Engaging, exploring, and experiencing multicultural music in Australian music teacher education : the changing landscape of multicultural music education

ln multicultural Australia, the development of positive intercultural attitudes is essential in the creation of a harmonious society. Music education is a powerful medium to address cultural inclusivity. The 2005 National Review of School Music Education challenges Australian higher education institutions to prepare programs that explore multiculturalism to engender tolerance.This research explored how final year teacher education students at Monash University and Deakin University (Victoria, Australia) engage with music of other cultures and how this affects their understanding of cultural diversity in school music. From 2005 to 2008, teacher education students undertaking music methodologies were invited to participate in semi-structured interviews.The data collected from the interviews were transcribed and analyzed using interpretative phenomenological analysis, and from these data, we developed patterns of meaning that are reported thematically; student teachers' beliefs, attitudes, and understandings of multiculturalism and the classroom realities of multiculturalism.The findings contribute to how we, as tertiary educators, evaluate our role and programs.

The odd bod, the icon and the modest woman : the differences and similarities amongst three Australian women music teachers, performers and composers

Throughout Australia's history there have been many women who have been active in music education, performance and composition, despite the traditional family commitments which women have negotiated, overcoming prevailing negative attitudes to success outside the home. The period 1900 to 1950 in Australia saw significant changes in the social structure such as universal suffrage, Federation and World War 1. These changes broadened opportunities for some women to negotiate a life-time career in music. The researcher has identified three significant women who were able to forge careers in music during this time in music teaching, composition and performance. The women were Mona McBurney, Ruby Davy and Ruth Flockart. The selected women were all unique; McBurney was an outstanding composer for her time, being the first woman in Australia to compose an opera. Also, she was the first woman in Australia to gain her Bachelor of Music. Despite these successes, she had a reputation for her overwhelming modesty and shyness. Davy was significant because of her diversified ability as a teacher, performer, composer and elocutionist, and because she was the first woman in Australia to gain her Doctorate of Music. Davy has been described by several people as unusual, strange, and an 'odd bod'. Flockart was a music teacher at Methodist Ladies' College Melbourne for almost fifty years, half of those as the Director of Music. She was a significant figure in contemporary music education, particularly as a choral conductor, where she has been described as an 'icon'. This research looks at the differences and similarities amongst these three women in terms of family life, social position, education and support systems, and their ability to negotiate a career in music teaching, performance and composition.

Phenomenological investigation of e-value chains from Australian music stakeholders perceptions

This thesis establishes that the way music consumers perceive value has been significantly altered because of their virtual 'inclusion' in information systems processes. The results identified factors influencing the value perception and value-adding processes, providing industry stakeholders with an understanding of customers' judgements, perceptions and their sense of value.

Accounts of developing absolute pitch in young children's music education

The retrospective case study investigations highlighted the important role of parents, family members and significant others in the community in providing a nurturing environment, a variety of learning opportunities, necessary support resources, and expertise which, it is argued, contributed to the development of the participants' absolute pitch abilities.

Interrupted cadence : the mismatch of the school music curriculum and the intercultural understandings of pre-service teachers in Victoria, Australia

In Victoria, Australia, the curriculum framework for schools, Victorian Essential Learning Standards (VELS) stipulates multiculturalism as an integral part of the education of students. This encompasses knowledge, skills, values and behaviours (Victorian Curriculum Assessment Authority, 2009). In this curriculum framework, teachers must consider ‘intercultural understanding’. It seems logical that, to teach this, preservice teacher education students should be able to embrace this idea. VELS addresses multicultural understanding and the development of thinking skills. The Arts domain specifically provides diverse opportunities for students to “develop aesthetic and critical awareness … of arts works from different social, historical and cultural contexts”. In this research, undertaken between 2005 and 2008, semi-structured interviews were completed with final year pre-service music education students about their intercultural understandings in music education. Interpretative phenomenological analysis of the data showed that, although many feel confident including music of other cultures, having had some experience in their tertiary education, some have pursued other ways to inform themselves about music of other cultures. There appears to be a mismatch between curricular expectations and the limited time and resources available in tertiary education programs for music. The disparity between the school music curriculum framework and the preparation of teachers requires attention and resolution.

Quantum music

The purpose of the research was to examine the human response system to aid the development of improvised music and mulit-media artwork. It was found that there are many predictable responses to external stimuli within the human body and that music and performance would benefit if this knowledge was applied.

Technology and music in the early years of schooling

An investigation of junior primary school children's use of computer-based music technology found that, with active support from teachers, young children were able to participate effectively in relatively complex musical processes, with particular regard to listening, performing and composing, thus extending the traditional scope of young children's music education.

Implementation of ICTs in primary music education in Hong Kong

This study investigated the present state of IT policy implementation in relation to music education. The current status of Information and Communication Technology (ICT) integration in music curriculum in primary schools in Hong Kong has been assessed to provide references and recommendations for enhancing the state of integration, and for subsequent and sustainable development.

Enhancing music composition opportunities through techology in upper primary classrooms

The research contributes original knowledge about an e-learning model for music education delivery in schools. An innovative project called 'Compose' which combines a range of developments and resources based on computer technology with specific initiatives to addess the identified barriers to composition was designed. This model offers a potentially viable way to make the expertise of music specialists available online in primary classrooms where such expertise would not normally otherwise be available.

Women in exercise to music : individual experiences of influences to be slim

This qualitative study explores reasons why women who participate in exercise to music continue to do so long-term. Thirteen women were interviewed. Generational differences of body perceptions were easily identifiable.

Teaching music in New South Wales primary schools : 1920-1956

This thesis concerns the place of music in New South Wales schools from 1920 to 1956. The initial chapters explore issues related to the investigation and the methodology that has guided the research. To provide a foundation for the thesis as a whole, the investigation’s British antecedents are considered and the relevant literature is reviewed. Six broad themes are used as the organisational framework for this thesis: the major events that shaped schooling, the syllabus and recommended music resources, the rationales for the inclusion of music in schools, the place of school music broadcasts, music teaching practice in schools, and the provision of teacher training. Each theme forms the basis of one chapter, with the exception of one extensive theme which is discussed in two adjoining chapters.

This investigation concluded that from 1920 to 1956, the Department of Education’s fundamental aim for schooling was to develop the state’s children into good citizens. Music was valued for its ability to contribute to this aim.

During this period, the Department engaged in a policy of music transmissionism. Specifically, the Department sought to transmit the music values, knowledge and skills that it held in high regard to teachers who in turn were expected to transmit them to their students. The dominant culture and values that were transmitted were those of Britain and the British Empire—that is, music was used to transmit Britishness to children.

The investigation also concluded that during this period there was an expansion of music curriculum and pedagogy in New South Wales. However, in a oneway traffic of ideas between Britain and Australia, it was British music education practices that continued to influence the methods used in New South Wales schools.

In addition, this investigation concluded that there were past periods when New South Wales schools were very musical places—specifically, at the turn of the twentieth century, during the Second World War and during the immediate post-war years. The successes achieved in music during these times required the interplay of six factors: a Department of Education that valued music for the contribution it made to the development of children as good citizens; a Department of Education that provided strong leadership for music by employing a conscientious, inspirational music educator or educators whose sole responsibility was to champion and supervise music across the state; a Departmental expectation that music would be taught by generalist teachers who themselves had developed music expertise during their pre-service preparation or through professional development opportunities offered to them; the existence of a reward system to encourage teachers to increase their music discipline knowledge and skills; a music syllabus that was developmental and hence built on prior music knowledge and skills; and teachers who were able to deliver quality music programs to their students because they themselves were one element in a cycle of respect for music.