Dr. Joe Peters
B.Soc.Sci (1971, Singapore); M.M. (1981, Philippines.). Ph.D (1999, West Australia)
Director, Sonic Asia Music Consultants.
(This company will be re-constituted soon. It was closed while I was away these last few years). It will implement Sonic Environment Studies - Refer to Course 1.
Founding Director, Tremolo Strings Pte Ltd
This company is currently developing Tremolo Strings using the Heuristic Group Music Pedagogy (HGMP). Refer to Course 2.
COURSE 1: SONIC ENVIRONMENT STUDIES
Study rare literature and learn through new investigative tools like macro and micro measures, timeline annotation and develop defensive listening skills in a world of confusing musical emissions from a growing plethora of sonic emitters.
This course is built on Applied Music modelling (pedagogy, musicology and technology) with rare databases from fieldwork and other private field collections yet to be heard. It will enable an exciting new way for understanding sonic environments in defined territories. The underlying aim is to accept that listening to music is a skill and classroom music education has to be re-organised. We need cyclic curricula that evolves with the growing student. Advanced listening skills are needed while sonic environments change con-currently. These students may eventually be custodians of a sonic environment that may be completely devoid of traditional and indigenous musics. Or an environment where faint characteristics of the past remain all due to current pitch migration, which we can control. TMAL-P provides a new way for current and future connectivity and collaboration for such a solution and provide a generation that may have a chance to compare current and evolving sonic environments using its configuration of assets and tools.
This is a challenge at large - the protection of the pristine musical cultures in defined territories. Pitch migration and the erosion of other important musical elements like rhythm, form, timbre and aesthetics, have been going on for over 100 years since radio was invented. Despite the full on-sloth of the vast other technologies in current times, much of the major musical systems are still surviving - but depleting rapidly. However, the most essential element is pitch which brings out the sound differences that determines character of what we deem to hear as Chinese, Indian, Malay, Indonesian and other non-Western musics. Pitch is migrating from the unique myriad varieties towards the Western tempered equidistant intervals. The chart below is a compilation of work by the first generation of musicologists who drew an approximation of pitch intervals for the major non-Western systems related to Asia. I took this as a benchmark for my generation (which is already depleting) to lay some foundation for the next generation to try and get these assessments quantised so that it could be part of policy, a calculated educational approach to the evaluation and influence of the business of the music chain. Just as state policy covers law, business, engineering, medicine, architecture and more, music is and has been an important fabric of all societies through time. We cannot blot out pitch and other elemental migration from native sonic environments without at least attempting to be serious about a quantised approach to its implementation, and response to statistics.
TMAL-P lab-methodology concentrates on timeline annotated music listening. A series of important publications reflect the urgency to check pitch migration. In 1966, a set of conference papers were published as The Musics of Asia. Notice the plural in the word musics - it emphasises that there are fundamental differences in pitch intervals in much of the Asian musical systems.
It was followed by a series of other published projects under ASEAN (Association of Southeast Asian Nations) between 1989 - 2003.
These Asean Music Publications (including the 1966 book titled Musics of Asia) are available in PDF are part of the huge digital TMAL-P library for this course.
TMAL-P grew silently in three stages:
1. In the 1980s when MIDI (Musical Instruments Digital Interface) came on the market, I set up the Electronic Music Lab (EML) at NUS to explore this new music technology. It was and still is a powerful technology but only for music made in the Western tertian equidistant intervals.
VIDEO: https://www.youtube.com/watch?v=lFYwni7qKao&t=5s
I made a case in my PhD and in many conferences (before and since) for a two pronged approach to prevent pitch migration: First, for music education to develop micro and macro measures that could aid and assist music listening as a skill for all in the classroom music cycle that averages as a 12 year cycle; and Second, to work towards a Version 2 for MIDI (Music Instruments Digital Interface) that would address the missing non-Western musical systems in the world of music businesses. The rhetoric against this idea was high (both audible and silent). However, ASEAN (at my prodding) agreed to a project to look at the issue in a field to lab structure. See point 2 below.
