Tan, Marcus Cheng Chye

The paper will present the findings of a small-scale study done to ascertain Singapore’s soundmarks and the place and meaningfulness of sound in Singapore society. I critically evaluate the significance of these findings in relation to Singapore’s cultural and political economy and the population’s lived experiences. The paper will also examine sonic events that reveal how sound’s regard impacts the cultural and political lifeworlds (Lebenswelt) of Singaporeans. An oft neglected phenomenon in Singaporeans’ lived experience sound inevitably informs, influences and dictates Singapore’s social, cultural and political identity.

Dear John is an experimental choreomusical work that reinterprets Cage's works while advancing his ideas of sound as sonic events and embodied choreography. In this episodic work, improvised movement unfolds to a soundscape of defamiliarized instruments, sound devices and sonicities of macro- and micro-movements. The correspondence and (in)congruence between dance movements and music's kinetic energy become the means to examine a politics of the body and sound, of music on movement. Additionally, in this ‘auditory architecture’ the quanta of time, its relations and (lack of) unity are exposed. This article then examines the intersubjective interplay of movement and music, body and sonicity; it considers the resonance of the performing body as intermaterial vibration and how this invites a sonic politics of relational possibility. The article will then also investigate the ways in which the interaction of motion and music, movement and stillness engenders experiences of time's indeterminacy and elasticity.

There has been increasing use of interactive technologies in the classroom today and a rising popularity of employing virtual environments as a means to engage students in sensorially rich contexts for more embodied forms of experiential learning. In particular, virtual reality (VR) or immersive virtual environments (IVEs) facilitated by head-mounted displays (HMDs) have been used in the teaching of subject content such as history, geography and science. This article presents the findings of an exploratory study of immersive technology, specifically immersive virtual environments (IVES), for the purpose of social and emotional learning (SEL), in the context of Character and Citizenship lessons in the Singapore classroom. The social and emotional competencies (SECs) examined in this project were specifically empathy and perspective-taking, and responsible decision-making. The study involved a sample of n = 75 students from a cohort of students in a Singapore school, averaged at 15 years of age. Students were randomly divided into three treatment conditions: IVEs, pen-and-paper mental simulation and video-viewing. Each treatment contained a problem scenario, told from a first-person perspective, involving a social and ethical dilemma young people today face. A quasi-experimental, pre-test post-test, non-equivalent group design was employed, and the study adopted a mixed-method approach to data collection. The findings reveal that IVEs are not necessarily more effective than the “pen-and-paper” and video viewing approaches to teaching SECs but they can better facilitate perspective-taking and empathy for a higher percentage of students.

Theatricality in music performances is often regarded as extraneous, but avantgarde toy pianist Margaret Leng Tan exploits the intermediality between theatricality and musicality to demonstrate how theatrimusicality is imperative to the creation and reception of her music. Curios (2015) is one example in which the work’s structure of meaning and the experience of the carnivalesque are evoked through such a theatrimusical dramaturgy.