensembel tersebut.
Pendedahan diberi kepada teknik memainkan alat, mempelajari struktur muzik dan lain-lain
aspek yang berkaitan dengan ensembel tersebut. Kursus ini berbentuk amali dan di akhir
Coursework : 100%


as educators
156


1. Wayang Kulit Ecology, Culture and Music. 2 1 2 0 5
 Tetawak
 Canang
 Kesi
 Gedumbak
 Geduk
 Gendang Ibu & Anak
4. The Playing Techniques Serunai 2 1 2 0 5
5. Texture and Form 2 1 2 0 5
6. Rhythm 2 1 2 0 5
7. Scale and Melody 2 1 2 0 5
8. Tonal System 2 1 2 0 5
9. Melodic Ornaments 2 1 2 0 5
10. Puppets Character 2 1 2 0 5
11. Tok Dalang 2 1 2 0 5
12. Teaching Methods 3 1 3 0 7
Jumlah 28 14 28 0 70
Sdn. Bhd.
Matusky, Patricia (1993). Malaysia Shadow Play and Music: Continuity of an Oral Tradition.
Kuala Lumpur, Singapore, New York: Oxford Press
Matusky, Patricia, Tan Sooi Beng (1997). Muzik Malaysia: Tradisi klasik, Rakyat dan
Singkretik, K. Lumpur:The Asian Centre.
Bahasa dan Pustaka
157
Malaysia, Kuala Lumpur: Kementerian Kesenian, Kebudayaan dan Kesenian.

158
1. Name of Course: Choral Conducting
2. Course Code : AMV3013

4. i) Apply the concept of music in enhancing leadership skills

ii) demonstrate the leadership skills to music.
Total Student Learning Face to Face Total Guided Independent Total

Time (SLT) Learning
6. L = Lecture L T P O 70 50 120
T = Tutorial 28 14 28 0
P = Practical
O= Others

1. Understand the associated disciplines in choral conducting such as behavioral and

communication skills. (C1, C2, C3, C4, C5, C6, CS7)
2. Develop skills and competencies and be able to demostrate specific pattern and gestures to
conduct all common metres, entrances, releases, dynamics, and tempo changes encountered
in choral music. (C1, C3, A1, A2, A3, CT6, LL3, EM3, LS3)
3. Conduct in any consorts. (C1, C3, CS7, TS5, EM3, LS3)
11 Transferable Skills:
Skills to generate ideas, design concepts and disciplines to analyze elements in the leadership of
music such as leadership, ethics and training techniques.

iii. Management's Discussion and Analysis.
159
13 Synopsis
This course is designed to develop skill in choral conducting. Students are to be trained to participate
in classroom conducting activities and required to do critiques and giving ideas in the area of choral
conducting.
(Kursus ini, bertujuan untuk meningkatkan skil di dalam kepimpinan koral. Pelajar akan dilatih untuk
mengkritik dan memberi pendapat di dalam memimpin koir).
Lectures conducted in the orchestra room. Students will be exposed directly face to face from the
lecturer through demonstration. Students also have the opportunity to conduct training individually
and in groups.
Coursework 60%
Final Exam 40%
16. Mapping the Course to the Program Aims:

educators
Bil Program Learning Outcome Contribution
ethical behavior
10 Sensitive to current and global issues 3
.
160

1 History of Choral Music. 2 2 4
2 The Role of Conductor. 3 2 4 9
3 Choral Conductor. 3 2 4 9
4 Conductors’ Craft. 4 2 4 10
5 Conducting Gesture. 4 2 4 10
6 Teaching Choral Conducting. 6 2 6 14
7 Conducting and Development. 6 2 6 14
Total 28 14 28 70
Combs, Ronald. (1995). Learning How To Sing Non Classical Music. Prentice Hall Inc.: New Jersey.
Crocker Emily. Eilers Joyce. (1990). The Choral Approach to Sight-Singing. Hal Leonard Corp.:
Milwaukee, WI.
Garretson, Robert L. (1993). Choral Music: History, Style, and Performance Practice. Prentice Hall
Inc.: New Jersey.
Hotchkiss, Gerald G. (2005). Music Makers: A Guide to Singing in a Chorus or Choir with a Short
History of Choral Music. Lightning Source Inc.: Tennessee.
Miller, Richard, (1996). The Structure of Singing; System and Art in Vocal Technique. Mc Millan Inc.:
New York.

20.
161
1. Name of Course: Choral Writing



Time (SLT) Learning
6. L = Lecture L T P O 70 50 120
T = Tutorial 28 14 28 0
P = Practical
O= Others

1. Ability to arrange songs in 3 - 4 parts singing to

be performed. (C1, C2, C3, P6)
2. Ability to detect chord progression and chord construction. (C1, C2, C3)
3. Ability to exercise creativity. (C1, C2, C3)
4. Ability to develop self-confidence and discipline. (CS7, CT5, EM3, LS4)

162
13 Synopsis
This course is designed to equip students with the knowledge of writing choral score arrangements.
Students will be introduced to skills required for writing 3-4 parts voicing.
(Kursus ini bertujuan untuk mendedahkan pelajar terhadap pengetahuan gubahan skor koir. Pelajar
akan didedahkan dengan kemahiran yang diperlukan untuk menulis gubahan 3-4 lapisan suara).
and in groups.
Coursework 60%
Final Exam 40%

educators

ethical behavior
.
163

1 An introduction of skills required for choral arranging 2 2
2 Arranging technique. 2 2 4 8
3 Open and close harmony. 2 2 2 6
4 Counter melody, voicing and harmony 4 2 4 10
5 Chord progression and analyzing. 4 2 4 10
6 Chord construction and identification. 4 2 4 10
7 Understanding the vocal range and characteristic of 4 2 4 10

male and female singers.
8 Preparation of song arrangement in 4 parts writing 6 2 6 14
Total 28 14 28 70
Lewin, David (2006), Studies in Music With Text. Oxford: University Press.
Durno, Julie (2006), Music and Singing London: Davis Fulton Publisher
Moore, Allan F. (2003), Analyzing Popular Music. University Press. Cambridge
Chrysty, Van A (1998), Foundation In Singing; A Basic Textbook in Vocal Technique And Song
Interpretation, Sixth Edition. New York: McGraw Hill Inc New York
Combs, Ronald(1995), Learning To Sing Non Classical Music. New Jersey: Prentice Hall Inc.
Englewood Cliff