On the general music listening side, TMAL-P provides a measurable tool called Sonic Orders Listening Mode Index (SOLMI) which is based on simple identification of the musical elements (including pitch) of musics in general. Here is one example (from my PhD thesis) of a lab study of Asian musics. Sonic Environment Studies has this as a centre piece for laboratory work.
SOLMI tracks the common music elements (pitch, rhythm, timbre, form and aesthetics) in a variety of musics, and how they become sources for identifying elements in musical cultures. A sub-variant called MESI (Music Emission Sustainability Index) is available when comparative studies between classes in different sonic environments become available. It could become a starting point for a worldwide index of sonic emissions from sonic emitters in music chains in defined territories.
Pitch and elemental migration is a reality and the music profession has to take full responsibility for it - not by talking/writing about it or cajoling listeners to support programmes, but by sheer hard work and raw statistics from lab methodology and statistics. The enjoyment of music on a wide base comes only through hard work and bringing balance to commercialism in the music industry.
2. Nevertheless, the underlying issue was and still is the intransigence of MIDI and the need to expand the limited editing 127 protocols to include the pristine musical systems in the world (e.g. pelog-slendro, raga-tala, and the huge variety of modal music found in the ASEAN and the Greater Asian regions).
3. This course will also keep abreast of other new and emerging technologies that would assist its current applied academic trajectory.
Fortunately, ASEAN listened and approved (after stalling for a long time) a huge field-to-laboratory study called Sonic Orders in ASEAN Musics (1998 - 2003). With an audio scientist from Singapore, musicologists and selected performers from the ASEAN region did some pioneering work for a laboratory method, to measure pitch intervals. However, this was/is the first step. No other steps were made hence! It is unfortunate! Nevertheless, I did my part! But I would like to do more!
It is up to politicians and/or arts leaders in these affected territories to understand that this is a scientific process that will take time, money, and expertise across disciplines, involving sophisticated science/engineering laboratories, working in tandem with musicologists and musicians, who are the custodians of pitch matters in the various musical systems that are eroding.
TAMAL-P hopes to provide a route eventually for such work to resume in a serious and measured manner.
It is only after the lab work is done and approved (this is another grey area because it will involve politics and the relevant socio-cultural sectors) that anything tangible can happen for the next level of application work.
3. The fore-runner of TMAL-P was a brick and mortar Music Laboratory (See the graphic below) which was built at SMU (Singapore Management University) for an elective course called Music East and West, which I taught between 2000 - 2007.
TMAL-P is based on an open source app called Audio-Timeliner. It is a simplified version of Variations Audio Timeliner that I was not aware off while I was teaching Music East-West at SMU. When I began to teach graduate students in Thailand my astute technology-colleague in Singapore traced the old app to Indiana University. The current version of this software is managed by another astute technologist at Brigham Young University. Anyway, it is good to also remember that it is not the technology nor the hardware and software that makes the difference to pitch migration - it is the way teaching and learning skills are structured, tested, evaluated and applied in stages to achieve real goals in reversing such erosion of musical elements - at the levels of the skilled listening individual in sonic environments!
From the graphic above you can see the basic configuration of TMAL-P. The app sits at the centre of the server and all data that comes and goes through it, is protected. The graphic shown at the centre, is an analysis done by one of my students. All text (limitless) are available as printouts, or as text for digital applications for research and development work towards theses and journal essays. The statistics that appears at the top are generated by SOLMI (and MESI later) and can be a separate online facility to monitor elemental erosion in the sonic environment.
TMAL-P has two major audio collections in its working database: Ivan Polunin Multimedia Lab (IPML) and Sonic Asia Music Collections. Eventually it will be opened to other musicologists (with fieldwork collections) and related music collectors.
COURSE 2: TREMOLO STRINGS OCTETS and the HGMP Method for the Classroom.
