Multicultural Music Education in U.S. Centric International Elementary Schools: An Investigation of World Music Representation Within Teacher Repertoire Selections.
By
Vallie Owens, MMED
A Dissertation
In
Music Education
Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of
DOCTOR OF FINE ARTS Approved
Dr. Janice Killian Chair of Committee
Dr. Jacqueline Henninger Co-Chair of Committee
Dr. Susan Brumfield
Dr. Andrew Gibb
Dr. Emily Akuno
Dr. Mark Sheridan Dean of the Graduate School
May 2021
Copyright 2021, Vallie Owens
Texas Tech University, Vallie Owens, May 2021
ACKNOWLEDGEMENTS
Thank you to my wonderful committee who have not only mentored me throughout this doctoral process, but many of whom have become friends. To my committee chair, Dr. Janice Killian, you have invested into my life in so many ways.
Words fail to express the depth of my gratitude for all you have contributed into my life.
We have shared not only an academic journey, but many life changing travel adventures that have molded me into the woman I am today. To Dr. Susan Brumfield, I have learned many lessons from your master teaching and consistent support of my endeavors. Thank you for your unfailing belief in seeing me complete this dissertation. To Dr. Jacqueline
Henninger, your encouragement and support have continued to be a bright light throughout my academic voyage. To Dr. Andrew Gibb, you have always displayed a depth of character and humility as you included doctoral students as colleagues within class discussions. To Dr. Emily Akuno, I have gleaned much from the polish in which you carry your academic finesse. You are the epitome of grace and class.
To my graduate ‘family’ of former TTU students that have mentored me on this academic journey: Dr. John Wayman, Dr. Jing Liu, Dr. Kelly Poche-Rodriguez, Dr.
Renee Wilson, Dr. Jaclyn Cunneyworth, Dr. Adrian Barnes, Dr. Branco Sekalegga and
Dr. Alicia Goodman. Thank you each for all of your encouragement and support.
To Dr. Shawna Laity, my best friend, source of constant support and encouragement. Thank you for choosing to invest in my life.
ii Texas Tech University, Vallie Owens, May 2021
To Dr. Laurie Williams, my dear friend. Thank you for never giving up on me and continuing to inspire my dissertation progress forward. Your support has been without parallel. I am forever in your debt.
To Beverly Fleming, thank you for being my calm harbor in Lubbock.
To my work ‘family’ at Clarke Elementary, especially the ‘dream team’, thank you for supporting me as I concluded my doctoral journey.
To my friends and extended family members, each of you have encouraged and supported me throughout my life and this support has overflowed throughout my academic journey.
To my family, my parents: Susan & Michael Owens, thank you for your unwavering faith and support in me and my endeavors. I am truly blessed to be your daughter. To my brother, Jonathan Owens. Thank you for encouraging me.
To my daughter, Margaret Mei-Xi (Maisie). You are God’s greatest gift in my life. You are strong and wise beyond your two years. Thank you for the sacrifices of time you have given as I finished this dissertation. I am thrilled to tell you, “YES, Mama CAN play now!”
I dedicate this work to my daughter, Maisie.
“He has made everything beautiful in its time.” Ecclesiastes 3:11
iii Texas Tech University, Vallie Owens, May 2021
TABLE OF CONTENTS
ACKNOWLEDGEMENTS ...... ii ABSTRACT ...... vii LIST OF TABLES ...... viii LIST OF FIGURES ...... ix CHAPTER 1 ...... 1 INTRODUCTION ...... 1 JUSTIFICATION ...... 1 DEFINITIONS ...... 3 PURPOSE ...... 5 CHAPTER 2 ...... 7 REVIEW OF RELATED LITERATURE ...... 7 MULTICULTURAL MUSIC EDUCATION ...... 7 Philosophical Implications of Multicultural Music Education ...... 8 Historical Context of Multicultural Music Education ...... 10 Benefits of Inclusion of Multicultural Music Education ...... 11 Barriers and Bridges to Multicultural Music Education ...... 12 Authenticity in Multicultural Music Education ...... 16 Approaches to Multicultural Music Education Implementation ...... 19 Current Discussions on The Juxtaposition of Culture and Music Education ...... 21 INTERNATIONAL SCHOOLS ...... 25 Definitions and Organizational Designs of International Schools ...... 25 Culture and Identity of Students Within International Schools ...... 27 MUSIC EDUCATION IN INTERNATIONAL SCHOOLS ...... 28 Multicultural Music Education Within International Schools ...... 30 CHAPTER 3 ...... 33 METHODOLOGY ...... 33 INTRODUCTION ...... 33 STUDY DESIGN ...... 34 Research Questions ...... 35 Participant Recruitment and Selection ...... 35 Survey Questions and Procedures ...... 36 Participant Background ...... 38 School Culture ...... 39 Participants’ Music Education Goals ...... 39 Participants’ Repertoire Selection Practices ...... 40 Participants’ Multicultural Music Representation in Repertoire Selections ...... 40 LIMITATIONS OF THIS STUDY ...... 41
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CHAPTER 4 ...... 42 RESULTS ...... 42 DATA ANALYSIS ...... 42 Participants by School Location ...... 42 School Demographics ...... 44 Affiliations and Organizations ...... 44 Campus Statement Effect on Music Instruction ...... 45 Student Demographics ...... 46 Approximation of Student Populations on Campus ...... 46 Approximation of Students in Elementary Program ...... 47 Grade Levels Serviced Within the Elementary Program ...... 47 Average Class Sizes Within Elementary Classes ...... 48 Average Class Sizes Within Elementary Music Classes ...... 49 Number of Music Educators Per Campus ...... 50 Music Classes Offered at the Elementary Level ...... 50 Participants ...... 51 Participants' Gender, Age and Nationality ...... 51 Participants Discussed by Self-Identified Gender ...... 52 Participants by Country of Origin and Citizenship ...... 53 Participants’ Country of Birth ...... 53 Participants’ Country of Citizenship ...... 54 Participants' Self-Reported Citizenship Within the Following Countries: ...... 55 Participants’ Musical Instrument Concentration ...... 55 Participants’ Educational Background ...... 56 Participants’ Teaching Certifications ...... 57 Participants’ Teaching Experiences ...... 60 Participants’ International Teaching Experiences ...... 61 Participants’ Teaching Responsibilities ...... 62 Ensembles Available on Campus ...... 63 Ensembles Taught by Participants ...... 64 Participants’ Experiences Within Music Education Elementary Approaches ...... 65 Participants’ Experiences Within Kod��� Approach ...... 66 Participants’ Experiences Within Orff Approach ...... 68 Participants' Experiences Within Dalcroze ...... 69 Participants' Experiences Within Gordon Approach ...... 70 Other Methodological Approaches Indicated by Participants ...... 71 Participants' Repertoire Practices ...... 72 Participants’ Focuses of Music Program ...... 72 Participants’ Repertoire Selection Processes ...... 74 Countries and Cultural Groups Within the Student Population ...... 82 Cultural Factors Impacting School Populations ...... 82 Repertoire Representation from Within the Host Country ...... 83 Inclusion of Music of Host Country ...... 83 Cultural Representations Within Repertoire Selections ...... 86
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CHAPTER 5 ...... 99 DISCUSSION ...... 99 TEACHER IDENTITY ...... 100 REPERTOIRE SELECTION ...... 101 Multicultural Music Implementation ...... 103 DIFFERENCES AND CHALLENGES ...... 105 Specific Challenges ...... 105 Diverse Student Populations ...... 106 Multicultural Resources ...... 107 Investigational Issues ...... 107 Average Class Size ...... 107 Number of Music Teachers on Campus ...... 108 Race/Ethnicity ...... 109 IMPLICATIONS FOR FUTURE RESEARCH ...... 111 International Schools and International Baccalaureate Program ...... 112 Covid 19 Effects on Music Teachers Within International Schools ...... 113 CONCLUSIONS ...... 114 KEY DISCOVERIES ...... 115 REFERENCES ...... 117 APPENDICES ...... 126 APPENDIX A: IRB APPROVAL LETTER ...... 126 APPENDIX B: RECRUITMENT EMAIL #1 ...... 127 APPENDIX C: MULTICULTURAL MUSIC EDUCATION SURVEY ...... 128 APPENDIX D: RECRUITMENT EMAIL #2 ...... 138 APPENDIX E: PARTICIPANT SURVEY RESPONSES ...... 139
vi Texas Tech University, Vallie Owens, May 2021
ABSTRACT
The purpose of this descriptive study was to ascertain the trends in multicultural music selections of music educators (N = 39) who taught elementary students (Nursery-
6th grade) at international schools located outside the U.S. that included curricula that was influenced by U.S. curricula. This study was designed to collect baseline data that could be used to inform future studies involving multicultural music education. Research questions were presented in a survey format and concentrated on the elementary multicultural music education practices of music teachers in selected international schools located outside of the U.S. Data were coded for themes and validation was established via intercoder agreement (Creswell, 2013) as data were coded by two colleagues to confirm agreement within coding developed by the researcher. Data concluded that while participants and participants’ schools faced vastly differing circumstances and challenges, some emergent themes arose. Participants often articulated the desire to teach within a multicultural environment and advocated for multicultural music education. The majority of participants implemented multicultural lessons within all grade levels. Participants’ repertoire selection practices were found to predominately be influenced by personal preference, performance components, music literacy and aesthetic value, among other factors. Various challenges of identifying participants’ demographics, particularly of the concepts of race and ethnicity arose. Additionally, further implications for future research were discussed. Ultimately, this study contributed to knowledge within music education by providing a snapshot in time of the self-reported practices of music educators who taught elementary music at international schools located outside of the US.
vii Texas Tech University, Vallie Owens, May 2021
LIST OF TABLES
1.1 Definitions ……………………………………………………………….……..5
4.1 Participants by country and region………...... ………...... ……………….42
4.2 School locations where multiple participants taught…………...... ………..43
4.3 Effect campus purpose statement has on music instruction…………………...... 45
4.4 Approximate class size in elementary general education….....……………...... 48
4.5 Approximate elementary music class size…....………………………….……….49
4.6 Participants’ teaching certifications: By country…………………...... …………..57
4.7 Participants’ teaching certifications: US………...……………………………….59
4.8 Participants’ methodological approaches……....………………………………...65
4.9 Extent participants implemented Kodály approach in teaching……….………66
4.10 Extent participants implemented Orff approach in teaching…………………67
4.11 Extent participants implemented Dalcroze approach…………………….....……68
4.12 Extent participants implemented Gordon approach…………………………...... 69
4.13 Extent participants implemented ‘other’ approach………….…………...... ……..70
4.14 Participants’ focus of music program……...... …………………………………...72
4.15 Cultures represented within repertoire selections…...... …………………...……..86
viii Texas Tech University, Vallie Owens, May 2021
LIST OF FIGURES
4.1 Locations of participants’ schools (map)...... 42
4.2 Approximate of student populations on campus ...... 45
4.3 Approximate number of students in elementary school ...... 46
4.4 Grade levels within elementary school program ...... 47
4.5 Music classes offered within elementary school: by grade level ...... 50
4.6 Participants by self-identified gender ...... 50
4.7 Participant age ranges ...... 51
4.8 Female participant age ranges ...... 51
4.9 Male participant age ranges ...... 52
4.10 Participants' country by birth: listed by continent ...... 53
4.11 Participants’ citizenship: listed by continent ...... 54
4.12 Participants’ main music making instrument ...... 55
4.13 Participants’ highest degree attained ...... 55
4.14 Participants' concentrations within academic degrees...... 56
4.15 Participants’ certifications in music education ...... 56
4.16 Participants' teaching certifications: by country (map) ...... 57
4.17 Participants’ teaching certifications: US (map) ...... 58
4.18 Participants’ teaching experience: within career ...... 59
4.19 Motivation to pursue a career in international education...... 60
4.20 Participants’ teaching experience: in international education ...... 61
4.21 Participants’ music class responsibilities by grade level ...... 62
4.22 Ensembles offered at the elementary school ...... 63
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4.23 Participant taught ensembles offered within elementary school ...... 64
4.24 Extent participants' implemented Kodály approach in teaching...... 66
4.25 Extent participants’ implemented Orff approach in teaching ...... 67
4.26 Extent participants' implemented Dalcroze method ...... 68
4.27 Extent participants’ implemented Gordon Approach ...... 69
4.28 Repertoire choices effected: by school curricula ...... 74
4.29 Repertoire selections effected: by personal preference ...... 75
4.30 Repertoire selected effected: by music literacy components ...... 75
4.31 Repertoire selection effected: by music performance ...... 76
4.32 Repertoire selection effect: by aesthetic value (value of music) ...... 77
4.33 Repertoire selection effect: by instrumentation ...... 78
4.34 Repertoire selection effected: by holiday, religious or cultural ………...... 79
4.35 Frequency of inclusion of music from host country ...... 82
4.36 Participants repertoire selections: United States centric repertoire ...... 87
4.37 Participants’ repertoire selections: Time period specific ...... 88
4.38 Participants’ repertoire selections: African ...... 88
4.39 Participants’ repertoire selections: Asian ...... 89
4.40 Participants’ repertoire selections: American (outside US) ...... 89
4.41 Participants’ repertoire selections: European ...... 90
4.42 Participants' repertoire selections: Middle Eastern ...... 90
4.43 Participants' repertoire selections: the Caribbean ...... 91
4.44 Participants' repertoire selections: Australian ...... 91
4.45 Multicultural lessons: Lower grades (Nursery-2nd Grade) ...... 93
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4.46 Multicultural lessons: Upper grades (3rd-5th grade) ...... 93
4.47 Repertoire choices influenced by cultures within school ...... 94
5.1 Multicultural lesson implementation by grade level ...... 104
xi Texas Tech University, Vallie Owens, May 2021
CHAPTER 1
INTRODUCTION
Justification
Historically, music education in the United States (U.S.) has been Eurocentric, with an emphasis on literacy and performance (Bradley, 2006). The world has become more intertwined through innovations in technology, opportunities for travel and exchange, and is quickly approaching the idea of a ‘global village’ (Cain, et al., 2013;
Palmer, 2004). This has led to an amplified emphasis on multicultural music education, incorporating a multiplicity of cultures. Some researchers believe the implementation of multicultural music can also be used to represent the changing diversity of student populations. (Campbell,1992) A further impetus is the increase of international schools focused on U.S. curricula to meet the needs of U.S. citizens who have become more globally transient and as such, are relocating their families abroad (Hayden, et al., 2000).