20.
164
1. Name of Course: Vocal Pedagogy



Time (SLT) Learning
6. L = Lecture L T P O 70 50 120
T = Tutorial 28 14 28 0
P = Practical
O= Others

1. To gain an understanding of vocal problems, causes and possible solutions. (C1, C2, C3, CT6)
2. To gain an understanding of breathing function/ management and the muscles involved. (C1, C2,
C3, CT5)
3. To review materials related to singing, performing and teaching. (CS7, CT7, LL3, EM2)
4. To be able classroom teaching which to evaluated. (C1, C2, C3, CS7, C6, A1, A2, A3, EM3, LS3)

165
13 Synopsis
This course is designed to develop student’s ability in vocal teaching especially in pedagogical side.
Students will be introduced to voice teaching method which will cover all vocal aspect.
(Kursus ini direka untuk mengembangkan kemahiran pelajar khasnya dari sudut pedagogi dalam
pengajaran vokal. Pelajar akan didedahkan dengan metod pengajaran yang merangkumi pelbagai
aspek vokal.
and in groups.
Coursework 60%
Final Exam 40%
No Program Aims Main Contribution Other

Contribution
2. To develop teaching skills, planning, and managing √
educators
4. To produce graduates who are able to conduct √

ethical behavior
166

1 Voice Mechanism. 2 2 2 6
2 Respiratory Tract. 2 2 2 6
3 Voice projection 2 2 2 6
4 Voice problems 4 2 4 10
5 Healthy Singing. 4 2 4 10
6 Teaching Method 7 2 7 16
7 Singing Fundamentals 7 2 7 16
Total 28 14 28 70
Milwaukee, WI.
Inc.: New Jersey.
New York.

20.
167
Name of Course: Popular Singing

1.



Time (SLT) Learning
6. L = Lecture L T P O 56 64 120
T = Tutorial 14 14 28 0
P = Practical
O= Others

1. Understand the basic characteristic of different styles of singing. (C1, C2)
2. Ability to communicate through interpretation, stylization. (C1, C2, C3, C4)
3. Ability to do improvisation and variations. (C1, C3, P6)
4. Ability to choose appropriate repertoire based on individual’s vocal character. (CS6, EM3, C1,
C3, P3)
5. Ability to demonstrate and develop self-confidence through performance. (CS7, CT5, EM3,
LS4)

168

13 Synopsis
This course places emphasis on the development of techniques and skills through various styles of
popular singing.
(Kursus ini memberikan penumpuan terhadap pengukuhan teknik dan kemahiran melalui berbagai
stail nyanyian popular).
and in groups.
Coursework 100%

educators
4. To produce graduates who are able to conduct research in √
the field of music education

ethical behavior
169
.
1 Introduction to popular singing 2 2 4
2 Listen, analyze and understanding the vocal styles 2 2 4 8
(listening and demonstration)
3 Song interpretation 2 2 4 8
4 Voice color/character - listening and describe 2 2 4 8
5 Improvisation and scat singing - listening, demonstration 2 2 4 8
and coaching
6 Vocal coaching 2 2 4 8
7 Informal evaluations of the quality of students 2 2 8 12
performances
Total 14 14 28 56
Lewin, David (2006), Studies in Music With Text. Oxford: University Press.
Durno, Julie (2006), Music and Singing. London: Davis Fulton Publisher
Moore, Allan F. (2003), Analyzing Popular Music. University Press. Cambridge
Chrysty, Van A(1998), Foundation In Singing; A Basic Textbook in Vocal Technique And Song
Interpretation, Sixth Edition New York: McGraw Hill Inc New York
Englewood Cliff

20.
170
Name of Course: Classical Singing

1.



Time (SLT) Learning
6. L = Lecture L T P O 56 64 120
T = Tutorial 14 14 28 0
P = Practical
O= Others

1. Dominate singing techniques, voice control and breathing management correctly and apply it
into solo singing. (C1, C2, C3, C4)
2. Understand the elements of good singing and the application on their vocal instrument. (C1,C2)
3. Interpreting the learned and memorized repertoire with correct techniques and style. (C1, C2,
C3, C4, P6, A1, A2, A3, CT6)
4. To develop self-discipline habits through daily practises and preparation. (CT5, C1,C3,LL3)

171

13 Synopsis
This course is designed to develop student’s ability in classical singing. Student’s are required to
differentiate good singing where they need to apply into their studies as well as interpretating songs
according to the era.
(Kursus ini direka untuk meningkatkan kebolehan pelajar dalam nyanyian klassikal. Pelajar harus
mengenal pasti nyanyian yang baik dan mengintepretasi repertoire nyanyian mereka mengikut
zaman).
and in groups.
Coursework 60%
Final Exam 40%

educators
ethical behavior
172

.
.
1 Breath control and support. 2 2 4 8
2 Tone production 2 2 4 8
3 Articulation. 2 2 4 8
4 Diction and Dynamic 2 2 4 8
5 Singing Style 2 2 4 8
6 Repertoire Learning 4 4 8 16
Total 14 14 28 56
Milwaukee, WI.
Inc.: New Jersey.
New York.

