Cultural Diversity in Music Education: Directions and by Patricia Shehan Campbell

By Patricia Shehan Campbell

Over the earlier decade, cultural variety in tune schooling has come of age, either when it comes to content material and technique. the realm of song schooling is now generally thought of to be culturally diversified by way of definition.Within this setting, acceptable techniques for studying and educating are being reconsidered. Many students and practitioners have deserted inflexible conceptions of context and authenticity, or naive perceptions of track as a common language that appeals to all.

In 4 sections, this quantity bargains modern perspectives from students, educationalists, school room practitioners and specialists in particular disciplines. From this variety of views, the demanding situations posed via tune traveling via time, position and contexts are being addressed for what they're: interesting reports within the dynamic lifetime of track, schooling and tradition. during this approach, Cultural variety in tune schooling chronicles the most recent insights right into a box that has convincingly moved from the sidelines to centre level in either the perform and concept of song education.

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Extra info for Cultural Diversity in Music Education: Directions and Challenges for the 21st Century

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Clifford & G. ), Writing culture: The poetics and politics of ethnography. Berkeley and Los Angeles: University of California Press. Cooley, T. J. (1997). Casting shadows in the field: An introduction. In G. Barz & T. ), Shadows in the field: New perspectives for fieldwork in ethnomusicology (pp. 3–19). Oxford: Oxford University Press. Green, L. (2002). How popular musicians learn: A way ahead for music education. Aldershot: Ashgate. Herskovits, M. J. (1948). Man and his works. New York: Alfred A.

94). This article discusses the efficacy of a fieldwork project in creating forms of ‘lived experience’ of music making in which students could engage with ‘knowing people making music’ as a way of effecting attitudinal change in relation to the teaching of musics representative of the Australian multi-ethnic population. The project operates through a form of cultural immersion that takes place within the relatively invisible context of music making of diverse ethnic groups in a large Australian city and entry into the immersion process is the responsibility of individual students.

M. (1998). Music, education and multiculturalism: Foundations and principles. New York: Oxford University Press. HUIB SCHIPPERS is Associate Professor of Music Studies and Research at Queensland Conservatorium, Griffith University. He has a long and varied history of experience in music and arts education in Europe. He has worked as a performing musician, a teacher, a concert promoter and a music critic, and in the record trade. Over the past 10 years, he has run major projects in arts and arts education; lectured and published across the world; and served in a variety of capacities on numerous forums, boards and commissions, including the Netherlands National Arts Council and the International Society for Music Education.

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