From T.I.1 to Tasmania: Australian Indigenous Popular Music in the Curriculum

Wemyss, Kathryn L

doi:10.1177/1321103x9901300104

Cited by 9 publications

(12 citation statements)

References 12 publications

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“…The contributions of local, indigenous community members have been identified as an important component in curriculum design and delivery (Costigan & Neuenfeldt, 2011). Wemyss (1999) believed that it is only through stringent and localised consultative measures that the integrity of curricular content, repertoire and methodology can be assured. Costigan & Newenfeldt (2011) also argue that dedicated and talented community members can contribute towards encouraging cultural practices and identity formation.…”

Section: Resultsmentioning

confidence: 99%

“…An important issue here is the localisation of consultation from community members who are experts on place (Wemyss, 1999). This is important, because there is often considerable diversity among indigenous cultures.…”

Section: Resultsmentioning

confidence: 99%

“…We were asking: What does it mean to do music education or to do music education research in settings where there are strong, indigenous performing arts practices and traditions operating? The review was timely, not just because of our specific purposes, but because acknowledging indigenous performing arts in schools is receiving growing international attention (Marsh, 2000; Rose, 1995; Wemyss, 1999).…”

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confidence: 99%

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Facing the Indigenous ‘Other’: Culturally Responsive Research and Pedagogy in Music Education

Locke

Prentice

2016

AJIE

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This narrative article is based on an analysis of 61 documents, mostly articles, of which 37 were peer-reviewed, including research studies, reviews, conceptual research and narratives of practice. Review findings are reported with specific reference to the Australian and New Zealand contexts in relation to the following topic categories: the presence of indigenous music in the curriculums of selected ‘new world’ countries, teacher education in indigenous performing arts, questions of curriculum design and programming, resource selection, activity design, and school and community relationships. Certain key themes emerged across these topics: the need for a greater emphasis on more culturally nuanced music teacher education in relation to indigenous musics; the critical importance of teaching indigenous music/arts contexts; song ownership; and the need for music educators and researchers to develop a critical stance towards their subject and discipline.

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Section: Resultsmentioning

confidence: 99%

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confidence: 99%

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Facing the Indigenous ‘Other’: Culturally Responsive Research and Pedagogy in Music Education

Locke

Prentice

2016

AJIE

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“…into the curriculum in the UK, see e.g. Swanwick (1968); Vulliamy (1977a and b); Vulliamy & Lee (1976;; Green (1988); Shepherd & Vulliamy (1994); Swanwick (1992); Gammon (1999); and for Australian, US-American, Hong Kong and Thai perspectives respectively, Wemyss (1999); Dunbar-Hall & Wemyss (2000); Dunbar-Hall (1996); Rodriguez (2004);Ho (1999); Maryprasith (1999). 3 For example see Bennett (2000) on the complexities of globalisation and localisation in relation to ethnic and social class identities and musical taste among young people; also see Alden (1998) with relation to young children, musical taste and ethnicity; and there are of course gender issues surrounding children"s concealment or revealing of musical taste, for which see Green (1997).…”

Section: Autonomy and Authenticity In The Music Classroommentioning

confidence: 99%

Popular music education in and for itself, and for ‘other’music: current research in the classroom

2017

Music Education as Critical Theory and Practice

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This article considers some ways in which the school classroom enters into, changes and complicates musical meanings, focussing particularly on the role of popular music and how it relates to classical music. I suggest that in bringing popular music into the curriculum, educators have largely ignored the informal learning practices of popular musicians. Popular music has therefore been present as curriculum content, but its presence has only recently begun to affect our teaching strategies. I examine how the adaptation of some informal popular music learning practices for classroom use can positively affect pupils' musical meanings and experiences. This applies not only to the sphere of popular music, but also to classical music and, by implication, other musics as well. Finally, the notions of musical autonomy, personal autonomy and musical authenticity in relation to musical meaning and informal learning practices within the classroom are discussed.

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“…he difficulties inherent in ensuring that teachers present music programs dealing with t cultural diversity in an accurate, culturally sensitive and non-tokenistic manner and some solutions to these difficulties, have been well documented at an international level (Anderson & Campbell, 1996;Campbell, 1991;Burton, 1993;Edwards, 1996;Hookey, 1994;Klinger, 1994;Reimer, 1994;Schippers, 1996;Walker, 1996;Wemyss, 1999;York, 1995;York & Choksy, 1994). This article relates to my experiences as a lecturer in music education at the University of Western Sydney, where I taught from 1989 to 1997.…”

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Making connections: A case study of pre-service music education students' attitudinal change to indigenous music

Marsh

2000

Research Studies in Music Education

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Approaches to the teaching of culturally diverse music programs have become an increasing concern of international music educators in recent years. These concerns are reflected in the Australian state of New South Wales where teachers of all curriculum areas are responsible for educating all students about Aboriginal heritage and cultures. As a consequence of limited guidelines regarding the use of Aboriginal music in schools and perceived shortcomings of preservice training in providing models for the teaching of Aboriginal music programs, many teachers lack the confidence to engage in such programs. This article discusses the effect of a 1997 project conducted with pre-service education students at a university in Sydney. The project, involving fieldwork study of an Aboriginal performer in residence program at a Sydney school, is seen to have positively affected student attitudes to the teaching of Aboriginal music in educational settings. It is

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From T.I.1 to Tasmania: Australian Indigenous Popular Music in the Curriculum

Abstract: The letters T.I. are colloquially used to denote the initials of Thursday Island, one of the major islands and the administrative centre for the Torres Strait Islands. 2 The Mills Sisters are a popular vocal trio from the Torres Strait Islands.

Cited by 9 publications

References 12 publications

Facing the Indigenous ‘Other’: Culturally Responsive Research and Pedagogy in Music Education

Facing the Indigenous ‘Other’: Culturally Responsive Research and Pedagogy in Music Education

Popular music education in and for itself, and for ‘other’music: current research in the classroom

Making connections: A case study of pre-service music education students' attitudinal change to indigenous music

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