Tremolo music is the unclassified third branch of string music (the other two being bowed and plucked). There is a large world diaspora of tremolo music traversing all categories of music - Classical, Traditional and Indigenous. HGMP (Heuristic Group Music Pedagogy) is an applied music teaching and learning process that has fast and slow learners in the same class.
Tremolo grew out of my 36 years of work in adapting the Filipino rondalla to Singapore via the National University of Singapore Rondalla - an extra-curricular music activity.
VIDEO
TV NEWS: Rondalla in Singapore: https://www.youtube.com/watch?v=qcyVtP6uItE&t=1s
NUS Rondalla Students Recording Project: https://www.youtube.com/watch?v=x81qJMDR3hA
Singapore Tremolo Strings accompanying Freddie Aguilar in his world famous song ANAK:https://www.youtube.com/watch?v=uQc8ScCOP0w
TREMOLO STRINGS OCTETS
TREMOLO 14 - New Model (Filipino Rondalla) in Tempered and Just Intonation.
Joe Peters - Singapore Music Pioneer. https://www.esplanade.com/offstage/arts/joseph-peters
Joe Peters - Keynote Video Paper: Tremolo Strings and the Heuristic Group Music Pedagogy
(Coming on YouTube soon)
Joe Peters - Keynote Paper: Musical Leadership in 21st Century South East Asia. Paper submitted to ISI Padangpanjang International Seminar
Joe Peters - Keynote Video Paper: Sonic Orders and the Sonic Environment (Ayudhya Rajabaht University System in Thailand): https://www.youtube.com/watch?v=JUf5ZwtKMxc
Joe Peters - Keynote Video Paper: The Loading Dose for Musicology for UNTREF's South America Conference: https://www.youtube.com/watch?v=ueeYtOM6wmo&t=429s
EDUCATIONAL BACKGROUND
1968 - 1971: University of Singapore.
B.Soc.Sci (Political Science and South East Asian History)
Joe graduating with a Bachelor's Degree at NUS
1978 - 1981: University of the Philippines, Diliman.
Masters in Music
Thesis: A Conceptual Framework for a Creativity Based General Music Education Curriculum in Singapore
1995 - 1999: University of Western Australia,
PHD
Thesis: The Sonic Environment as a Macro Measure of Relevance in General Music Education in Singapore
ASSISTANT DIRECTOR, Centre for Musical Activities, NATIONAL UNIVERSITY OF SINGAPORE (1978-1992)
He performed various major roles in developing inaugural music and dance activities for the National University of Singapore, and represented Singapore in Singapore national arts, the ASEAN COCI regional music projects, and in UNESCO bodies like ISME, ICTM (still serving as Singapore liaison), IASA, and others. Some examples of his work:
ASEAN Composers Forum: https://www.youtube.com/watch?v=uylzSa2lths
Sonic Orders in ASEAN Musics: https://www.youtube.com/watch?v=2FLI0nd0lsQ
Video - University of Singapore Military Band: Joe Peters served as the first drum major:
https://www.youtube.com/watch?v=wu6u26CHsWE&t=7s
Founding Musical Director, National University of Singapore Rondalla, 1981-2016
Video: Launch of NUS Rondalla: a tremolo music form imported from the Philippines which he imported, and transformed today into TREMOLO STRINGS: Singapore Tremolo Strings and many other ensembles are currently developing in Thailand, Indonesia, Vietnam and Myanmar:
Video: https://www.youtube.com/watch?v=p_Chya9xLXc&t=9s
Video: Launch of Marymount School Rondalla: https://www.youtube.com/watch?v=qcyVtP6uItE
Video: NUS Student Video: Presentation of NUS Rondalla by Students in the 1990s: https://www.youtube.com/watch?v=x81qJMDR3hA
Founding Musical Director: NUS Electronic Music Lab (EML)
EML was set up as a new activity for students to apply computer and electronic tools for creativity and performance. MIDI (Music Instruments Digital Interface) was a fundamental tool. Much testing through compositions and performance gave us an insight into the short-comings of MIDI when it came to applying Asian musical systems. It was also a wake-up call for me for a PhD that addressed the issue of pitch migration in Asia with its pristine scale systems. EML also was a recording service through its Recording Label EML. Computer music composition and performance was another activity through EML's series called Synthecom.
