An analysis of verbal responses to music in a group of adult non-specialists

In a workshop setting, two pieces of recorded music were presented to a group of adult non-specialists; a key feature was to set up structured discussion within which the respondents considered each piece of music as a whole and not in its constituent parts. There were two areas of interest, namely to explore whether the respondents were likely to identify the musical features or to make extra-musical associations and, to establish the extent to which there would be commonality and difference in their approach to formulating the verbal responses. An inductive approach was used in the analysis of data to reveal some of the working theories underpinning the intuitive musicianship of the adult non-specialist listener. Findings have shown that, when unprompted by forced choice responses, the listeners generated responses that could be said to be information-poor in terms of musical features but rich in terms of the level of personal investment they made in formulating their responses. This is evidenced in a number of connections they made between the discursive and the non-discursive, including those which are relational and mediated by their experiences. Implications for music education are considered.

Boundaries and Bridges: the influence of James Cooksey Culwick on the development of the teaching and learning of music in nineteenth century Ireland

James Cooksey Culwick (1845-1907) was born in England. Trained as chorister and organist in Lichfield Cathedral, he moved to Ireland at twenty- one and remained until his death in 1907. Although his reputation as scholar, musician and teacher was acknowledged widely during his lifetime - he received an honorary doctorate from University of Dublin (1893) - little is known about the contribution he made to music education. This paper addresses this gap in the literature and argues that it was Culwick's singular achievement to pay attention to music pedagogy at secondary level, by recognizing that music could be seen as a serious career option for girls, and by providing resources for teachers which emphasised the development of an 'art-feeling' in pupils of all abilities. In addition, he considered Irish music as an art which had significance as music first, and Irish music second, and advocated a 'laudable tolerance' for opposing views on matters of cultural identity to Ireland at the end of the nineteenth century.

Inspired by the past, driven by the passion: music in state-supported education in New South Wales and Victoria 1848-1920

This investigation considers the development of class music teaching in New South Wales and Victoria during the first seventy-two years of state-supported primary education. The first chapter describes the English background including music teaching methods (resulting from the mid-nineteenth century English choral singing movement) and the subsequent development of music teaching in English elementary schools. The promotion of school music is then considered on a broadly chronological basis in the two states and several themes are identified in relation to school music policy and practice. These include the status of music (core curriculum or extra-curricular subject), who should teach music (generalist or specialist teachers), what teaching methods and music notation should be used (staff or Tonic Sol-fa), musical training for generalist teachers, and curriculum content in relation to the aims and objectives of school music. Comparisons are made between developments in both states and between both states and English school music. The final chapter demonstrates the relevance of many of the historical themes identified for music education today. The thesis concludes by identifying a recurring problem from the past. namely the lack of co-ordination between various aspects of school music policy, as the most serious problem to be overcome in the future.

Learning, linking and participating : transmitting African music in Australian schools

Considered in this paper is the concept of "change"for practising teachers who are teaching and learning African music in Melbourne, Australia. African music and culture is seen as an effective way for these teachers to experience a cross-cultural odyssey through both social and situated learning. This chapter reports on a music project where teachers perceived African music to be an effective way to leam link and participate with a new music and culture. The chapter summarises pertinent findings relating to why and how teachers are engaging with African music.

Kivy on justifying music in liberal education

Within analytical aesthetic circles, Peter Kivy is best known for re-igniting the debate inaugurated by Eduard Hanslick over the issue of whether or not music of the purely instrumental or absolute kind can be said to express a content, and, if so, whether or not listeners' emotional responses to it bear any relation to that content. Kivy's particular contribution countenances the possibility of interpreting the appearance of a musical work as expressive - be it the percussive Allegro barbara [1911] by Bela Bartok or the lyrical Adagio for Strings {1936] by Samuel Barber - without having to presume that music itself, being non-sentient by nature, possesses any emotional, subjective state.  This short essay, however, will critically examine a rather neglected facet of Kivy's prolific writings. In a relatively recent attempt to justify the place of purely instrumental music in liberal education without drawing upon the above-mentioned notion of expressiveness, Kivy reconceptualizes the matter in a manner that significantly shifts us from the dominant epistemological arena of debate. No longer are we to dispute the place of music within the terms set by the highly influential forms-of-knowledge approach revived by P.H. Hirst a generation ago and currently under revision by Jim McKenzie in terms of forms of argumentative discourse. But before first surveying and then critically assessing Kivy's proposal, perhaps we should briefly remind ourselves of the contrasting frame of reference associated with Hirst.

Architect as composer: engaging architecture students with music in the design studio

This paper explores the engagement of architectural students with music in a second year design studio, through a Game and two design projects. A ‘Game’, in the context of this research, is a low-risk learning activity derived from the model established in the CUTSD ‘Reflective Making’ project. The Game required students to complete one of three tasks; to compose and record a piece of electronic music; to research the works of a composer within a digital presentation or to design a prototype musical instrument. This was used as a generative device to inform the design of a Music Room: a space for the contemplation and composition of music. A third stage of the project involved the actual construction of 8 Music Rooms, a high-risk, high-reward activity that requires physical resolution of an established relationship between music and architecture.

