scholarly journals Transmitting Cultural Identity in Schools through Traditional Music: A Case Study of Three Districts in Zimbabwe

2017 ◽  
Vol 3 (1) ◽  
pp. 61
Author(s):  
Shadreck Mataruse
Keyword(s):  
Cultural Identity ◽  
Music Education ◽  
Music Teachers ◽  
Traditional Music ◽  
Qualitative Approach ◽  
Music Instruction ◽  
Traditional Songs ◽  
Teaching Music ◽  
Teachers And Parents

Traditional music may be used to transmit and preserve cultures of various societies in schools. To address the above concern, the researcher carried out a study on traditional music performances in three Zimbabwean districts. The study employed a qualitative approach. Audio visual recordings, interviews and questionnaires were used for data collection. The population comprised members from three districts and music teachers from the selected schools. The study revealed that music education may be of meaningful value to societies when local traditional songs are used. The study also disclosed that traditional music plays a pivotal role in instilling the expected norms, values and standards in children.  Respondents advocated that traditional songs should be taught to young generations because, through these, the young can learn the behaviour they are expected of, to become functional members of the society. The research recommends that local traditional songs should be used in teaching music. What is taught in schools should be culturally relevant to and affirming of the students’ lived realities. The school authorities should encourage the inclusion of local traditional songs in music instruction. Teachers and parents should also work together to transmit culture through generations using oral and literal means. 

Developing Effective Dispositions for Teaching Music

2019 ◽  
pp. 321-344
Author(s):  
Michael Raiber
Keyword(s):  
Music Education ◽  
Teacher Educators ◽  
Systematic Approach ◽  
Music Teachers ◽  
Developmental Stages ◽  
Music Teacher ◽  
Teacher Dispositions ◽  
Teacher Concerns ◽  
Teaching Music ◽  
The Impact

The impact of teacher dispositions on the professional development of preservice music teachers (PMTs) has been substantiated. This chapter describes an approach to dispositional development within the structure of an introduction to music education course. A teacher concerns model is used to organize this systematic approach through three developmental stages that include self-concerns, teaching task concerns, and student learning concerns. A series of 11 critical questions are presented for use in guiding PMTs’ dispositional development through these developmental stages. Activities to engage PMTs in the exploration of each of these questions are detailed for use by music teacher educators desiring to engage PMTs in dispositional development.

The charmed dyad: Multimodal music lessons for pupils with severe or multiple disabilities

2021 ◽  
pp. 1321103X2097480
Author(s):  
Melissa Bremmer ◽  
Carolien Hermans ◽  
Vincent Lamers
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Teaching Practice ◽  
Meaning Making ◽  
Multiple Disabilities ◽  
Children's Music ◽  
Four Dimensions ◽  
Music Lessons ◽  
Multiple Case ◽  
Teaching Music

This multiple-case-studies research explored a multimodal approach to teaching music to pupils (from 4 to 18 years old) with severe or multiple disabilities. By combining music with, for example, tactile stimulation, movement, or visuals, meaning-making processes in music of these pupils was stimulated, helping them to understand the internal structures and expressive qualities of music. Three music teachers and a social worker participated in this study. Individual and collective video reflections and microanalysis were applied to gather data about their multimodal teaching practice. The data were analyzed through Schmid’s framework (2015) of “multimodal dimensions of children’s music experiences,” developed for general music education. This framework consists of four dimensions: narrativity, sociality, materiality, and embodiment. Based on the findings, Schmid’s framework could be revised for special education, thus providing music teachers with a tool for designing multimodal music lessons for pupils with severe or multiple disabilities.

The method of emotional education in music teaching

2021 ◽  
pp. 002072092098355
Author(s):  
Hui Hong ◽  
Weisheng Luo
Keyword(s):  
Middle School ◽  
Music Education ◽  
Teaching Methods ◽  
Music Teachers ◽  
Aesthetic Education ◽  
Music Teaching ◽  
True Meaning ◽  
School Music ◽  
Teaching Music ◽  
Emotional Education

Wang Guowei, a famous scholar and thinker in our country, thinks that “aesthetic education harmonizes people's feelings in the process of emotional music education, so as to achieve the perfect domain”, “aesthetic education is also emotional education”. Therefore, in the process of music education, emotional education plays an important role in middle school music teaching, and it is also the highest and most beautiful realm in the process of music education in music teaching. Music teachers should be good at using appropriate teaching methods and means. In the process of music education, they should lead students into the emotional world, knock on their hearts with the beauty of music, and touch their heartstrings. Only when students' hearts are close to music in the process of music education, can they truly experience the charm of music and realize the true meaning of music in the process of music education. Only in this way can music classes be effectively implemented The purpose of classroom emotion teaching.

