Building a Better Method Book for Malay Instrumental Music
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Music teachers in Malaysia often struggle to demonstrate effective rehearsal strategies when leading ensembles, especially when compared with their more experienced counterparts. According to Pearson (2018, p. 1), effective rehearsals begin with skilled instructors, and the educational approach visible on the podium greatly influences the conductor's success or failure. Insufficient training and experience in ensemble instruction are clear problems. Numerous studies (Berz, 2005; Crawford, 2000; Hinton, 2008; Johnson, 2007; Lane, 2004; Woody, 2002, 2006) have found that preservice teachers display weak rehearsal techniques, which are essential for directing instrumental groups. Nevertheless, communities expect these teachers to lead wind orchestras and marching bands at a high level.
Initial investigations revealed that Band instructors in Malaysia rely on Western method books as references for their teaching. Furthermore, no existing orchestra method book is written in the Malay language. These materials are published in English and feature traditional folk songs from the West, lacking instruction in systematic rehearsal methods that new teachers urgently need. This situation adds further challenges for novice educators seeking to integrate local music, culture, and heritage. Carl Orff, Dal Cruz, Suzuki, and Kodaly all stressed that using local folk and traditional songs leads to more meaningful music learning.
This research employed a qualitative methodology, using interviews, observations, and document analysis with five participants who are deeply involved in instrumental music teaching and learning. The findings indicated that the instructional resource incorporates the fundamentals of instrumental pedagogy. It covers systematic rehearsal approaches, etiquette (rehearsal), breathing exercises, instrument tuning, warm-ups, rhythmic studies, articulation, scales, harmony, blend, and balance. Additionally, four selected Malay folk songs can improve students' comprehension, interpretation, and expressive delivery, fostering interest in their own musical culture.
Teaching and learning through performance offers an efficient route to musical growth. Yet, local music teachers in Malaysia need more substantial training and experience to manage large instrumental ensembles using systematic strategies. On top of teaching music, they must prepare arrangements, plan rehearsals, handle various subjects, and participate in school activities. Published method books written in English, incorporating Western folk songs, make it still more complex for teachers to connect with students using local culture. Given that prominent music educators advocate for the use of local songs, and that no Malay-language method book exists, this research aimed to develop one for novice teachers that combines systematic rehearsal techniques with Malay traditional and folk melodies.
Research methodology
This qualitative investigation sought to create an instrumental method book written in Malay that applies systematic rehearsal techniques and procedures while integrating Malay traditional and folk songs. Collecting data in natural settings allowed the research team to study the fundamental elements of teaching instrumental music ensembles (Stake, 1995; Yin, 2009). Band instructors, a novice music teacher, two student musicians, and a university music professor agreed to participate. All had active involvement in instrumental music learning and teaching. The primary goal was to deepen understanding of the phenomenon, not to achieve population validity, which is common in research using selected participants manageable for the researcher (Gall, Gall, and Borg, 2007).
Gall and colleagues advised investigating a single phenomenon at a time with appropriate methods, instruments, and procedures. The researchers conducted eight semi-structured interviews and eight observation sessions, also collecting documents from the participants. Some interviews were conducted by phone or at mutually agreed locations. Research ethics and procedures were observed throughout. An interview protocol containing semi-structured and open-ended questions helped focus the researcher's attention for accurate collection (Miles and Huberman, 1994).
Data from all sources was analyzed carefully, then categorized and transcribed. This process allowed the research team to choose and establish rehearsal techniques essential for novice educators, which were later introduced in the method book. Four local music arrangers organized the exercises and arranged the four Malay folk songs for wind orchestra according to the researcher's objectives. Each piece was arranged by a different arranger and features contrasting musical styles and tempos.
A draft of the Malay language method book was provided to all five participants to obtain their feedback and validation. However, the local high school teacher and orchestra members studied the book, practiced, rehearsed, and performed one of the arrangements. Feedback from all participants and student musicians was critically analyzed and contributed to the final improved version.
Results
Research Question 1: This aimed to identify the skills, knowledge, activities, and practices that should be included in the method book. The findings showed that musician ethics and rehearsal procedures are critical for novice music teachers. Basic music theory and practical skills must come before more advanced knowledge and abilities. Data from this study indicated that activities such as stretching, warm-up routines, and systematic rehearsal methods help novices and students alike develop better musical skills. One instrumental music professor noted, "Not all students can quickly develop their skills, especially embouchure and tone. Warm-up exercises remain a routine in every rehearsal. The main concern is to keep things well organized and interesting." Musical elements like tempo, note values, rhythmic patterns, tone, articulations, expression, blend, and balance should be prominent in most activities.
One band instructor observed that simple stretching activities performed with background music help students achieve physical and mental readiness and alertness. Students also learn to feel tempo more precisely. It is advisable to use instrumental music with different styles and ensembles. The instructor emphasized that "we instructors must guide them, especially concerning tempo accuracy, which is visible in the sharpness of their movements and the resulting sound." The professor added that "simple stretching takes only minutes," but students must take it seriously. Properly executed activities that motivate students to move expressively with the music can support this.
Breathing is fundamental to building a good embouchure and producing a strong tone for wind players. All research participants agreed that breathing techniques allow musicians to construct an effective embouchure. Teachers must explain and demonstrate correct methods. Practicing correct breathing is challenging, but creative movements and a serious approach can shape student attitudes. The instructor moved among his students, checking and correcting technique, embouchure, and mouthpiece placement during warm-ups. Playing soft, warm, higher pitches produced better range and tone. The band instructor used techniques drawn from online videos, calling them "breathing gyms." Clear instructions yield better results for such exercises, such as the "bow and arrow" method where students inhale while pulling the bow and exhale at the speed of releasing the arrow. Observations showed that both the band instructor and music professor demonstrated various techniques with clear explanations. Student voices, facial expressions, and body language confirmed their enjoyment.