VIDEO: https://www.youtube.com/watch?v=lFYwni7qKao&t=4s
ASSOCIATE DIRECTER,
Centre for Instructional Technology, National University of Singapore (1993 –2009).
His job included serving as Executive Producer for Instructional and Corporate Videos for the university;Video Conferencing Manager, supervising and approving usage of the expensive facilities, infrastructures, equipment, and support for large online teaching projects for the Singapore-MIT Alliance graduate project, and the Association of Pacific Rim Universities; and, other administrative and technical issues within the job of technology and education.
During this part of his career, he presented an audio-visual impact analysis measure called AVAI (Audio Visual Assessment Index) that assisted assessment of his staff and multimedia products. The abstract of that paper is at this site:
https://www.aes.org/e-lib/browse.cfm?elib=14590
VIDEO sample of his productions: https://youtu.be/V4Ov76ZALNo
EARLY MUSIC CAREER
Violin training in Singapore between 1956 – 1964 for ABRSM (Associated Board of the Royal Schools of Music) examinations up to Grade 8. I had to learn many other musical instruments (Piano, Double Bass, Brass and Percussion and the Sitar) to enable me to teach, write music and expand my main life-long research: integrated music education - which has evolved into HGMP and TMAL-P.
President of SJI Music Society and Drum Major of SJI Military Band (1963-67). He and his school mates created the Buddy System - a music teaching and learning method on a self-learning heuristic
principle (boys teaching boys with no teacher at the helm); he established a choir and an orchestra for the school on similar lines, and presented these at the 1967 first School Music Festival.
Video: SJI Military Band on Parade (1966 Inaugural National Day) VIDEO: https://www.youtube.com/watch?v=RPUnGBt44h4&t=12s
President, Music Society, University of Singapore (1968 – 1969) Student led musical activities on campus that provided a way to formalise extra-curricular musical activities by 1971 under the first academic music department. Unfortunately, music department collapsed by 1978. Extra-curricular music carried on as a department on its own. Under his watch, the first academic journal in music was published - Ensemble.
They performed song and dance sequences for the troops and for television in Singapore
Musical Director, Singapore Scene-Shifters (1976 -83) and more – staging of musicals in Singapore: Baron Boligrew (Stage Club); Flower Drum Song, JC Superstar, Okalahoma, Fiddler on the Roof (Sceneshifters) Fantastiks and West Side Story (Spore University), and Samseng and the Chettiar's Daughter (1983 Singapore Arts Festival)
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Specialist Professor: College of Music, Mahasarakham University, Thailand (2013-14, 2018 - 2021); Nakhon Phanom University (2016-18). He taught PhD students.
PhD Class at MAHASARAKHAM UNIVERSITY, THAILAND
External Examiner, Nanyang Academy of Fine Arts (NAFA). Singapore, 2009 - 2011.
External Examiner, University of the Singapore Institute of Management (UNISIM), 2016.
CURRENT WORK
Managing Editor (Asia) Accelerando Music Journal, Belgrade, 2018 - current https://accelerandobjmd.weebly.com/editorial-board.html
Board Member, Asia Pacific Society for Ethnomusicology: APSE. Cambodia, 2018 - Current.
Singapore Liaison for International Council for Traditional Music (ICTM), 2000 - current. http://ictmusic.org/world-network
Advisor, C-ASEAN Consonant, Thailand 2016 - special project for musical super-talents in the ASEAN region.
(Selected)
Adjunct Lecturer, Music East-West (Elective Course), Singapore Management University, 2000-2008. The course design was the early foundation of his current TMAL-P approach (see Course 1). The physical laboratory for this course was designed by Joe Peters and the technology-based music listening method was based on audio technology of that time. Today, this can be done in a fully digital laboratory.