20.
173
Name of Course: Malay Traditional Singing

1.
Name(s) of academic staff : Dr. Patricia Bowes

3.
Cik Nor Ashikin bin Hj. Hitam


Time (SLT) Learning
6. L = Lecture L T P O 56 64 120
T = Tutorial 14 14 28 0
P = Practical
O= Others

1. Understanding the basic characteristic of different style of Singing. (C1, C2, C3)
2. Able to do improvisation and variation. (C1, C3)
3. Ability to choose appropriate repertoire based on individual’s voice character. (C1, C2, A6)
4. Ability to interpret variety of styles, character of the songs and genres effectively through
performance. (LL3, A1, A2, A3)
5. Ability to demonstrate and develop self-confidence through performance. (P6, A1, A2, A3, C1,
CS7)
Skills to generate ideas, design concepts and disciplines to analyze elements in the
leadership of music such as leadership, ethics and training techniques.

174

13 Synopsis
This course places emphasis on the development of techniques and skills through various styles of
Malay traditional singing which so much incorporated with melismatic.
(Kursus ini memberikan penumpuan terhadap pengukuhan teknik dan kemahiran melalui nyanyian
tradisional melayu yang banyak dipengaruhi oleh melismatik).
and in groups.
Coursework 60%
Final Exam 40%

√
educators

ethical behavior
175

1 Introduction of Malay traditional singing 2 2 4 8
2 Listen, analyze and understanding the vocal styles 2 2 4 8
(listening and demonstration)
3 Song interpretation 2 2 4 8
4 Voice color/character - listening and describe 2 2 4 8
5 Melismatic and improvisation - listening and 2 2 4 8
demonstration
6 Vocal coaching 2 2 4 8
7 Informal evaluations of the quality of student 2 2 4 8
performances
Total 14 14 28 56
Matusky, Patricia (2006), The Music of Malaysia; The classical, folk and syncretic traditions. UK:
Ashgate, Hampshire:
Gouse Nasaruddin (2003), Muzik Tradisional Malaysia, Kuala Lumpur: Dewan Bahasa dan Pustaka
Budidharma, Pra (2001), Teori improvisasi dan referensi musik Kontemporer. Jakarta: PT Elex
Media Kompuntindo.

20.
176
Name of Course: Diction

1.



Time (SLT) Learning
6. L = Lecture L T P O 56 64 120
T = Tutorial 14 14 28 0
P = Practical
O= Others

1. To used the symbols of International Phonetic Alphabets (IPA) in writing and singing. (C1, C2, C3)
2. To pronounced the correct words in any languages. (C1, C2, C3)
3. To understand the standard pronunciation guidelines for lyric diction. (CS7, LL3, C1, C2, C3)

13 Synopsis
177
This course is designed to develop student’s understanding in learning to pronounce or even writes
out the correct words using International Phonetic Alphabets (IPA).
(Kursus ini direka untuk meningkatkan pemahaman pelajar untuk menyebut, mahupun menulis
dengan menggunakan International Phonetic Alphabets (IPA).
and in groups.
Coursework 60%
Final Exam 40%

educators

ethical behavior
.
178
.
1 Vowel. 1 1 2 4
2 Consonant. 1 1 2 4
3 Diphtong. 1 1 2 4
4 International Phonetic Alphabet (IPA). 1 1 2 4
5 Standard Pronunciation Guidelines. 2 2 4 8
6 Italian Diction. 2 2 4 8
7 German Diction. 2 2 4 8
8 Malay Diction. 2 2 4 8
9 English Diction. 2 2 4 8
Total 14 14 28 56
Milwaukee, WI.
Inc.: New Jersey.
New York.

20.
179
COURSE NAME : GUITAR APPLICATIONS

(Aplikasi Gitar)
COURSE CODE : AMS3132
CREDIT : 2
SLT : 80 hours
PRE-REQUISITE : -
SEMESTER : Second/Third
LEARNING 1. Acquire proficiency in performing repertoire,

OUTCOME melody and chords.
2. Read simple literature at sight and accompany

singing with chords.
3. Compose and perform own materials with

guitar.
4. Perform solo and group ensemble.
SYNOPSIS : This course is a hands-on lesson includes the application

of theory and practical into solo and group performances.
Student will be introduced to both right and left-hand
guitar playing techniques and composing music with
guitar
(Kursus ini dijalankan secara hand-on di mana pelajar

dapat mengaplikasikan teori dan amali melalui
permainan gitar secara solo dan berkumpulan. Pelajar
juga akan diperkenalkan teknik-teknik permainan tangan
kanan dan kiri serta ciptaan lagu melalui gitar)
CONTENT 1. Scales and the Three-chord Theory.

:
2. Chords Progression; The Secondary chords.
3. Left-hand and right-hand technique; Strumming
and Flatpicking.
4. Composing with guitar.
180
5. Solo and group ensemble performances.

PRACTICAL
CONTENT
ASSESSMENT : Course Work

100%
REFERENCES Herfurth, Paul (1970), A Tune A Day: For Classical Guitar

: Book 1 & 11. London Boston Music Co.
Koizumi, Tadashi, (1989), Yamaha Guitar Course

Fundamentals. Szingapore, Yamaha Music School.
Shearer, Aaron (1963), Classic Guitar Techniques New

York: Belwin Mills
Teoh, Raymond (1989), Guitar: Chords Progression,

Scales and Arpeggios. Penang: Penerbit Muzikal.
Tom, Evan (1999), Guitar-History. London, Hutchinson.

181
Name of Course: POPULAR MUSIC

1. (Muzik Popular)
3. Name(s) of academic staff : YM Raja Azuan Nahar bin Raja Adnan

Students will be introduced to the development of western popular music which greatly influenced the
4. cultural, social, musical composition and music industry in the country. Students can also evaluate
the impact of popular music and social and education.

