Instructional management strategies for Isan folk music ear training in Thai higher education

Abstract

Isan folk music is a significant cultural heritage of Northeastern Thailand, but ear training for this tradition in higher education is often taught through approaches influenced by Western music theory, notation, solfeggio, and conventional aural training. This study examined teaching practices for ear training in Isan folk music within Thai higher education in order to clarify how traditional musical knowledge can be organized within formal academic settings without losing its cultural identity. A qualitative descriptive research design was employed. The research sites consisted of five higher education institutions in Northeastern Thailand offering music-related programs connected with Isan folk music, music education, practical music, or ear training. Key informants were selected through purposive sampling and included teachers from the selected institutions and three Isan folk music experts, consisting of two national artists and one academic specialist. Data were collected through curriculum document analysis and structured interviews. The data were analyzed using content analysis and thematic synthesis. The findings revealed six major teaching practices: oral transmission as the foundation of learning, listening, imitation and repetition, rhythmic and melodic recognition in Isan musical contexts, instrumental sound identification, integration of Western music concepts with local musical knowledge, and performance-based assessment. The study concludes that aural training in Isan folk music should be organized as a culturally grounded and performance-based pedagogy. Further research should develop instructional materials, assessment tools, and digital listening resources that support Isan folk music learning in higher education.

Keywords: Isan folk music, Thai higher education, traditional music pedagogy, ear training, teaching practice.

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