Specialist Professor, Nakhon Phanom University, Music Department, Thailand, 2017 -2018:
Curriculum and Pedagogy Strategies in Discussion. Upgrading Engish for thesis was a major course I developed for music and teacher education classes.
Specialist Professor, Mahasarakham University, College of Music, Thailand, 2018 -2021:
Member, Committee Mixte: RILM (International Repertory of Music Literature), USA, 2006 – 2012. Nominated by ICTM, UNESCO
VIDEO: https://youtu.be/Dak581DUA4E
VIDEOS OF AKTO:
https://www.youtube.com/watch?v=LDb_22QK28g
https://www.youtube.com/watch?v=mVqlpVNWwao
https://www.youtube.com/watch?v=oxRf7SIyqoY
https://www.youtube.com/watch?v=ympAResvnzU
Music REVIEWER for the Singapore Business Times, 1980s.
A novel experience for me as I applied and learnt new musical knowledge through these reviews in the Business Times.
National Arts Council of Singapore (1972 - 2016); served in many capacities and positions including in various ASEAN projects.
CURRENT WORK
MUSIC COMPOSITIONS by Joe Peters (Selected)
Joe Peters. (2023). The Tremolo Music Diaspora: The Un-Classified Third Pillar of String Music. To be published in Accelerando: Belgrade Journal of Music and Dance.
Joe Peters. (2023). Pitch Migration in Asian Musics. Asia Pacific Society for Ethnomusicology, 25th Conference, Siem Reapp, Cambodia.
Joe Peters. (2023). Musical Sustainability in Defined Territories, 2nd South American Music Conference, Argentina.
Joe Peters. (2024). Applied Heuristic Music Education (TMAL-P and HGMP): The Classroom is not Dead Yet! Publisher to be determined.
CURRENT PUBLICATIONS
SELECTED
Peters, Joe. (2022). Asian Musical Systems: Are They Gone? Keynote Video Paper for the 2nd International Symposium on Creative Fine Arts: Cultural Treasures Heritage, Thailand: https://www.youtube.com/watch?v=JUf5ZwtKMxc
Peters, Joe. (2019). Singapore Music in History, Culture and Geography in Sage Encyclopedia of Ethnomusicology, USA/UK: https://us.sagepub.com/en-us/nam/the-sage-international-encyclopedia-of-music-and-culture/book243395
Peters, Joe. (2019). Geo-Politics in Asia and the Implications for Music Research and Publishing. Paper for APSE (Asia Pacific Society for Ethnomusicology) 2019, Mahasarakham University.
Peters, Joe. (2017). Musical Leadership in 21st Century South East Asia. Paper presented and published at International Seminar, Institut Seni Indonesia, Padangpanjang.
https://books.google.com.sg/books/about/Proceeding_of_the_International_Seminar.html?id=STppDwAAQBAJ&redir_esc=y
Peters, Joe. (2016). The Nature of Academic and Professional Music Studies and the Challenge for Inter-Cultural Projects like the C-ASEAN Youth Music Ensemble. Private Paper https://www.youtube.com/watch?v=4hLhRfnfIaw
Peters, Joe. (2016). Dr. Ivan Polunin – The Unknown Asian Ethnomusicologist. Paper presented at the National University of Singapore Museum Series.
Peters, Joe. (2016). Ivan Polunin Multimedia Lab. Report in the ICTM Bulletin, 132, October, 2016. https://www.ch-em.ch/images/stories/pdf/132-ICTM-Bulletin-Oct-2016_ausschnitt.pdf (page 21)
Peters, Joe. (2016). Extinct Ancient Waijiang Music: A Test Exercise in Singapore on Re-Creation using Study Tracks Methods and Timeline Music Annotation Library-Lab Pedagogy (TAML-P). Paper delivered at ICTM, PASEA, 2 August, 2016 at Penang, Malaysia.