(SLT)
L = Lecture L T P O
T = Tutorial 28 12 14 6 60 20 80
P = Practical
O= Others
8. Pre requisite : (if any) None

10 Learning Outcomes :
1. Understand and explain the theoretical aspect of Popular Music in the context of popular
culture.(C3, P3)
2. Listen and elaborate the elements and the concepts of Popular Music.( A2)
3. Discuss the chronology of Western Popular Music, World Popular Music and Malay Popular
Music. (C3)
4. Discussion on issues of Popular Music composition, musical styles, text, dissemination,

trends and icons on Popular Music. (CT4)
5. Studies on the impact of Popular Music into culture and society (KK3)
1. Writing and communication skills
2. Ability to plan, manage and implement knowledge.
3. Writing and presenting project papers.

182
i. Lecture: Demonstration - Questions and Answers
ii. Project Based Learning – Group Discussion
iii. Assessment Strategy – Assignment, Project and Final Exam
13 Synopsis
This course is to provide an outline history and theory of Popular Music from the mid-twentieth
century onwards. Students will explore some basic approaches to the historical study of Popular
Music and how it influences local Popular Music. Students will examine the interrelationship between
musical, social, economy and technological factors and how they express cultural values and
ideologies; use them as a way of finding their personal and social identity.
(Kursus ini membincangkan sejarah dan teori muzik popular dari pertengahan abad ke-dua puluh
hingga kini. Pelajar akan meneroka beberapa pendekatan asas untuk mengkaji sejarah Muzik
Popular dan bagaimana ia mempengaruhi muzik popular tempatan. Pelajar akan mengkaji hubungan
antara muzik, sosial, ekonomi dan faktor teknologi dan bagaimana mereka meluahkan nilai-nilai
budaya dan ideology, menggunakannya sebagai satu cara untuk mencari identiti peribadi dan sosia).
14. Mode of Delivery: Face-to-face lecture, discussion and project.
Lectures based on the input provided by the lecturer in class. Students will also be presenting
individual or group assignments. Students also have the opportunity to plan and conduct a tour or call
the musicians invited to make demonstrations, attend workshops and make presentations.
1. Assignment 20%
2. Project 30%
3. Final Exam 40%

Contributio Contribution
n
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183

1 Popular Music Historical Outline 3
 Understanding Popular Music 3
 Historiographical Approaches
 The main tendencies and Changing Point
2 Musical Genres I : 19th Century 5
 Domestic and theatre song 3 2
 Music Hall
 Minstrelsy
3 Musical Genres II : 20th Century 6

 Blues and Jazz 3 3
 Rock and Roll to Pop
4 Development of the Music Industries 3

 Commercialization of musical practice 3
 Music Publishing
 The creation of Tin Pan Alley
 New Media
5 Technology, Performance Styles, Aesthetics 5

 Changing Technologies 3 2
 Live Performance
 Recorded Performance
 The varieties of musical function and appeal.
6 Malaysia Popular Music 7

 From Movies to Concert 3 4
7 Pop Icon 3 3 6
 From the 50’s to 90’s
8 Malaysia Music Industries 3 2 5

 Musical Techniques and Styles
 The varieties of musical function and appeal.
184
9 Popular Music and School’s Music Curriculum 2 3 5
10 Project 2 3 10 15
Total 28 12 14 6 60
Adorno,Theodor, (1973) Philosophy of Modern Music : Sheed and Ward, London,
Bracked, David .(1995) Interpreting Popular Music: Cambridge Uni. Press,
Frith, Simon .(1999) On Record: Pop, Rock and the Written Word: Roudledge,
Martin, J, (1996) Sound and Society; Themes in the Sociology of Music : Manchester University
Press, Manchester.
Middleton, Richard (1990) Studying Popular Music : St Edmunsbury Press Ltd.
Shuker, Roy.(2001) Understanding Popular Music : Routledge, London.,
Longhurst, Brian, (1995), Popular Music and Society: Cambridge
Lull, James , (1992) Popular Music and Communication: Newbury Park CA, London
MidDleton, Richard, (2000) Reading Pop :Approaches to the Textual Study of Popular Music: Oxford
Uni. Press
Negus, Keith (1996) Popular Music in Theory: Cambridge Polity Press
Friedlender, Paul , Rock and Roll. (1996) A Social History: Boulder:Westview Press,
Harker,Dave, (1980) One for the Money; Politics and Popular Songs: Hutchinson, London
20.
Swiss, Thomas. (1999) Key Terms in Popular Music: Oxford:Blackwell
Swiss, Thomas. (1998) Mapping The Beat : Popular Music and Contemporary Theory: Oxford
Blackwell
185
1. Name of Course/Module : Arranging II
3. Name(s) of academic staff : Mr. Affendi bin Ramli
This program will provide the student with the knowledge of music arrangement and the
creation towards in improving the musical creativity aspects and the artistic issues
5. Semester and Year offered: Second Year. Forth Semester
(SLT)
T = Tutorial 48 14 6 0
P = Practical
O= Others
7. Credit Value : 3
8. Prerequisite (if any):
Pass Arranging I
At the end of the course, students will be able to:
1. Able to know and understand the advanced principles of instrumental arranging. ( C1,
C2, C4)
2. Able to use all the technique that has been learned in creating good music
arrangements. (C1, C3, C4)
3. Able to apply all the arranging techniques in big types of arrangements in the concert
band, brass band, combo and orchestra. ( C1, C3, A3, P3, EM3, LS4)
4. Willing to increase knowledge, ideas and creativity in producing quality music

arrangements. (C1, C2, C3, P7, A2, A4, CS7, TS5)

186
i. Lecture – Discussion Lecture.

