Multicultural Music Education Research Articles

다문화 음악교육을 위한 컵타 합주 교수 · 학습 방안 연구: 뱅크스의 다문화 교육이론을 바탕으로

The purpose of this study was to investigate a teaching and learning approach with a cup percussion ensemble to provide an effective lesson in multicultural music education. To develop a lesson plan that achieved the study’s purpose, this study selected a cup percussion as a medium of interaction and this study examined the multicultural education theory porposed by James Banks. This study adapted the lesson model of the multicultural transformation approach in social studies suggested first-grade middle students music curriculum to help students increase their academic achievement and develop positive attitudes toward multiculturalism. Through this study, First, cup perussion instrumental activities can provide a special musical experience to teachers as well as students, and in the practice process through ensemble, it can be extended to creative experience activities linked to creative and cooperative learning for each group. Second, to promote understanding of cup percussion, this study discussed the definition of rhythm, looked into the concept and characteristics of cup percussion and how they use oral consonants, and analyzed the educational functions of cup percussion and included in middle school music textbooks. Third, Playing a cup song while singing folk songs from different countries promoted interest and positive interactions among the students. It is hoped that this study will help you learn about the cultural background of each country's unique value through multicultural music education, and will be a study to professionally understand the concept, principle, theory, and practice of multicultural music education through the Cup percussion ensemble as an effective response task.

Conceptual Framework: Fostering Multicultural Music Education Innovation at Anyang Normal University in China

Conceptual Framework: Fostering Multicultural Music Education Innovation at Anyang Normal University in China

Exploring Teaching Strategies for Primary and Secondary Music Education in China's Ethnic Minority Regions from a Multicultural Perspective

This study aims to explore the implementation of multicultural music education in primary and secondary schools in ethnic minority regions of China from a multicultural perspective. The paper begins by delving into the theoretical foundations of multicultural education and its relevance in the field of music education. It then analyzes the unique music traditions and cultural backgrounds in different ethnic minority regions of China, as well as their influence on music education. The paper provides teaching strategies and methods that educators can employ to incorporate multicultural elements into music education. Furthermore, it presents case studies of successful music education projects in China's ethnic minority regions and discusses the ongoing challenges and future prospects of multicultural music education in China. In conclusion, this study underscores the importance of adopting a multicultural perspective in music education to foster cross-cultural understanding and enrich the learning experiences of students in ethnic minority regions.

Designing music education curriculum in a multicultural environment: Vocal training in China

The study aims to evaluate the potential of vocal teachers to overcome the challenge of designing and implementing curriculum in a multicultural classroom through a study of their intercultural competence. The study investigates whether vocal teachers have the knowledge, skills, and awareness of intercultural differences to perform effective teaching and curriculum development in a multicultural environment. The research rests on the practice of music education at Chinese universities and colleges with an art direction or a music and vocal department. The sample consisted of 88 participants working as vocal teachers of a permanent classroom in educational institutions with a multinational composition of students. The participants included 38 females (42.4%) and 51 males (57.3%). The study employed and adapted a survey assessing the intercultural competence of the sample participants. In responses to the thesis that it is important to consider different cultures when studying vocals, 98.9% of respondents expressed absolute agreement. At the same time, 86.4% of vocal educators agreed that they understood how their cultural experience influenced decision-making in shaping curriculum and teaching. Researchers can apply the findings to compare the assessment of factors affecting multicultural music education in educational institutions around the world.

Aspirations and limitations: the state of world music education in secondary schools in multicultural Manchester

AbstractThis article examines the state of world music education in secondary schools in Manchester, analysing school curricula and exam specifications alongside interviews conducted with teachers. World music occupies a significant position in music education at Key Stage 3, but its scope becomes progressively limited at higher levels. While teachers recognise the benefits of world music education for promoting cultural understanding and social inclusion, they struggle to maintain it throughout their programmes because of barriers related to examinations, teaching materials and school resources. This creates a dysfunctional learning trajectory that discourages students from studying music, particularly disadvantaging those from weaker socio-economic backgrounds. Nevertheless, teachers’ perspectives, often overshadowed by government policy, evidence strong aspirations to implement multicultural music education in practice.