Peters, Joe. (2016). Pak Zubir Said and Majulah Singapura: The National Anthem of Singapore. In Zainal Abidin Rasheed & Norsharil Saat (eds.). Majulah! 50 Years of Malay/Muslim Community in Singapore. World Scientific, Singapore, pp. 25 – 33 https://www.worldscientific.com/page/9980-03
Peters, Joe. (2016). Integrated Music Education: Negotiating the Guru-Conservatory Divide in Music Training. Paper for National Seminar, Tamil Nadu Music and Fine Arts University Dr. D.G.S. Dinakaran Salai, Chennai, India.
Peters, Joe. (2015). Tremolo-Rondalla and the Heuristic Music Education Pedagogy for the Asian Classroom. Paper presented at the International Conference on Humanities and Social Sciences, 26-27 August, 2015, Rajabhat Maha Sarakham University, Thailand.
https://so01.tci-thaijo.org/index.php/ejChophayom/article/view/2
Peters, Joe (2014). Music Emissions Sustainability Index (MESI): Accepting Globalization but Preventing Homogenization of Musical Cultures and Systems”. Paper presented at the Asia Pacific Society for Ethnomusicology (APSE), Mahasarakham, Thailand.
Peters, Joe (2014). Graduate School of Performing Arts and Entertainment Management. Concept Paper presented to the International Institute of Education, Ubon Ratchathani Rajabaht University, Thailand.
Peters, Joe (2013). Music Chain Studies - Understanding Business Models in the Music Industry within the Sustainability Issue and Integrated Timeline Music Education”. Paper presented at the conference Performing Arts Business Management: Educational and Practice in Asia. Prince Songkla University, 30 August 2013
Peters, Joe (2013). A Timeline Music Education (TME): Study of Selected Repertoire from Teochew Music in Singapore”. Paper presented at the 42nd ICTM World Conference, Shanghai.
Peters, Joe (2013). A Macro-Measure for Evaluating the Impact of Music Education on Society. Paper delivered at the 4th ISAME Conference: Music Assessment and Global Diversity: Measurement and Policy, Taiwan
Peters, Joe. (2012). Timeline Music Education: Database Technology for the Future. Paper presented at IASA Conference, Delhi, India.
Peters, Joseph (2011). Reconnecting with pre-1511 Musical Culture of the Littoral States in the Straits of Malacca. Paper presented at the Conference The Impact of Music in Shaping Southeast Asian Societies. Diliman: University of the Philippines.
Peters, Joe (2011). Music-Plus-One: AVIT Systems Configuration Writing to Digital Memory to Facilitate Timeline Music Education for Listeners. Paper presented at Music and Memory Conference, KL: University Putra Malaysia.
Peters, Joe. (2010). The Art of Xoan Singing: A Case for UNESCO Intangible Heritage Award. In The Art of Xoan Singing Seminar, Hanoi: Vietnamese Music Institute, pp. 166 -172.
Peters, Joe. (2010). Plotting On-loading and In-loading Trajectories to Understand Hybridism in Music. Paper presented at ICTM Regional (Southeast Asian Performing Arts) Conference, Singapore.
Peters, Joe. (2010). Timeline Music Commentary Technique – A Guided Music Listening Approach to Musical Deconstruction. Workshop presented at International Society for Music Education (ISME), Beijing.
Peters, Joe. (2010) Key Performance Indicator (KPI) Approach to General Music Education using the Sonic Environment Music Measuring Index (SEMMI). Paper presented at the International Society for Music Education (ISME), Beijing.
Peters, J E E . (2011). Plotting the Evolutionary Trajectory of Don Ca Tai Tu using the Sonic Orders Music Listening Mode Index (SOLMI) Prototype Listening Software. In The Art of Don Ca Tai Tu Music, Ho Chi Minh City.
Peters, Joe. (2010) Key Performance Indicator (KPI) Approach to General Music Education using the Sonic Environment Music Measuring Index (SEMMI). Paper presented at the International Society for Music Education (ISME), Beijing.
Peters, Joe. (2010). Timeline Music Commentary Technique – A Guided Music Listening Approach to Musical Deconstruction. Workshop presented at International Society for Music Education (ISME), Beijing.
