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The Notion of Homeland in Taiwanese Contemporary Elementary Music Education

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The Notion of Homeland in Taiwanese Contemporary Elementary Music Education THE NOTION OF HOMELAND IN TAIWANESE CONTEMPORARY ELEMENTARY MUSIC EDUCATION By CHIUNG-WEN CHANG A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2011 1 © 2011 Chiung-Wen Chang 2 To all who nurtured my intellectual curiosity, academic interests, and sense of scholarship throughout my lifetime, making this milestone possible 3 ACKNOWLEDGMENTS I would like to thank the following people for their support in completing this dissertation. This dissertation could not have been done without the mentoring of my advisor, Dr. Larry Crook, who served as a constant source of support and inspiration. He never hesitated to give me well thought out advice throughout my doctoral degree studies and dissertation process. He has given me confidence in my ability to conduct this research. I greatly appreciate his enthusiasm for my work, his attention to detail, and his willingness to share his research specialty. The University of Florida faculty has provided me with one of the best educations and has willingly assisted me with time and expertise. I am especially thankful for receiving the encouragements and assistances from my doctoral dissertation committee members, Dr. Kevin Orr, Dr. Elizabeth Bondy and Dr. Welson Tremura during my dissertation process. The fieldwork in Taiwan to gather data provided me the opportunity to meet outstanding scholars and educators and to observe excellent classroom teaching activities. I want to express my appreciation to Dr. Shih-Ze Yao and Professor Chui-Tang Chiu, who have provided me with invaluable insights during the process of my fieldwork. I also would like to express my sincere gratitude to the faculty and staff at Chen-Ping Elementary School for permitting me to collect data from their students and themselves for this research. I am grateful to my husband Clayton Niehaus for his precious love for me and for giving me the courage to risk going after my dreams. I am indebted to my parents for their everlasting love, refined family upbringing, and good education that they offer me. I am forever thankful to my family and friends for their encouragement and support. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS ...............................................................................................................4 LIST OF TABLES ...........................................................................................................................7 LIST OF FIGURES .........................................................................................................................8 LIST OF MUSIC EXAMPLES .......................................................................................................9 ABSTRACT ...................................................................................................................................10 CHAPTER 1 RESEARCH OVERVIEW .....................................................................................................12 Introduction .............................................................................................................................12 Background and Justification .................................................................................................18 Methods and Interpretations ...................................................................................................21 Definitions of Terms ...............................................................................................................27 Delimitation ............................................................................................................................29 Summary .................................................................................................................................30 2 LITERATURE REVIEW .......................................................................................................34 Indigenous Taiwanese Folk Music in the Elementary School Music Curriculum: Historical, Social, and Political Transitions ........................................................................34 Folk Music, Popular Music, and Homeland Music: Various Definitions and Their Social Context ................................................................................................................................41 Folk Music .......................................................................................................................41 Popular Music ..................................................................................................................48 Homeland Music .............................................................................................................50 Nationalism: General Overview and Conception ...................................................................59 Nationalism in Music ......................................................................................................61 Musical Nationalism in Educational Settings ..................................................................64 Practice Theory: Contents and Relevance to Ethnomusicology .............................................66 Identity Formation and Social Practice ...........................................................................66 The Emergence of Practice Theory—Pierre Bourdieu and habitus ................................68 Critical Pedagogy: History, Philosophical Origins and Its Application in Music Education ............................................................................................................................71 History and Philosophical Origins of Critical Pedagogy ................................................72 Major Themes of Critical Pedagogy and Applications in Music Education ...................76 Parallel Concepts between Practice Theory and Critical Pedagogy ................................79 3 TAIWAN’S CONTEMPORARY ELEMENTARY EDUCATION PROFILE .....................85 5 Curricular Standard Adoptions and Textbook Policies before 1987 ......................................92 Curricular Reforms and Their Impacts on Music Education ..................................................94 4 VIEWS ON HOMELAND: POLICY MAKERS, PRACTITIONERS, AND RECIPIENTS ........................................................................................................................113 Homeland and Homeland Music in Government Publications ............................................115 Concepts of Homeland before the Enactment of the 1993 New Curricular Standard ...115 Concepts of Homeland during the Practice of the 1993 New Curricular Standard .......122 Concepts of Homeland under the Treatment of the Grade 1-9 Curriculum after 2003............................................................................................................................128 Homeland Music Education Policies and Their Practices ....................................................138 Personal Attitudes of the Educational Policy Legislators, Executors, and Recipients toward Homeland ..............................................................................................................162 5 CHARACTERISTICS OF HOMELAND MUSIC ..............................................................189 6 CONCLUSIONS AND RECOMMENDATIONS ...............................................................233 APPENDIX A RECORDER LESSON: KNOWING THE F# .....................................................................245 B LESSON PLAN: TAIWANESE HOLO OPERA ................................................................250 C MUSIC EXAMPLE: QIU CHAN (THE FALL CICADAS) ...............................................256 D SAMPLE INTERVIEW QUESTIONS FOR EDUCATIONAL POLICY MAKERS .........258 E SAMPLE INTERVIEW QUESTIONS FOR EDUCATIONAL POLICY PRACTITIONERS AND PARENTS ...................................................................................260 F SAMPLE INTERVIEW QUESTIONS FOR CHILD INFORMANTS ...............................262 G IRB APPROVAL OF PROTOCOL .....................................................................................264 H PARENTAL INFORMED CONSENT ................................................................................265 I ADULT INFORMED CONSENT .......................................................................................269 J CHILD’S ASSENT FORM ..................................................................................................273 WORKS CITED ..........................................................................................................................275 BIOGRAPHICAL SKETCH .......................................................................................................293 6 LIST OF TABLES Table page 2-1 Taiwan’s political history ..................................................................................................84 3-1 Timeline of different Curricular Standards adopted in Taiwan’s elementary education history ..............................................................................................................................112 5-1 Numbers of vote and rankings of the most representative Taiwanese homeland songs from my 30 participants ...................................................................................................218 7 LIST OF FIGURES Figure page 1-1 The informants/participants of this dissertation .................................................................33
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