Learners' perceptions about the relationship between music education and generic skills development : a case study within the Australian higher education sector

A major issue emerging from the research and debate concerning quality in higher education has been an emphasis on the value of the acquisition of generic skills by undergraduate students, as indicators of quality in education. Music educators have long recognised the contribution music makes to the general education of learners. Learning in and through music can present varied and complex means for the acquisition of generic life skills such as: problem solving, decision-making, critical thinking, oral and written communication and teamwork. This paper documents one particular course of action that was implemented within a university undergraduate primary teacher education program, to systematically gauge learner perceptions about generic skill development/enhancement before and after participation in the music component of the core arts education subject.

Travelling drum with different beats: experiencing African music and culture in Australian teacher education

This article reports on a study that examined the effectiveness of introducing African music and culture to Australian non-specialist primary teacher education students at Deakin University in Melbourne (Australia). The study demonstrates that African music enhanced the generic musical experiences, learning, motivation, interest, confidence and competence of students in their fourth year of teacher education. The research also addressed the significance and contribution of African music and culture as a cross-cultural experience for these beginning teachers who in turn could provide similar experiences for their own students. This study highlighted the author's role and cultural identity as a South African music educator in transmitting the music and culture represented in 'the travelling drum' to a cohort of students with a predominantly Eurocentric orientation. By extension, this curriculum initiative broadened students' understanding and application of indigenous methods of teaching and learning as part of a global experience. Such a curriculum represents a pathway to many other forms of non-Western indigenous knowledge of music, culture and pedagogy that can be mapped out as a journey along a multicultural route towards 'internationalising the curriculum'.

Children's participation in music : connecting the cultural contexts - an Australian perspective

The cultural contexts of home, school and community all have important parts to play in the music education of children, but at present in Australia, these three entities are insufficiently connected on a number of fronts, not the least being an understanding about the purpose(s) of young people's engagement with music. This paper puts forward two specific proposals for action aimed to help build linkages among the three cultural contexts and ensure young people's on-going engagement with music. These proposals, which call on the education sector to assume leadership for action, have implications for policy makers, school personnel, as well as parents, individual artists and community arts organisations.

Cross cultural engagement: teaching African music to Australian students

This paper reports on research that examined the effectiveness of introducing rhythmic concepts through an unfamiliar musical genre to Australian generalist prim my teacher education students. The genre selected was African music, in particular action songs, dance and instrumental improvisation. The methodologies of Orff, Kodaly and Dalcroze were taught through the repertoire of African music in order to foster a closer relationship between pedagogical theory and practice and to teach rhythm through cross-cultural engagement. Through analyses of questionnaire and interview data, it was demonstrated that African music had a positive effect on students' conjidence as non-specialists music teachers and enhanced their skills in staff, sol-fa, hand notation and performance. Also students were not only highly motivated to engage with this new musical genre, but also gained an increased understanding of African culture. It is argued that African music was perceived by students not so much as a "novelty", but as a source of genuine motivation, interest and enjoyment. Its potential for extending student understanding of rhythm as well as taking a significant step towards internationalizing the curriculum for a cohort of predominantly Anglo-Celtic, pre-service teachers is also explored.

Empowering Australian students in African music: experiential education in primary teacher training

Luckman (1996) defines experiential education as a "process through which a learner constructs knowledge, skill and value from direct experience" (p. 7). The core of such learning is practical engagement, contextualised by concepts and skills in guided experiences. This process, to be most effective, should be supported by reflection. This paper considers an experiential program in African music that is part of pre-service primary teacher education for generalist teacher trainees. As part of the Bachelor of Primary Education degree, offered by Deakin University (Australia) students can select an elective subject on African music in the final year of their four-year course. In this subject students learn African music experientially, by playing, singing and moving. These students completed a questionnaire and were interviewed at the conclusion of the unit in 2003. Data collected showed the effectiveness of using an unknown music to explore musical concepts and understandings in an Australian educational setting.

