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The Role of Experiential Education in Re-Thinking The Modern University: Classrooms, Communities, and Collaborations

luonut Jay Roberts

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luonut Jorge Velásquez Ochoa

Introduction to Dance

luonut Whitney DuBose

Philosophical Foundations of Education and Curriculum Planning

luonut Heather Jamieson

A History of Multiculturalism in American Music Education

Korean Folk song in American Music Education

Ahrirang arranged by Brad Prinz

Ahrirang sung by Korean Traditional Singers

Ahrirang Ahrirang, Ahrirang, Ahrariyo Crossing over Ahrirang Hill. Dear who abandoned me Shall not walk even ten thousand feet before his/her feet hurt.

Ahrirang Ahrirang, Ahrirang, Ahrariyo Happiness awaits you on Ahrirang Hill Onward, onward we walk to our destiny Onward we walk up to Ahrirang Hill

Only few Korean folk songs were involved in American general music curriculum (less than 10%) - Ahrirang - Doraji (Bluebells), Folk Songs of Korea by Mary C. Kimm Joh - Pal Guen Dal Ah (Bright Moon) Let's Sing Korean Folk Songs Together by Mary C. Kimm Joh - Parangsai (Bluebird) Folk Songs of China, Japan, and Korea by Betty Warner Dietz & Thomas Choonbai Park

African American Music in American Music Education

Features

Rhythmic ideas both directly and indirectly through African, African American, and Afro-Caribbean styles

Call & Response

http://www.youtube.com/watch?v=tvQyfr31ams

Oral Tradition

http://www.youtube.com/watch?v=jByWbxIg7OI

Slave work songs & spirituals were used to communicate in code, coordinate arduous labour, and convey hope for a better afterlife.

Our songs are our history. If we do not have our songs, we do not know where we are or where we have been. We don't know how to remember what has happened to us. (Sicangu elder, 1996) [Lundquist/Sims, 1996]

Today: Tapping in to African American music... -Offers all students exposures to new genres -Allows African American students a respite/reconnect from potential culture loss -Excellence in music can transfer in to other areas, breaking down old societal norms

Timeline

1973: MENC creates the Minority Concerns Comission

1972: MENC creates the National Black Music Caucus

1854: Rev. Hanks, or Wilmington, NC, starts a black singing school in a mixed race church

1783: Newport Gardner studies music in Providence, RI, then sets up a singing school in Newport

1746: "Frank the Negro" leads an NYC singing school of over 40 students

1674: Cotton Mather organizes a singing school, The Society of Negroes

Asian Music in American Music Education

Today - multicultural material resources readily available in music education

Re-appraisal of the concept of music education -> include Eastern music into school curricula

Philippine Women's University - Substantial collection of Asian instuments and recordings - Increased appreciation for Asian music

'The Musics of Asia' - International Music Symposium held in Manila, April 12-16, 1966

Western Music based curriculum

General Overview

Today: -Most effective programs tap in to musical traditions important to the students -Teachers have authentic knowledge and experience -A+B=C

FUN TIME SURPRISE!

Late 20th Century: -1990: Washington, DC Symposium -MENC, Smithsonian Institute, & Society for Ethnomusicology -Multicultural approaches to music education -Learned and taught African American, Chinese, Afro-Caribbean, Mexican, and Native American musics

Mid-20th Century: -1950s/60s: Emergence of African and Asian music -Contemporary styles (jazz/ethnic) added as a response to what kids are listening to

1969: GO Project: -MENC broad goal -Goals of Profession

1967: Tanglewood Declaration: "Music of all periods, styles, forms, and cultures belongs in the curriculum. The musical repertory should be expanded to involve music of our time in its rich variety, including currently popular teenage music and avant-garde music, American folk music, and the music of other cultures."

1967: MENC Convention/ Tanglewood Symposium

1954: Brown vs. Board of Education

Early 20th Century: -1920s: Music textbooks include songs of many European countries -1930s: Begin to see African American, Eastern European, North African and Native American music in texts -1940s: Inclusion of Latin American folk music as a way to unify North and South America