Many music teachers strive to integrate multicultural music within classrooms while teaching abroad (Walling, 2016). While research has been conducted on the implementation of multicultural music education abroad in international schools, these studies have primarily been limited to specific case studies by school, location or country
(Cain, 2010; Fulton, 2001). Although much attention has been focused on the addition of multicultural music in the elementary music curriculum within the United States, no studies have been located that have investigated the extent to which curricula has been modified to be more inclusive of music from multiple cultures in U.S. centric international schools.
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Within this study, the researcher sought to provide a descriptive lens that illuminated the trends in multicultural repertoire selections of music teachers teaching elementary music abroad at international schools through a survey of 37 questions answered by music educators in selected international schools.
The primary research question was:
• What culture groups are represented in the music repertoire choices at the
elementary level of music instruction in international schools located
outside of the U.S.A.?
Further, the researcher considered the following questions:
1) To what extent is multicultural music included within these classrooms?
Survey questions within this category were designed to establish a baseline of how many different cultures were represented within the repertoire selections of the participants. These questions included itemized lists, ranking and short answer questions.
Additionally, these questions included philosophical questions to gain an understanding of the participants’ educational philosophy regarding multicultural music education.
2) What countries and culture groups are reflected within these curricular choices?
Questions in this category were designed to identify the specific countries and culture groups represented within the multicultural music choices of the participants. The survey provided a listing of various countries and culture groups from around the world presented in a variety of ways to serve as a catalyst to engage participants’ discourse on
2 Texas Tech University, Vallie Owens, May 2021 multicultural repertoire selections that had been included in their teaching. The list was not exhaustive but meant to serve as a starting point for further explanation.
3) To what extent does the cultural climate represented within the student body effect the repertoire selections?
Survey questions within this category were intended to ascertain the demographics of the participants, the campus body, faculty and the host country’s culture. These questions were designed to identify any connection between the student cultures and multicultural repertoire selected by the participant teachers. Questions within these sections included short answer, 4-point and 5-point Likert scale and ranking.
Definitions
Prior to addressing questions about repertoire, it is crucial to clarify the vocabulary that was used for the purposes of this study. This included the terms
‘international schools’, ‘multicultural’ and ‘U.S. centric international schools’. The vocabulary of multicultural and international schools varies greatly across educational literature and has continued to evolve (Campbell, 2002; Hill 2015; Kang, 2016; Marshall,
2019; Palmer, 2002; Stuart, 2016).
There has been an ongoing tension over the appropriate verbiage necessary to define the educational philosophy of incorporating music of many cultures within music education (Campbell, 2002; Kang, 2016; Miralis, 2006). This debate has included discourse across the fields of ethnomusicology and music education, as arguments have been made regarding whether the inclusion of music outside the culture of origin is an act
3 Texas Tech University, Vallie Owens, May 2021 of appropriation or if inclusion is necessary and should occur in a respectful manner
(Campbell, 2002; Krüger, 2013). This debate has continued to be controversial as the terms implemented to define this concept have ranged from ‘multicultural music’,
‘multiethnic music’ and ‘world music’, and more (Campbell, 2002; Kang, 2016; Miralis,
2006).
The classifications and definitions of the term ‘International Schools’ have also evolved and held many connotations over time. Historically, terminology could be used to differentiate schools that were located outside of the USA, schools that implemented a global minded curriculum, schools that have elected to include the name ‘international school’ in their title, and schools that hold the specific curricula of the international baccalaureate program (Hill, 2015; Stuart, 2016). While the above is not an exhaustive list of the many interpretations of the term “international school,” it does serve to demonstrate the vast diversity of connotations that can occur with the verbiage.
For the purposes of this study, International Schools are limited to private schools located outside of the United States of America. U.S. Centric International
Schools has been used by the researcher to include the classification of schools located outside of the U.S. that incorporate standards and curricula influenced by the educational system of the United States of America.
Another term that has had evolving definitions over time is multicultural music.
Multicultural music has been defined as music of many cultures, including music outside of the dominant culture group. For the purposes of this study, the dominant cultural groups are considered within the context of the participants’ school body. Another term that has often been brought into the discussion of culture and the intersection of music
4 Texas Tech University, Vallie Owens, May 2021 education is the term, ‘world music’ (Campbell, 2019). At times ‘world music’ has been implemented within music education synonymously with multicultural. The differing discussions, as many researchers have endeavored to find the most appropriate verbiage
(Campbell, 2016; Dunbar-Hall, 2002; Kang, 2016; Miralis, 2006; Volk, 2002). However, for the purposes of this study, the term ‘world music’ will not be used as the researcher chose to use the term 'multicultural music'.
Table 1.1 Definitions
Term Definition
U.S. Centric International Private schools that have self-identified as Schools implementing curricula based upon the curricula of the United States of America and are located outside of the U.S.A. Multicultural Music Music of many cultures, including music both inside and outside of the dominant culture group.
Purpose
The purpose of this study was to ascertain the prevalence and presence of multicultural music education within international schools that implement U.S. (United
States of America) centric curricula at the elementary level (Nursery-6th grade). Of particular interest was the specific culture groups represented within the repertoire selected by music educators and the criteria used for repertoire selection. This was a descriptive study of the current practices of selected elementary music teachers at international schools and the cultures that are included within their multicultural music selections. Existing research involving multicultural music education in international schools predominantly have been specific case studies. Therefore, the researcher desired
5 Texas Tech University, Vallie Owens, May 2021 to create this study as a baseline descriptive study to discover current multicultural music education practices so that these results may be used to build upon future multicultural music education research.
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CHAPTER 2
REVIEW OF RELATED LITERATURE
Multicultural Music Education
Music is a vital part of the human experience and plays a crucial role in all cultures (Campbell, 1991; Watts, 2018). The term multicultural music education has numerous equivocal definitions as it may be used to convey a variety of meanings that may change from individual to individual (Dunbar-Hall, 2002; Volk, 2002). The term has also held a multiplicity of connotations over time (Dunbar-Hall, 2002; Volk, 2002).
Anderson & Campbell (1989) described multicultural music education as a format of organizing educational experiences that seek to inspire students to sensitivity and understanding of people groups from around the world. Additionally, multicultural music can be used to denote in its simplest terms, music of many cultures (Miralis, 2006; Volk,
2002).
The term has also been used to describe a music outside of the dominant culture group, most commonly referring to music outside of the Western European tradition
(Dunbar-Hall, 2002). However, Quesada (2002) argued that music educators have often approached multicultural music education through a lens of ethnicity and may not take into account subgroups. Quesada (2002) contended that often the use of multicultural music is an endeavor to gain an overall picture of a particular ethnic group, thus it may not be as comprehensive as the term implies.
Volk (2002) described the use of the term multicultural as a ‘loaded term’ (Volk,
2002 p. 15) because the term multicultural lacks a firm definition as the term is often interpreted differently through the lens of each individual. The meaning of the term
7 Texas Tech University, Vallie Owens, May 2021 multicultural often differs by nation, publisher and even by the educator selecting and teaching the repertoire (Burton, 2002). Within this confusion of definitions are also the varying philosophical approaches to multicultural music.
Philosophical Implications of Multicultural Music Education
Multicultural music has traditionally been integrated into music education through the consideration of two contrasting philosophical approaches: ‘music is universal’
(universalism) and arguments against universalism (non-universalism) (Kang, 2016).
Within universalism, music is approached as a language that transcends barriers and boundaries of communication. This longstanding view is rooted in the educational goal of social unification from the early 20th century, in which emphasis was placed on the similarities of peoples (Kang, 2016). In this context, music lessons focus on the similarities and commonalities across “musics” and approach multicultural music from shared factors such as notation, instrumentation, tonality, scales etc. (Campbell, 1994;
Kang, 2016). Yet, emphasis placed on musical components (notes, rhythm etc.) may supersede the conveyance of cultural meanings (Bradley, 2012).
In contrast, those who stress non-universalism emphasizes the distinct differences inherent within the many representative music cultures of the world. Promoters of this method have argued that if universalism were true, music literacy would provide an outlet to approach music outside of the musician’s dominant literacy (Kang, 2016). Therefore, the very act of being a skilled musician would provide an easier transition into the music literacy of another culture’s music. However, musical literacy is not simply understood across cultural boundaries because the knowledge of musical components (notes, rhythm etc.) often supersedes the conveyance of cultural meanings and therefore, much can be
8 Texas Tech University, Vallie Owens, May 2021 lost in the transmission of the music (Bradley, 2012). Campbell (1991) argued: “Despite the universality of music- no culture exists without it- music is not a universal language; it communicates fully only to those who know the unique treatments of its components”
(p. 101). Further, each culture may treat the components and include them in a variety of ways.
Dodds (1983) argued that while music is not a universal language, it may act as a universal medium of communication that evokes expression from within, and as such may express deep feelings that are beyond language. He asserted that music is pervasive in society and that informal music education begins in a casual manner through cultural immersion, as music plays an integral part of society (Campbell, 1991; Dodds, 1983).
Dodds (1983) conjectured that music can serve unifying purposes to draw people together but is not so unifying that authentic and successful transmission of music across cultural lines is guaranteed. Within the debate of universalism and non-universalism, discussions have also included philosophical inferences on the value of multicultural music education and its role within the classroom.
Johnson (2004) discussed philosophical implications of multicultural music education by examining the juxtaposition of the focus on including music of all cultures equally and the challenge of the traditional dogma of placing higher importance on the western classical music traditions. Johnson asserted that this conflict often results in the unintentional undervaluing of the significance of other musics. Johnson argued that this unbalanced hierarchy should be addressed and offered three ways to strive towards reform: 1) equal emphasis on all musics by policy makers, 2) equal access to a multicultural music education for all students as a base need for all peoples, and 3) the
9 Texas Tech University, Vallie Owens, May 2021 need to adapt and amend current music education curricula and methodology to be more reflective of the changing diverse population of America. Boyer-White (1988) echoed this call for reform and added that music should be expanded within current practices to reflect more diversity within the music selected for students. Therefore, the music integrated within music education should be more inclusive of a wider range of ethnicities and culture groups from within the community and from around the world
(Boyer-White, 1988; Campbell, 2016). Several pivotal points have ignited the debate for the inclusion of multicultural music education within the United States of America.
Historical Context of Multicultural Music Education
Campbell (2016) identified the Immigration Act of 1965 as an impetus in further opening the borders of the United States to immigrants, and discussed the resulting effect upon classrooms around the U.S. As immigrants flooded the country, this resulted in more diverse classrooms. Following this legislation, changes were made to music education through the Tanglewood Symposium (Campbell, 2016; Mark, 2000). The
Tanglewood Symposium was a direct response to the cultural climate of the time (Mark,
2000). Within this symposium, music educators sought to identify and address the issues facing teachers through the forces of change in the 1960s, which included: 1) school reform, 2) the civil rights movement, and 3) technological advances (Choate, 1968; Mark,
2000). Paramount to the discussion of multicultural music education within the
Tanglewood Symposium was the call to include “music of all periods, styles, forms, and cultures” (Choate, 1968, p.146). The Tanglewood Declaration went on to define music genres and specifically described music to include “… American folk music, and the music of other cultures” (Choate, 1968, p. 146). The Tanglewood Declaration served as a
10 Texas Tech University, Vallie Owens, May 2021 stimulus to promote discussions concerning the inclusion of multicultural music education. As a result, the term ‘multicultural education’ came to fruition in the 1970s as educators sought to address the need to place more value upon all cultures (Volk, 1998).
The emphasis on multicultural music education has continued to be at the forefront of discussions on music education as educators strive to meet the ever-changing diversity within their classrooms in the face of unabated international travel and immigration
(Reimer, 2002).
Benefits of Inclusion of Multicultural Music Education
Multicultural music can serve as a catalyst to provide students the opportunity to see varying perspectives of the world (Dodds, 1983; Heimonen, 2012). As Heimonen
(2012) stated: “Music educators have the potential to educate student musicians to be ethically involved citizens of the world” (p. 62). Music educators can also exert a positive influence as they can help to shape the music preferences of their students with exposure to and experiences with multicultural music (Cain et al, 2013; Dodds, 1983). Many potential benefits emerge from the inclusion of multicultural music in music education as students are exposed to new musical experiences and develop more openness to music of all cultures (Cain et al, 2013; Dodds, 1983). Through multicultural music education, students experience a widening of their musical vocabulary, skills, and preferences
(Dodds, 1983). Multicultural music education can help students to gain more appreciation of similarities and differences (Campbell, 1992; Dodds, 1983) and can also provide students a variety of ways of making music together in a multiplicity of experiences (Cain, et al, 2013; Dodds, 1983). Through multicultural music education, students can begin to identify the influences of popular music as they learn how music
11 Texas Tech University, Vallie Owens, May 2021 crosses genres to affect one another and gain insight into the relationship between the arts
(Dodds, 1983). Multicultural music education can provide students the opportunity to experience various ways in which people are socially involved with music from around the world and may inspire students to engage in further study of a particular culture
(Dodds, 1983). Ultimately, multicultural music education can develop within students the ability to respect music from around the world with a deeper appreciation (Campbell,
2016; Dodds, 1983; Kelly & Van Weelden, 2004). In addition to advantages specified by practitioners and philosophers, researchers and experts have noted that there are many benefits to the inclusion of multicultural music education within the classroom (Cain et al, 2013; Campbell, 2016; Dodds, 1983).
Barriers and Bridges to Multicultural Music Education
Researchers have stated that multicultural music education can be wrought with barriers that hinder successful implementation within the classroom (Campbell, 1992).
An example of a barrier found within multicultural music education is bias and stereotype. Hall (2000) stated that much of multicultural music represented within U.S. music curricula has been revealed to expose multiple biases and stereotypes. Bradley
(2006) warns music educators to be aware of this potential for bias and carefully present the information as they work to “unmask…coded language” (p. 5). These negative biases can be amended by sensitive and accurate transmission of content by providing students with a historical and cultural reference to gain a more accurate interpretation of the music
(Bradley, 2012; Campbell, 1992). With careful verbalization and understanding, teachers can help provide a more open forum of discussion and learning for students that can
12 Texas Tech University, Vallie Owens, May 2021 effectively work to break down barriers and prejudices that may have adversely affected student learning (Bradley, 2012; Campbell, 1992).