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

Construction of University Music Education Resources from the Perspective of Multidimensional Culture

Multi-dimensional cultural music education refers to let students really learn to appreciate and understand the connotation of music in a wide variety of music. This can be an in-depth exploration of a certain kind of national music, or it can be a cultural content about music. At present, in the promotion and construction of multicultural music education in China, we should properly handle the interrelation between China music and foreign music, Han music and national music based on the current objective reality. The construction of digital music education resources is an important part of the construction of digital resources in local newly-built undergraduate colleges in China, and it is also the core content of its music specialty construction. By discussing the construction of university music education resources from the perspective of multi-dimensional cultural, this paper analyzes the construction path of university music education resources from the perspective of multi-dimensional cultural, hoping to attract the attention and participation of relevant people, and play a modest role in the future development of university music education in China.

Muzyczne języki bajek Walta Disneya w procesie edukacji międzykulturowej

Music from Walt Disney’s animations is an element of pop culture. However, it is not a world limited to popular music but a space where ethnic music meets new sounds. The world of contemporary music enters a dialogue with the music of the sources, becoming its new translator. Thanks to Walt Disney’s film productions, multicultural music education opens up a new dimension in which globalization becomes an ally of local culture. The article addresses how both sound and word are used to present a different culture. In the cited examples, the language with its rhythm and melody is treated as an interesting musical material. Selected Walt Disney films were analyzed – their soundtracks as well as articles and reviews, blogs about the studio’s musical productions. In the considerations, a lot of attention was devoted to the song, which is the carrier of the main content of the film and the most frequently played element of the film image. Some attempts were made to indicate its functions in intercultural education, but also the ways of its use in child education.

Chinese Music Teachers’ Perceptions of Context Issues and Transmission Modes in World Music Teaching

Based on his academic background in multicultural music education and ethnomusicology, Huib Schippers developed the Seven-Continuum Transmission Model (SCTM) in 2004 to describe the teaching situations of world music. The current study adopted the SCTM as a framework to investigate Chinese music teachers’ perceptions of context issues (tradition, authenticity, and context) and transmission modes (analytic/holistic, notation based/aural, and tangible/intangible) in world music teaching. Semi-structured in-depth interviews were conducted using a qualitative methodology with nine primary and secondary school music teachers from different provinces in China. This study found that Chinese music teachers’ perceptions of context issues and transmission modes in world music teaching were more inclined to the formal, institutional settings rather than the informal, often community-based process. In addition, the music teachers were also influenced more by the “Eurocentrism” values; however, their perceptions were less affected by ethnomusicology that interprets human music from a cultural perspective and by 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.

Effects of Multiculturalism: Piano teaching in Chinese Universities

Driven by today's international trend of multicultural education, the change from a single to a diversified music education curriculum in Chinese universities has become one of the most urgent issues to be improved and solved in Chinese music education. This paper analyzes the history of multicultural music education and its development status in Chinese college piano teaching. Finally, it puts forward new research suggestions to improve the quality of piano teaching in colleges and universities and promote the development of multicultural music education in China's colleges and universities.

A Study on Multicultural Music Education Applying the Reflective Musical Practicum by David J. Elliott

본 연구는 엘리엇의 반성적 음악교육 실습을 고찰하고 사회적 소통으로서의 음악 활동을 통해 다문화 음악의 ‘문화’와 ‘맥락’을 습득하는 다문화 음악교육 지도 방안을 개발하고자하였다. 이를 위해 엘리엇의 다문화적 관점을 수용하고 그가 제시한 다문화 음악교육 유형 중 역동적 유형에 의해 교육자료와 활동 내용을 구성하였다. 인도 종교음악, 동아프리카 동요, 하와이 무용음악, 쿠바 대중음악으로 하는 새로운 다문화 악곡을 도입하고 종교, 언어, 종족, 역사의 주제별 맥락을 설정하였다. 이 악곡과 맥락을 중심으로 하여 엘리엇의 반성적 음악교육 실습 프로그램 7단계에 따라 작사, 작곡, 신체표현, 즉흥연주의 음악만들기 활동의 지도 방안을 도출하였다.

