American preservice elementary teachers’ self-reported learning outcomes from participating in Korean percussion lessons in a music-methods course

Abstract

The purpose of this study was to examine American preservice classroom teachers’ self-reported learning outcomes after partaking in a weekly Korean percussion ensemble in an elementary music-methods course. The preservice classroom teachers rehearsed a Korean percussion ensemble piece ( Samulnori) as their course routine for half of the semester. Participants’ open-ended essays and semi-structured interviews were analyzed to determine their learning outcomes. Based on Abril’s (2006) three world music learning outcome categories (musical, cultural, and other) as initial codes, the emergent coding process was adopted. Through the data analysis, four themes emerged that illustrated preservice classroom teachers’ learning outcomes: (a) Cultural Awareness: Difference, (b) Music Fundamentals: Overlap with Traditional Course Content, (c) Bonding Experience: Community, and (d) Teacher Education: A Well-Rounded Teacher. Based on the results, possible implications for teaching culturally diverse musics to preservice classroom teachers in music-methods courses were discussed.

A scoping review of international mindedness and related concepts in music education, 2000–2020

“…Six studies address pre‐service teacher education (Abril & Robinson, 2019; Kang & Yoo, 2019; Moore & Baker, 2019; Ruiz, 2019; VanDeusen, 2017, 2019). For example, VanDeusen (2017, 2019) explored the development of cultural competence, amongst pre‐service music teachers, during a cultural immersion field experience.…”

Intercultural Development Among Music Students and Teachers: A Literature Review

“…Due to the complicated and multidimensional constructs of intercultural competence and intercultural sensitivity, scholars’ uses of theoretical frameworks or terminologies vary. Some scholars specified the terms, intercultural competence or sensitivity (Kang & Yoo, 2019; Mellizo, 2019; Miettinen et al, 2018), whereas others adopted the adjective intercultural in their frameworks but did not specify whether the adoption implied competence or sensitivity (Burton et al, 2013; Joseph & Hartwig, 2015; Marx & Moss, 2011). In addition, there were scholars who did not adopt intercultural frameworks, but their study contexts and outcomes alluded to intercultural endeavors in music education (Joseph et al, 2020; VanDeusen, 2019; Walden, 2020).…”

“…The intercultural contexts can be categorized into classroom projects, university partnerships and service learning, and professional development. In most studies, research participants working in intercultural contexts were able to physically interact with a targeted culture (Kang & Yoo, 2019; Mellizo, 2019). A few scholars facilitated intercultural interactions using technology, the internet, and virtual communications (Burton et al, 2013; Klopper, 2010).…”

“…A high level of immersion is crucial for intercultural development. Thus, scholars researching intercultural development focused on one type of music culture and provided students with prolonged engagement in the classroom through either the creation of their own curriculum on a specific culture (Mellizo, 2019) or the examination of a curriculum created by culture-bearers (Kang & Yoo, 2019). In Mellizo’s (2019) convergent mixed-methods study, 139 fourth- to eighth-grade general music students participated in twenty 30-min music lessons that focused on Southern Benin music in West Africa.…”

“…Intercultural classroom projects can be implemented not only in K–12 classrooms but also in collegiate classrooms for preservice teachers. Kang and Yoo (2019) taught a Korean percussion ensemble, along with its cultural and musical background, to elementary preservice teachers in a music methods course for one semester. At the end of the semester, they performed it as a class.…”