Experts have contended that two of the greatest barriers to successful multicultural music education are the challenges of where to begin and the sensation of being overwhelmed with the struggle to determine the most effective approach
(Campbell, 1994). Campbell (1992) discussed many common arguments made by music practitioners that have served as barriers to inclusion of multicultural music within the general music classroom and offered rebuttals to these arguments. Campbell cited a number of reasons commonly given for the non-inclusion of multicultural music, including: 1) “Why teach multicultural music education?” 2) “My kids are not ethnic, they are white.” 3) “There is not enough time in an already packed schedule” 4) “I don’t know the language” 5) “I was never trained” 6) “I don’t know where to begin” (p. 30-31).
Campbell refuted these arguments, advocating that multicultural music education may serve as an impetus for a more inclusive classroom in which all students feel their cultures are valued and encouraged. Campbell (1992) stated that multicultural music education can be integrated within the classroom curricula as an expansion of existing curricula. Campbell (1992) argued that even ‘white’ implies ethnic background as everyone has a cultural background to celebrate. Campbell (1992) encouraged that the language should not serve as a barrier to multicultural music integration, but that through the inclusion of cultural representatives and authentic recordings, these language barriers can be breached. Finally, Campbell (1994) offered that the solution may be to simply face the ‘fear’ and remain teachable throughout the process.
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Multiple authors have published suggestions about strategies for lessening potential barriers to acceptance of multicultural music. Shehan (1985) and Shultz and
Demorest (2004) advised to focus on “the familiar” by teaching students through music that is familiar to them, thus utilizing student preferences to guide new experiences. This would entail implementing the music of known cultures of the students within your classroom to provide a bridge as some of the students within the classroom would be the knowledgeable other. This may in turn, elicit an experience of ‘familiarity’, as the new cultural music is not new to all students within the classroom. Cain, et al (2013) suggested that educators use familiarity as a bridge to begin to explore music of other cultures, as students begin to have experiences with other cultures outside of their own and in the process can become more comfortable with learning an outside culture. They also stated that teachers might facilitate more openness in students through providing culturally sensitive music experiences. O’Hagin and Harnish (2006) advised teachers to remember that many students straddle more than one musical world and may move,
“…from sphere to sphere as the context demands and actively switching codes for different settings” (p. 66). Thus, many have concurred that it is very important for music educators to embrace the ever-changing diversity represented within their classrooms through integration of multicultural music education (Boyer-White, 1988; Campbell,
2002; Kelly & Van Weelden, 2004). Students come with their own biases and backgrounds that may benefit their classmates when they are given the opportunity to serve as cultural insiders (Campbell, 1994). Furthermore, through creating a welcoming environment of various musical experiences, music educators can empower students to share their culture through music (Dodds, 1983, Kelly & Van Weelden, 2004).
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In addition, researchers encourage teachers to delve deeper into their own personal cultural heritage as another discussion point for the diversity represented within the classroom environment and to include community musicians as a further impetus to the multicultural music within the community (Campbell, 1994; Walter, 2017). Campbell
(1994) encouraged approaching multicultural music education from the teacher’s personal cultural experiences, as these cultures are a part of the multicultural experiences within the classroom. She further stated that after including one’s own culture, teachers can then begin embracing unknown cultures and learning as much as possible about these cultures in the efforts to become aurally bi-musical.
However, experts state that many teachers may fear incorporating multicultural music due to a perceived lack of training within multicultural music education during pre-service training (Campbell, 2002; Campbell, 1992; Klocko, 1989). Reyes (2018) contended that this hesitancy is due to the emphasis placed upon the music of the
Western European canon. Reyes (2018) stated:
The insecurities and malpractices music teachers develop during their training surrounding multicultural education stem from the omnipresence of Western European music in institutions where educators receive their training. Even though the non-universalist perspective has widely been adopted in the music community, conservatories, and higher-learning intuitions are predominately universalists institutions that position Western European music as the primary musical expression” (p. 13).
Campbell (2016) recognized that these fears can be perpetuated due to the increasing challenges of including multicultural music education in pre-service teacher training as education programs strive to meet the demands of cultivating and adapting to the changing curricula. However, despite these difficulties, many researchers argue that it is critical for music teacher training to include music of a wide array of cultures (Boyer-
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White, 1988; Campbell, 2002). Campbell (2016) also concurred that the increasing diversity within U.S. classrooms has motivated the demand for more multicultural music educational experiences within training for pre-service teachers. Moreover, researchers caution that within culture groups there are many subgroups, all with their own cultural identities and idiosyncrasies that should also be included (Boyer-White, 1988; Campbell,
2016). Howard et al, (2014) offered that multicultural music teacher training is necessary for all teachers (pre-service and current). Further, that multicultural teacher training is best implemented through frequent and on-going “musical encounters”, that delve into the cultural complexities and nuances of the music through recurrent experiences
(Howard et al, 2014, p.35). Most recently, Kyakuwa (2020) suggested including additional trainings for preservice teachers in their undergraduate degrees to provide them with the skills to become cultural bearers of their own cultures as they bring their individual cultural identity into their teaching in culturally responsive ways. Although many challenges may emerge in the quest to successfully integrate multicultural music, experts concur that the benefits of providing multicultural music experiences in pre- service music education include building confidence and familiarity with approaches to teaching music from other cultures and fostering enthusiasm to include multicultural music experiences as future educators (Joseph et. al, 2018; Kim & Yoon, 2015; Teicher,
1997).
Authenticity in Multicultural Music Education
Yet another potential challenge to multicultural music education is the issue of authenticity. Campbell (1994) urged music educators to work to provide authentic and appropriate music experiences in a respectful manner to assist in the prevention of bias
16 Texas Tech University, Vallie Owens, May 2021 and promotion of stereotypes. Authenticity itself, however, can be difficult to define as scholars and educators have offered varying interpretations of what authenticity entails
(Campbell, 1994; Koops, 2010). Abril (2006) framed the discussion of authenticity in terms of three debated and varying levels: 1) music, 2) meaning and 3) behaviors. Thus:
How authentic is the music? How authentic is the interpretation of the music? What is the authenticity of the behaviors associated with the music? Abril (2006) argued that true authenticity might never be achieved because music educators are taking music out of the native environment and therefore, are disrupting the authenticity of the music. Yet, while pure authenticity may not be attainable, music educators must strive to provide as much authenticity as possible (Abril, 2006; Campbell, 1992; Henninger, 2018; Palmer, 1992).
Abril suggested that authenticity may be achieved via careful selection of resources and through enlisting the aid of cultural representatives through recordings, classroom visits, or culturally consciously collected music. Palmer (1992) offered a possible solution to the issue of authenticity and stated that authenticity should be approached on a continuum model. According to Palmer’s model, music educators should approach multicultural music education in an authentic as possible manner. Within this model, music educators are encouraged to strive to learn as much as feasible about the culture to attain the highest level of exposure with the music and the culture in their endeavors to provide the most authentic experience possible (Palmer, 1992). Koops (2010) refuted that while ideas
(such as Palmer’s) may appear to be a reasonable approach, the process can become daunting. Koops asserted that the teacher may then be limited to including only multicultural music from cultures that the teacher has access to instruction for the specific
17 Texas Tech University, Vallie Owens, May 2021 skill sets necessary to perform the cultural music. Further, Koops continued that this may then create a larger barrier to authentic music education.
One step toward authenticity can be taken through the inclusion of cultural insiders who can often be found within the community. Campbell (1994) suggested inviting a cultural bearer (cultural insider) to introduce and explain a specific multicultural music to the students. This person ideally identifies as a part of the culture or has had experience with the culture in its native format (Campbell, 1992). Often these cultural bearers may also have bi-musicality, which simply is the skill set to be well versed in more than one music (Campbell, 1992). Within multicultural music education, bi-musicality often implies experience in western music as well as the cultural music under consideration (Campbell, 1994). Campbell (1994) posited that cultural bearers can also serve as a check and balance in the goal to present a more accurate representation of the culture. However, when a cultural bearer cannot be present physically within the classroom, then another mode to provide this authenticity check is through the inclusion of authentic recordings, videos, and presentations by cultural representatives (Cain, et al,
2013, Campbell, 1994).
The use of authentic instruments has also proven to be beneficial to students’ achievement and reception of global music (Anderson & Campbell, 1989; Miralis, 2006;
Pembrook & Robinson, 1997). Yet, authenticity should be balanced with an approach that does not rely solely on the use of authentic instruments. As Cain, et al. (2013) stated,
“it is better to know a little than nothing” (p. 82). Campbell (1992) suggested to implement authentic instruments whenever possible and to provide recordings of authentic instruments and to use similar instruments to substitute as educators necessary.
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However, Campbell (1992) also advocated that educators should be culturally sensitive and make students aware of this substitution to avoid promoting negative stereotypes.
Approaches to Multicultural Music Education Implementation
In the following paragraphs are a few examples of specific approaches and curricula that were created to help serve as prospective bridges for successful integration of multicultural music within music education classrooms.
Brumfield (2006) discussed the importance of reintroducing authentic folk music back into the contemporary music classroom and stated: “Childhood doesn’t stand gazing wistfully into a fading past; it romps into today with the whole weight of centuries of tradition to carry it forward into tomorrow” (p x). Brumfield researched primary source recordings and transcripts of traditional folk songs historically incorporated into childhood play in England & Scotland (Brumfield, 2006; 2010). Brumfield then analyzed the repertoire and selected songs from the material that held pedagogical value for the elementary music classroom. Brumfield, in continuing her research, worked with local music educators of England to reintroduce the repertoire to selected schools in England.
The researcher later replicated the same process of analysis on Scottish folk music and reintroduced selections of Scottish repertoire into selected school curricula of Scotland.
The materials were compiled into two separate pedagogy books for elementary music teachers to assist teachers with implementation within the classroom curricula.
Bartolome (2013) offered an approach that focused on creating a more authentic multicultural music education in the classroom through an immersive approach, the virtual field experience (VFE). Within the VFE approach, students experience music through a virtual visit with a cultural insider. Due to the nature of the VFE approach, the
19 Texas Tech University, Vallie Owens, May 2021 cultural insider from the host culture virtually demonstrates the music while ideally remaining located in the host culture setting. Therefore, a more organic representation of the host culture is provided as the music is not removed from the natural contexts and cultural settings (Bartolome, 2013). Through VFE, students are also encouraged to participate through immersive experiences in moving, singing, and viewing video examples of cultural bearers performing the music.
One specific methodological approach to multicultural music is through World
Music Pedagogy which was designed to seek to stop bias before it begins by promoting all cultures more equally (Watts, 2018). World Music Pedagogy (W.M.P.) outlines specific steps in approaching multicultural music education through a six-volume series that offers specific examples for different aspects of education. These volumes include:
Volume I: Early Childhood Education
Volume II: Elementary Music Education
Volume III: Secondary School Innovations
Volume IV: Instrumental Music Education
Volume V: Choral Music Education
Volume VI: School-Community Intersections.
Each volume presents sample multicultural music education lessons that are specific to the student populations described in each volume. WMP outlines a format for the introduction and inclusion of multicultural music across the curricula (Campbell
(2018). These steps include: 1) Know the student population, 2) Attentive listening, 3)
Engaged listening & enactive listening, 4) Performance of world music, and finally the synthesis through 5) Creating world music (Campbell, 2018). Listening is the foundation
20 Texas Tech University, Vallie Owens, May 2021 to the W.M.P. approach, therefore, students must first be taught the skill of Attentive
(focused) Listening. From Attentive Listening, students evolve to Engaged Listening and
Enactive Listening. Within this stage, students begin to respond to the world music through developmentally appropriate ways of movement as well as to provide verbal and written response. Performance of World Music is the next stage, as students are encouraged to emulate and imitate the stylistic and specific components of the music and the music taught. Finally, students are encouraged to synthesize the artistic, stylistic and performance practices of the learned music and to create new music. Mellizo (2019) offered content for specific lesson plans as a snapshot of how to include what she referred to as World Music Pedagogy. Additionally, Mellizo concluded that there is a plethora of respectful multicultural music resources available, but that more 'snapshots' are needed to demonstrate successful implementation of World Music Pedagogy through the creation of more lessons plans for practicing teachers.
Current Discussions on The Juxtaposition of Culture and Music Education
The field of music education is ever changing and developing as new approaches and terminology continue to evolve. Miralis (2014) reviewed 39 qualitative studies from the US and Canada that specifically looked at multicultural practices within music education. These studies occurred between 1980-2011 and Miralis concluded that among the various approaches, experiences and examples, themes were highlighted of cultural identity, culturally responsive teaching and antiracial pedagogy. In the following paragraphs are current discussions offered by researchers and experts within music education as they grapple with the current climate of the position of culture and diversity within music education.
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Zhou (2017) discussed the role music carries in the transmission of culture and the central role music education can utilize in a respectful transmission of these cultural music inheritances. Using voices of many educators, Talbot (2018) encouraged more inquiry on the treatment of the various facets of diversity within music education by highlighting the voices of experts within music education that discussed current issues within traditionally marginalized populations. Hess (2015) admonished educators to seek to avoid 'tokenism' and approach world music in a relational and rational way that seeks to provide context through respectful inquiry into the culture and the music.
As music educators continue to examine the intersections of diversity and culture within music education, there are several specific approaches and thoughts discussed in the paragraphs below as a representation of these current discussions within music education.
Walter (2017) advocated for the practice of integrating culturally responsive teaching as a comprehensive approach to successful multicultural music education.
Within culturally responsive teaching, the teacher focuses on understanding and knowing the individual students’ backgrounds and works to develop an understanding of how these experiences influence their students’ unique perspectives of the world (Gay, 2018;
Walter, 2017). Gay (2018) denoted the aspects of culturally responsive teaching as caring, communication, instruction and curriculum. Through working to create an understanding of students’ backgrounds, diversity is encouraged, and a bridge can be established between the connections of the students’ home life, community, and the school (Walter, 2017). Walter cautioned educators to guarantee equity by ensuring that each student has a voice within these discussions and that their cultures are honored.
