Spice, Magic and Mystique Southeast AsianChoral Repertoire for mixed choir a cappella 12 songs from Indonesia, Malaysia, Philippines, Singapore and Thailand edited by André de Quadros Carmina mundi International Federation for Choral Music C_Carus 2.303 Contents Title Composers / Authors* Country Page 1. Janger T/M: traditional Indonesia 6 A: Augustinus Bambang Jusana Avip Priatna 2. Meplalian T/M: traditional Indonesia 12 A: Budi Susanto Yohanes 3. Rindu kepada kediaman Allah T: Bible Indonesia 18 M: Daud Kosasih 4. Potong Padi T/M: traditional Malaysia 22 A: Nelson Kwei 5. Chua-ay T/M: traditional Philippines 26 A: Fabian Obispo 6. Dumbele T/M: Rodolfo Delarmente Philippines 30 7. Katakataka T/M: Suarez Philippines 37 A: Emmanuel Laureola 8. Night T/M: Ho Chee Kong Singapore 42 9. Ni wa wa T/M: traditional Singapore 46 A: Americ Ting-Wei Goh 10. Xiao he tang shui T/M: traditional Singapore 50 A: Shui Jiang Tian 11. Impressions T/M: Zechariah Goh Toh Chai Singapore 56 12. Phra met ta T: Bible Thailand 65 M: Inchai Srisuwan Texts & Program Notes 70 Biographies 74 *Abbreviations: M = Music and (if applicable) A = Arrangement, T = Text Copying of pieces from this collection is prohibited. Separate editions of titles may be ordered in choral quantity from Carus (www.carus-verlag.com). 2 Carus 2.303 In the 26 years since International Federation for Choral Music (IFCM) was founded, we have worked tirelessly to achieve its stated mission: … to facilitate communication and cultural exchange through choral music. We are pleased to announce a new col- laboration with Carus-Verlag to publish fresh, inter- esting international repertoire and make it available to choirs around the world. Through this partnership, IFCM will help select respected editors whose job it will be to select music from their region of the world that meets the criteria and makes possible cultural ex- change. The most recent publication in the Carmina mundi series is Spice, Magic and Mystique, a project that features choral music of Southeast Asia for mixed voices (ed. André de Quadros). Previous pub- lications that have appeared in the series are Choral Music of Israel for Equal Voices (ed. Maya Shavit), Choral Music of South America for Mixed Voices (ed. María Guinand). I am certain that most conductors around the globe are like me in, that they are constantly searching for interesting repertoire that not only is accessible, but that reflects the many cultures of the world. We feel positive that this collaboration will open up further opportunities to achieve this goal and in doing so will help create a more peaceful world through a greater artistic understanding of other lands. Please refer to the International Choral Bulletin for present and coming volumes and CDs, and how you can obtain them. Look for the IFCM and Carus logos for quality international repertoire! Michael J. Anderson, Vice-President International Federation for Choral Music Carus 2.303 3 is predominantly Buddhist. Southeast Asia is one of the world’s excellence and participation in choral music through most diverse regions. More re. choral works from this region by presenting out- tional level. drawn from local musical cultures. the Philippines. and po. and Thailand. The current circumstances and recent history of each country are dissimilar. located in its birthplace in the supplementary material. Janger. is starting to shift to Asia. Thailand. The birth and spread of choral music in Southeast Asia is directly related to Western colonization. the abundance of choirs in Indonesia has in.303 . indus- trialization. Ni wa wa and composition. For its size. recent events in these two countries indi. cluded several that have travelled and made their mark in international competitions. Phra met ta. Malaysia. and is only recent- ly developing its choral culture. south of China and east of choirs. This volume focuses on the five substantial government support. but accurate pronuncia- Europe and North America. and per- formance venues will continue to be overcome. Even though Indo- nesia is a Christian minority country (10% approxi- mately). most of the hundreds of choirs are connect- 4 Carus 2. Choirs and build a vigorous environment for performance and conductors can best achieve authentic performance composition. will inevitably