Multicultural Music Research Articles

Bridging Theory, Research, and Practice: Eight Teacher Action Steps Towards Multicultural Music Education

Bridging Theory, Research, and Practice: Eight Teacher Action Steps Towards Multicultural Music Education

Multicultural Music Education in Chinese Middle School General Music Classes, 1978–1988

This historical study is an extension of an earlier study “The Origins of Multicultural Music Education in Chinese Secondary Schools’ General Music Classes.” In the earlier study, I examined multicultural music education in middle school music classes in the People’s Republic of China from 1989 to 2010. The present study examines the same topic during an earlier time period, 1978–1988. Primary sources are national syllabi issued by the Chinese Ministry of Education and State Education Commission. The study concludes that during the time period Chinese multicultural music education highlighted the diversity of Chinese music culture, involving music from 56 nationalities in the People’s Republic of China. The findings, along with the findings of the earlier study, reveal trends in multicultural music education in Chinese schools.

Research on the Coordinated Development and Innovative Application between National Music and Contemporary Multicultural Music Education Based on Big Data

Multiculturalism, as a new educational mode, is a new form of education that meets the requirements of the times. Music, as an important discipline interrelated with culture, has gradually been paid attention to. Contemporary big data technology is applied in all aspects, and the direction of music culture is no exception. As an important part of national culture, many music works circulated to date can reflect the characteristics and connotation of Chinese national culture. Multicultural music education provides an important theoretical basis for the innovation and reform of music teaching.Based on big data analysis, folk music and multi-cultural music promote the effective development of music education in China. Therefore, Based on big data, this paper starts from the theory of multi-cultural music and the relationship between national music and multi-cultural music education, this paper analyses the important role of multi-cultural music education in the education of national music in China and the path of coordinated development.

Discussion on Method to Carry out Multicultural Music Education in the Musical Education of Universities

Since 21st century, economic development has formed the trend of globalization, and the progress of cultural integration and infiltration of each country and nation is also faster and faster. Furthermore, multiculturalism is increasingly being developed into different cultures, including music. As a new education mode, multicultural music education is regarded as the international advanced education mode, which has also become a major trend in international music education. However, for now, the music education form is still very single in our country, so it is imperative to carry out multicultural music education. This thesis firstly describes the overview of multicultural music education, and then analyzes the importance to carry out multicultural music education, finally, it explains the method to carry out multicultural music education in the music education of universities comprehensively.

A Study on the Analysis of Asian Music in High School 'Music and Life' Textbook by the Perspective on Multicultural Music Education

A Study on the Analysis of Asian Music in High School 'Music and Life' Textbook by the Perspective on Multicultural Music Education

Theoretical Significance and Practical Value of Xinjiang Multicultural Music Education in Primary Education

The multicultural music teacher is now one of world music education’s hot topics that have the significant value significance in the Xinjiang multicultural music education in the primary education specialty implementation. As the primary education specialty in music education, must base under the multicultural music education field of vision, the national music took a part, strengthens the student to this national music culture sympathy, raises its esthetic consciousness lets various national outstanding culture be able to inherit and to develop. The present paper in view of the current primary education specialty in music education existence question, proposes the multicultural music education in the primary education specialty implementation theory basis and the suggestion.

Current Status of Ethnomusicology in Korean Multicultural Music Education

Current Status of Ethnomusicology in Korean Multicultural Music Education

So much more than just the music: Australian pre-service music teacher education students’ attitudes to artists-in-schools

Contemporary Australia is a country of ongoing migration and increasing cultural diversity which is reflected in its arts practices. This article considers the views held by Australian pre-service music education student teachers and their tertiary music educators about their perceptions concerning artists-in-schools programs in school music. This discussion reports on data collected for a study undertaken in Melbourne, Victoria, Intercultural Understandings of Pre-Service Music Education Students (2005–2009). Fifty-three interviews were analyzed using interpretative phenomenological analysis. The findings provide insight into teachers’ recognition of the need for artists-in-schools programs. In particular the ways in which teachers can link theory to practice, fill in omissions in their own knowledge, skills and understandings, and heighten student understandings of multicultural musics. The promotion and provision of multicultural music education is essential at all levels of education. This can be achieved by the inclusion of diverse culture bearers, artists-in-schools, and community engagement to work with both teachers and their students.