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Finally, equity can be ensured by providing a wide variety of musical experiences that serve to further validate the diversity and equity of all music (Walter, 2017).
Experts have offered specific examples of how culturally responsive pedagogy can be implemented with specific examples of lesson plans or content to be utilized
(Coyle, 2020; Henninger, 2018). Coyle (2020) offered suggestions on materials that applied practices within culturally responsive pedagogy within specific lessons that implemented examples of traditional American Filipino children's' games and songs.
Henninger (2018) advocated for culturally respectful practices and offered specific suggestions for how to implement these practices through highlighting the sociocultural backgrounds alongside of the musical content while striving to include authenticity within world music lessons, the inclusion of cultural insiders, and to actively involve students within the 'music making progress'. Finally, Henninger offered specific examples of world music lesson content that provided a glimpse of how to implement multicultural music within practicing teachers' curricula.
Bond (2017) called for music educators to expand upon the ideals of culturally responsive teaching to recognize "…culture as a fluid construction" (p. 174). Bond further offered that 'culturally sustaining pedagogy' perhaps can be the solution as it acknowledges this fluidity of culture.
Another approach may be through intercultural teaching (Schmidt & Abramo,
2020; Westerlund et. al, 2020). Schmidt and Abramo (2020) additionally contended that music educators should examine their individual teaching practices within the lens of practices within intercultural teaching as a potential approach to becoming more inclusive. Hess (2018) offered that another approach to implementing world music is
23 Texas Tech University, Vallie Owens, May 2021 through 'epistemological ruptures' which she contends allow for the breaking of barriers through a more inclusive approach to the world music by providing a more thorough cultural context.
Although there are various approaches to culture and music education that are still evolving, experts and researchers concur that music educators can play a vital role in effective policy creation (Kertz-Welzel, 2018; Schmidt & Abramo, 2020; Westerlund et al, 2020). Westerlund et al (2020) offered that music educators can play a critical role in becoming 'change agents' to more inclusive music education. Schmidt and Abramo
(2020) further called on music educators to partake in the development of new policies and approaches within their field, to facilitate ideals within more respectful approaches.
Kertz-Welzel (2018) contended that both music educators and music scholars should work together to influence policy as they bring into the policy creation their distinct experiences within music education.
As evidenced above, discussions and studies on the inclusion of multicultural music education practices continue to occur across the U. S. (Kang, 2016, Krüger, 2013,
Miralis, 2006; Miralis, 2014). However, these debates are not exclusive to the U.S. and occur in many areas of the world. For example, Zhang (2017) examined the current practices of representation of multicultural music from minorities within national Chinese music textbooks. Many international researchers have discussed the challenges of implementation of multicultural music education within their teacher training and curricula (Cain, 2015; Joseph & Southcott, 2010). Further, research has also included comparisons of multicultural music education practices within host countries and the specialized populations of international schools (Cain, 2010; Fulton, 2001). Of specific
24 Texas Tech University, Vallie Owens, May 2021 interest to U.S. researchers, is the phenomenon of U.S. citizens that have become more globally transient and have increasingly enrolled in international schools outside of the
U.S. (Hayden, Ranic & Thompson, 2000; Spano, 2002; Stuart, 2016). But, to what extent do these international schools include multicultural music education practices? Before diving in this we must first look at the history of international schools to better understand this diverse population.
International Schools
Definitions and Organizational Designs of International Schools
Hill (2015) discussed various manifestations and organizations of international schools as the term ‘international school’ evolved over time and has been utilized to encompass a wide array of educational institutions. Bates (2012) described how each institution may operate independently and function as a type of private school, which by their very nature are unique from one another. Experts have continued to discuss this challenge of developing a thorough definition as there are so many variants of organizations of schools that include the terminology of ‘international school” (Marshall,
2019; Hill, 2015). Hayden and Thompson (2013) argued that ‘international schools’ do not have a governing body to describe the parameters of what defines an international school, as there is not a unified world education organization to defer to at this time.
Further, Hayden and Thompson (2013) offered a potential solution to outlining the various manifestations of international schools and categorized international schools within three subgroups: “Type A: traditional”, “Type B: ideological”, and “Type C: non- traditional”. These categories were then used to delineate the schools by the populations
25 Texas Tech University, Vallie Owens, May 2021 that they served. Type A: traditional, as defined by Hayden and Thompson (2013) as primarily designed to serve expatriate families that desired to educate their children outside of the local host country’s educational systems. Type B: ideological, are then defined by Hayden and Thompson (2013), to be designed to educate students within a globally minded education system that strives towards “promoting global peace and understanding” (p.3). Finally, Type C: non-traditional is used to encompass international schools that sought to serve characteristically socioeconomically advantaged national students of the host county (Hayden & Thompson, 2013). Hayden and Thompson (2013) conjectured that this is the sub-grouping that is seen to be the education of the elite as it provides an ‘international’ education.
One specific format of ‘international schools’ are those that are part of the international baccalaureate programs. Hill (2015) discussed the evolution of the international baccalaureate program and the inherent emphasis on ‘international mindedness’, which is an impetus on the development of a global citizen that can be achieved through an international education. Marshall (2019) states, “at its simplest, international education is learning about others” (p. 133). In the purest form, experts have described international schools as having strived to produce globally minded students who learn to view the world with less bias and place more emphasis on unity and peace ( Cain, 2005; Hill, 2015; Marshall, 2019).
Stuart (2016) offered that despite the varying focuses, goals, educational practices and curricula of international schools, there are still commonalities that emerge. One example of a similarity is an educational focus that seeks to prepare students to become global citizens and emphasizes education as a crucial role in attaining this goal (Stuart,
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2016). Experts cautioned that a global emphasis could provide extra challenges for schools that also desired to replicate a U.S. educational experience, as these schools at times, will be challenged to make choices where the emphasis truly lies American (U.S.) experience or global emphasis (Stuart, 2016; Walling, 2016).
Culture and Identity of Students Within International Schools
Another consideration is the effect that the global emphasis can place on cultural identity of the students. Bagnall (2012) stated that a potential result of this push toward the development of more globally minded students, international schools are the amalgamation of many cultures and as a consequence, they often do not have a uniting core of nationalism. Specifically, Bagnall (2012) examined ways in which students (a diverse population) at an international school in Brazil handled concepts of identity and home. The researcher investigated how students identified themselves nationally, their feelings toward assimilating within their school culture, and how they viewed their future. The researcher found that students tended to fall within three categories: 1) strong sense of national identity and loyalty, 2) ambiguity about their national heritage, or 3) dissociative feelings toward a specific national identity and instead identified as a global citizen (Bagnall, 2012). Indeed, students at international schools often struggle with concepts of cultural identity (Bagnall, 2012). This struggle with cultural identity can be especially challenging for the students that are often referred within the literature on international schools as Third Culture Kids (TCK) (Pollock & Van Reken, 2009). TCKs are students that are moved (typically by parental employment changes) to another country (host country) and often become immersed in the amalgamation of the culture of the host country, their family culture and the cultures interacted with during their
27 Texas Tech University, Vallie Owens, May 2021 formative years at international schools (Pollock & Van Reken, 2009). Hannaford (2016) stated that literature on TCKs, often focuses on cultural themes of "home and belonging"
(p. 254). Morales (2015) offered a potential model for a 'transition support program' to assist TCK students as they face challenges transitioning into international schools.
Hannaford (2016) offered that digital worlds (such as social media or video conferencing platforms) can offer "worlds of continuity and belonging…" (p. 262). But, within these challenges of defining and supporting cultural identity, there still remains the question of what cultures to include? Further, how do educators respectfully and successfully include and implement music of many cultures within the music education repertoire of international schools.
Therefore, international schools provide a fertile ground for the discussion of multicultural music education as the diverse population necessitates a discussion into what cultures are included within the curricula and best practices of successful multicultural music education. Yet music education within international schools is underrepresented within multicultural music education research. As enrollment and prevalence of international schools continues to rise (Hayden, Ranic & Thompson, 2000), more research is needed to discover the role music education has within the international school classroom.
Music Education in International Schools
Spano (2002) investigated the state of music programs in U.S. sponsored international schools located outside of the U.S. (N = 51). Spano (2002) discovered that
92% of international schools surveyed reported having designated music teachers for
28 Texas Tech University, Vallie Owens, May 2021 their schools, but only 80% had music programs taught full time by music teachers. The most common music course offerings included general music, choir and band. Additional courses included guitar, individual and group piano classes, Advanced Placement or
International Baccalaureate music classes, strings and orchestra (Spano, 2002). Further,
Spano (2002) found participants reported five areas of concern: 1) equipment and facilities, 2) curricula programs, 3) scheduling conflicts and concerns, 4) staffing and administrative concerns, and 5) opportunities for student performances.
Taylor (2016) conducted a qualitative case study on the effect of peer-mentoring in a secondary instrumental music program at an international school in Japan. In this study, the researcher found one of the greatest barriers to the program was the transient nature of students and faculty in international schools. Another issue was how to address culture, as the student body can include the phenomenon of third culture kids that may create a further barrier to the cohesiveness of the program as students struggle to feel a sense of belonging (Taylor, 2016).
Weingarten (2017) researched the influence of international music educators,
Dick and Georgia Bassett and the perceived impact of their creation of the Association for Music in International Schools (AIMS). Weingarten traced the ethnography of the
Bassetts and the effect AIMS has had upon music programs within international schools.
Weingarten reported that AIMS was created to provide a network of support for music educators within the international schools’ communities. Through AIMS, supports have been provided for music education advocacy and opportunities for competition and exchange within international schools. Additionally, Weingarten reported that the impact of Dick and Georgia Bassett has had a lasting effect on music programs within
29 Texas Tech University, Vallie Owens, May 2021 international schools. AIMS is still operating and serving the music education community within international schools (The Association for Music in International Schools, 2021).
Multicultural Music Education Within International Schools
Fulton (2001) compared multicultural music instruction within the specific population of American-based international schools (n = 3) and schools within their corresponding host countries (n = 3). Schools were specifically selected within China,
Thailand and Outer Mongolia due to the researcher’s personal experience of having lived within these locations. Through a qualitative study of classroom observations and interviews, Fulton discovered that the host countries implemented more multicultural music repertoire within curricula than did the international schools studied.
Cain (2010) investigated the best practices of inclusion of cultural diversity at five international schools in Singapore. Through semi-structured interviews (N=10), Cain explored the following four areas of interest: 1) Practice, 2) Teacher training, 3) Policy, and 4) Philosophy. Questions centered around individual teacher philosophy, school philosophy, teacher training and the effect that these areas had on cultural diversity within the school program. The researcher found seven emergent themes from the interviews: 1) cultural diversity as a challenge, 2) resources and support, 3) types of repertoire taught, 4) means of gaining knowledge and skills, 5) issues of authenticity, 6) teacher training, 7) teacher reflections on cultural diversity, and 8) the impact of teaching overseas. Participants specified that cultural diversity held a prominent impact upon their teaching practices. Participants designated that teaching at an international school afforded more than adequate resources and support to enable the growth of their music program. Participants indicated that while cultural diversity impacted their teaching
30 Texas Tech University, Vallie Owens, May 2021 practices, their repertoire remained predominantly Western centric with some inclusion of Asian and African musics. Participants also indicated that they sought out resources to implement music of differing cultures. Some participants stated that local musicians acted as a resource by performing as culture bearers to present music and interact with the students. Issues of authenticity were not particularly mentioned as a major concern of the participants. Participants suggested that cultural diversity education was not a factor in their pre-service teacher training. However, many multicultural resources were readily available through their school campuses. Participants denoted varying views on teaching philosophies, but all agreed on the benefits of inclusion of diverse music within their teaching practices. Participants also spoke to the impact of teaching overseas and how these experiences shaped their views on multicultural music education within their teaching philosophies. Additionally, the researcher requested that participants place themselves on a Shippers’ continuum of cultural diversity within music education, where participants placed themselves predominantly within the multicultural approach.
However, many mentioned within these informal conversations that they were striving to cross into intercultural approaches to music education (Cain, 2010).
Walling (2016) surveyed secondary choral music educators (N = 126) at international schools located outside of the U.S. (56 countries represented) to discover implementation of multicultural music education within choral music programs. Using a researcher created survey, Walling investigated the directors’ multicultural philosophy, educator background and experiences with multicultural music, methodologies of implementation of multicultural music and educator reported frequency of multicultural repertoire. The researcher found that 62% of educators surveyed reported implementing
31 Texas Tech University, Vallie Owens, May 2021 multicultural music practices within their choral programs. Additionally, 88% reported that working at an international school positively affected their choices to include more multicultural repertoire (Walling, 2016).
International schools fall within a vast genre of education, which includes many differing examples of organization, curricula and school populations (Bates, 2012).
Despite the differences and challenges of the specialized population of international schools, the schools provide a unique opportunity to investigate the multicultural music repertoire choices of music educators within these schools. Research on multicultural music education of international schools has been limited to a few studies and dissertations. There is a clear need for further investigation into multicultural music education within international schools.
For the purposes of this study, I focused on music education within international schools that are physically located outside of the United States of America and that strive to provide a U.S. educational experience. I sought to delve further into this investigation and provide a baseline overview of multicultural music repertoire choices of international school music teachers at elementary schools overseas.
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CHAPTER 3
METHODOLOGY
Introduction
The inclusion of multicultural music education has continued to be a focal point of debates within the field of music education in the U. S. (Kang, 2016, Krüger, 2013,
Miralis, 2006). However, this topic is not isolated to educators within the U.S., as globally more emphasis has been placed on the inclusion of multicultural music within music education. Joseph & Southcott (2010) interviewed Australian preservice music teachers on their experiences with multicultural music and participants’ philosophies regarding the inclusion of multicultural music in music education. Chandransu (2019) investigated the effects of a pilot multicultural music curricula that was developed to focus on cross cultural intersections within public school music programs in Thailand. A more specific subset population within global music education, are music educators that teach within international schools worldwide. As the prevalence of international schools continues to rise, more research and discussions have centered on the inclusion of multicultural music education within international schools. However, the research has centered on specific case studies, specific locations: countries or regions of the world, or on secondary schools (Cain, 2010; Fulton, 2001; Walden, 2019; Walling, 2016).
