Musical diversity in the classroom: Ingenuity and integrity in sound exploration

Abstract

This paper examines the practice of five music educators in Canada and Australia who, despite the pervasiveness of ingrained Western-based pedagogy in these countries, are forging ahead with culturally diverse music programmes. Their work is presented as five ‘snapshots of practice’ which provide inspiration and conceptual ideas for other teachers aiming to diversify their practice in music education. While willingness and enthusiasm are paramount, it is these exemplars of innovative and resourceful practice which are crucial in assisting teachers to recognize that alternative forms of musicianship are both legitimate and essential to a well-rounded education in sonic exploration.

When constellations align: What early childhood pre‐service teachers need from online learning to become confident and competent teachers of the arts

“…How do we know if they understand and appreciate the arts in the same way, or are experiencing the examples we toss out into cyberspace? Have we ‘reached their hearts’ (Cain & Walden, 2019) regarding the power of the arts and what transformative arts learning looks like in classrooms? We sought to understand their experience and perspectives through this process.…”

Acouscapes: A software for ecoacoustic education and soundscape composition in primary and secondary education

“…Despite the this, there is still resistance that prevents progress on the negative and positive effects they can bring to students' musical learning. In this sense, some authors criticise a lack of relationship between classroom practices and practices that emerge from informal contexts (O'Neill 2016; Kastner 2020), or the lack of teacher training (Cain and Walden 2019). In relation to the approach to creation in music classrooms, it should be said that the approaches that music teachers in primary and secondary education have been taking have generally been an analytical exercise that has focused more on the object (work) than on the creative processes that involve the students (Regelski 2017).…”

An International quartet of voices: sharing songs and culture beyond borders

“…Culturally diverse music education: theory vs. practice Despite these clear benefits, there is still a distinct lack of practice in this area. Cain and Walden (2019) observed it was difficult to find practicing music teachers who included culturally diverse repertoire and pedagogical perspectives in the curriculum to participate in their research study, and Campbell (2018, 40) noted, 'a monocultural approach remains widely in practice'. Music education scholars have attributed the lack of practice in culturally diverse music education to 'dwindling time for music within the school-day schedule' (Campbell 2018, 40), fears about authenticity (Schippers and Campbell 2012), essentialism based on geography or ethnicity (Fung 2002), and the debates surrounding the ethics of cultural appropriation (Young and Brunk 2012).…”

“…Music education scholars have attributed the lack of practice in culturally diverse music education to 'dwindling time for music within the school-day schedule' (Campbell 2018, 40), fears about authenticity (Schippers and Campbell 2012), essentialism based on geography or ethnicity (Fung 2002), and the debates surrounding the ethics of cultural appropriation (Young and Brunk 2012). Although many music educators recognise the importance of acknowledging 'diverse responses to and uses of musics in different places, by different ethnic groups, religions, social classes, genders, "sub-cultures", "scenes" and other social groups' (Green 2005, 77), they worry that a lack of training, experience, and planning time will prohibit them from teaching unfamiliar music in culturally informed and sensitive ways (Cain and Walden 2019). Additionally, educators have reported feeling overwhelmed by the vast amount of music that exists in this world (Mellizo 2019b) and hesitate to make assumptions about which types of music will be relevant and meaningful to their students (Hess 2018a;.…”