So much to do, so little time: multicultural practices and Australian school music

In this paper, the authors are concerned with the challenges, dilemmas and choices that teachers face when teaching multicultural music in classrooms in Australia in an already overcrowded curriculum. This paper considers the notion of changing and shifting cultures, looking at how teachers can break out of the familiar paradigms in which they were trained. There will be a consideration of the notion of cultural ownership questioning whose music is to be taught, how is it to be taught, and by whom. A discussion of how music is embedded in the culture that creates it is undertaken in relation to the concepts of authenticity and transmission. The authors contend that the exploration of other cultures enables the making of connections within and without the classroom and beyond the school into the local, national and global arenas. It is our position that teachers should not hesitate to explore other musics and cultures. It is noted that teachers need support to do this which can only enhance both their teaching and the learning of their students even though there is so much to do in so little time.

Other musics in the classroom: from assimilation to multiculturalism in Australian school music

This paper considers the notion of 'other musics' within the Australian school context. It presents a theoretical overview of such terms as 'imperialism', 'assimilation', 'integration' and 'multiculturalism' - all terms that we use to summarise our inclusion of 'other' in Australian culture. By providing an historical overview of its development within educational settings, the examples cited articulate the archaic: assimilation of 'the other' matters within a multicultural society. By considering examples of past and present practice we hope to illuminate our use of other musics in Australian schools.

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.

Opening the doors to multiculturalism : Australian pre-service music teacher education students' understandings of cultural diversity

Educational reform in Australia has urged teachers and tertiary institutions to prepare students for multicultural classrooms. Engagement with multicultural music by teachers and students promotes understanding of difference and diversity as music has both global and cross-cultural manifestations. This article reports on a research project undertaken at both Deakin University and Monash University (Melbourne, Victoria, Australia) with final year music specialist students (2005-2007). Students participated in an online, anonymous survey (2005) regarding their understandings of multiculturalism. By in-depth analysis of four semi-structured interviews undertaken with volunteers from the 2006 to 2007 cohort, using Interpretative Phenomenological Analysis, emergent themes and construct understandings of participant experiences were identified. Two significant themes are discussed: representations of multicultural music in Victorian schools and cultural context. Music education can be an effective platform to 'opening the doors to multiculturalism and cultural understanding'. Pre-service teacher education courses should reflect the changing societies in which they are situated.

Ethnomusicological study of music makers in an Australian military band

This dissertation reports on a study of music making in a band of the Australian Army Band Corps. The thesis of the dissertation is how the world views of the soldier-musicians of the Australian Army Band, Kapooka, are constructed in the context of their work in military music performance. In arguing this thesis, the author provides a brief history of military music in Australia, and - demonstrates how rank and military discipline intersect with music making in the lived experience of the soldier-musicians; - explores how the dichotomy between music making as a craft and music making as art is resolved in a setting where the employer regards music making as a trade, while the soldier-musicians strive to meet artistic goals; - demonstrates how successful music making and successful soldiering are both forms of work which depend upon effective collective action; - demonstrates that while military bands play the widest repertoire of musical styles of any Western music ensemble, the styles converge toward a homogenous, eclectic, military band performance style: and - explores how military music, which may have limited intrinsic interest, in certain ceremonial settings may link with other visual and auditory symbol systems to generate profound meaning both for the soldier-musicians themselves and for their audiences. The study examines the processes by which the world views of soldier-musicians are shaped by the institutional context in which they work, as they participate in a music tradition which has been a powerful agent in the shaping of Australian patriotic traditions. The study uses a naturalistic participant observation methodology. The author worked as an honorary guest civilian member of the band’s trombone section to collect data in the form of fieldnotes and interviews. Data analysis and interpretation was made according to the tenets of grounded theory. Evidence in the form of first hand accounts from the perspective of the researcher and from the soldier-musicians themselves is employed to generate both emic and etic understandings. An understanding of a music culture from the participant's point of view is a central concern of the study.