ii. Problem Based Learning.
iii. Assessment Strategy (all course work during the course)
13. Synopsis:
This course in an advanced subject from the previous. Student will learn the advanced
knowledge in producing music arrangement such as the 3 part soli, 5 part soli, spread
voicing, approaches, clusters, concerted and tutti writing. Students will be making a final
arranging project and it will be lively presented by the professional musicians infront of the
professional juries. The time estimation in preparing this project is around 6 weeks.
(Kursus ini mendedahkan pelajar ke atas pengetahuan lanjutan yang perlu diketahui bagi
menghasilkan sebuah gubahan muzik yang berkualiti. Pelajar juga dapat mempelajari teknik
teknik gubahan instrumental yang lebih rumit dan mendalam seperti 3 part soli, 5 part soli,
spread voicing, approaches, clusters, concerted dan tutti writing. Selain itu pelajar akan
menghasilkan satu Projek Akhir Gubahan Instrumental II yang memakan masa 6 minggu,
bermula pada minggu ke 6. Projek akhir ini akan dipersembahkan dihadapan juri profesional
dan dimainkan secara live oleh pemuzik profesional yang diundang.)
14. Mode of Delivery :
 Coursework 60%
 Final Exam 40%

2. To develop teaching skills, planning, and 
managing the teaching of subjects in school music
education
as educators
No Program Learning Outcome Contribution
1. Master knowledge and pedagogy in the field of music. 2
2. Technical skills and teaching music. 2
187

L= Lecture
T = Tutorial
P = Practical
O= Other
No Topic L T P 0 Total
.
1 Orchestra setup 2 1
2 3 part soli ( triads ) 2 1
3 Harmonization of non-cordal notes 2 1
4 5 part soli ( block & open ) 2 1
5 5 part clusters. 2 1
6 Big spread chords 2 1
7 Concerted writing. 2 1
8 Tutti writing. 2 1
9 Part writing texture 2 1
10 Contrapuntal orchestration 2 1
11 Consonance 2 1
12 Dissonance 2 1
13 Revision 2 1
14 Final Project 2 1 6
Total 48 14 6 68
Blatter, Alfred (1997). Instrumentation And Orchestration .Schirmer Books, New York, USA
Delamont, Gordon (1985). Modern Arranging Technique. Kendor Music Inc, New York.
Doezema, Robert (1992). Arranging 1. Berklee College Of Music. USA.
Freedman, Bob & Pease, Ted (1987). Workbook For Arranging 2. Berklee College Of Music,
USA.
Garcia, Russell (1994). The Professional Arranger Composer. Criterion Music Corporation,
California.

188
1. Name of Course: INSTRUMENTAL CONDUCTING
3. Name(s) of academic staff : Mr. Mohd Nizam bin Hj. Nasrifan

These programs equip students with the knowledge and skills to:
4.
i) Apply the concept of music in enhancing leadership skills
5. Semester and year offered : First/Second

Time (SLT) Learning
6. L = Lecture L T P O 56 64 120
T = Tutorial 42 14
P = Practical
O= Others

At the end of this course, students are able to:
1. Able to know and understand in the advance technique of conducting. (C1, C2, C3, A3)
2. Able to analyze any instrumental pieces. (CT6, LS4, C1, C4)
3. Students learned to work and practise their conducting technique with ensembles. (CS7, CT6,
TS4, LS4)

189

13 Synopsis
This course is an extension from Conducting where the students will further their conducting
techniques ability in conducting instrumental pieces. Students will be doing their final project by
conducting instrumental pieces either in an orchestra, brass band or concert band.
(Kursus ini merupakan lanjutan daripada Conducting dimana kemampuan mereka akan dilatih di
dalam memimpin karya-karya yang berbentuk instrumental. Di akhir kursus, pelajar akan
mengaplikasikan teknik-teknik ini di dalam projek akhir mereka dimana mereka perlu memimpin
karya muzik instrumental di dalam sebuah orkestra, brass band ataupun concert band.)
and in groups.
 Coursework & Final Project 70%

 Final Exam 30%

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190

.
1 Introduction of instrumental conducting techniques 2 1
2 Ritardando and Accelerando 4 1
3 The Marcato Pattern, Rests, The Tenuto Pattern 4 2
4 Different Uses of Patterns, Holds , Accent and 4 1

Syncopation
5 Phrasing, Change of Meter and Tempo 4 2
6 Application of Baton Technique, Free Style 4 2

7 Achieving Complete Physical Control, Preparation in 4 1
General
8 Score Study and Preparation of Materials 4 1
9 Rehearsal Techniques and Aspects of 4 1
Interpretation and Choice of Tempo
10 Aspects of Performance Practice and Musical 4 1
Style
11 Discussion of Complete Works or Movements 4 1

Total 42 14
Rudolf, Max (1995). The Grammar of Conducting: A Comprehensive Guide to Baton Technique and
Interpretation 3rd edition, New York, Schirmer Books.
Scherchen, Hermann (1990). Handbook of Conducting. New York, Oxford University Press.
Bowen, Jose Antonio (2003). The Cambridge Companion to Conducting. London, Cambridge
University Press.
McElheran, Brock (2004). Conducting Technique: For Beginners and Professional, New York, Oxford
University Press
Maiello, Anthony , Bullock, Jack (1996).Conducting: A Hands-on Approach. New York. Warner
Brothers Publicatio
20.
1. Name of Course/Module : Teaching Instrumental in Secondary School
3. Name(s) of academic staff : Mr. Mahayuddin bin Abdul Rahim

191
i. To equip students with the command of terminology, pedagogy, structure and

organisation of school band activity.
ii. To raise awareness and interest amongst students towards career opportunities
related to band.
5. Semester and Year offered : Semester 4, Year 2
(SLT)
P = Practical
O= Others
7. Credit Value : 3
10. Learning Outcomes
i. To display the music and the ensemble.