Additionally, sparse research has been conducted concerning the multicultural repertoire selections made by music educators in international schools, at the elementary level
(Nursery-6th grade) that teach with a U.S. curricula approach.
The researcher conducted a study that was used to inform the design of this dissertation study and the questions within the survey (Owens-Dong, 2017). In this pilot
33 Texas Tech University, Vallie Owens, May 2021 study, the researcher conducted semi-structured interviews (Merriam, 1998) via Skype with U.S. citizens (n = 3) who taught elementary music in international schools located outside of the U.S. Participants discussed demographics, materials, methodology training, teaching philosophy, multicultural music philosophy, and criteria for repertoire selection.
Interviews were transcribed, returned to participants for a member check and coded for themes (Creswell, 2013; Merriam, 1998). Emergent themes were ‘censorship’, expectations, curricula, accessibility, and cultural practices (Owens, 2017). The results of the pilot study informed the researcher regarding the crucial nature of vocabulary, especially within a participant pool that included educators from around the world. The terminology and way in which questions are worded can create unintentional barriers in communication. At the request of the participants, the researcher clarified terminology and paraphrased questions to further assist the interpretations of questions included within the interviews. Additionally, the design of this dissertation study was influenced by the experiences gathered during the pilot study.
Study Design
The purpose of this current descriptive study was to ascertain the trends in multicultural music selections of music educators who taught elementary students
(Nursery-6th grade) at international schools located outside the U.S. that included curricula that was influenced by U.S. curricula. This study was designed to collect baseline data that could be used to inform future studies involving multicultural music education. Research questions were designed to create a snapshot of elementary multicultural music education in selected international schools located outside of the U.S.
34 Texas Tech University, Vallie Owens, May 2021
Data of responses were coded for themes and validation was established via intercoder agreement (Creswell, 2013). The data for the seven free response questions were independently coded by three experienced teacher researchers and then any disagreements were subsequently discussed until consensus was reached.
Research Questions
Research questions included:
1. To what extent is multicultural music, defined as music originating from
outside the U.S., included within these classrooms?
2. What countries and culture groups are reflected within these curricular
choices?
3. To what extent does the cultural background represented within the
student body effect the repertoire selections?
Participant Recruitment and Selection
Participant schools were selected from the International School Services
Directory of International Schools 2016-2017, hereafter referenced as the ISS Directory
(Wotowey, 2016). The ISS Directory was created as a platform for international schools to list their programs for faculty recruiting purposes and contains information reported by the schools advertised within. The directory is also readily available to the public.
The criteria for selection of schools consisted of schools listed within this directory that reported the following:
• Curricula mentioned the United States of America
35 Texas Tech University, Vallie Owens, May 2021
• English was an advertised language of instruction
• Music classes were listed as available for elementary grade level students
(Nursery-6th grade)
Within the parameters of elementary grade level, the term ‘nursery’ was included as an age description as this was the vocabulary implemented within the ISS Directory and ‘nursery’ was included as a category to distinguish ages below pre-kindergarten.
Participant recruitment occurred through an email sent to the contact email addresses listed within the ISS Directory of international schools that advertise the implementation of curricula that is impacted by United States of America. Within the recruitment email there was a hyperlink to a researcher created survey that was accessible through
SurveyMonkey.
Participants recruited taught at institutions that advertised within the ISS
Directory that met the above criteria. Participants self-reported to have met these specific requirements and taught music education to students within the age range of Nursery-6th grade (estimated ages 3-12 years) students. Educators were recruited via email in English and responded to the survey in English.
Survey Questions and Procedures
The survey consisted of self-reported answers from the participants regarding their multicultural music education philosophy and included a self-report of frequency of inclusion of multicultural music education within their elementary music programs. The survey questions were modeled and developed after multicultural music education surveys (Lee, 2018; Volk, 1991; Walling, 2016), and subsequently piloted for clarity of
36 Texas Tech University, Vallie Owens, May 2021 the language (Owens, 2017). Ultimately the thirty-seven survey questions consisted of ranking, 4-point and 5-point Likert scale, multiple choice, and short answer questions.
After the development of the survey, the researcher sent the questions to music education colleagues (n = 5) who evaluated clarity of language, interpretation differences, and provided validity of the questions (see Appendix C). Questions were modified based on clarity and suggestions by this panel of colleagues. Several of the colleagues who reviewed the questions were international music educators from outside of the U.S. Specifically, colleagues suggested modifications on the questions intended to create demographics of participants’ race, ethnicity, educator background training and country of origin. Due to these differing interpretations, modifications were made to the survey questions. Subsequently, the study with the modified survey was submitted and received approval from the Institutional Review Board for the Protection of Human
Subjects at the researcher’s institution (see Appendix D).
The survey was then emailed to the publicly available contact email addresses listed within The ISS Directory for the selected participant schools (N = 285) that met the researcher criteria. Emails were typically sent to those in supervisory roles or in charge of recruitment of staff at the individual schools, due to the fact that the email addresses listed within the directory were often email addresses for administrators or recruiters for the schools. The recruitment email included a cover letter that stated the intent of this study and included a request that recipients forwarded the survey link to the music teacher(s) on their campus (see Appendix A). The survey was sent out twice and remained open for a duration of three weeks during each collection of data (See
Appendix A and see Appendix B). The first collection occurred in the early summer (n =
37 Texas Tech University, Vallie Owens, May 2021
36). In the fall of the same year, a modified recruitment letter (Appendix B) was sent to the same list of contact email addresses from the selected participant schools and minimal responses were received (n = 3). The total surveys collected were (N = 39). Survey response rate, although low provided informative data on the participants. In the limited number of previous studies involving music education in international schools, the majority have focused on case studies (Cain, 2010; Fulton, 2001; Taylor, 2016). In the two surveys that were found to have had higher response rates (Spano, 2002; Walling,
2016), neither had the strictness of parameters utilized for the participant recruitment that was used within this study. Most importantly, within this dissertation, the 39 respondents represented 28 countries on 5 continents, thus potentially providing ample diversity among respondents. The survey is listed under Appendix E.
Questions within the survey were divided into five sections and consisted of questions specific to the following themes:
1. Participants’ background
2. Participants’ school culture
3. Participants’ music education goals
4. Participants’ repertoire selection practices
5. Participants’ multicultural music representation in repertoire selections
Participant Background
Questions within this category were designed to establish basic demographic information about the participants. Specifically, participants were asked to self-report about their experiences in education, training within music education, gender,
38 Texas Tech University, Vallie Owens, May 2021 race/ethnicity, citizenship and home country. Participant education background and experience within music education and international education was also self-reported during this section of the survey. This section also included five Likert questions regarding the extent to which participants implemented elementary music approaches of
Kodá ly, Orff, Dalcroze and Gordon.
School Culture
This section of the survey was designed to establish the demographics of the selected participant’s school populations. Participants self-reported the location of the school, school participation in organizations or affiliations and the extent to which these affiliations or accreditations impacted the music program. Additionally, basic demographics of the school were also reported that stated the school size, elementary school size and class sizes. Participants also described the student demographics of countries or culture groups represented within the student population and the extent to which the participants believed cultural factors played upon the music chosen for repertoire. Further, participants stated the demographics of the music program; music class sizes, the number of music educators at the school, the grade levels that had music classes offered and music ensembles available within the music program. Finally, participants reported the ensembles and grade levels which they were responsible for teaching.
Participants’ Music Education Goals
Questions within this section were designed to ascertain the goal of the participants’ music programs and the extent to which these goals influenced their music
39 Texas Tech University, Vallie Owens, May 2021 programs. These questions asked the extent to which the participants believed that the music literacy and skill acquisition, music performance, aesthetic value of music, the use of music to develop the whole person, cultural value of music, religious value of music and therapeutic properties of music influenced their music programs.
Participants’ Repertoire Selection Practices
Questions within this section investigated the factors that contributed to the participants’ repertoire selection practices. Specifically, participants reported the extent to which they believed that the school curricula, music literacy components, music performance, aesthetic value, instrumentation and holiday, religious or cultural significance and the participants’ personal preferences effected their repertoire selections.
Participants’ Multicultural Music Representation in Repertoire Selections
Questions within this section examined the inclusion of multicultural music within the repertoire of the music program. Questions were designed to identify the extent to which music of the host country was incorporated in the curriculum and the extent to which the culture of the host country influenced repertoire selection. Also included within this section were questions designed to discover the extent to which repertoire selections were influenced by cultures represented within the school population. Participants were provided with a list of countries and culture groups and participants were asked to report the countries and culture groups represented within their repertoire selections. Moreover, participants were asked to report the frequency that these music selections were included within their repertoire. Finally, participants were asked to state from where multicultural repertoire materials were acquired and to add any
40 Texas Tech University, Vallie Owens, May 2021 additional information that they would like to provide to the researcher. Survey questions consisted of Likert scale (1-5) and (1-4), multiple choice and free response that were examined for emerging trends or verification of previous response.
Limitations of This Study
This study was limited to international schools that advertised within the ISS
Directory that met the following criteria: 1) the school offered music classes at the elementary level 2) the school advertised that curricula was influenced by the practices of the United States of America and 3) the school listed English as a language of instruction.
This study was further limited to self-reported data of the participants who described the multicultural music education practices within their international schools.
Socioeconomic, religious and other demographics (ethnicities, gender etc.) were not considered as a limiting factor to omit participants from this study. Any trends discovered were merely a consequence of the schools that advertised within the ISS Directory and responded to the survey.
41 Texas Tech University, Vallie Owens, May 2021
CHAPTER 4
RESULTS
The purpose of this descriptive study was to discover trends within multicultural music repertoire selection practices of music educators who taught elementary students
(Nursery-6th grade) at international schools located outside the U.S., that included curricula that was influenced by U.S. curricula. This study was designed to collect baseline data that could be used to inform future studies involving multicultural music education. Research questions were designed to examine elementary school multicultural music education in selected international schools located outside of the U.S.
Questions within the survey were divided into four sections and consisted of questions specific to the following themes:
1. Participant’s school demographics
2. Participants’ background (experiences)
3. Participants responsibilities on campus (classes, ensembles)
4. Participants’ music education goals
5. Participants’ repertoire selection practices
6. Participants’ multicultural music representation in repertoire selections
Data Analysis
Participants by School Location
Participants (N = 39) responded to the survey. All participants taught elementary music at international schools located outside of the United States of America (n = 33) that met researcher criteria previously discussed. Participant school locations have been discussed by region. See Table 4.1 and Figure 4.1.
42 Texas Tech University, Vallie Owens, May 2021
Table 4. 1 Participants by Country and Region Continent Country Number of Participants Africa (West Africa) Benin 1 Africa (East Africa) Kenya 1 Africa (Middle East) Morocco 1 Asia (East Asia) China 1 Asia (South Asia) India 2 Asia (Middle East) Israel 1 Asia (East Asia) Japan 3 Asia (Central Asia) Kazakhstan 1 Asia (Middle East) Kuwait 3 Asia (Central Asia) Kyrgyzstan 1 Asia (Middle East) Oman 2 Asia (East Asia) Taiwan 2 Asia (Southeast) Singapore 2 Asia (Southeast) Thailand 1 Europe (Western Europe) Austria 1 Europe (Southern Europe) Bosnia & Herzegovina 1 Europe Kosovo 1 Europe (Southeastern Europe) Macedonia 1 Europe (Southern Europe) Portugal 1 Europe (Southern Europe) Spain 1 Europe (Western Europe) The Netherlands 2 North America Dominican Republic 1 North America Mexico 3 Pacific Islands Marshall Islands 1 Pacific Islands Papua New Guinea 1
South America Aruba 1 South America Ecuador 1
Locations of Participants' Schools (Map)
1 1
2
3
Powered by Bing © GeoNames, Microsoft, Navinfo, TomTom, Wikipedia
Figure 4. 1 Locations of Participants’ Schools (Map)
43 Texas Tech University, Vallie Owens, May 2021
Because the focus of this study was to discover individual teacher decisions regarding the inclusion of multicultural music, the researcher analyzed all data (N = 39) by participant. Some study participants (n = 13) taught on the same campus as another participant in this study. Three of these respondents taught at a single school, while the remaining ten taught at five schools (two in each school). (shown in Table 4.2 by location below).
Table 4. 2 School locations where multiple participants taught
Country Number of participants on campus
India 2 Kuwait 2
Mexico 3
The Netherlands 2
Oman 2 Singapore 2
Each participant contributed varying answers about their individual experiences and specific repertoire selections at the international schools (N = 33) where they taught.
School Demographics
Affiliations and Organizations
Most participants (n = 34) reported affiliations and organizations to which their campuses belonged. However, a few participants (n = 5) omitted this question. There were a wide array of responses that listed specific music organizations or affiliations such as “Orffschulwerk”. Other answers were specific to educational organizations such as
International Baccalaureate (IB) (n = 8) and Accrediting Commission for Schools,
Western Association of Schools and Colleges (ACS WASC) (n = 5). A few participants
44 Texas Tech University, Vallie Owens, May 2021 also responded with abbreviations undistinguishable to the researcher due to the lack of clarity (n = 4). Finally, a few participants (n = 3) stated that they were not aware of affiliations and organizations or were unclear on how to answer this prompt. As this question was not directly related to repertoire selection, and the data were unclear, the researcher opted to not summarize any further.
The researcher further asked for the effect (if any) that these affiliations and organizations had upon participants’ curricular choices. Data were inconclusive and the researcher omitted.
Participants (n = 34) answered an open-ended question regarding their schools’ purpose or mission statement. A few participants skipped reporting this question (n = 5), some stated there was not a mission statement (n = 2) or confirmed that there was a mission statement but did not provide a summary (n = 3). Several responses fell within the following categories of Religious (n = 3), Excellence and Success for each student (n
= 9) and Global Citizenship (n = 5). The remaining statements covered an array of topics that overlapped within various categories. For example, participant #28 responded and stated, “provide an enriched American curriculum with a global perspective…lifelong learners and positive contributors to a global society.”
Campus Statement Effect on Music Instruction
Participants (N = 39) responded to the extent they believed that the campus statement effected their music instruction. The majority agreed that the campus statement effected their music instructional choices: strongly agree (n = 8) and agree (n = 13).