A Case Study of Multicultural Music Education Practice in Primary Schools -Taking Nanjing Xiaoying Primary School as an Example

Under the influence of the development trend of global economic integration, the concept of multicultural music education has gradually attracted the attention and research of multinational music education circles. After summarizing relevant scholars’ literature on multicultural music education through literature research, I find out the research and practice status of multicultural music education at home and abroad, and forwards strategies for how can the education entering primary school. On this basis, after writing the course objectives, chapter arrangements and course content, I used the practice research method to take class four and five，grade six of Nanjing Xiaoying Primary School as the practice object, and conducted a 16-week teaching practice around multicultural music education from September 2021 to December 2021. It is concluded through practice that multicultural music education not only conforms to the development of the times, but also helps to enhance students’ interest in music learning, enriches the content of music teaching, and helps students establish a prototype of the world’s music context. In specific implementation process, students’ innovative ability should be affirmed, and the differences in singing ability among individuals and the acceptance of the depth and breadth of teaching content need to be adjusted in practice.

Assessment of Preservice Music Teachers' Multicultural Personality: Multicultural Music Education Perspective.

This study examines preservice music teachers’ multicultural personality level and characteristics in the context of multicultural music education in China, focusing on the factors that influence the teachers’ multicultural personality traits. We surveyed 433 preservice music teachers who responded via the Multicultural Personality Questionnaire-Short Form survey instrument. The results indicated that the multicultural personality level of preservice music teachers was intermediate, mainly due to a deficiency in the Flexibility and Emotional Stability dimensions, which are necessary for dealing with cultural differences in the face of unknown multicultural conditions. In addition, we also found that the size of a teacher’s hometown and the years of studying and teaching are significant factors in shaping preservice music teachers’ multicultural personalities. Preservice music teachers whose hometowns are big cities have a higher multicultural personality level than those in rural areas. The more time a preservice music teacher spent studying and teaching, the higher the multicultural personality level. Gender, educational level, and experience playing musical instruments have no statistically significant effect on the multicultural personality of preservice music teachers.

Zadok Adolu-Otojoka and Music Education in Uganda: An Oral History

Zadok Adolu-Otojoka (b. 1932) is one of the prominent music educators and professional performers in the recent history of arts education in East Africa. A Ugandan by nationality, Adolu-Otojoka has served in different professional capacities as music educator, opera singer, folk musician, dancer, composer, and education/culture administrator, at national and regional levels. Educated in Uganda and in the United States, Adolu-Otojoka excelled as a bass-baritone and featured in several professional opera performances alongside celebrated European and American actors and actresses such as Ray Charman, Lance Hardy, Jane Wise, Mike Laflin, and Henry Pearson in the 1970s and 1980s. His most memorable production was Jesus Christ Superstar in which he performed as Caiaphas, in Nairobi, Kenya. His long and distinguished music teaching career spans over half a century starting in the early 1950s through 2006, during which he taught vocal performance, instruments, music theory, and dance and drama courses in the East African region. Although his career is widely discussed, very little or no documentation of his celebrated life is available for reference. Therefore, this oral history was intended to chronicle historical patterns of music education in Uganda through his testimonies as one of the pioneers of music education in colonial and post-independence East Africa. Adolu-Otojoka’s experiences will not only provide valuable inspiration for the young music education discipline in Uganda, but also insights regarding multicultural music education perspectives in general.

