The video above is of the Horlick Lady Rebels from Racine, WI singing "Doraji". The Horlick Lady Rebels are a group of freshman and first year singers, who spend the year focusing on development of fundamental music and vocal skills, singing a variety of different genres and styles of music from throughout the world and participate in multiple performances throughout the academic year (Horlick Vocal Music). "Doraji" is a pentatonic Korean folksong, which depicts about a white flower that grows in the mountains of Korea. This particular arrangement is written for three-part treble voice.
I chose this song this week after reading the article by Bond (2014). After reading about culturally responsive teaching in the classroom, I wanted to find a performance that captured the ideas that Bond discussed about working with students in the vocal setting. Although I have limited experience with teaching choir, I found many of the things that she discussed could either be applicable to the instrumental setting or slightly modified/altered to fit the setting. The importance of programming a wide variety of music genres and styles is stressed in this article. Bond (2014) states, "due to students' varied musical histories, there is bound to be a range of musical awareness and preferences in each ensemble. By including a wide variety of musics in selected choral repertoire, one can validate the preferences of many while expanding the soundscape of all (pg. 12). I personally believe that this is very important from both a vocal and instrumental standpoint. As music educators, we should be exposing our students to as many different musical experiences as possible in the time that we have to teach them. Students will always listen to their preferred type of music, however will they always explore outside the box and look for new genres and styles? Yes, some may because they are naturally inquisitive and curious, however, many others will not and they will only stick with the music that they know. Bond (2014) specifically makes note of "when world music is programmed independently of musics from the Western European art music tradition, it relays a message that this music only belongs on special programs (pg. 12). I believe that is a valid concern and that it brings up a good point regarding programming. Directors should be aware of the choices they are making and messages that are being sent in regards to their programming choices. If directors only select world music pieces for concert themes of "multiculturalism" or "music around the world," are we sending a positive message to students and families regarding the importance of world music? Personally, I don't believe that we are. If we only showcase these pieces at specific times or events, we are not giving this music the importance that it deserves and we are not providing our students with a diverse, quality music education.
In terms of looking at this from the perspective of how the study of ethnomusicology informs world pedagogy, I believe that there is a clear connection. While the definition of ethnomusicology and ethnomusicologists may not be completely black and white, I do think that they play a significant role in the research and discovery of non-Western music and pedagogy. Nettl (2005) defines ethnomusicology as "the study of non-Western and folk music" and ethnomusicologists as those who "carry out research about non-Western, folk, popular and vernacular music, taking into account both the music itself, as sound, and how it interactions with other things that people do" (pg. 7). The research that ethnomusicologists complete is critical to the development of music pedagogy throughout the country. Studying world music provides opportunities to look at different cultures, religions and societal norms. By doing this, we are expanding our personal musical knowledge and understanding and as educators, we are able to bring this back into our teaching.
References
Bond, V. (2004). Culturally responsive teaching in the choral classroom. Choral Journal, 55(2), 9-15.
Horlick Vocal Music. Retrived October 21, 2017, from http://www.horlickchoirs.org/lady.htm
Nettl, B. (2005). The harmless druge: Defining ethnomusicology. The Musics of the World, 3-15.
I enjoyed reading your first post, and the music selection was interesting! You made an excellent point about exposing students to as many different musical experiences as possible. Exploring a wide of variety of musics exposes students to various foreign techniques, sounds, and more importantly musical viewpoints. Western music education does seem to segregate world music and programme it independently from the Western European art music tradition. Like you stated, this is indeed a valid concern. The integration of diverse musics will only enhance their education by offering them authentic musical experiences that will expand their musicianship and ability to resonate with different cultures. Great post!
ReplyDeleteThank you for your insightful post about culturally relative teaching in this way. It is true that, in our music educational setting, world music is often looked at during a period of heritage remembrance or celebration, but not necessarily touched upon in the same way Frank Ticheli or Eric Whitacre would.
ReplyDeleteHi Sarah,
ReplyDeleteI really liked how you mentioned that world music is only featured on a certain music program like a "Music Around The World" concert. It definitely puts that type of music in a light where you can only play it for specific occasions. To integrate world music more fluidly, it should be studied and used steadily throughout the school year. We should try to see music of other cultures as not just cheap novelties but as the wonderful and complex forms of music that they are. Why not put a traditional Korean song next to Mozart or Beethoven? Maybe treating non-Western music this way will give it more validation in peoples eyes. Thanks for the post!
Sarah, great thoughts about teaching! Your post was very thorough and insightful for us as music educators. Many times we as teachers get too focused on teaching only Western music, when there is so much more out there for us to teach to our students. By branching out to new avenues, our students will learn to appreciate other cultures and also enhance how they interpret Western music's place in the world. I personally try to put at least 1-2 non-western piece on my concerts every semester, and the audience and students seem to love it!
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