TALK, PLAY AND THINK SERIES 2015
Talk, Play, Think (TPT) is a monthly series of lecture demonstrations on music and the performing arts by the academic staff from the faculty, visiting speakers, as well as professional practitioners. “Talk” refers to an academic lecture, while “play” involves performance demonstrations. The “think” element refers to the stimulation of new knowledge and the creative ways generated from the presentations. Talk, Play, Think (TPT) presentations bridge the gap between theory and practice, the academician and practitioner, and diversify ways in which knowledge may be acquired in an academic setting. The Faculty of Music and Performing Arts is proud to present performing arts academicians and scholar-practitioners who combine performance with research and scientific-based findings, in addition to professional practitioners’ experiences in performance, composition or choreography. TPT broadens our knowledge base through the sharing of undeniably rich sources of information by local, national and international researchers and practitioners alike.
FEBRUARY 2015
Apa Sebenarnya Teater Muzikal
by: Roselina Johari Binti Md. Khir
25 February 2015, Recital Hall, Faculty of Music and Performing Arts, 2.30p.m – 4.30p.m
Perbincangan topik ini akan meliputi huraian ringkas tentang teater muzikal, meneroka elemen-elemen teater muzikal dengan memberi tumpuan khas kepada apa yang membezakan teater muzikal dari drama. Perbincangan juga akan menumpu kepada kriteria pemilihan muzikal, perancangan produksi, latihan dan persediaan keseluruhannya. Muzikal merupakan genre yang popular oleh kerana ia memberi pengalaman magical kepada pembuatnya dan lebih lagi kepada penonton-dengan nyanyian, tarian dan lakonan. Oleh itu perbincangan hari ini akan menekankan kepada proses sesebuah muzikal yang akan mentransformasikan sesuatu yang biasa kepada sesuatu yang luar biasa.
MAC 2015
Dance & Music Improvisation
by: Ng Chor Guan
11 Mac 2015, Recital Hall, Faculty of Music and Performing Arts, 2.30p.m – 4.30p.m
Dance=Music Series is an ongoing series of the live improvisational performances featuring interactions between contemporary dance and music. These bi-monthly performances are created by composer Ng Chor Guan-the constant music feature in the series-who invites dancers to one or two sessions of improvisations at the Toccata Studio Lab in SS2, Petaling Jaya. Dance=Music Series has under its belt, eleven differing installments of dance and music genre, ranging from hip hop to butoh and conventional to avant-garde music. Producer Tan E-Jan considers the series an exploration of the connection between music and dance; composer and dancer. Music is naturally integral to dance, its rhythms and melodies are that which inform a dancer’s movements; yet music is commonly considered complementary, an accompanying element in the background. Dance=Music Series brings music into a force, moving. The improvisational nature of these performances allows freedom form stifling conventions and the crippling fear of erring. Yet it does not take away the grounding elements that make performance compelling; improvisation is built upon the unshakeable foundation of years of study and practice. Dance and music are non-verbal languages of expression and communication; it is the belief of both producer and creator of Dance=Music Series that art is inherently inspiring and world-changing. Dance=Music Series is a manifest of that belief; creator Ng Chor Guan wishes to present to students, art practitioners and the general public the wonders of interaction and serendipity in improvisational art.
APRIL 2015
The Sintuvu Method: A Southeast Asian Compositional Approach based on Oral Traditions
by: Dr. Mohammad Amin Abdullah
30 April 2015, Recital Hall, Faculty of Music and Performing Arts, 2.30p.m – 4.30p.m
This lecture-demonstration explores the applicability of the Sintuvu method of composition within the Southeas Asian oral-tradition context. The Sintuvu method of composition in this case, provides an alternative to the development, arrangement and presentation of new pieces and existing repertoire from oral traditions. While maintaining new performance convensions such as the use of proscenium stage, presentation lengths, lighting, costume, and performance etiquettes, the Sintuvu method focuses on the presentation and representation of traditional culture. Some features of this menthod include a communal approach to compositions, the inclusion of traditional contexts in performance and understanding the process of adapting non-staged traditional forms for presentational purposes. Lastly, the Sintuvu method can be utilized by composers and ethnomusicologists in higher institutional settings as a source for compositional approaches reflective of the Southeast Asian performative context.
SEPTEMBER 2015
Analisis Dan Interpretasi: Dari Naskah Ke Pentas
by: Marlenny Deenerwan
9 September 2015, Recital Hall, Faculty of Music and Performing Arts, 2.30p.m – 4.30p.m
Setiap naskah ditulis dalam suara tersendiri mengikut gagasan pengarangnya. Aliran-aliran drama telah memecahkan bidang ini kepada pelbagai genre yang setiap satunya membawa prinsip yang tersendiri. Setiap genre ini pula mempunyai kaedah tersendiri untuk diinterpretasi, seperti mana berbezanya interpretasi di antara drama realiti dan absurd, begitu juga perbezaan persembahan traditional dan moden. Kemahiran menganalisis dan menginterpretasi sesebuah naskah dapat menjadi penanda aras kepada tahap kematangan dan pencapaian seorang pemain teater. Tanpa kemahiran ini, pelakon hanyalah sebuah jentera yang memuntahkan kembali dialog dari naskah di atas pentas, tanpa emosi. Topik ini membincangkan pendekatan-pendekatan relevan yang boleh dilakukan oleh seseorang pemain teater dalam usaha mengerjakan skrip yang asalnya sebagai sebuah bahan mentah, menggali pemikiran pengarang, yang dimanifestasi dalam bentuk lakonan yang sarat dengan kepelbagaian emosi dan intonasi di atas pentas. Kemahiran ini menajamkan upaya pemain teater mencipta realiti di atas pentas, menjadikan khalayaknya yakin dan percaya, sekaligus memberi makna kepada gagasan pengarang. Mekanisme seorang pemain teater akan lebih terserlah, melebarkan lagi fungsi teater sebagai sebuah cermin kehidupan untuk khalayaknya.
OCTOBER 2015
Music Therapy
by: Lim Kar Gee
28 October 2015, Recital Hall, Faculty of Music and Performing Arts, 2.30p.m – 4.30p.m
Music therapy is a healthcare profession that uses music as a medium, to address physical, psychological, emotional, social, cognitive, and/or behavioral needs of individuals with the guidance of a certified music therapist under a therapeutic environment. The non-threatening and powerful characteristics of music provide opportunities for people to move along with, both physically and mentally. A music therapist conducts a variety of musical intervention to meet an individual’s needs, aiming to improve the quality of life for healthy people who seek for personal growth and those with illnesses. The presenter will provide an overview of music therapy and share some case studies.
NOVEMBER 2015
Lighting The Show
by: Tan Eng Heng
18 November 2015, Recital Hall, Faculty of Music and Performing Arts, 2.30p.m – 4.40p.m
Theatrical lighting enhances stage performances in many different ways. Through the use of colors and intensity, good lighting can set a mood, it directs attention to-or away from-a certain performer or place on the stage, it can take the place of scenery, mark the passing of time, or even be used to enhance the action onstage, or move a plot along. Tan Eng Hang is an award winning lighting designer. In Talk, Play & Think 2015, he is passionate about sharing his knowledge and experience in the theatrical lighting industry.