Peters, Joe. (2010). The Fluid PianoTM (Microtonal and Self-Tunable) and Some Implications for Applied Ethnomusicology”. Paper presented at ICTM Regional Conference on Applied Ethnomusicology, Hanoi.
Peters, Joe. (2009). Sonic Environment Modeling, Measuring and Monitoring Index (SEMMMI) and the Sustainability of Traditional Music. Paper presented at ICTM 40th World Conference, Durban, South Africa.
Peters, Joe. (2009). Fundamental Differences between Western and Asian Musics. Public Lecture at Chung Ang University. Seoul, South Korea.
Peters, Joe. (2009). Sonic Orders Listening Mode Index (SOLMI) and the Listenology Laboratory. Public Lecture at the Hong Kong Institute of Education. Hong Kong.
Peters, Joe. (2008). A Proposed Audio-Visual Product Measure.
Paper presented at Audio Engineering Society (AES) 124th Convention, Amsterdam.
https://www.aes.org/e-lib/browse.cfm?elib=14590
Peters, Joe. (2007). E Learning and Audio-Visual-Information Technology Theory. Paper presented at Online Educa Berlin, Berlin, Germany: https://oeb.global/oeb-insights/oeb-online-educa-berlin-25-years-on-a-glimpse-back-through-a-business-lens/
Peters, Joe. (2007) Ethnomusicology in Singapore. Paper presented at Ethnomusicology Symposium, Center for Ethnomusicology, University of the Philippines
Peters, Joe. (2004). Re-Thinking Pedagogy in Music Education in a Globalized World. Paper delivered at the Globalization Conference in Hanoi Academy of Music, Vietnam.
Peters, Joe. (2003). (Chief Ed.). Sonic Orders in ASEAN Musics, 2 Vols, 10Cds. ASEAN COCI, Singapore. (available on request)
Peters, J E. E. (1999). Sonic Environment as a Macro Measure of Relevance in General Music Education. PhD Thesis, University of Western Australia. (Available on Request)
Peters, Joseph. (1998). Asian Music: Understand it or Lose it! “Soundworks, Vol. 5, Issue 10. pp. 13 - 16.
Peters, Joseph. (1997). Contemporary Developments in Indian Music in Singapore.
Peters, Joe. (1995). Country Paper, 3rd. ASEAN Composers Forum on Traditional Music, Bangkok: ASEAN COCI. Book and CD. (Available on Request)
Peters, Joseph. (1996). Problems of Achieving Relevance in General Music Education in Singapore, Commentary, Vol. 12, No. 1, pp. 19 - 32.
Peters, Joseph. (1995). Singapore. In Santos, R. (ed.). The Musics of ASEAN. Manila: ASEAN Committee on Culture and Information, pp. 190 - 232. (Available on Request).
Peters, Joseph. (1993). Evolving Traditions in Music. In Peters, J. (ed.). Forum Papers: Presentations at the Second ASEAN Composers Forum on Traditional Music. Singapore: National Arts Council, pp. 6 - 15. Book and CD. (Available on Request)
Peters, Joseph. (1992). Professional Music Training in Singapore. The Graduate, July, pp. 14 - 15.
Peters, Joseph. (1991b). Classical Music of the Malays. The Graduate, September, pp.12 -14.
Peters, Joseph. (1991a). Shared Values and the Value of Music: An Appraisal of our Sonic Environment, The Graduate, June, pp. 12-13.
Peters, Joseph. (1990). The Music of Zubir Said. In Zubir Said: His Songs. Singapore: Singapore Cultural Foundation, pp.18 - 22.
https://www.youtube.com/watch?v=0W8KVFpp6iw
Peters, Joseph. (1981). A Conceptual Framework for a Creativity-based General Music Education Program for Singapore Schools. M.M. Thesis, University of the Philippines. (Available on Request)
Peters, Joseph. (1979). Rationale and Curriculum Planning Principles in Music Education: Some Suggestions for Singapore. Commentary, Vol. 3, No. 4, June, pp. 22 - 29.