Some selected the option ‘neutral’ (n = 11). Several participants responded that the
45 Texas Tech University, Vallie Owens, May 2021 campus statement did not have any effect on their music instruction: disagree (n=1) and strongly disagree (n = 3), and a few stated it was not applicable (n = 3). See Table 4.3.
Table 4. 3 Effect Campus Purpose Statement has on music instruction
Answer Choices Percentage Participants Response Strongly Agree 21% 8 Agree 33% 13 Neutral 28% 11 Disagree 3% 1 Strongly Disagree 8% 3 Not Applicable 8% 3
Student Demographics
Approximation of Student Populations on Campus
Participants (N = 39) reported estimations of student population within their international schools. The answers ranged from the smallest school with 28 students to the largest reporting with 3,000 students. The answers were delineated into subcategories as follows: under 100 students (n = 5), 101-500 students (n = 10), 501-999 students (n =
10) and finally, 1000-2999 students (n = 6). See Figure 4.2.
Approximate Student Population on Campus (N = 39)
2000+ Students 6 1000-1999 Students 8 501-9999 Students 10 101-500 Students 10 Under 100 Students 5 0 2 4 6 8 10 12
Figure 4. 2 Approximate Student Population on Campus
46 Texas Tech University, Vallie Owens, May 2021
Approximation of Students in Elementary Program
Participants (N = 38) estimated student population within the elementary school program within their campus, one participant skipped this question. These data were categorized within the same criteria as previously discussed. The majority of participants reported elementary populations within the category of 101-500 students (n = 17). Some participants reported student population under 100 (n = 10) and 501-999 students (n = 7).
Few participants reported elementary student populations of greater then 1000 (n = 3).
One participant stated ‘unknown’ and one participant did not contribute an answer. The smallest elementary student population listed was ‘28’ while the largest estimation of student population was ‘1500.’ See Figure 4.3.
Approximate Number of Students in Elementary School (N = 38)
Unkown 1 2000+ Students 0 1000-1999 Students 3 501-9999 Students 7 101-500 Students 17 Under 100 Students 10
0 2 4 6 8 10 12 14 16 18
Figure 4.3 Approximate Number of Students in Elementary School
Grade Levels Serviced Within the Elementary Program
Participants reported the grade levels within their elementary schools. There was an immense assortment of organizations of grade level representation on each campus.
For example, there was one participant that reported serving “nursery- high school”,
47 Texas Tech University, Vallie Owens, May 2021 while another had the model of organization more familiar to the US of “Pre-K through
5th grade”.
All participants reported 1st grade occurring on their campuses (n = 39). The majority also reported 2nd grade (n = 38), 3rd grade (n = 38) and 4th grade (n = 38). Most reported that their campuses served Kindergarten (n = 35), 5th grade (n = 33) and Pre-K
(n = 27). Some reported 6th grade (n = 17), 7th grade (n = 10) and 8th grade (n = 10). The category of ‘other’ contained information ranging from statements such as “5th grade moved to another campus this year” to mentions of “secondary” or “high-school”. See
Figure 4.4.
Grade Levels within Elementary School Program (N = 39) 50 39 38 38 38 40 35 33 27 30 17 20 7 10 10 10 4 0
Pre-K Nursery 1st Grade 2nd Grade 3rd Grade 4th Grade 5th Grade 6th Grade 7th Grade 8th Grade Kindergarten Other (please…
Figure 4. 4 Grade Levels within Elementary School Program
Average Class Sizes Within Elementary Classes
Participants (N = 39) estimated the average class sizes within the elementary school programs on their campuses. These answers varied from the smallest class of “8” to the largest class of “25”. Two participants responses were not used as one was
‘unknown’ and one did not answer legibly. This discrepancy will be discussed further in chapter 5. The majority of participants reported an average class size estimated in the
“15-20” students per class (n = 19), with the most common number repeated as “20” (n =
48 Texas Tech University, Vallie Owens, May 2021
9). The next largest bracket occurred in the 20+ estimation (n=10), with the highest number reported as 25 students. Few participants reported class sizes of under 10 students per class (n = 4) and 11-14 students per class (n = 4). See Table 4.4.
Table 4.4 Approximate class size in elementary general education
Class size brackets Reported occurrences (Number of students per class) Less than 10 Students per class 4 11-14 students per class 4 15-20 students per class 19 21 or more students per class 10
Average Class Sizes Within Elementary Music Classes
Participants (N = 36) estimated the number of students within the average elementary music class. Responses were counted and coded into categories (Creswell,
2003). A few participants (n = 4) skipped the question, one participant responded
‘unknown’ and one participant responded in uncoded manner. The remaining answers were categorized in the same class size brackets utilized in table 4.4 and shown in the table below (Table 4.5). The majority of participants reported classes of 15-20 students per music class (n = 17), with the most commonly repeated answer of ‘20’ (n = 11).
Some estimated classes of 21 or more students per class (n = 12), with the highest estimation of class size at 20-30. Few participants reported smaller class sizes of 11-14 students per music class (n = 3) and less then 10 students per music class (n = 2). See
Table 4.5.
49 Texas Tech University, Vallie Owens, May 2021
Table 4.5 Approximate elementary music class size
Class size brackets Reported occurrences (Number of students per class) Less than 10 Students per class 2 11-14 students per class 3 15-20 students per class 17 21 or more students per class 12
Number of Music Educators Per Campus
Most participants (N = 38) reported the number of music educators on their campuses, one participant skipped the question. The answers were vastly different and varied from 1-100. The answers lacked clarity and were not further delineated into categories by the researcher.
Music Classes Offered at the Elementary Level
All participants (N = 39) responded a stated which grade levels received music at the elementary level. The participants reported that all schools provided music classes for
2nd grade (n = 39), 3rd grade (n = 39) and 4th grade (n = 39). Participants additionally reported that the majority of schools provided music courses for 1st grade (n = 38),
Kindergarten (n = 34) and Pre-K (n = 24). Fewer schools offered music for 7th grade (n
= 12), 8th grade (n = 12) and Nursery (n = 7). The category of ‘other’ included a variety of information that could not be categorized and will be discussed in chapter five. These answers ranged from explanations of duration of class offerings (how frequent) to information about the specific additional grade levels (secondary or nursery) that also were served within the campus population. See Figure 4.5.
50 Texas Tech University, Vallie Owens, May 2021
Music classes offered within elementary school: By grade level (N = 39) 50 38 39 39 39 40 34 35 30 24 19 20 12 12 7 7 10 0 1st 2nd 3rd 4th 5th 6th 7th 8th Nursery Pre-K Kinder Other Grade Grade Grade Grade Grade Grade Grade Grade 7 24 34 38 39 39 39 35 19 12 12 7
Figure 4.5 Music classes offered within elementary school: By grade level
Participants
Participants' Gender, Age and Nationality
Participants self-reported through a short answer question to identify gender (N =
39). Females (n = 23) exceeded the total of Male (n = 16) participants. No participants reported non-binary. See Figure 4.6.
Participants by Self-Identified Gender (N = 39)
23 16 0
Female Male Non-Binary
Figure 4.6 Participants by Self-Identified Gender
Participants (N = 39) reported their ages through researcher selected age categories. 30.7% of participants reported as within the 31-40 years age range (n = 12),
28% of participants reported as within 20-30 years age range (n = 11), 23% reported within the age range of 41-50 (n = 9), 10% reported within the age range 60-70 years (n =
4) and finally, 7.7% reported within 51-60 years age range (n = 3). See Figure 4.7.
51 Texas Tech University, Vallie Owens, May 2021
Participant Age Ranges (N = 39)
11 12 9
3 4
20-30 years 31-40 years 41-50 years 51-60 years 61-70 years
Figure 4.7 Participant Age Ranges
Participants Discussed by Self-Identified Gender
Female participants (n = 23) self-identified in equal amounts within the three age categories of 20-30 years (n = 6), 31-40 years (n = 6) and 41-50 years (n = 6). Fewer female participants self-identified within the age ranges of 61-70 years (n = 4) and 51-60 years (n = 3). Figure 4.8.
Female Participant Age Ranges (n = 23)
61-70 years 3 51-60 years 2 41-50 years 6 31-40 years 6 20-30 years 6 0 1 2 3 4 5 6 7
Figure 4.8 Female Participant age ranges
Male participants (n = 16) reported their ages. The highest number of male participants by age was within the age category of 31-40 years (n = 6), and slightly lower numbers were reported within the age range 20-30 years (n = 5). Fewer male participants self-identified within the age ranges of 41-50 years (n = 3). The smallest reported male
52 Texas Tech University, Vallie Owens, May 2021 population fell within the age ranges of 51-60 years (n = 1) and 61-70 years (n = 1). See
Figure 4.19.
Male Participant Age Ranges (n = 16)
61-70 years 1 51-60 years 1 41-50 years 3 31-40 years 6 20-30 years 5 0 1 2 3 4 5 6 7
Figure 4.19 Male Participant Age Ranges
Participants by Country of Origin and Citizenship
Participants reported country of birth by answering fill in the blank questions. All participants (N = 39) reported country of birth and country of citizenship. The researcher has opted to summarize this portion of the data by continent for clarity in the following paragraphs.
Participants’ Country of Birth
The majority of the participants’ reported country of birth from North America (n
= 28). Participants reported country of birth from Europe (n = 5) and Asia (n = 4). The continents with the fewest participants included South America (n = 1) and Australia (n =
1). No participants reported country of birth from Africa (n = 0) or Antarctica (n = 0). See
Figure 4.10.
53 Texas Tech University, Vallie Owens, May 2021
Participants' Country by Birth: Listed by Continent (N = 39) 30 28 25 20 15 10 5 0 0 4 1 5 1 0 North South Africa Anartica Asia Australia Europe America America 0 0 4 1 5 28 1
Figure 4.10 Participants' country by birth: Listed by continent
Participants self-reported country of birth within the following countries.
• Asia (n = 4): Hong Kong (n = 1), India (n = 1), Kirgizstan (n = 1),
Lebanon (n = 1).
• Australia (n = 1): Australia (n = 1).
• Europe (n = 5); Bosnia (n = 1), Ireland (n = 1), Kosovo (n = 1),
Macedonia (n = 1) and Northern Ireland (n = 1).
• North America (n = 28): Canada (n = 4), Mexico (n = 3), Santo
Domingo (n = 1) and USA (n = 20).
• South America (n = 1); Aruba (n = 1).
Participants’ Country of Citizenship
The highest number of participants’ reported citizenship within countries located in North America (n = 25). Participants reported citizenship from countries located in
Europe (n = 9) and Asia (n = 2). Two participants listed dual citizenship (n = 2). No participants reported country of birth from countries within Africa (n = 0) or Antarctica
(n = 0). See Figure 4.11.
54 Texas Tech University, Vallie Owens, May 2021
Participants' Citizenship: Listed by Contient (N = 39) 30 25 20 9 2 10 0 0 0 0 2 0 Dual North South Africa Anartica Asia Australia Europe Citzenshi America America p 0 0 4 0 9 25 0 2
Figure 4.11 Participants’ citizenship: Listed by continent
Participants' Self-Reported Citizenship Within the Following Countries:
• Asia (n = 2): Korea (n = 1) and India (n = 1).
• North America (n = 25): Canada (n = 3), Dominican Republic (n = 1),
Mexico (n = 3) and USA (n = 19).
• Europe (n = 9); Austria (n = 1), Bosnia (n = 1), France (n = 1), Kosovo
(n = 1), Macedonia (n = 1), The Netherlands (n = 2), Northern Ireland
(n = 1) and United Kingdom (n = 1).
• Dual Citizenship (n = 2); Australia and Irish (n = 1), Canada and Hong
Kong (n = 1).
Participants’ Musical Instrument Concentration
Participants reported their primary music making instrument. Instrumental (n =
30), vocal (n = 7) and combination of vocal & instrumental (n = 3) see Figure 4.12.
55 Texas Tech University, Vallie Owens, May 2021
Participants' Main Music Making Instrument (N = 39)
Vocal & Instrumental 3 Instrumental 30 Vocal 7 0 5 10 15 20 25 30 35
Figure 4.12 Participants’ Main Music Making Instrument
Participants’ Educational Background
All participants reported that they had earned a minimum of a bachelor’s degree
(N = 39). The majority of the participants (n = 24) had earned a graduate or master’s degree, as well. One participant earned a PhD/DMA (n = 1). Participants are detailed by highest degree attained in Figure 4.13.
Participants' Highest Degree Attained (N = 39)
Bachelors 14
Masters 24
PhD/DMA 1
0 5 10 15 20 25 30
Figure 4.13 Participants’ Highest Degree Attained
Participants further reported their areas of degree concentrations within their degrees. Answers were coded for themes and were delineated as follows: music (n = 26), education (n = 4), combination of separate degrees within music and education (n = 2), other (n = 6) and undeclared (n = 1) (See Figure 4.14). Two participants also noted
56 Texas Tech University, Vallie Owens, May 2021 master’s degrees within a music methodology specialty: Orff emphasis (n = 1) and
Kodaly emphasis (n = 1).
Participants' Concentrations within Academic Degrees (N = 39) 30 26 20 6 10 4 2 1 0 Music Education Combination Other Undeclared Music and education
Figure 4.14 Participants' Concentrations within Academic Degrees
Participants’ Teaching Certifications
Participants (n = 33) reported having earned certifications within music education. A few participants (n = 5) reported that they had not obtained certification, and one participant reported a certification outside of music education. See Figure 4.15.
Participants' Certifications in Music Education (N = 39)
Certification-non music 1 No 5 Yes 33 0 5 10 15 20 25 30 35
Figure 4.15 Participants’ Certifications in Music Education
Most participants reported the country from where they held education certifications (n = 34), but five participants skipped this question. The majority of participants (n = 20) reported U.S.A. certifications and are discussed further in table and map. Some participants reported Canadian certifications (n = 4) and a few participants
57 Texas Tech University, Vallie Owens, May 2021 reported Mexican certifications (n = 2). One participant reported holding a certification but did not report from what country the certification was obtained and is omitted from the map. The other countries that individual participants listed included: Australia (n=1),
Bosnia & Herzegovina (n = 1), France (n = 1), Kosovo (n = 1), Kyrgyzstan (n = 1),
Macedonia (n = 1) and Northern Ireland (n = 1). See Table 4.6 and Figure 4.16.