ii. Demonstrate excellent control of musical elements and develop playing techniques
consistently, effectively and skilfully applied.
iii.
13. Synopsis:
This program offers instrumental music educators an opportunity to address musical and
academic issues pertaining to their multi-faceted responsibilities as band directors in the
public schools. In addition to the core Education Component, students will be afforded
flexibility in enhancing their professional development through their involvement with those
topic areas that are based upon their professional interests, those that build upon their
undergraduate training, or those that may reflect changes in music teaching methodologies
since they last undertook formal study.
(Kursus ini akan mendedahkan pelajar kepada isu-isu berkaitan dengan pengajaran dan
pembelajaran muzik instrumental di sekolah. Isu-isu tersebut merangkumi teknik pengajaran,
pengurusan, kepimpinan, pengujian dan pengukuran dan isu-isu yang berbangkit. Para
pelajar akan menentukan tajuk bagi perbincangan dan pembentangan yang akan diadakan.
Selain itu para pelajar dikehendaki membuat kajian terhadap pengajaran dan pembelajaran
oleh seorang jurulatih pancaragam atau “wind orchestra” di sebuah sekolah menengah yang
192
dipersetujui oleh pensyarah. Semua aktiviti saperti forum, perbincangan, kerja kursus,
pembentangan dan kehadiran bagi setiap sesi akan dinilai bagi menentukan gred pelajar.)
Lecture, Tutorial, Workshop, Seminar, Practical.
Coursework 100%

educators

Bil Topik L T P O Total

1 Understanding the Basics of Marching Band 1 2 3
2 Making Drill Design Concept Work 1 2 2 5
3 Designing and Charting for the show 2 2 4 8
4 Arranging the Show Music 2 2 4 8
5 Teaching the Show 2 2 4 8
6 Parade Marching 2 2 4 8
7 Use of Auxiliaries and the Percussion Section 2 2 4 8
8 Teaching the Marching Percussion Section 2 2 4 8
Total 14 14 28 0 56
193
Bolinger, Donald E. (1979). Band Directors Complete Handbook. New York: Parer Publishing
Company.
Fraedrich, Eileen (1997). Art of Elementary Band Directing. Florida: Meredith Music
Publication.
Gale, Bruce (2001). The Band Director’s Handbook: A Guide for College & Secondary School
Music Directors Southeast Asia. London: Asean Academic Press Limited.
Hal Leonard Corp. (2005). The Music Director's Cookbook: Recipes for a Successful
Program. Galesville, U.S.A.: Meredith Music Publication.
Lisk, S. Edward (1991). The Creative Director: Alternative Rehearsal Techniques, third
edition. Florida: Meredith Music Publication.
Wayne, Bailey (2003). The Complete Marching Band Resource Manual: Techniques and
Materials for Teaching, Drill Design, and Music Arranging. Philadelphia: Pennsylvania
Press.
Wayne, markworth (2008). The Dynamic Marching Band. Philadelphia: Isaac Publishing, Inc

194
1. Name of Course/Module : Trends in Marching Band
3. Name(s) of academic staff : Asscoc. Prof Zaharul Lailiddin bin Saidon
i. To equip students with the command of terminology, pedagogy, structure and

organisation of school band activity.
ii. To raise awareness and interest amongst students towards career opportunities
related to band.
(SLT)
P = Practical
O= Others
7. Credit Value : 3
1. Demonstrate the understanding of various types of precision and parade marching by

applying them during practical sessions. (C1, C2, A2, A4, CT4, LL2, LS4)
2. Demonstrate knowledge and understanding of basic charting and formation by designing

an original seven minutes marching band show using spyware software. (C1, C2, C3,
C4)
3. Demonstrate knowledge and understanding of the use of Auxiliaries and the Percussion
Section by incorporating them in the design of the seven minutes original show. (C1, C2,
CT6, P6, P7, A4)
4. Demonstrate knowledge and competency in teaching band by applying appropriate

rehearsal techniques during micro teaching sessions. (CS7, CT6, TS5, LL3, EM3, LS4)
i. To display the music and the ensemble.

ii. Demonstrate excellent control of musical elements and develop playing techniques
consistently, effectively and skilfully applied.
195
13. Synopsis:
This course provides students with the contemporary marching band fundamentals, various
types of precision marching, pageantry, charting and show planning. The aim of this course is
to prepare students to become effective band instructors. Each student will be required to
write an original seven minute show.
(Kursus ini mendedahkan pelajar kepada asas pancaragam berkawad kontemporari, pelbagai
jenis kawad, pagentri, pencartaan dan perancangan pertunjukan. Matlamat kursus ialah
untuk menyediakan pelajar menjadi instruktur pancaragam yang efektif. Setiap pelajar
dikehendaki mereka bentuk pertunjukan untuk selama tujuh minit.)
Coursework 100%

educators

196

1 Understanding the Basics of Marching Band 1 2 3
2 Making Drill Design Concept Work 1 2 2 5
3 Designing and Charting for the show 2 2 4 8
4 Arranging the Show Music 2 2 4 8
5 Teaching the Show 2 2 4 8
6 Parade Marching 2 2 4 8
7 Use of Auxiliaries and the Percussion Section 2 2 4 8
8 Teaching the Marching Percussion Section 2 2 4 8
Total 14 14 28 0 56
Bolinger, Donald E. (1979). Band Directors Complete Handbook. New York: Parer Publishing
Company.
Fraedrich, Eileen (1997). Art of Elementary Band Directing. Florida: Meredith Music
Publication.
Gale, Bruce (2001). The Band Director’s Handbook: A Guide for College & Secondary School
Music Directors Southeast Asia. London: Asean Academic Press Limited.
Hal Leonard Corp. (2005). The Music Director's Cookbook: Recipes for a Successful
Program. Galesville, U.S.A.: Meredith Music Publication.
Lisk, S. Edward (1991). The Creative Director: Alternative Rehearsal Techniques, third
edition. Florida: Meredith Music Publication.
Wayne, Bailey (2003). The Complete Marching Band Resource Manual: Techniques and
Materials for Teaching, Drill Design, and Music Arranging. Philadelphia: Pennsylvania
Press.
Wayne, markworth (2008). The Dynamic Marching Band. Philadelphia: Isaac Publishing, Inc