A Survey on Chinese Music Teachers’ Attitudes towards World Music Teaching

This study used a questionnaire as a research instrument to investigate the attitudes of 1 368 Chinese primary and secondary school music teachers towards world music teaching. The questionnaire includes single- and multiple-choice questions. It was used to examine the music teachers’ definitions of ethnomusicology and world music, their understanding of the major rationales for world music teaching, the world view of music, and the purpose of world music education, teaching approaches, and effective teaching activities as they perceived, and the challenges faced by Chinese music teachers in world music teaching. The results showed that Chinese music teachers did not have a clear and profound understanding of the aspects examined above. Instead, the teachers are more influenced by Western centralist values. They are less affected by ethnomusicology, which interprets human music from a cultural perspective, and multicultural music education. In general, the music teachers lacked confidence in teaching world music.

Finding the Direction for Improvement in Multicultural Music Education by Analyzing the Contents of Elementary School Music and Other Subjects

목적 이 연구에서는 초등학교 음악과 및 타 교과 다문화 내용에 관한 교육과정 및 교과서 분석을 통해 다문화 음악교육 개선 방향을 모색한다. 방법 이를 위하여 문헌 고찰을 통해 다문화 음악교육의 개념을 정의하고 분석 기준을 세워 음악과 및 타 교과 교육과정과 교과서 내용을 분석하였다. 결과 음악의 교육과정 및 교과서 내용이 일회성 노래 부르기나 단순 참여 활동 등으로 간략히 제시되어 있는 반면 사회과, 도덕과는 다문화 교육은 각 문화의 고유성과 개별성을 전제로 상호문화교육 관점을 강조한다. 또한 단순한 참여에서 시작하여 구체적 실천 행동까지 연계성을 가지고 접근하고 있다. 결론 사회과와 도덕과의 분석 내용을 토대로 시사점을 도출하면, 첫째, 다문화 음악교육의 개념을 재정립해야 한다. 둘째, 음악과 교육과정 상 다문화 관련 요소가 체계적으로 제시되어야 한다. 셋째, 우리 음악에 대한 문화 정체성을 확립하여야 한다는 결론에 도달했다.

The sustainability of multicultural music education in Guizhou Province, China

Sustainability has been incorporating multiculturalism in music education (MME) for decades, but the dialogs of MME in China has always focused on school education, neglecting community-based music education. The cultural-political context of this study is in Xijiang, southwest China, where is a Miao-dominated community integrating Miao, Han and other ethnic cultures. This study employed a mixed-method approach with a convergent parallel design that combined a survey with qualitative methods including casual conversation, semi-structured interview, and documentary analysis. Findings revealed that despite the promotion and inheritance of Miao’s music are highly valued, and the interest of minority ethnic communities in engaging in music learning and performance remains considerable, the sustainability of multicultural music education in Xijiang is in question. Problems are attributed to inadequate and unequal educational resources, devaluation of state institutes, shortage of teachers, and high illiterate rate. This article contributes to theorizing on sustainability in multicultural music education within a multicultural background in southwest China, by identifying the stakeholders in the education system and drawing on the empirical evidence on the truly needs of communities. The implications of the study include improvements in the development of multicultural music education.

(Re)organizing the music curriculum as multicultural music education

Cultural hegemony permeates society and is spread through social institutions. These institutions socialize people into the norms, values and beliefs of the dominant social groups. Moreover, cultural hegemony is spread and perpetuated through education in the form of compulsory education, a national curriculum, national assessments, as well as the hidden curriculum. The cultural hegemony of Western Art Music is established as the standard of music making and is institutionalized in education systems, national curricula and national assessment practices because it is inherent in ideologies and decision making. To counter the dominant hegemony, multicultural education philosophies have been adopted in democracies. The purpose of multicultural education is to change the dominant hegemony and bring about transformation in policy, attitudes, curriculum, assessment, the language of instruction, and strategies for learning and teaching. In this article, I discuss and compare music curricula from South Africa and Australia to determine how multiculturalism is manifested in the curriculum content for music in schools. I also suggest possible frameworks for curriculum developers in democracies to consider, which would subvert the status quo and establish a counter-hegemony.

Analysis of the Application of Multicultural Music Education in College Music Education

Analysis of the Application of Multicultural Music Education in College Music Education