American Gamelan and the Ethnomusicological Imagination

2020 ◽  
Author(s):  
Elizabeth A Clendinning
Keyword(s):  
North America ◽  
Music Education ◽  
Performing Arts ◽  
Music Teachers ◽  
American Music ◽  
World Music ◽  
Music Programs ◽  
Music Ensembles ◽  
College Music

The book seeks to answer these questions: Why are there more than 150 gamelans (Indonesian percussion ensembles) in North America, and why are more than half of them associated with American colleges and universities? How and why did gamelan ensembles spark the ethnomusicological imagination? What impact have these ensembles had on college music programs, their local communities, and transnational Indonesian performing arts scenes? How does a lifetime of teaching foreign college students shape the lives of non-American music teachers? First providing an overview of gamelan and its incorporation in education in North America, this book uses the story of the career and community of one performer-teacher, I Made Lasmawan of Bali and Colorado, as a case study to examine the formation and sustenance academic world music ensembles. It examines the way students develop musical and cultural competence by learning gamelan in traditional ethnomusicology ensemble courses and analyzes the merits of including gamelan ensembles in studies in percussion, composition, and music education. More broadly, the book argues that beyond the classroom, the presence of these ensembles shapes transnational arts education and touristic performing arts scenes in Bali. Finally, it advocates for world music ensemble courses as a powerful means for teaching musical and cultural diversity and sparking transnational exchanges, both in and outside the classroom.

scholarly journals Introduction: The Politics of Diversity in Music Education

2021 ◽  
pp. 1-11
Author(s):  
Alexis Anja Kallio ◽  
Kathryn Marsh ◽  
Heidi Westerlund ◽  
Sidsel Karlsen ◽  
Eva Sæther
Keyword(s):  
Education Research ◽  
Cultural Identity ◽  
Music Education ◽  
Final Section ◽  
Music Teachers ◽  
The Political ◽  
Nation State ◽  
The Third ◽  
Nuanced Understanding ◽  
Policy Agendas

AbstractThe Politics of Diversity in Music Educationattends to the political structures and processes that frame and produce understandings of diversity in and through music education. Recent surges in nationalist, fundamentalist, protectionist, and separatist tendencies highlight the imperative for music education to extend beyond nominal policy agendas to critically consider the ways in which understandings about society are upheld or unsettled and the ways in which knowledge about diversity is produced. This chapter provides an overview of the scholarly foundations that this book builds upon before introducing the four sections of the book and contributing chapters. The first section of the book focuses on the politics of inquiry in music education research. The second section attends to the paradoxes and challenges that arise as music teachers negotiate cultural identity and tradition within the political frames and ideals of the nation state. The third section considers diversities that are often overlooked or silenced, and the final section turns to matters of leadership in higher music education as an inherently political and ethical undertaking. Together, chapters work towards a more critical, complex, and nuanced understanding of the ways in which the politics of diversity shape our ideals of what music education is, and what it is for.

scholarly journals KOMUNIKASI DAN IDENTITAS KULTURAL REMAJA SUKU DAWAN DI KOTA KUPANG, TIMOR BARAT, NUSA TENGGARA TIMUR

2019 ◽  
Vol 2 (1) ◽  
pp. 25
Author(s):  
Erna Suminar
Keyword(s):  
High School ◽  
Social Media ◽  
Cultural Identity ◽  
Ethnic Group ◽  
Rural Area ◽  
Research Method ◽  
Qualitative Approach ◽  
Conservation And Development ◽  
Data Collecting

Abstract: The purpose of this research is to identify and descripting Dawan ethnic group teenager from the rural area of South Timor Tengah regency to communicate as the part of identity conservation and development when enrolling high school or working in Kupang City. Identification and description include how they’re communicating and using traditional words, daily habits, and using social media as communication forum with the fellow Dawan ethnic group. This research method is using qualitative approach with case study. Selected observation technique, unstructured interview is utilized for data collecting. Post-teenager ethnical background interacting with the different ethnical group could shift and change their original ethnical identity. Keywords: cultural identity, dawan ethnic group, teenager, communicationAbstrak: Tujuan penelitian ini untuk mengidentifikasikan dan mendeskripsikan  remaja Suku Dawan yang berasal dari  pedalaman Kabupaten Timor Tengah Selatan dalam berkomunikasi sebagai upaya melestarikan dan mengembangkan identitas kulturalnya saat mereka menempuh sekolah lanjutan maupun bekerja di Kota Kupang. Identifikasi dan deskripsi meliputi bagaimana mereka : berbahasa dan menggunakan kata-kata, beradat kebiasaan sehari-hari dan  menggunakan media sosial sebagai forum komunikasi dengan sesama dari suku  dan daerah yang sama. Metode penelitian ini menggunakan pendekatan kualitatif dengan studi kasus. Pengumpulan data menggunakan teknik observasi terseleksi, wawancara tak terstruktur. Latar budaya etnik setelah remaja tersebut bersentuhan dengan etnik yang berbeda dan membawa pergeseran dalam identitas budaya.Keywords : identitas kultural, Suku Dawan, remaja, komunikasi.