197
1. Name of Course/Module : Composition for Malay Traditional Music
3. Name(s) of academic staff : Mr. Kamrulzaman bin Mohamed Karim
To provide students with knowledge and understanding of Composition for Malay Traditional Music
as part of our cultural heritage.
5. Semester and Year offered : Second
(SLT)
P = Practical
O= Others
7. Credit Value : 3
1. Analyze some of repertoire to develop musical vocabulary. (C1, C2, C4)
2. Exhibit the correct technique formation. (C1, C2, C3, CS5, CT6)
3. Explain the importance of correct technique and patterns. (C1, C2, C3, CS5, LL3)
4. Compose an original song including the technique. (C1, C3, P7, CT4)
5. Classify the problems that have multiple solutions. (C1, C4, C5, CS5, CT4, LL3)
Skills and how they are developed and assessed, project and practical experience and Internship

 Lecture, practical, workshop, seminar, presentation.
 Coursework and final examination.
198
13. Synopsis
This course will provide the students with the technique of composition for Malay Traditional music.
Students will learn the fundamentals of composition which is creating melodic structure, harmony,
counterpoint, rhythm, meter and tempo but relating and specific in Malay traditional music such as
asli, ghazal, inang, joget and zapin. Students are expected to compose five compositions per
semester with different approaches, techniques and style based on Malay traditional music.
(Kursus ini dihasilkan kepada pelajar dengan teknik komposisi muzik tradisi Melayu. Pelajar akan
mempelajari asas-asas komposisi seperti penghasilan struktur melodi, harmoni, counterpoint, ritma,
meter dan tempo tetapi berkait dan spesifik dengan muzik traditional Melayu seperti asli, ghazal,
inang, joget dan zapin. Pelajar dikehendaki untuk mencipta 5 buah komposisi di dalam satu
semester dengan menggunakan kaedah yang berlainan, teknik dan stail berdasarkan muzik
tradisioanal Melayu.)
14. Mode of Delivery: Lecture, practical, Workshop, Seminar, etc.

 Coursework 60%
 Final project 40%

2. To develop teaching skills, planning, and managing /
educators
199
1. Introduction to the Composition for Malay Traditional 4 1
Music
2. Basic structures in Malay Traditional Music 3 2
3. Various type of style in Malay Traditional Music 5 1

4. Melody ; motion, diminution and augmentation 5 1
5. Ornamentation in Malay Traditional melody 5 2
6. Rhythmic pattern in Malay Traditional Music 5 1

7. Harmony; functional, non-functional and transposition 5 1
8. Basic Musical Aesthetic in Malay Traditional 5 3

Composition
9. Guidance to the new style in Malay Traditional 5 2
Composition
Total 42 14 0 56
Lion Stein (1979). Stucture & Style: The Study & Analysis of Musical Form. New Jersey:
Summy_Birchard Music, Princeton.
Arnold Schoenberg, manufactured by Faber & Faber (1999). Fundamentals of Musical Composition.
UK: Faber & Faber.
Fontaine, Paul (1967). Basic Formal Structures In Music. New York: Appleton-Century Crofts.
Patricia Matusky & Tan Sooi Beng (1997). Muzik Malaysia: Tradisi Klasik, Rakyat dan Sinkretik.
Pulau Pinang: The Asian Centre

200
1. Name of Course/Module : Organology Of Malay Traditional Music
3. Name(s) of academic staff : Assoc. Prof. Dr. Mohd Hassan Abdullah
To provide students with knowledge and understanding of Organology Of Malay Traditional Music as
part of our cultural heritage.
5. Semester and Year offered : Semester 4 Year 2
(SLT)
P = Practical
O= Others
7. Credit Value : 3
1. Explain about the organological aspect of Malay traditional instruments. (C1, C2, CS7)
2. Classify Malay traditional musical instruments. (C1, C2)
3. Analyze the construction techniques of Malay musical instruments. (C1, C2, C4)
4. Write an essay about a Malay musical instrument. (C1, C2, CS7, LL3)
Skills and how they are developed and assessed, project and practical experience and Internship
 Lecture, practical, workshop, seminar, presentation.

 Coursework and final examination.
201
13. Synopsis
This course will combine theoretical and practical approaches to provide an overview of Malay
traditional instruments, an understanding of the basic physics of sound, classification of musical
instruments, materials and construction techniques, tuning and maintenance of the instruments.
(Kursus ini meliputi perbincangan secara teori dan praktikal berkenaan dengan pelbagai jenis alat
muzik tradisional Malaysia. Ia merangkumi pemahaman terhadap asas fizik bunyi, klasifikasi, bahan
dan teknik pembuatan, talaan dan penjagaan alat muzik tersebut)
14. Mode of Delivery: Lecture, practical, Workshop, Seminar, etc.
 Coursework 60%
 Final Exam 40%

2. To develop teaching skills, planning, and managing the /
educators

202

1. Survey on Organology 6 1
2. Method of Classification 6 1
3. Membranophone instruments 6 1
4. Chordophone Instruments 6 1
5. Idiophone Instruments 6 1
6. Aerophone Instruments 6 1
7. Instruments Maintenance 6 1
Total 28 14 0 42
Baines, Anthony, (1992). The Oxford Companion to Musical Instruments, New York: Oxford
University Press.
Lee Elaine (2006). Ethnic Musical Instruments of Malaysia. Edited by Mohd Hassan Abdullah, Kuala
Lumpur: Win Publication Sdn. Bhd.
Nik Mustafa Nik Mohd Salleh, (2000). Alat Muzik Tradisional dalam Masyarakat Melayu Malaysia,
Kuala Lumpur: Kementerian Kesenian, Kebudayaan dan Kesenian.
Patricia Matusky, Tan Sooi Beng (1997). Muzik Malaysia: Tradisi klasik, Rakyat dan Singkretik, Kuala
Lumpur: The Asian Centre.
Sadie, Stanley. (1984). The New Grove Dictionary of Musical Instruments, Vol. 1, 2, 3, London:
Macmillan Press Limited.