Fred Ho and the Evolution of Afro-Asian New American Multicultural Music

For more than three decades the Chinese-American composer and baritone saxophonist Fred Ho has been producing a distinctive brand of genre-busting cross-cultural music that serves as both an expression of his radical political philosophy and a direct response to what he perceives as the exploitation of Third World musical traditions by contemporary pop imperialists. Although he has garnered a considerable reputation in the jazz world (and continues to feel a special kinship with the genre's avant-garde heritage), Ho now prefers to identify his unique East/West creative fusion with his own apt (albeit unwieldy) appellation, “Afro-Asian New American Multicultural Music.”

Many Layers of Meaning: Multicultural Music Education in Victoria, Australia

This paper explores music education viewed through lenses of cultural identity and the formation of personal identity in contemporary, multicultural Victoria, Australia. The people of this state come from more than 280 countries, speak more than 240 languages and follow more than 120 faiths. Our population diversity is constantly changing which challenges music educators to respond to classroom demographics and as tertiary educators we prepare our pre-service students to become culturally responsive teachers. As music educators, we occupy and are situated in multiple identities that shape the ways in which we experience and understand music and its transmission. As Australian tertiary music educators, we explore pre-service teacher cultural identity, attitudes and values about the inclusion of multicultural music in the classroom where cultural dialogue provides a platform for the construction of meaning. While marginalization and diversity occurs within multifaceted forms, we question: What music do we present in contemporary Victorian schools? Why do we make these choices? How do we present this music? This consideration, contextualized within the curricular framework, addresses issues of access, equity and community engagement. The making of meaning in shared cultural experiences contributes to the formation of identity which is a fluid and multilayered construct.

Public Multicultural Music and the Australian State

Public Multicultural Music and the Australian State

Opening the Doors to Diverse Traditions of Music Making: Multicultural Music Education at the University Level

Of the seven course objectives presented, the first six related to standard topics usually included in a class of this type. However, when hearing that the seventh objective was to examine diverse traditions of music making, explore techniques for presenting world music to middle and high school classes, and become proficient on an instrument from a culture other than their own, the students responded with slightly raised eyebrows, realizing that this semester's course was headed in an unexpected direction. I explained that I had recently reviewed the recommendations for multicultural education in the 1967 Tanglewood Symposium and the 1994 National Standards for Arts Education.' I had also read numerous articles describing the lack of multicultural perspectives in U.S. music teacher training institutions. The writings of Carol Scott-Kassner and Kathy Robinson particularly interested me.2 Both criticized con

Music in conflict management: Fostering interracial understanding through music

Abstract In the last decades Norway has seen substantial immigration into the country, largely from South Asia. In the capital (Oslo) one out of every four school children have foreign roots. This development poses a great challenge to educational policy, and begs for efforts that foster interracial harmony and prevent ethnic conflict. The Norwegian Department of Culture and the Culture Fund in the years 1989‐1992 supported a school research project run by the State agency for music promotion — NorConcert. Eighteen schools with varying percentages of immigrants and of various location and size were selected to test the effectiveness of an art program rooted in the cultural heritage of the countries of origin. Music, dance and theatre from Asia, Africa and Latin‐America were presented by renowned artists from the countries represented, supported by immigrant teachers and culture workers. The results of the study revealed significant improvement in the social milieu of participating classes and schools, with a lessening of conflict and harassment. The program was also seen to foster self‐esteem and the development of individuality among immigrant children. As a result of the project a Norwegian Multicultural Music Centre was established in 1992, and the programming of State supported school concerts was extended in an intercultural direction.

The History and Development of Multicultural Music Education as Evidenced in the Music Educators Journal, 1967-1992

In 1967, secretary-general of ISME Egon Kraus challenged music educators to become multicultural in their perspective, a challenge spurred on by the Tanglewood Symposium. Music educators in the United States have long been interested in the musics of other cultures. Often they have learned about these musics and how to implement them in the classroom through the pages of the Music Educators Journal (MEJ). The MEJ has covered multicultural perspectives in music through its articles, special issues, book reviews, and reports from MENC conferences and symposia. A study of the MEJ from 1967 to 1992 revealed the growth of multicultural music education. During the 1970s, a greater depth of interest in, and knowledge about, world musics developed. Throughout the 1980s, this initial interest grew steadily into a need for methods and materials for the implementation of multicultural music studies in the classroom, as did the need for teacher training in these musics. A formal declaration of commitment to multicultural music education was adopted at the MENC Multicultural Symposium in 1990, leading to a broad world perspective for music education. The three MEJ special focus issues on multicultural music education epitomized each of these growth areas.