Global Journal of Arts Education

Message from Editor

Ayse Cakır İlhan — 2016-10-18

Dear Readers,

It is the great honor for us to publish sixth volume, second issue of Global Journal of Arts Education.

Global Journal of Arts Education (GJAE) is an international peer-refereed journal that provides an international form for research in the field of the art and creative education. The journal welcomes from a wide range of theoretical and methodological approaches to research, and encourages submissions from the broader fields of education and the arts that are related with learning and teaching through creative art education.

Classical piano playing, “Leyla and Majnun” love poem, film analysis and refractory studio and pedagogy topics have been included into this issue. The topics of the next issue will be different. You can make sure that we will be trying to serve you with our journal with a rich knowledge in which different kinds of topics are discussed in 2016 Volume.

A total number of twelve (12) manuscripts were submitted for this issue and each paper has been subjected to double-blind peer review process by the reviewers specialized in the related field. At the end of the review process, a total number of five (5) high quality research papers were selected and accepted for publication.

We present many thanks to all the contributors who helped us to publish this issue.

Best regards,

Prof. Dr. Ayse Cakir Ilhan

Editor – in Chief

A Survey on Playing-Related Musculoskeletal Disorders Among Classical Piano Students of Tertiary Institutions in Malaysia

Chia Ying Ling — 2016-10-18

Musicians are at risk of playing-related musculoskeletal disorders (PRMD) with incidence ranging from approximately 30% to 90% in the shoulder-arm-hand region and within the spine. Pianists are one of the high risk groups of PRMD due to the nature of playing posture and practice habits. The number of pianists in Malaysia has increased significantly due to the growth of music programmes in tertiary institutions. Although extensive research has been carried out into PRMD for decades, investigation of PRMD among pianists in Malaysia is very limited. This paper aimed to identify the extent of PRMD occurring among classical piano students in tertiary institutions in Malaysia. A survey was conducted and 192 set of data collected through administration of a questionnaire. Results showed that 35.8% (68) students reported having PRMD, of whom 17.6% were male (12) and 82.4% (56) were female. There is a great necessity to introduce ways to prevent PRMD which was reported at various levels among classical piano students.

Keywords: Playing-related musculoskeletal disorders, classical piano students, music

Nazira Tradition and “Leyla and Majnun” Love Poem in the Kazakh Literature

Yerlan Alashbayev — 2016-10-18

Many works of the eastern poets were devoted to love theme. The most spread “Leyla and Majnun” is a love story originated in Arabic, later significantly expanded to Persian and got its fictional peak in Turkic literature. Poets frequently wrote on this theme. The actual reason is “nazira, nazirashylyk” tradition which is the source of love tradition. Poets wrote their poem lines in Arabic aruz style. That nazira tradition took its continuation in Kazakh steppes in the end of XIX century and in the beginning of the XX century but not exactly in its poem style . It is obvious from the Kazakh writers’ works that the object of written literature was love poems and were written in rhymes. Love poems did not leave the Kazakh poems indifferently. That’s why, poets tried to introduce the eastern poem to Kazakh nation. Kazakh poets were good as eastern poets in terms of the above mentioned theme. After that new works with different styles peculiar to poets were coming out in the literature. This article deals with nazira tradition in the Kazakh literature and “Leyla and Majnun” poem which is written in nazira tradition. Along with it, we try to evaluate the role of nazira tradition as the witness of historical events.

Keywords: Kazakh literature, nazira tradition, Leyla, Majnun, love poem ;

Thai Social Context in Apichatpong Weerasethakul ‘s Films

Pison Suwanpakdee — 2016-10-18

This article studies about the Thai social context in Apichatpong Weerasethakul ‘s films. Apichatpong Weerasethakul is a Thai filmmaker who won the highest prize in Cannes Film Festival 2010. He has generated acclaim on the film festival circuit ever since his 2002 debut "Blissfully Yours," which he followed up with "Tropical Malady" and "Syndromes and a Century." Apichatpong Weerasethakul is a Thai independent filmmaker who combine between film and art. Hhis works were shown at the museums and theaters all over the world.

The story telling in his films sitting in his home town Khon Kaen, a province in the northeastern part of Thailand. His film criticizes melodramas in TV, radio and Thai social context with non professional actor, narrative style and symbolics about dreams, nature, sexuality (including his own homosexuality). There are many years Apichartpong ‘s films has been well received in many countries that they were released. But in Thailand, some of his works were banned and unreleased such as Syndromes and a Century (2006). Although this film was the first Thai film accepted in competition of the 63rd Venice Film Festival, it is interesting to study his film with the Thai social context of what he conveyed in his works and why the filmmaker who succeed on the world stage, but for his country, he has not been widely recognized .

PRODUCTION OF REFRACTORY STUDIO KILN SHELVES FROM AFOWA CLAY

Festus uzzi — 2016-10-18

ABSTRACT

This study investigates production of refractory studio kiln shelves using Afowa clay. In solving firing problems, kiln was the earliest tool used to revolutionalize pottery productions, while shelves are among the furniture inside the kiln where ceramic green/bisque wares are stacked for firing. Most scholars in Nigeria who have written on kiln focused on construction of kiln, little has been done about kiln shelves production. Firing of pottery wares plays important roles in production of earthen or glaze wares. This paper deals with the production of shelves and suggests possible ways it can be used for stocking the kiln. It x-ray the problems associated with cracks on shelves and how to check them. The researcher also elaborates on different methods of propping shelves (bats) in stocking a kiln. Kiln setting for glaze firing follows a general principle of proper foot-cleaning and non-contact. The mechanical and physical properties of the composites are determined. Findings are made to show that there are improvement in hardness value, strength and compressive strength of the developed composites. Also, this research will impact positively on potters and institutions and will further open up research and creative development. It will hopefully discourage further importation of refractory materials and serves as reference material to potters.

Keywords: Production, studio, kiln, Firing and shelves.

Erhu Pedagogy: A Comparison of Qinfeng and Jiangnan Chunse

Xi Chen — 2016-10-18

This paper examines the area of erhu pedagogy, looking at the two different styles of Northern and Southern China: Qin pai and Jiangnan pai. The development of Qin pai erhu since the 1950s has resulted in a regional style that reflects a strong Shaanxi local folk and traditional music genre. On the other hand, Jiangnan music is widely developed in Shanghai, Jiangsu province, and Zhejiang province in the area of folk music. The musical style of Jiangnan is melodious, with simplicity as its main character. Past literatures reveals some insights into the different styles of erhu playing, however, a detailed performance practice of two major repertoires Qinfeng and Jiangnan Chunse is absent. This paper discusses the unique playing style and techniques of Qin pai and Jiangnan pai. The differences between the two are analysed based on two representative repertoires, Qinfeng and Jiangnan Chunse. Methodology includes observation, score analysis, transcription and a discussion that includes a self-reflexive account on the performance of the two pieces. The outcome highlights various pedagogical concerns regarding playing techniques, stylistic features and interpretation that provide a reference for future scholars and erhu players.

Keywords: Erhu, Qin Pai, Jiangnan Pai, music;