I do have some exciting news to share with you about what's happening from mid-March onward.

I've accepted an online English language teaching position with EF English Live. The job will be based in Bali, Indonesia. After an initial period of training in systems, procedures, etc. and a month of online work based in the English First office in Denpasar, I should be authorised by them to work from home, which I'm planning I will make in Ubud. The position's focus will be mostly conversational English, either individually or in small groups, via the Internet.

If you know Bali, you will be aware that Ubud is its art, dance, music and cultural heart. It's also famous for its rice terraces and expansive views, not to mention the book and film "Eat, Pray, Love" which has made it a tourist draw-card.

After sorting through my health issues, I'm anticipating that my new home will be more stress-free. I've been there twice already and have a reasonably good idea of what I might expect. Amongst other things, I'm hoping for some massages, meditation, yoga, and to learn some Indonesian language. I might also see if I can learn to play Balinese music - perhaps gamelan.

Once I'm settled and have some more experience, I'll be ready to post some updates to this site.

Over the years I have performed on many occasions - weddings, church services, public events, and private concerts - but as with many other musicians, mostly there was no recording made. Alternatively, if there was a recording, I never heard it or obtained a copy of it.

So, now I am very pleased to be able to share three recordings with you from my years as a Bachelor of Music student at the Queensland Conservatorium in Brisbane.

The first - a recording of most of the flute sonatas by J.S. Bach - was completed at the home of one of Australia's leading harpsichord builders over the course of a day in 2002 using a two-manual French instrument. Some are for flute & continuo (in this case harpsichord & cello), and the others are for flute and harpsichord (in which case, the roles of both instruments are of equal importance).

The second - a recording of one of the smaller preludes & fughettas by J. S. Bach - was part of a series by the harpsichord students of Ms Huguette Brassine performed in the concert hall of the Queensland Conservatorium on a single-manual French instrument. This was my contribution to that recording.

The third - a complete recording of Claudio Monteverdi's Vespers of 1610 - was performed live by a double choir and orchestra around the balconies of the Conservatorium. My role was chamber organ continuo, which meant I played in almost all of the movements. The organ was tuned to 'meantone' temperament, and all performers used period instruments. I was very proud of being able to support such musical forces working entirely from a figured bass score throughout. Personally, it was the culmination of my three years there. A short video of one of the movements is included below. In part of it you will see me (complete with spectacles and moustache) playing.

The final four video recordings were made in 2011-2012 as part of the famous 'Ximen Shamans', also sometimes called the 'Ximen Demons'. Mark Daves on trumpet and myself on piano performing some jazz standards at Ximen Elementary School, Hsinchu City, Taiwan. We worked together as English teachers and played for fun on the side. The items are : 'Call Me', 'Days of Wine and Roses', 'Dancin' Cheek to Cheek' and 'Moon River.

Hi David,
I agree that we ought to use local models for songs if available. I would assume many of these can be found on YouTube, or by asking the students themselves for favourite artists.
Of course, we should also recognise that the musical tastes of our students will vary too. While some might like a particular singer, others might loathe them. Some might love 'rap' music and hate 'pop'. Either way, it will reduce possible cultural imperialism slightly.
For lower level, elementary school students one has to be careful of the music chosen not just on cultural grounds, but from a number of other aspects. As popular songs are not written generally for classroom use, adaptation and explanation will often be required. For example, I haven't heard Rain's ABC song yet.
I would argue however that it won't completely eliminate cultural imperialism, as many locals simply copy the styles of Western artists. I have yet to see any videos of Korean musicians using traditional instruments and singing traditional Korean music in English. That WOULD be someone special!
I'll check out the International Music discussion link you provided shortly. Thanks.
Originally posted at http://eflclassroom.ning.com/profiles/blogs/culturally-specific-music-for?xg_source=shorten_twitter