Music Education and Cultural Identity

Abstract

Renewed interest in the relationship between music education and cultural identity draws its vigor from strongly divergent sources. Globalized education and globalized musical culture supply new paradigms for understanding the central tasks of music education and their responsibility to a multicultural ethic of diversity, hybridity and difference. Yet recent anthropological studies of musical cognition and development emphasise both the centrality of ethnic and cultural particularism to the formation of musical awareness and the transcultural, factors in which such particularism is embedded. These seemingly contrasting perspectives on the relationship of music to culture and identity offer a fertile context for redefining the place of music education in the curriculum.

Challenges to Values Education in Hong Kong School Music Education

“…The use of music education to build a responsible, cohesive, and robust society can be found in both Western and non-Western nations (Apple, 2003;Cook, 2003;Davis, 2005;Green, 2005;Ho, 2004;Law & Ho, 2004;Woodford, 2004). This includes not only teaching civics and national loyalty but also the concept of cultural diversity amidst today's intense global interactions.…”

Anthropology of music: Paradigms and perspectives

“…1 U prilog tvrdnji da muzika nije isključivo deo popularne kulture, niti da je treba isključivo izjednačavati s umetnošću pisano je u mnogim antropološkim radovima, videti na primer: Banić-Grubišić, 2010;Bloch, 1974;Boas, 1927;Davis, 2005;Gerstin, 1998;Merriam 1964. 2 Kada govorim o malim grupama, pre svega mislim na definisanje tog pojma prema Fajnu (Fine) i Haringtonovoj (Harrington).…”

“…Ljudska čvorišta odnose se na značajne pojedince koji uče članove kulturnoumetničkih društava da izvode tradicionalnu muziku 7 . Oni su glavni fokus u mrežama 6 Pojam tradicionalna muzika teško se može definisati na jedinstven način, budući da se kroz različite discipline različito i tumači.…”

“…Ono što je još važno napomenuti, ovom prilikom, jeste to da antropolozi ne proučavaju muziku u smislu njenih estetskih vrednosti. Oni sagledavaju njenu ulogu u širem društvenom sistemu i teže da kroz analizu uloge muzike u društvu razumeju društveni i kulturni sistem kojem pripada, te je muzička struktura ovde manje bitna.1 U prilog tvrdnji da muzika nije isključivo deo popularne kulture, niti da je treba isključivo izjednačavati s umetnošću pisano je u mnogim antropološkim radovima, videti na primer: Banić-Grubišić, 2010;Bloch, 1974;Boas, 1927;Davis, 2005;Gerstin, 1998;Merriam 1964. 2 Kada govorim o malim grupama, pre svega mislim na definisanje tog pojma prema Fajnu (Fine) i Haringtonovoj (Harrington).…”

Teacher’s Belief in Enhancing Children Imagination Through Children Malay Traditional Song

“…Zoltan Kodaly who is an educator of Hungary suggested that the use of folk music when teaching kids in school because music is considered to be the children's "musical mother tongue" (Choksy, 1988). Folk music can evoke a sense of belonging to the singer and the listener to something bigger than themselves, such as the family and society (Davis, 2005;Kvideland, 1989). Due to most of folk music are based on environmental themes such as animal sounds that surrounds them, thus it could help the overall children development more easily.…”