Table 4.6 Participants’ Teaching Certifications: By Country
Country Participants Australia 1 Bosnia & Herzegovina 1 Canada 1 France 4 Kosovo 1 Kyrgyzstan 1 Macedonia 1 Mexico 2 Northern Ireland 1 US 20 Unspecified 1
Participants' Teaching Certification: By Country (N = 34)
1
4
2
20
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Figure 4.16 Participants’ Teaching Certification: By Country (map)
58 Texas Tech University, Vallie Owens, May 2021
Many participants reported the US state where they obtained a music education certification (N = 20). The remaining participants have been discussed in the aforementioned paragraphs as well as detailed in figure 4.19 and 4.20. The majority of the answers reflected one participant per state: Arizona (n = 1), Connecticut (n = 1),
Florida (n = 1), Massachusetts (n = 1), Michigan (n = 1), New Jersey (n = 1), North
Carolina (n = 1), Ohio (n = 1), Oregon (n = 1), Texas (n = 1). However, the highest representation was from Michigan (n = 5). A few participants responded that they had certifications from Virginia (n = 2). One participant reported holding dual certifications in New York and Texas. This participant was omitted from the map. See Table 4.6 and
Figure 4.17.
Participants' Teaching Certifications: US (Map) (N = 20)
1
5
2
Powered by Bing © GeoNames, Microso , TomTom
Figure 4.17 Participants’ Teaching Certifications: US (Map)
59 Texas Tech University, Vallie Owens, May 2021
Table 4.7 Participants’ Teaching Certifications: US
State(s) Number of Participants Arizona 1 Connecticut 1 Florida 1 Massachusetts 1 Michigan 1 Minnesota 5 New Jersey 1 North Carolina 1 Ohio 1 Oregon 1 Texas 1 Virginia 2 2 states: New Jersey & 1 Texas
Participants’ Teaching Experiences
Participants reported the duration of teaching experience within their careers.
Answers were coded for trends. The researcher categorized trends into five brackets of time: 1st year teachers (n = 2), 2-5 years of experience (n = 2), 6-9 years of experience (n
= 8), 10-19 years of experience (n = 16) and 20+ years of experience (n = 11). See Figure
4.18.
Participants' Teaching Experience: Within Career (N = 38) 20 16 15 11 10 8 5 2 2 0 1st year teachers 2-5 years 6-9 years 10-19 years 20+ years experience experience experience experience
Figure 4.18 Participants’ Teaching Experience: Within Career
60 Texas Tech University, Vallie Owens, May 2021
Participants’ International Teaching Experiences
Serbes (2017) discussed five reasons teachers often prefer to pursue careers teaching abroad and listed these as 1) commitment to teaching profession, 2) financial problems, 3) learning about new cultures, 4) learning new languages, 5) develop teaching profession. Likewise, many of these themes emerged as participants (N = 38) responded to an open-ended question regarding their motivation to pursue a career teaching at an international school and one participant did not answer. Answers were coded for themes
(Merriam, 1998) and the following emerged: opportunity to work in multicultural environment (n = 10), opportunity for travel and adventure (n = 9), opportunity for finances and support (n = 7), opportunity for personal or professional growth (n = 4), religious service (n = 2), love of teaching (n = 2), educated within international schools (n
= 2) and other (n = 1). See Figure 4.19.
Motivation to Pursue a Career in International Education (n = 38)
12 10 10 9 8 8 6 4 4 2 2 2 2 1 0 Multicultural Travel and Finances and Love of Religious Opportunity Educated Other Environment Adventure Support Teaching for Personal within Int. & Schools Profressional Growth
Figure 4.19 Motivation to Pursue a Career in International Education
61 Texas Tech University, Vallie Owens, May 2021
Participants (N =39) reported the duration of their teaching experiences within international schools. Answers were coded for trends. The researcher categorized trends into the same five brackets of time: 1st year teachers (n = 7), 2-5 years of experience (n =
10), 6-9 years of experience (n = 7), 10-19 years of experience (n = 11) and 20+ years of experience (n = 4). See Figure 4.20.
Participants' Teaching Experience: In International Education (N = 39)
15 10 11 10 7 7 4 5 0 1st year teachers 2-5 years 6-9 years 10-19 years 20+ years experience experience experience experience
Figure 4.20 Participants’ Teaching Experience: In International Education
Participants’ Teaching Responsibilities
Participants reported grade levels for which they were responsible for teaching music within the elementary program on their campuses. The majority of participants reported that they taught music classes to 2nd grade (n = 31). Most reported having had music teaching responsibilities for 3rd grade (n = 29) and 4th grade (n = 29). Many reported teaching music to 5th grade (n = 26), 1st grade (n = 26) and Kindergarten (n =
23). Some reported teaching music to Pre-Kindergarten (n = 16) and 6th grade (n = 14).
Some participants listed teaching music to 7th grade (n = 8) and 8th grade (n = 8), as well as the category of ‘other’ (n = 6), as well as a few participants stated they taught music classes to Nursery (n = 3). Six entered the category of ‘other’.
Within the category of ‘other’ were a vast array of answers (n = 6). One participant responded with a very detailed schedule of responsibilities taught on their
62 Texas Tech University, Vallie Owens, May 2021 campus. The researcher inferred the abbreviations to indicate specific grade levels. The participant stated: “I previously taught PK-5, half of each grade level; this year I taught all of KG2, 1st, 4th, and 3 sections of PK”. Other participants mentioned teaching the higher grade levels “secondaries” and “9th and 10th grade”. A few described instrumental ensembles “woodwinds and brasswinds” and “5th/6th band”. Finally, one participant listed teaching music classes to “3 year olds”. See Figure 4.21.
Participants' Music Class Responsibilities: By Grade Level (N = 39) 40 31 29 29 23 26 26 30 16 14 20 8 8 6 10 3 0 1st 2nd 3rd 4th 5th 6th 7th 8th Nursery Pre-K Kinder Other Grade Grade Grade Grade Grade Grade Grade Grade 3 16 23 26 31 29 29 26 14 8 8 6
Figure 4.21 Participants’ Music Class Responsibilities: By Grade Level
Ensembles Available on Campus
Participants (N = 39) reported the ensembles offered within the elementary school program on their campuses. The majority of participants reported offerings of Choir
(n=25) and Band (n = 21). Many participants reported Drum Circle (n = 11) and
Orchestra/Strings (n = 11). Many participants also reported ensemble offerings within the category of ‘other’ (n = 17). Answers within the category of ‘other’ included an array of answers. Some participants responded with obscured answers that perhaps should have just been omitted: “none”, “none of the above”, “general music only” and “Students do not begin large ensembles until 6th grade”. Other participants reported instrument specific ensembles listing: “recorder”, “ukulele”, “piano (in a lab setting)”, “guitar orchestra”, “marimbas” and “handbells”. There were examples of ensembles with a
63 Texas Tech University, Vallie Owens, May 2021 contemporary emphasis: “rockband” and “rock, songwriting, percussion”. There were also answers that reflected a multicultural emphasis: “World percussion ensemble” and
“Taiko drumming”. Finally, there were other examples of more traditional western euro classical ensembles: “in class Grade 3 choir” and “jazz ensemble”. Non-specific ensembles listed included “mixed ensemble”, ‘ensemble’ and “Duets, Trio, Quartet, etc.”.
See Figure 4.22.
Enembles Offered at the Elementary School (N = 39) 25 30 21 17 20 11 11 10 0 Band Choir Drum Circle Orchestra/Strings Other 21 25 11 11 17
Figure 4.22 Ensembles Offered at the Elementary School
Ensembles Taught by Participants
Participants reported their teaching responsibilities within the ensembles offered at the elementary level (N = 39). The majority of participants taught offerings of Choir (n
= 22). Many participants taught Band (n = 12), Drum Circle (n = 10) and ‘Other’ (n =
16). A few participants reported teaching Orchestra/Strings (n = 3). Within the category of ‘other’ answers were varied. The most common response was the specification of
“recorder”, followed by “handbells” and “orff” or “orff ensemble”. A few answers appeared to not be applicable to ‘other’ and denoted ensemble offerings within secondary level “I teach middle and high school choir” or specific to the duration of time an ensemble was offered “Drum circle is only taught for a short time” Additionally, one was
64 Texas Tech University, Vallie Owens, May 2021 nonspecific as to the ensemble offered and stated, “groups of 2,3,4 and more students”.
Finally, one participant listed an offered ensemble of “marimbas and Taiko drumming”.
See Figure 4.23.
Participant Taught Ensembles within Elementary School (N = 39)
Other 16 Orchestra/Strings 3 Drum Circle 10 Choir 22 Band 12 0 5 10 15 20 25 Band Choir Drum Circle Orchestra/Strings Other 12 22 10 3 16
Figure 4.23 Participant Taught Ensembles within Elementary School
Participants’ Experiences Within Music Education Elementary Approaches
Participants (N = 35) answered a question that contained a checklist of certifications and trainings earned within specific methodological approaches as well ‘no additional training” and “other”. Some participants (n = 4) omitted this question and did not answer. Within each answer participants had the opportunity to respond in open ended response form to list the highest level of training attained or any further information they wished to disclose. Participants responded: Kod�́�� (n = 11), Orff (n =
12), Dalcroze (n = 3), Gordon (n = 2), Other (n = 8) and none (n = 13). See Table 4.8.
The category of ‘other’ described a wide array of additional training from specific curricula, i.e.: “Suzuki Violin” and “World Drumming, Will Schmidt, Level 1” to broad answers “AP” and “choral conducting”. See Table 4.12.
65 Texas Tech University, Vallie Owens, May 2021
Table 4.8 Participant Methodological Approaches
Answer Choice Response Dalcroze 3 Gordon 2 Kod�́ �� 11 Orff 12 Other 8 No additional certifications or 13 training
Levels and experiences within each methodological approach varied. Not all participants indicated the highest level or specified the experience that they had in each approach. However, participants that responded, indicated range from no experience to experienced teacher training within the various methodologies. One participant stated:
I am not certified in any of these methodologies however, as part of my training at USYD, I did a lot of Orff and Dalcroze. I, myself was a graduate of The Conservatorium High School of Music where we studied using Kodály and Orff.
However, all participants (N = 39) reported the extent to which they implemented any particular methodological approach.
Participants’ Experiences Within Kod�́�� Approach
The majority of participants reported implementing the Kodály approach within their classrooms; 23% strongly agreed and 46% agreed. 23% stated neutral and 8% disagreed with the statement “I implement Kodály approach in my teaching process”.
See Figure 4.24 and Table 4.9.
66 Texas Tech University, Vallie Owens, May 2021
Extent Participants' Implemented Kod�́ly Approach in Teaching (N = 39) 3 9 Strongly Agree 9 Agree Neutral Disagree Strongly Disagree 18
Figure 4.24 Extent Participants’ Implemented Kod�́ �� Approach in Teaching
Table 4.9 Extent Participants’ Implemented Kod�́ �� Approach in Teaching
Statement Strongly Agree Neutral Disagree Strongly Agree Disagree “I implement Kod�́ �� 23% 46% 23% 8% 0% approach in my teaching” 9 18 9 3 0
Several participants (n = 11) indicated the extent of their experience within the
Kod�́�� methodology, but most participants did not specify the amount of experience attained (n=28). One participant responded ‘yes’ to having received training but did not clarify the level. A few participants indicated that they had received “Level 1” indicate the level of training. Other participants described their informal training within Kod�́ �� methodology. One participant stated: “practicum experience in college and then self- taught using Mary Chosky’s books and lots of experience”. Another indicated: ‘training but no certificate’. A few other participants specified the highest level of certification attained: level I (n=3), level II (n=3). Another participant stated, “All three levels” and one participant indicated ‘teacher trainer (levels teacher)’.
67 Texas Tech University, Vallie Owens, May 2021
Participants’ Experiences Within Orff Approach
The majority of participants reported implementing Orff approach within their classrooms: 23% strongly agreed (n = 9) and 49% agreed (n = 18). 23% stated neutral (n
= 7) and 10% disagreed (n = 4) with the statement “I implement Orff methodology in my teaching process”. See Figure 4.25 and Table 4.10.
Extent Participants' Implemented Orff Approach in Teaching (N = 39)
4 Strongly Agree 9 Agree 7 Neutral Disagree Strongly Disagree 19
Figure 4.25 Extent Participants’ Implemented Orff Approach in Teaching
Table 4.10 Extent Participants’ Implemented Orff Approach in Teaching
Statement Strongly Agree Neutral Disagree Strongly Agree Disagree “I implement the Orff approach 23% 49% 18% 10% 0 in my teaching process” 9 19 7 4
Several participants (n = 10) indicated the extent of their experience within the
Orff approach, most participants did not specify the amount of experience attained (n =
29). Two participants responded ‘yes’ to having received training but did not clarify the level. A few participants specified the highest level of certification attained: level I (n =
2), level II (n = 3), all three levels (n = 2). Another participant stated, “All three levels- teacher educator” and one participant indicated ‘mastery’.
68 Texas Tech University, Vallie Owens, May 2021
Participants' Experiences Within Dalcroze
Dalcroze was not as widely self-reported to be implemented by participants. The majority of participants reported neutral (31% or n = 12) or disagreed (21% or n = 8) with the statement “I implement Dalcroze approach in my teaching process”. However, there was still a representation of participants that did self-report to implement Dalcroze teaching practices. These participants responded with only one participant strongly agreeing (n = 1) but 46% agreed (n = 18). See Figure 4.26 and Table 4.11.
Extent Participants' Implemented Dalcroze Apporach in Teaching (N = 39)
Strongly Agree 8 1 Agree 18 Neutral 12 Disagree Strongly Disagree
Figure 4.26 Extent Participants Implemented Dalcroze Approach in Teaching
Table 4.11 Extent Participants Implemented Dalcroze Approach in Teaching
Statement Strongly Agree Neutral Disagree Strongly Agree Disagree “I implement Dalcroze 3% 46% 31% 21% 0 approach in my teaching” 1 18 12 8
Only three participants offered any additional information regarding the levels of experience that they had within the Dalcroze approach. One participant stated ‘yes’ but did not offer any further clarification on their experiences within Dalcroze. Two participants clarified the extent of their experience and stated: ‘just workshops’ and another stated, ‘courses from certified instructors, no levels’.