be- come even stronger and more organized while the Boston. are integrated into India. scholarly ac- tivity. by obtaining a recording of each piece from the pub- lisher. Choirs from the Philippines have and Xiao he tang shui are arrangements of traditional been present on the world stage since at least the late songs. most chorally active countries in the Southeast Asian region: Indonesia. all of which are accessible and cate a desire on the part of local choral musicians to easily integrated into standard programs. China. ed to churches. countries. hurdles in music education. Singapore has litical systems as well as countless distinct cultures built an enviable reputation as a society that supports and languages. share increasing prominence in choral performance Chua-ay. and Rindu kepada are original compositions While different in history and culture. with its proximity to strong choral tive speaker. an arrangement of a popular. January 2008 André de Quadros region will likely be more significant not only in per- formance but in composition as well. these countries using traditional melodic and rhythmic elements. and Katakataka is cently. composed song. Meplalian. although small in number. tion will best be achieved through contact with a na- Southeast Asia.Foreword Southeast Asia is commonly understood to be the re. infrastructure. Potong Padi. With several races. and Korea. Malaysia and This volume seeks to address the lacuna of published Thailand are beginning to compete at an interna. Japan. the spread of Christianity has been an important contributor to the growth of choral music in Southeast Asia. the only country in the region not to have been ruled by a Western power. publishing and copyright. by contrast. conductor training. religions. church and community. countries. The excellence of Singaporean choirs has tions using specific motivic and rhythmic materials widely been recognized since the 1990s. The pieces in this volume represent a specific array of pore. instrument availability and expertise. Further. Impressions and Night are original composi- 1970s. Singa. and globalization. In Malaysia (peninsular and East) gion north of Australia. The Philippines had a long association with Spain and the USA and the population is at least 80% Christian. Dumbele. compositional and arranging models. Pronunciation of all the languages in this vol- These advancements appear to signal that the center ume is facilitated through the pronunciation guide in of gravity in choral music. As this shift con- tinues. standing exemplars. Australia. at the Universität “Mozarteum” in Salz- burg with a DAAD (German Academic Exchange Service) scholarship. He studied violin with Adrian de Mello and conducting with Joachim Buehler from Germany and Robert Rosen from Rumania. and the Moscow State Radio Symphony Orchestra. Engagements of note include the Prokofiev Symphony Orchestra (Ukraine). Graduate studies followed at La Trobe Uni- versity. Penang State Symphony Or- chestra and Chorus (Malaysia). He studied at of choral series published by Earthsongs and Hinshaw the Bombay School of Music. at Monash University. Fondly dedicated to my mother. Bombay. and at the Victorian College of the Arts. he has en- joyed a special relationship with the Studio Cantorum choir in Indonesia with which he has collaborated on several concerts and symposia. Among his many awards is a First Prize in the Australian National Choral Championships. National Youth Choir of Great Britain. Prior to working in André de Quadros is Professor of Music. Shiki Daikunokai Choir and Orchestra (Japan). He is the Chair of the Director of the Tanglewood Institute and a faculty Multicultural and Ethnic Commission of the Inter- member at Boston University’s Institute for the Study national Federation for Choral Music and is the editor of Muslim Societies and Civilizations. Artistic Monash University. Since 2001. He has conducted many major choral works as well as extensively from the Western. Jean de Quadros Carus 2. Director of the USA. He has taught conducting courses in Australia. South and Southeast Asian a cappella rep- ertoires. and the University of Music in the USA. he was Director of Music Performance at the School of Music at Boston University. the Nusantara Cham- ber Orchestra (Indonesia). at the University of Melbourne.303 5 . Europe. Baden-Baden Philhar- monic Orchestra (Germany). and Southeast Asia. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [There is no meaning to lines 3 and 4. All vowels and consonants are pronounced as in church Mesolah ulihanjengah. Janger We (the dancers) ask a thousand apologies of [Gayatri Mantram:] the audience. Latin. and singing from the girls participating in My soul longeth. King James Version quality of the dance’s beginning. The various vocables imitate vari- sorrow. 2. How amiable are thy tabernacles. All vowels and consonants are pronounced as in church Latin. Balinese cymbals. The piece uses a pentatonic mode Spirit. beribu ampun. my heart and my flesh crieth out for the living God. Jusana and Priatna highlight the legato they will be still praising thee. recital piece for students at the Asian Institute for Liturgical Music. ments from the traditional Balinese gamelan ensemble. Andrew Seminary Chapel Pronunciation Guide: Balinese in Quezon City. Meplalian was premiered in 2004 by the Ngiring mejangeran di jabe tengahe Gracioso Sonora Choir in East Java. dancing. janger together during evening parties. features the sequence of trancelike hum.] Swaying to and fro. may thou guide our intellect in the right direction. However. ara kijang jangi janger kopyak epong. Oh creator of the universe. are only a Western approximation of the Javanese tuning. Playing and swaying together. Wanting only to dance our best. 3. is always hard (“Jamaica”). with boisterous physical and vocal outbursts of the Lord: from the boys. 4) gahe. let us dance Janger in the jabe ten. 70 Carus 2. cah imitates cengceng. We are innocent children without experience bargo dewasye dimahi dyoyonad prachodayad. In Blessed are they that dwell in thy house: this arrangement. bestower of happiness. Meplalian tells of a group of Balinese children who want to dance but have yet to refine their skills. It was premiered at the St. However “c” is always like “ch” (“Charlie”) and “j” Meplalian briak-briuk sinamian. Kopyak sede kopyak sedopak dedopong. and the more energetic continuation of the dance with its jagged rhythms and Rindu kepada kediaman Allah was composed in 1994 as a quicker tempo. remover of pain and scale of Balinese music.303 . and pong imitate keyed bronze supreme sin-destroying light. may we receive thy dong. Pronunciation Guide: Balinese Sriag sriog. This song Berbahagialah orang yang diam di ruma-Mu. Arakijang jangi janger kopyak epong. drums in the Bali- nese gamelan. “hum- ming” in Balinese. Philippines. yea. Betapa disenangi tempat kediaman-Mu ya Allah semesta alam [“jabe tengahe” is the middle section of a traditional Jiwaku hancur karena merindukan pelataran Tuhan Balinese house] Hatiku dan daging ku bersorak so rai kepada Allah The janger is a traditional Balinese song and dance that was yang hidup introduced to the Indonesian island around 1925. O Lord of hosts! ming. ding. Janger. Meplalian Penonton-penonton ampun. dung. While the notated pitches is always hard (“Jamaica”). Pronunciation Guide: Bahasa Indonesia Titiang kalintang pongah. ngining mejangeran di jabe tengahe. Bocah tanpe dasar. However “c” is always like “ch” (“Charlie”) and “j” Let's dance 'Janger' in 'jabe tengahe' is always hard (“Jamaica”). Kopyak sede kopyak sedopak dedopong sriag sriog Ngiring mejangeran di jaba tengahe. deng. Cak. In- Latin.] (selisir) that selects five tones from the seven-tone pelog Oh God. The sounds are meant to imitate Balinese traditional music. Om bhur bwah swah tat sawitur warenyem. thou art the giver of life. ous traditional Balinese gamelan instruments: tang. dang. is frequently sung by Balinese children while they dance the Yang terus menerus memuji muji Engkau. and dum imitates the sound of kendang. The janger is usually accompanied by instru. metallophones.Texts & Program Notes 1. Rindu kepada kediaman Allah (Psalm 84:1. “c” is always like “ch” (“Charlie”) and “j” donesia’s most populous island. even fainteth for the courts the dance. The music sets portions of All vowels and consonants are pronounced as in church Psalm 84 using a typical pentatonic scale from Java. They apologize to [Vedic Prayer: Gayatri Mantram is a Hindu prayer which the observers and admit that they would rather play serves as the introduction for the calling of the Holy (meplalian) than dance. they create the characteristic sound and color of the In- donesian gamelan at the hand of the experienced Kosasih. 