This paper will focus on the engagement of architecture students with the Game and related design projects. Student perceptions of the project are used to inform an evaluation of the project as an authentic learning experience and as a valuable component of their architectural education.

Integration and multiculturalism in music in Australian schools: has/can/should the leopard change its spots?

The 1960s saw a broadening of the offerings of music from other cultures in the materials and programs of the Australian Broadcasting Commission (ABC). This is a useful indicator for our changing perceptions. Since then, increasingly ‘authentic’ music materials have been available to primary classroom teachers, but how far have we really come? Blacking (1973) identified the difficulty of truly acquiring an understanding, skill and authenticity in the music of another culture. Blacking stressed the importance of music and musical acquisition occurring in a cultural context. In many cultures there is a clear link between the acquisition of musical and social skills. By removing music from one culture and presenting it in the symbolic gestures of another we may strip much of its meaning. It is very difficult for a member of one culture to comprehend the music and culture of another without understanding its social milieu. This is particularly true for musics from cultures removed from the Western music paradigm. It could be argued that the further we move from our cultural norm, the harder it is to produce authentic experiences for students and future experienced teachers. By considering the resources offered to teachers and teacher education students we can explore the attempts we have made, and continue to make, in our attempts to move from integration to multiculturalism. As a ‘work in progress’, this paper will consider the inclusion of African music in the nationally distributed ABC school singing books as a means of illustrating and marking change.

Why teach music in schools?

One of the most pressing problems for contemporary school education is an overcrowded curriculum. The so-called 'National Curriculum' developed as a result of the Australian Education Council's Hobart meeting in 1989 and the subsequent publication of a series of 'Statements' and 'Profiles' by the Curriculum Corporation in 1994 consolidated the school curriculum into eight Key Learning Areas (Curriculum Corporation 1994a, 1994b). Since that time most states have moved away from school-based curriculum development and have embraced the National Curriculum but with adaptations to suit their own needs. In the case of Victoria there have been two iterations of the National Curriculum in the form of Curriculum and Standards Frameworks. In the original version, Music was one of the five arts strands specified for years P to 6 and one of the six strands for years 7 to 12 (Board of Studies 1995). With the CSF2, Music is now one of three possible arts form included under Performing Arts which, with Visual Arts, form the two strands specified for years P to 4 (Board of Studies 2000). Music is then included in its own right as one of six Arts strands for years 5 to 12. However, effectively the CSF2 represents a significant loss of ground for Music at the lower and middle primary school levels in Victoria.

Recognizing and celebrating Xhosa traditional music in South Africa

The recognition and celebration of Indigenous Knowledge Systems (IKS) as a way forward to promote democracy and inclusivity continues to be part of South Africa's nation building process. One effective platform for this to take place is through community music making as music making in Africa is a way of life. Since democracy in 1994 many initiatives were set up to explore and foster traditional music. This paper presents a brief contextualization of IKS, identity and community music making. It reports on the a Xhosa music research project (2004-2006) as an ethnographic study which is descriptive and interpretive as a holistic cultural portrait. Participants in the project included post-graduate music students, community culture bearers and academics. Only some significant aspects of the Xhose music project at the University of Fort Hare will be reported on. We contextualize the recognition and celebration of IKS within the parameters of the music and the culture of the amaMpondo within the Xhosa people. The paper specifically focuses on the ritual life of the amaMpondo. It also describes the indigenous bow instruments of the Uhadi and Umrhubhe as unique examples of South Africa's traditional music. As this initiative proved a worthy undertaking, we challenge whether such a project could strengthen local IKS elsewhere and be a pathway for tertiary institutions to engage effectively with local community music practitioners in order to prepare students effectively as holistic music educators.

Music needs no visa : insights from three South African voices on teaching African music in Melbourne, Australia

As Australia becomes increasingly multicultural, there are many that would argue that the teaching and learning of music at educational settings can be carried out in a number of ways where cultural context and authenticity is imperative. This paper discusses the main arguments of teaching and learning in music education and provides some theoretical perspectives of teaching African music as groundwork for the discussion and findings. This paper is part of a wider study called 'Smaller steps in longer journeys' and. provides insight into the teaching of South African music in Melbourne. Three South African voices (my own as tertiary music educator, an artist in schools and a primary music specialist) through reflection and interview data considers 'how' and 'why' African music is taught The discussion presents an openmindedness of music when it travels to a new country where the pedagogy is the process of production and exchange, a social-discursive practice whereby process and understanding is more important than just product. As music requires no visa it will continue to travel and be shared in different context where pedagogical practice considers teacher, learner and knowledge.