Rehearsal techniques were observed in their natural environment, directed by a well-known school band director and a university professor. Both school and university settings exhibited systematic methods. Beginning each session with attendance, stretching, and breathing was routine. Section leaders guided tuning during sectional practice. Long tones on mouthpieces and instruments came first. Some advanced students tuned without aids and assisted others.
Sectionals generally started by dividing the full ensemble into groups by instrument and experience level. Junior members, usually beginners, needed attention to fundamentals such as mouthpiece placement, embouchure, posture, fingering, tone, intonation, note accuracy, and rhythm. Meanwhile, senior groups focused on interpretation and expression. Section leaders detected and corrected errors in tone, blend, balance, harmony, articulation, and phrasing. Sectionals lasted about an hour before the full group combined. Once the complete wind orchestra sat together, the band instructor conducted the session. It began with brief directions and motivation, then tuning, scales, rhythm practice, and a warm-up piece before tackling the concert repertoire. The instructor skillfully prompted improvements in tone, blend, rhythm, harmony, intonation, and phrasing while achieving expressive results.
Both the band instructor and the professor demonstrated similar conduct during rehearsals. Both emphasized tempo, tuning, tone, pitch, tonguing, range, lip flexibility, and other musical components, making performances come alive. Mistakes were noted and addressed with clear verbal or non-verbal instruction, often quickly and with minimal disruption. The band instructor mentioned that for difficult issues, he prefers to meet with individual students after rehearsal, which saves time and yields better outcomes. One student confirmed, "The instructor tries hard and makes us think about our performance problems, so I must give my best." Data allowed researchers to select suitable practices for the Malay method book. The professor noted that many exercise materials are available online and workable, giving the McAllister Symphonic Warm-up as a useful example.
Research Question 2: Investigated expert reactions to the proposed method book. The resource includes guidance on rehearsal ethics, small- and large-group rehearsal techniques, warm-up exercises, and activities tied to four Malay folk songs. The high school instructor and professor offered suggestions on the logic of rehearsal routines. Both felt the book could help novices adopt systematic techniques. The band instructor noted that the exercises aligned with the four songs thoroughly, likely saving rehearsal time.
The professor found all the exercises important for building individual playing technique and found the rehearsal-etiquette checklist particularly appealing. Both agreed the resource covers much of what is essential for ensemble teaching and would benefit novice music teachers.
Research Question 3: Explored changes observed in a novice music teacher using this book. The teacher prepared for one week before introducing it during his school wind orchestra rehearsals. Reports indicated no serious difficulties in applying the exercises and procedures. The teacher demonstrated actions such as stretching and breathing activities convincingly, showed strong leadership, and confirmed that students followed instructions better. By the fourth week, observable improvements in group discipline and performance quality were clear. Musicians looked and acted more professionally, achieved better tone quality, and performed exercises and pieces with credible expression. The novice teacher presented material with assurance.
This teacher’s approach reflected the systematic rehearsal strategies in the book, guiding students to sing, perform, and study patterns using validated techniques. By the eighth week, the novice teacher showed clear models had directly produced observable improvements in the ensemble members.
The novice music teacher noted that students’ behavior and performance during both rehearsals and the actual concert demonstrated the method book’s effectiveness. The chosen song and its arrangement succeeded in capturing the students’ interest. The teacher observed that the young musicians genuinely enjoyed playing the folk song included in the method. Body movements, facial gestures, and credible expressions displayed during the performance revealed the students’ grasp of the music’s interpretive demands.
Musical elements—including tone quality, tempo, note values, and articulations—showed marked improvement. Most student musicians could produce a noticeably more beautiful tone compared to earlier efforts. The overall sound of the orchestra improved considerably.
On the other hand, the novice teacher suggested that recorded arrangements of the song would aid better interpretation and expression. He also called for additional materials written in Malay, such as advanced rehearsal exercises and intermediate-level arrangements of local songs.
Discussion and Conclusion
Conducting a large orchestra poses a significant challenge for novice music teachers. Professional guidance is essential before they can establish proper instructional approaches, interpretation, and expressiveness. This method book was designed specifically for novice teachers, making attention to instrumental rehearsal techniques, rehearsal ethics, and basic musical exercises indispensable. To that end, the book integrates musician’s ethics, symphonic warm-up routines, and individual practice regimens aligned with each song. According to the research data, the method book serves as a highly practical tool for novice teachers, improving both their skills and knowledge in leading instrumental ensembles. Drawing on Biggs et al. as cited in Mahayuddin (2013), “displaying a high level of student musicianship” and “being knowledgeable about participant matter materials were the most necessary skills in being able to ‘motivate students’ and ‘maintain excellent classroom management and procedures’” (p.17). Nevertheless, the findings were based on a limited number of research subjects. Consequently, the results may not apply to all novice music educators, though the implications hold substantial value for local music teachers and their students. Additionally, developing novice educators’ knowledge and skills can be approached from other angles. Future researchers may explore areas such as mentoring, professional development, conducting abilities, teaching techniques, education strategies, and related factors—all of which could influence music programs, teacher training, and the performance outcomes of instrumental ensembles.