2. Naa antoay tongag pay oang nen ta kuay. is a disease by Delarmente based on Ramon Obusan’s research into that caused a major pandemic between November 2002 dance rituals. Written in Tagalog. Filipino musician Suarez. What was not serious at first has now consumed me. Dumbele Dumbele is a piece to accompany ritual and was composed SARS. dear. Marinig ko lang sa labi mo hirang. come harvest the rice paddy. Kwei’s Birobiro ang simula. ang wakas pala ay ano? beautiful. Latin. this edition and is based on his own arrangement for men’s Dahil sa iyo. This arrangement of Chua-ay uses quartal harmonies. Alipinin mo’y walang kailangan. The work is divided into four parts: the sum- Waktu potong padi di tengah sawah moning of the people to a ritual in the fields. All vowels and consonants are pronounced as in church tion of the nipa hut. Because of you my heart has been enslaved. She lives in a small nipa hut That you will love me all my life. The melody and lyrics are derived from the work Katakatakang mahibang ang katulad ko sa iyo. and be merry. Laureola intended his arrange- in jugs resting on their heads. Hidden behind the mountains. transforming from Mari. Chua-ay Chua-ay talum alay takuay You are in my thoughts day and night. Singapore Youth Festival Choral Competition in 1995. Pronunciation Guide: Bahasa Melayu Na ako’y iibigin lagi habang buhay. a drizzle to downpour. Ho was the organizing chair for the 29th Carus 2. Arranged from a Malay traditional song. chorus. The current arrangement alludes It is harvest time! to the sound of different animals. Katakataka harvest. At that time. popular in choral composition in Southeast Asia today. Pronunciation Guide: Tagalog and more recently. This arrangement was commis- She has a hard time carrying it.303 71 . Up and down she goes Katakataka is a popular love song written by the prolific With the pot on her head. is always hard (“Jamaica”). Note the men. The composition contains onomatopoeic Memotong padi di tengah sawah vocables that imitate the sound of rain. The piece depicts a ritual to honor the rain and July 2003. Potong Padi ingratitude. that fleeting moment in time. and flirtatious. Pronunciation Guide Let’s sing. Singapore was one of the many Asian coun- god. or Severe Acute Respiratory Syndrome. the response Sambil menyanyi bersukaria from Dumbele. except that the “g” is guttural and the “r” is rolled. Pronunciation Guide The skies move. light-hearted. All vowels and consonants are pronounced as in church Latin.4. simple arrangement herein was fashioned for Aayaw-ayaw nga ako ngunit ‘yan ay ‘di totoo. So long as I hear from your lips. another one rises. and the thanksgiv- Marilah kita bersama-sama ing that follows. into the Night. song and dance of farmers as they harvest the rice. its founder and conduc- Obispo’s Chua-ay is based on a Filipino traditional song tor. it takes its place. Dumbele. Dumbele’s downpour. I resisted at first but only by denying my feelings. Potong Padi de- picts the sights and sounds of the rice paddy (padi) during 7. 5. mari potong padi. especially birds. All vowels and consonants are pronounced as in church Come. this piece was premiered in the 1980s. Make me yours and I won’t mind. a traditional hut made of bamboo and Latin. Latin. dance. puso kong ito’y binihag mo. The men’s version was commissioned and pre- miered by the Victoria School Choir of Singapore for the Ala-ala ka maging gabi’t-araw. Night Night. 6. 8. grasses that is still common throughout the Philippines to- day. sioned for the University of the Philippines Madrigal Singers. The Igorot people are native ment to be capricious. In its original form. While we work In the middle of the paddy field. American occupation. All vowels and consonants are pronounced as in church Without a farewell. and Andrea Veneracion. to the Cordillera region of the Philippines and have main- tained many of their traditions despite centuries of Spanish. the most commonly spoken lan- sung by the women of the Igorot tribes as they carry water guage in the Philippines. your face is fading. However “c” is always like “ch” (“change”) and “j” It is curious and strange that I should go crazy for you. after the tribe had suffered for years under tries affected by this communicable disease during this pe- a famine which had come as punishment for the people’s riod. a clay doll. walks across the sky. a clay doll. The moon. alto. 72 Carus 2. and embedded them in complicated. not a genuine child. 