Overview of research work of Prof. Leung on Cantonese opera in Hong Kong and Guangzhou

Impact ◽  
2021 ◽  
Vol 2021 (7) ◽  
pp. 18-20
Author(s):  
Bo-Wah Leung
Keyword(s):  
Hong Kong ◽  
Cultural Identity ◽  
Music Education ◽  
Community Education ◽  
Research Work ◽  
Traditional Music ◽  
Research Centre ◽  
Research Gaps ◽  
National Education ◽  
Cantonese Opera

It is important to recognise and transmit the importance of traditional music. Professor Bo-Wah Leung, Research Centre for Transmission of Cantonese Opera, The Education University of Hong Kong, recognises the value of this and wants to establish improved methods of communicating the cultural importance of Cantonese opera and thereby inspiring an appreciation for this among the current generation of young people as well as future generations. Bo-Wah founded the Research Centre in 2018 and this is where he leads various research projects devoted to improving how teachers can impart the importance of traditional music onto their students. Currently, Leung is working on a project called National education as cultural education: developing students' Chinese cultural identity with learning and teaching Cantonese opera in Hong Kong and Guangdong, with a view to surveying the current state of teaching the genre in primary and secondary schools in Hong Kong and Guangdong and determining the extent to which students' Chinese cultural identity have been developed through learning the genre. Leung believes there are significant research gaps regarding Cantonese opera and he is exploring the transmission of Cantonese opera in Hong Kong through school music education, community education and higher education. In doing so, he is filling research gaps, including the transmission modes of apprenticeship and conservatory tradition; students' motivation about learning Cantonese opera; teachers' confidence and interest in teaching Cantonese opera; the undergraduate programme and curriculum for nurturing professional Cantonese opera artists; creativity of Cantonese opera artists; and informal learning in community settings.

scholarly journals Opinions of University Music Teachers on the Musical Competencies Necessary for Primary Education Teachers

2017 ◽  
Vol 6 (1) ◽  
pp. 197 ◽  
Author(s):  
Jasna Sulentic Begic ◽  
Amir Begic ◽  
Tihana Skojo
Keyword(s):  
Teacher Education ◽  
Music Education ◽  
Primary Education ◽  
Teaching Methods ◽  
Music Teachers ◽  
Sample Survey ◽  
Practical Training ◽  
Musical Ability ◽  
The Republic ◽  
Teaching Music

This paper describes the research conducted in the Republic of Croatia during the 2012/13 academic year. We have gathered opinions from experts, i.e. teaching methods teachers from seven faculties of teacher education, regarding the music teaching competencies necessary for primary education teachers teaching music in the first several grades of elementary school. We used the Delphi method in our research, i.e. in our sample survey among teaching methods teachers. The teachers also evaluated the competencies of their students and some elements of teacher education studies course syllabi and programmes. The sample survey among the teachers was implemented via email. The goal of the research was to determine if the programmes of the music courses at the teacher education studies are appropriate for the development of the competencies necessary for students of music education. Teaching methods teachers emphasized the need for more practical training, primarily regarding playing instruments and singing, and they pointed out that the course Teaching Methods in Music is the most important course for the training of future music teachers. Aside from that, they believe that more classes should be devoted to music courses, i.e. they propose to reorganise the contents of the courses by increasing the amount of practical classes and reducing the amount of theory classes. They also believe that it is necessary to introduce testing of musical ability at entrance exams for admission into the teacher education studies.

scholarly journals The Development of an Inclusive Model to Construct Teacher’s Professional Knowledge: Pedagogic content knowledge for sound-based music as a new subject area

2019 ◽  
Vol 24 (3) ◽  
pp. 274-288
Author(s):  
Motje Wolf ◽  
Sarah Younie
Keyword(s):  
Content Knowledge ◽  
Music Teachers ◽  
Traditional Music ◽  
Subject Area ◽  
Electroacoustic Music ◽  
Pedagogic Content Knowledge ◽  
Knowledge Domains ◽  
Subject Content Knowledge ◽  
Teaching Music ◽  
Epistemological Analysis

This article outlines a systematic process for developing the different knowledge domains required for teaching sound-based (electroacoustic) music as a new subject area. As a new area within the discipline of music, teachers are novices to the field. This requires epistemological deconstruction of what knowledge teachers need in this new field. Then the analysis outlines how to develop teachers’ new knowledge, which can be constructed as subject content knowledge (SCK), pedagogic content knowledge (PCK) and technology pedagogic content knowledge (TPACK). This epistemological analysis informed our creation of teaching materials that develop these different knowledge domains and take account of the complex interplay between them. This process was demonstrated through the ElectroAcoustic Resource Site Projects, which first built subject content knowledge and then created teacher’s packs to build pedagogic content knowledge, and a bespoke CPD programme, which embedded their inter-relationships and built technology pedagogic content knowledge. Most importantly, creating the teacher’s packs employed a user-centred design approach, putting teachers and pupils in the centre of the development process, thereby giving them voice. Voice is an integral part of empowerment in our model, which disrupts the hegemonic grip of the academic curriculum dominated by the traditional music canon. This article adds to the knowledge-base regarding how to develop the different domains required for teaching a new subject. We argue that sound-based music is accessible to all teachers and learners, thereby increasing inclusivity. This in turn can radically disrupt ways of teaching music in schools and the model created provides the necessary scaffolding for a paradigm shift in music teaching on an international level.

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