Bridging Musical Understanding through Multicultural Musics

Finding balance in a mix of culture: Appreciation of diversity through multicultural music education

“…It makes you open minded about what’s out there.” He further explained that “if you stick to one type, you know you will become narrow minded.” Another student joined in to describe how opinions could change, stating that people should “have their options open and … after a while they might think or realize, I did not like it in the first place, but now I kind of like it.” This suggests that students are capable of appreciating other musical styles by being broad-minded through their multicultural music education. These student opinions illustrate the importance of learning multicultural music to children, both in school and in extra-curricular programs (Anderson & Campbell, 1989; Blair & Kondor, 2008; Chen-Hafteck, 2007; Nketia, 1988).…”

“…Many researchers have recognized the increasing importance of multicultural music education and the evidence can be witnessed in the number of recent specialized written material including research reports (Campbell & Schippers, 2005; Klopper, 2005; Nzewi, 2003; Reimer, 2002). Further exploring the field Blair and Kondo (2008) suggest that “multicultural musics offer a wealth of rich musical works for students to explore and they are able to learn about musics and about other people through active engagement with new musical ideas” (p. 55). Regardless of the grade level, the incorporation of world music in general music classes can reinforce the knowledge of music elements through their use and interpretation in various musical styles (Anderson & Campbell, 1989, p. ix).…”

“…Regardless of the grade level, the incorporation of world music in general music classes can reinforce the knowledge of music elements through their use and interpretation in various musical styles (Anderson & Campbell, 1989, p. ix). More than increased understanding of one’s own music, exploring music from other cultures can broaden the understanding of our own culture (Blacking, 1973, 1995; Blair & Kondor, 2008). Strengthening this idea Nketia (1988) argued that, by incorporating musics of another culture in music education we may better understand our own musical background.…”

A pile of drums: Putting theory into practice in culturally diverse music education

“…If students hear exclusively about Western-based genres, then this becomes the norm and any other music may be assumed as “other.” The terms teachers choose can unknowingly exclude entire genres. In my research, I found that while some scholars support the inclusion of conceptual elements such as melody, rhythm, form, and texture (Blair & Kondo, 2008; Nettl, 1992; Swanwick, 1988), others caution the use of these terms without sufficient context (Jorgensen, 1998; Wiggins, 1992). My perspective appears in a previous publication:A conceptual elements framework, already familiar to music teachers following a Western curriculum, refers to studies in rhythm and beat, melody, form/structure, tone colour, and texture.…”

The Performance-Pedagogy Paradox in Choral Music Teaching

“…30 We may also want to reconsider the importance of the diverse benefits of choral music education, including utilitarian benefits that extend past repertoire and musicianship. 31 These benefits are currently being explored with groups as diverse as prison choirs 32 and intergenerational ensembles. The core of school-based choral performance would remain intact while choral pedagogical practice would grow to encompass the "music for every child" mantra we have chanted for much of the past century.…”