9. Goh work incorporates some Asian scales and melodic gestures chose to set the tune in four miniatures with each version pre- although they are not immediately recognizable as Ho has senting the tune in a different voice: soprano. She is unreal. mountains. My boy is herding cattle and sheep in the distant I’ll be her mother. The flowing brook is loud and Clay doll.International Computer Music Conference and was facing Speaking of his setting of this popular children’s song. clay doll. contemporary harmonies. Goh was struck by the and for the heroic efforts of those who cared for them. those eyes. loving her forever. The clear brook below the mountain flows leisurely. I’ll be her father. clay doll. my sister. Although the tune wrote Night in dedication to the victims of the SARS disease and lyrics convey a simple sentiment. The strong emotion a child would feel for a small clay doll. respectively. clay doll. nor a father. The sheep are stout and the cattle are strong But my love is a good strong man. eyes that do not blink The moon shines out brightly. Clay doll. Ni wa wa Line 1: PRC’s Standard Pinyin Line 2: Phoneticized version in IPA Line 3: Simplified Mandarin Chinese 10. Goh the dilemma of whether the conference should be cancelled recalls hearing Ni wa wa as a boy when his mother would sing amidst news reports of afflicted persons and deaths. She has neither a loving mother. The tune appears here only as Goh re- members it and he notes that it may be slightly different from the way all the older children of his generation remember it. bass. tenor. He this traditional song to his sister and him. She has that nose. a clay doll. She has those brows.303 . that mouth. a mouth that does not speak. Xiao he tang shui Line 1: PRC’s Standard Pinyin Line 2: Phoneticized version in IPA Line 3: Simplified Mandarin Chinese Clay doll. I remember my girl in the distant mountains. percussive sound with which he seeks to express the exuberance of youth. Shui’s setting expands the choir to eight parts for a full. The moon rises and lights half the hill.303 73 . shepherds would graze their sheep and cattle. Pronunciation Guide: Thai 12. So I may walk according to Thy will. Phra met ta – Thai has been transliterated here into vowels and conso- The Lord God is merciful nants as close to church Latin as possible. Pronunciation Guide All vowels and consonants are pronounced as in church Latin. Do you hear my call brother? Xiao he tang shui is a traditional song from Midu county in the Yunnan province of China. Srisuwan’s original composition. and their romance. In the mountains of the province. These shepherds. Line 2: Phoneticized version in IPA Line 3: Original script A cool gust blows up the hill. The work was written while Srisuwan was a student at the Asian Institute for Liturgical Music in the Philippines. are the topic of this short work. Impressions Impressions represents Goh’s stylized depiction of the gamelan more than an actual imitation. The Thai lan- He will not lead me astray. is a setting of two verses from Psalm 25 adapted by Ruth Srisuwan. and the sense of flowing water composed into the bass voice toward the end. His setting offers a bright. The Latin vowels here are approx- Make my heart firm in Thee. The a cappella setting for four voices builds an intense poly- phonic texture all within the pentatonic scale. Goh uses various vocables like dung or deng to re- call the sounds of various metal percussion instruments in a gamelan ensemble. The diphthong “oe” is pronounced like the Let me follow Thee “ö” in German and the “d” is dentalized. guage uses duration and inflective direction in the pronun- Make my heart steadfast ciation of vowels which are superseded by musical pitch Walk according to Thy will and rhythm when sung. The com- poser describes it as a prayer written during a challenging and difficult period of his life. Note the impression of the young man’s voice depicted in the solo at the beginning. So I may never stray