Constructing the Australian musical child

This paper makes use of Foucauldian discourse analysis to examine some of the current directions in Arts education and Music Education, in particular, that are being promoted by education authorities in Australia. Foucault's concept of discourse, and analytical procedures developed from his ideas, have been much discussed recently but have not been applied very rigorously or very widely other than by Foucault himself. This paper will introduce some of the basic concepts and demonstrate how application of these concepts can identify, explain or elucidate basic misconceptions that are currently being promoted as the way forward in arts education.

Curriculum development and implementation has become an important focus for educational policy in the past ten years. Inspired by the work of the Federal Labour government between 1989 and 1994 which developed the national curriculum Statements and Profiles, many states have adopted a model of centralized curriculum development in which learning is mapped out for all students up to the age of eighteen. These learning "profiles" have been developed and disseminated at great expense in terms of time, money and effort. They represent a considerable investment of educational resources. Typically, however the resulting curriculum documents are complex, difficult to understand and use, and can appear unrelated to many of the normal practices in school. This has placed teachers in the position of having either to ignore them or to work against much of their own training and personal assumptions about what constitutes music education.

It will be suggested that there are some basic flaws in the way that many curriculum documents in Australia have conceived of music education and learning. With recent new developments in Victoria, South Australia and Western Australia, there is no indication that this process of profiling student development is really devoted to improving our understanding either of learning or of teaching. In fact, it would appear to be developing a life of it's own, oblivious to the practices and structures of our educational systems. It will be suggested that a more realistic assessment of our practices needs to form the basis of our frameworks and that they should not be developed as abstract theoretical models.

Tonic sol-fa in South Africa : a case study of endogenous musical practice

Tonic Sol-fa was introduced to South Africa during the mid nineteenth century initially by Christian missionaries and later by professional educators to schools, teacher training institutions and local communities. Despite Tonic Sol-fa being the principal means of formal pedagogy and the most commonly-accepted notational medium through which South African communities have developed and sustained what is unquestionably a vibrant choral music tradition, there has been some fairly forthright condemnation of the overall effects of European music - particularly tonal-functional harmony - on indigenous culture. Agawu (2003) and Nzewi (1999), for example, have identified what they describe as the adverse effects of European music on African culture.

This paper counters these criticisms in one respect. It argues that, as one of the most prominent manifestations of European musical culture in sub-Saharan Africa, Tonic Sol-fa represents what Ntuli (2001) identifies as endogenous knowledge - knowledge acquired from non-indigenous sources that has been assimilated and integrated with indigenous knowledge to become the collective heritage of a people. This contention is supported by four short case studies of indigenous South African composers - two past and two contemporary musicians - who have utilised Tonic Sol-fa in their choral music writing and teaching, albeit in differing ways. The paper aims to counter the general criticism that European music has been injurious to indigenous African culture; rather it argues that in reality this manifestation of European music represents an exemplar of endogenous knowledge.

Musical arts education in Africa : differentiation, integration and disassociation

By discussing the future challenges to musical arts education in Africa in which local cultural practices are valued, the differences of those historically marginalised by virtue of gender, race, ethnicity, and class, are celebrated. In Africa, musical arts education and culture are regarded as an integral part of our life, which not only embraces the spiritual, material and intellectual aspects of our society, but also contributes greatly toward our emotional development. This affirms the integrity and importance of various forms of 'Art' including literature, technology, design, dance, drama, music, visual art, media and communication.

This paper will discuss the future of African musical arts education programmes through the dynamic cycle of differentiation, integration and disassociation. The authors will consider the concept of ‘differentiation’, ‘integration’ and ‘disassociation’ within musical arts practice. An analysis of selected international arts education programmes provides a globally differentiated perspective through a discipline-based approach. In the African context, arts education programmes are located within an integrated approach. The structure of a Music Action Research Team (MAT cell) in Southern African Developing Community (SADC) countries will be highlighted as a means to address disassociation through the active engagement of professional development programmes offered by the Centre for Indigenous African Instrumental Music and Dance (CIIMDA).