203
1. Name of Course/Module : Teaching Malay Traditional Music in Secondary School
3. Name(s) of academic staff : Assoc. Prof. Dr. Mohd Hassan bin Abdullah
To prepare students with the knowledge and skills in the teaching of music in schools and to
become good and effective teachers.
(SLT)
P = Practical
O= Others
7. Credit Value : 3
1. Learn traditional methods in learning traditional musical instruments. (C1, C2)
2. Write, compose and arrange music for traditional instruments. (C1, C2, C3, C4, C5,
P7)
3. Apply learning methods for learning process in schools. (C1, C2, C3, CT5, LL3, EM3)
4. Plan and organize a performance of a traditional music ensemble. (C1, C3, A1, A2,
A3, A4, TS5, CS7, LS4)
5. Demonstrate the proper care and maintenance of traditional instruments. (C1, C2, C3,
C6, CT6)
Skills in generating ideas, constructing concepts and analysing elements pertaining to

teaching of music in schools.

204
13. Synopsis:
The purpose of this course is to introduce the students to teach and manage the traditional
music ensemble. This course will provide introductory studies in practical teaching related to
the particular ensembles. Students will develop skills playing and teaching techniques,
knowledge of the music structure, ensemble management and other aspects related to the
ensemble.
(Kursus ini bertujuan untuk mendedahkan pelajar kepada pengajaran dan pengurusan
ensambel tradisional. Kemahiran teknik bermain dan mengajar, struktur permainan,
pengurusan ensembel serta lain-lain yang berkaitan).
i. Assignment 20%
ii. Quiz 15%
iii. MicroTeaching/ Lesson Plan 25%
iv. Final Exam 40%

educators

205

1 Traditional Music Ecology, Culture and Music. 4 1 1 6
2 Ensemble Musical structure and techniques 7 2 2 11
3 Ensemble Teaching Techniques. 7 2 2 11
4 Ensemble Management 8 2 2 12
5 Music Composition 8 2 2 12
6 Performance Management 8 2 2 12
Total 42 14 14 0 70
Abdul Hamid Adnan (2004). Muzik Caklempong. Kuala Lumpur: Dewan Bahasa dan Pustaka
Sdn. Bhd.
Patricia Matusky, Tan Sooi Beng (1997). Muzik Malaysia: Tradisi klasik, Rakyat dan
Singkretik, K. Lumpur: The Asian Centre.
Bahasa dan Pustaka.
Malaysia Kuala Lumpur: Kementerian Kesenian, Kebudayaan dan Kesenian.

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1. Name of Course/Module: MALAY DRUMMING

2. Course Code: : AME3072

3. Name(s) of academic staff:

6. Total Student Total

8. Prerequisite (if any): None

10. Learning Outcomes:

11. Transferable Skills:

Skills in playing various types of Malay traditional drums.

12. Teaching-learning and assessment strategy:

i. Lecture: Discussion (Question and answers)

14. Mode of Delivery:

Lecture, Tutorial and Practical

15. Assessment Methods and Types:

16. Mapping of the course/module to the Programme Aims:

17. Mapping of the course/module to the Programme Learning Outcomes:

No. Program Learning Outcome Contribution

No. Topic L T P O Total

 Additional references supporting the course:

20. Other additional information: NIL

1. Name of Course/Module: VOCAL TECHNIQUE

2. Course Code: AMS3032

3. Name(s) of academic staff:

6. Total Student Total

8. Prerequisite (if any): None

i. Explain the elements of vocal technique.(C2, A2)

11. Transferable Skills:

basic musicianship and expressive singing.

14. Mode of Delivery:

Lecture, modeling, practice, performance, and discussion

15. Assessment Methods and Types:

16. Mapping of the course/module to the Programme Aims:

17. Mapping of the course/module to the Programme Learning Outcomes:

No. Program Learning Outcome Contribution

No. Topic L T P O Total

19.  Main reference supporting the course:

Arman, M. J. (2010). The voice: A spiritual approach to singing, speaking and

 Additional references supporting the course:

20. Other additional information:

1. Name of Course/Module: STRINGS TECHNIQUE

2. Course Code: AMS3072

3. Name(s) of academic staff:

6. Total Student Total

8. Prerequisite (if any): None

10. Learning Outcomes:

i. Explain the elements of strings technique.(C2, A2)

11. Transferable Skills:

12. Teaching-learning and assessment strategy:

14. Mode of Delivery:

Lecture, modeling, practice, performance, and discussion

15. Assessment Methods and Types:

16. Mapping of the course/module to the Programme Aims:

17. Mapping of the course/module to the Programme Learning Outcomes:

No. Program Learning Outcome Contribution

No. Topic L T P O Total

19.  Main reference supporting the course:

 Additional references supporting the course:

Jo Nardolillo (2012). The canon of violin literature. NJ: Scarecrow Press

20. Other additional information: NIL

1. Name of Course/Module: BRASS TECHNIQUE

1) Dr. Mahayuddin bin Abdul Rahim

4. Rational for the inclusion of the course/module in the programme:

5. Semester offered: First and second