from Thy will. 11. Make my heart firm. Carus 2. Phra met ta. larly beneficial. imate and assistance from a native speaker will be particu- The Lord of mercy. The piece was commissioned by the Co-Curricular Activities Branch of the Ministry of Education for the Singapore Youth Festival in 2003. lush range of harmonies. The composition contains onomato- poeic vocables that imitate the sounds of a gamelan. Line 1: Phoneticized version used in score I see the moon and miss my girl. Ramon teaches conducting at Boston University where he earned Santos. music and organization. His collaborations with André de Quadros Kwei is a conductor. Singapore. He is involved in research on issues related to music in Philippines. where he sang in the ensemble. Felipe is the conductor rently serves as the President of the Medan (Indonesia) of the Boston Choral Ensemble and has served a dozen Choral Society. Asian Institute for Liturgy and Music (AILM) in the Philip- pines where. USA. and Spain. choir. His choirs have toured the world. Ho’s output Delarmente has enjoyed a long and highly-praised career as includes works for electro-acoustic and computer media. piano. Jakarta. His composi- Composition in Kansas and the Young Artist Award for tions and arrangements include many Filipino folk songs as composition from the National Arts Council of Singapore. and chamber ensemble. the Perbanas Institute of Economics Ho earned his doctorate in composition from the Universi. Presently he is Chairman of the Choral Direc- abroad at the Universität für Musik und Darstellende tors’ Association. Felipe served as assistant to the ing and composition and received a graduate degree from editor for this volume. since become a highly-honored conductor and recipient of numerous awards and commendations for his contribu- Americ Ting-Wei Goh tions to the field of choral music. Mus’Art Percussion Emmanuel Laureola Ensemble. arranger. University of Kansas and is now the head of composition at for a time. His arrangements and compositions are performed by choirs across Southeast Asia Daud Kosasih and his prominence in the choral world is acknowledged The composer and teacher Daud Kosasih attended the internationally. He was edu- include choral editions published by Earthsongs and Hin. He has been honored by Singaporean composer Americ Ting-Wei Goh studied com. Taiwan. semble Singers. including a modern society. wind University in Bandung. Augustinus Bambang Jusana and Tampines Junior College Choir under the direction of Born in 1970. His music has been performed by choral and pore’s National Arts Council’s Advisory Board for Choral instrumental ensembles in Singapore such as the SYC En. as assistant conductor and resident composer- the Nanyang Academy of Fine Arts. he earned a degree in church music. ty of Cincinnati College-Conservatory of Music and has He has toured with his choirs around Southeast Asia and as written for both Western and Chinese ensembles. arranger. As a University and The Boston Conservatory. National University Choir. and a member of Singa- Kunst. Carlton Young. years as a church musician. Graz. Goh Toh Chai’s choral music has been premiered and per- formed by the Victoria Chorale. He also composer he has worked with Francisco Feliciano. the Petr Eben International Choral under John Sharpley and Goh Toh Chai. Singapore. professor and conductor at De La Salle University in Manila. and the Indosat Vocal Club Choir.303 . and Singapore. in 1989. His research includes the choral music of Indonesia and contemporary choral works of Nelson Kwei western Europe. USA. Choir. Ho is associate professor and 2000s. cated in the UK at the Guildhall School of Music. Greece. merce and Industry. and music in renowned series of tours through Europe in the 1990s and multi-media productions. Canada. Miguel Felipe After receiving his degree he continued studying conduct- Conductor and teacher. and resides in the Philippines. then-President Ferdinand Marcos. His far as Germany. organizations such as the Japanese Chamber of Com- position in the Nanyang Academy of Fine Arts. and teacher. Development. he worked with ient of many awards including the Anthony Cius Award for its conductor and founder Andrea Veneracion. head of composition at the Yong Siew Toh Conservatory among them recognition as conductor of the year from the of Music. Jakarta. National University of Singapore. The Singers. He also studied Competition. Amadeus Choral Society and school choirs. and the Choir Olympics held in Germany composition under Leong Yoon Pin and Jennifer Tham and and China. Indonesia. Hungary. In 74 Carus 2. Mexico. He was a member of Goh received his doctoral degree in composition from the the Philippine Madrigal Singers from 1963–1983 serving. He has composed works for orchestra. Philharmonic Winds. He is recip. Bandung. university choir and studied conducting with Avip Priatna. well as several compositions. He has received commendations at every level. He has earned undergraduate and graduate degrees in piano performance and has played Zechariah Goh Toh Chai for numerous school and church choirs. and the Singapore Wind Symphony Percussion Composer and pianist Emmanuel Laureola was born in 1940 Ensemble. and Yang Tshung Hsien. He currently conducts the Maranatha Christian University Ho Chee Kong Choir. He has been on the faculty of Brown Tainan Theological College and Seminary. He has shaw Music. works have been performed around the world including in Japan. Jusana attended the Parahyangan Catholic Nelson Kwei. While a member of this ensemble.Biographies Rodolfo Delarmente addition to works for traditional instruments. He cur- his graduate degree in conducting. Singapore. Fabian Obispo Composer Fabian Obispo studied at the University of the Philippines and the Manhattan School of Music and now lives in New York. for release in 1999. Three of his works – Usuli Boat Song. Batavia Madrigal Singers. He currently serves as conduc- tor of the Parahyangan Catholic University Choir. Shui Jiang Tian The Chinese composer and conductor Shui was born in 1964. He is the founder and conductor of the Gracioso Sonora Choir for whom he writes many of his works. Inchai Srisuwan Born in 1953. He now works as a church musician and as a composer. and the USA. East Java. Priatna has travelled across Asia and Europe con- ducting both Western choral repertoire as well as recent works from Southeast Asia.303 75 . He then served until 1986 as the music director of the New York Philippine Folk Arts Festival. He was born in Chiang Mai. His studies continued in the 1980s at the Asian Institute for Liturgy and Music (AILM) in the Philippines where he earned degrees in ethnomusi- cology and composition. and received his first degree in church mu- sic at the Payap University. Avip Priatna Priatna is a prominent conductor in Indonesia. Singapore. Carus 2. His early experiences writing for voice date to the late 1960s when he was a composer/arranger for the well-known Philippine Madrigal Singers. Shui relocated to Singapore in 1991 where he has continued his activities as a conduc- tor. Today his time is spent as a freelance composer and sound designer. His research has included the de- velopment of his own notational system to help dissemi- nate the oral instrumental traditions of central Thailand. Vienna. and Jakarta Chamber Orchestra. nor- thern Thailand. His compositions have been performed in Asia as well as in Hungary. With his choirs. and arranging folk songs for Indonesian choirs. He has over a dozen musical productions to his name. and originally trained as an electrical engineer. and Sing Sing So – were recorded by the Philharmonic Chamber Choir. His widespread reputa- tion as a composer has resulted in his receiving commis- sions and performances from around Southeast Asia and beyond. He later attend- ed the Northwestern Polytechnic University in Shaanxi Province where he composed for and conducted the uni- versity’s chorus and orchestra. Srisuwan is an ethnomusicologist and com- poser living in Bangkok. He was born in 1964 and originally trained as a pianist. Today he is focused primarily on teaching voice. Italy. Budi Susanto Yohanes Budi Susanto was born in 1979 in Blitar. Indone- sia. conducting. His largely self-taught musical career began with study of er-hu and violin as a young boy. He has degrees in architecture from Parahyangan Catholic University in Ban- dung and in music from the Hochschule für Musik und Darstellende Kunst. Cui Dong Cui. 304 edited by Maya Shavit International Federation for Choral Music C_Carus 2. 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