69 Texas Tech University, Vallie Owens, May 2021
Participants' Experiences Within Gordon Approach
Gordon was also not as frequently self-reported to be implemented by participants. Most participants responded neutral (44% or n = 17). Many participants disagree (33% or n = 13) and strongly disagree (n = 1) with the statement “I implement
Gordon approach in my teaching process”. However, there were some participants that did self-report to have implemented Gordon teaching practices (n = 8). See Figure 4.27 and Table 4.12.
Extent Participants' Implemented Gordon Approach in Teaching (N = 39)
1 Strongly Agree 8 Agree 13 Neutral Disagree 17 Strongly Disagree
Figure 4.27 Extent Participants Implemented Gordon Approach in Teaching
Table 4.12 Extent Participants’ Implemented Gordon Approach in Teaching
Statement Strongly Agree Neutral Disagree Strongly Agree Disagree “I implement Gordon 0% 20% 44% 33% 3% approach in my teaching” 0 8 17 13 1
Only two participants responded to indicate the level of experiences they had obtained with the Gordon approach. One stated ‘no’ which inferred lack of experience within Gordon approach. The other participant specified their experiences within Gordon were “embedded in undergrade, but no ‘level’ obtained”.
70 Texas Tech University, Vallie Owens, May 2021
Other Methodological Approaches Indicated by Participants
The majority of participants reported that they implemented ‘other’ teaching approaches within their teaching practices: Strongly agreed (n = 9) or Agreed (n = 11).
Many responded neutral (n = 16). A few disagreed (n = 2) and strongly disagreed (n = 1).
See Table 4.13.
Table 4.13 Extent Participants Implemented ‘Other’ Approach in Teaching
Statement Strongly Agree Neutral Disagree Strongly Disagree Agree I implement Other 9 11 16 2 1 Approaches
Some participants (n = 8) described the additional trainings and certifications that they had received, the remaining participants (n = 31) did not specify any additional information regarding trainings attained. Participants (n =8) that indicated the additional trainings within the category of ‘other’ and detailed following:
• Choral conducting
• World drumming, Will Schmidt, Level 1
• Royal conservatory of music-Grade 8
• Suzuki violin
• Russian Piano Studio
• AP
• World Drumming (2) and Marimba
There were some overlaps in the experiences of participants in Kod�́ �� and Orff approaches. Five participants indicated some level of experience in Orff and Kod�́��.
71 Texas Tech University, Vallie Owens, May 2021
Only one participant indicated experience within Kod�́ �� (“level II”), Orff (“Mastery”) and Dalcroze (“just workshops”). No participants indicated experiences within Kod�́ ��,
Orff, Dalcroze and Gordon.
Participants' Repertoire Practices
Participants’ Focuses of Music Program
All participants responded to Likert (1-5) statements regarding the emphasis of their music programs (N = 39). However, as participants were given the option to omit answering, some participants did not respond to some of the statements within the questions regarding specific focuses of their music program. The three statements that amassed the most responses from participants included statements regarding music focus on: religious value (n = 29), therapeutic properties (n = 27) and cultural value of music (n
= 21). The statements with the least response rate included statements about the focus of music program due to the following topics: music literacy (n=10), value of music in the development of a person (n = 11), aesthetic experience (music for enjoyment) (n = 13) and music performance (n = 16). See Table 4.14.
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Table 4.14 Participants’ Focuses of Music Program
Statement Strongly Agree Neutral Disagree Strongly Total number Agree Disagree Participant responses Music literacy is emphasized 60% 40% 0 0 0 10 in my classroom 6 4 Music performance is 56% 38% 6% 0% 0% 16 emphasized in my classroom 9 6 1 0 0
Aesthetic experience of 46% 23% 31% 0% 0% 13 music (music for enjoyment) 6 4 4 0 0 is emphasized in my classroom The value of music in the 36% 36% 9% 9% 9% 11 development of a person 4 4 1 1 1 (I.E.: cross-curricular value) is emphasized in my classroom Cultural value of music is 19% 33% 14% 24% 10% 21 emphasized in my classroom 4 7 3 5 2 Religious value is 3% 7% 28% 24% 38% 29 emphasized in my classroom 1 2 8 7 11 Therapeutic properties of 7% 33% 33% 22% 4% 27 music (emotional and 2 9 9 6 1 physical wellbeing) are emphasized in my classroom
The majority of participants responded to the statement “the focus of my music program for religious value is emphasized in my music classroom” (N = 29), but some participants did not respond (n = 10). Most participants selected neutral (n = 11), strongly disagree (n = 11) or disagree (n = 7). A few participants agreed (n = 2) or strongly agreed
(n = 1). See Table 4.14.
The majority of participants responded to the statement “the focus of my music program: therapeutic properties of music (emotional and physical well-being) is emphasized in my classroom)” (N = 27), some participants did not respond (n = 12).
Many of the participants that responded, selected ‘neutral’ (n = 9). Many of the participants selected agree (n = 9), while a few selected strongly agree (n = 2). Several participants selected disagree (n = 6) and one participant selected strongly disagree. See
Table 4.14.
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Many participants responded to the statement “cultural value of music is emphasized in my classroom” (N = 21), while many (n = 18) did not respond. Within the participant responses, some agreed: agree, (n = 7) and strongly agree (n = 4). A few chose neutral (n = 4) and the remaining respondents selected disagree; disagree (n=5) and strongly disagree (n = 2). See Table 4.14.
The statement regarding “The value of music in the development of a person…is emphasized in my classroom”, prompted some participants to respond (n = 11). Many other participants chose to omit answering (n = 29). The participants that responded, selected affirmative responses in agreement to the statement: agree (n=4) and strongly agree (n = 4). A few participants that responded, selected neutral (n=1), disagree (n=1) and disagree (n = 1). See Table 4.14.
Several of the least responded focus areas: music literacy (n = 10), aesthetic experience (n = 13) and music performance (n = 16) resulted in responses that were in agreement or neutral to the statements. No participants within these areas of focuses disagreed with the statements. See Table 4.14.
Participants’ Repertoire Selection Processes
Participants (N = 39) responded to statements within Likert scale rating (1-5 point scale) describing what factors contributed to their repertoire selection processes. All participants responded but were able to omit answering questions on specific statements.
One participant answered all but one question “Music literacy”. However, another participant omitted answering this same question. Therefore, all participants responded but the responses were (n = 38). Statements focused on factors that included school curricula, personal preference, components of literacy components, music performance,
74 Texas Tech University, Vallie Owens, May 2021 aesthetic value: music enjoyment, instrumentation, holiday/religious/cultural significance. Participants selected from answers about statements that ranged from strongly disagree, disagree, neutral, agree and strongly agree. The majority of participants agreed with statements regarding the effect of various statements and are discussed in the paragraphs below.
Most participants responded to the question regarding music focus and impact of school curricula on their repertoire selections (N = 38), one participant did not respond.
The majority of participants affirmed that repertoire selections were affected by school curricula (strongly agree n = 4 and agreed n = 17). Many participants selected neutral (n
= 11) and some disagreed (disagree n = 2 and strongly disagreed n = 4). See Figure 4.28.
Repertoire Choices Effected: By School Curricula (n = 38)
Strongly Disagree 4 Disagree 2 Neutral 11 Agree 17 Strongly Agree 4 0 2 4 6 8 10 12 14 16 18 Strongly Agree Agree Neutral Disagree Strongly Disagree 4 17 11 2 4
Figure 4.28 Repertoire Choices Effected: By School Curricula
Most participants responded to prompt regarding effect of personal preference on repertoire selection practices (N = 38), one participant did not respond. The majority of participants agreed that their repertoire selections were affected by their personal preference: strongly agreed (n = 8) and agreed (n = 22). Some participants responded neutral (n = 7) and one participant selected disagree. See Figure 4.29.
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Repertoire Selections Effected: By Personal Preference (n = 38)
Strongly Disagree 0 Disagree 1 Neutral 7 Agree 22 Strongly Agree 8 0 5 10 15 20 25 Strongly Agree Agree Neutral Disagree Strongly Disagree 8 22 7 1 0
Figure 4.29 Repertoire Selections Effected: By Personal Preference
The majority of participants agreed that repertoire selection processes were effected by music literacy components: strongly agree (n = 18) and agree (n = 13). The remaining participants selected neutral (n = 7). No participants selected disagreed that literacy components. See Figure 4.30.
Repertoire Selections Effected: By Music Literacy Components (n = 38)
Strongly Disagree 0 Disagree 0 Neutral 7 Agree 13 Strongly Agree 18 0 2 4 6 8 10 12 14 16 18 20 Strongly Agree Agree Neutral Disagree Strongly Disagree 18 13 7 0 0
Figure 4.30 Repertoire Selected Effected: By Music Literacy Components
76 Texas Tech University, Vallie Owens, May 2021
The majority of participants agreed that music performance effected their repertoire selection process: agree (n=19) and strongly agree (n=19). A few participants selected neutral (n=2) and one participant disagreed. See Figure 4.31.
Repertoire Selection Effected: By Music Performance (n = 38)
Strongly Disagree 0 Disagree 1 Neutral 2 Agree 19 Strongly Agree 16
0 2 4 6 8 10 12 14 16 18 20 Strongly Agree Agree Neutral Disagree Strongly Disagree 16 19 2 1 0
Figure 4.31 Repertoire Selection Effected: By Music Performance
Most participants (n = 38) responded to the prompt that asked to what extent that their repertoire selections were effected by aesthetic value (value of music) and one participant did not respond. The majority of participants that responded, agreed that repertoire selections were effected by aesthetic value (music for enjoyment): agree (n =
22) and strongly agree (n = 8). Many participants selected neutral (n = 7) and one participant selected disagree. See Figure 4.32.
77 Texas Tech University, Vallie Owens, May 2021
Repertoire Selection Effected: By Aesthetic Value (Value of Music) (n = 38)
Strongly Disagree 0 Disagree 1 Neutral 7 Agree 22 Strongly Agree 8 0 5 10 15 20 25 Strongly Strongly Agree Agree Neutral Disagree Disagree 8 22 7 1 0
Figure 4.32 Repertoire Selection Effect: By Aesthetic Value (Value of Music)
Most participants (N = 38) responded to indicate the extent that they agreed or disagreed that their repertoire selection was influenced by instrumentation. One participant did not respond. The majority of participants that responded, agreed that instrumentation effected their repertoire choices: agree (n = 12) and strongly agree (n =
10). Many participants selected neutral (n = 11). A few participants disagreed that instrumentation effected their repertoire selection: disagree (n = 4) and strongly disagree
(n = 1). See Figure 4.33.
78 Texas Tech University, Vallie Owens, May 2021
Repertoire Selection Effected: By Instrumentation (n = 38)
Strongly Disagree 1 Disagree 4 Neutral 11 Agree 12 Strongly Agree 10
0 2 4 6 8 10 12 14 Strongly Agree Agree Neutral Disagree Strongly Disagree 10 12 11 4 1
Figure 4.33 Repertoire Selection Effected: By Instrumentation
Most participants (N = 38) indicated the extent that their repertoire selections were affected by holiday, religious or cultural impacts. One participant did not respond.
Many participants that responded agreed that repertoire was affected by holiday, religious or cultural significance: strongly agree (n = 10) and agree (n = 9). Many participants opted for neutral (n = 9). Some participants disagreed: disagree (n = 7) and strongly disagree (n = 4). See Figure 4.34.
79 Texas Tech University, Vallie Owens, May 2021
Repertoire Selection Effected: By Holiday, Religious or Cultural Significance (n = 38)
Strongly Disagree 4 Disagree 7 Neutral 9 Agree 9 Strongly Agree 10
0 2 4 6 8 10 12 Strongly Strongly Agree Agree Neutral Disagree Disagree 10 9 9 7 4
Figure 4.34 Repertoire Selection Effected: By Holiday, Religious or Cultural
Significance
Additionally, participants were encouraged to elaborate on their repertoire selection practices. Participants answered an open-ended question that prompted “How do you select repertoire for use in your classroom? Answers were coded for themes
(Merriam, 1998) and the following emerged:
A few participants stated their repertoire selection process was affected by the school curricula and standards. One stated, “Based on our curriculum and purchased books. Alfred”. Another offered: “through QSI curriculums” (school specific). A few other participants mentioned specific approaches of Orff or Kod�́ ��. One stated:
Usually using the Kod�́ �� approach or prep, present, practice. I find materials that fit into those categories for a given concept that are age, culturally and linguistically appropriate
One participant stated: “Mostly using the First Steps in Music, Conversational Solfege and Gameplan curricula”.
80 Texas Tech University, Vallie Owens, May 2021
Another area discussed was student choice, student interest and appropriateness for the student. Within this grouping, the answers often overlapped to include this multi criterion for repertoire selection. One participant offered: “I try to select music which the students will enjoy and will help them learn musical principles I want to teach”. One participant chose repertoire based on student interests and stated: “by student interests, school projects and curriculum need”. One participant further indicated the amount of student choice and stated: “I discuss it (repertoire selection) with kids, they may choose a repertoire if it goes along with the curriculum”.
Other participants added the parameters of skill and ability of the students as a criterion for repertoire selection: One participant stated: “I choose songs that allow students to build skills relating to the standards we are focusing on”. Another affirmed:
“According to the students’ level and technique, progressively”. Yet, another offered:
“Through an ongoing process of assessment and development. It should meet skills being taught and match the abilities of the students”.
A few participants discussed performance level and ability as a part of their selection process. For example, repertoire selections were, “based on successful skill level and comprehension as a full class”.
One participant described multiple criteria for repertoire selection process:
Student select songs based on simple criteria: Appropriate for school (i.e. vocal content). I often edit and/or arrange songs to make them suit our class’s needs. I analyze what aspects of the curriculum I can focus on during the development of each song. (For example, songs are typically performed in front of an audience once mastered.).
A few participants also discussed the impact of culture on their repertoire selection practices. One participant stated: “I take into account the cultural background of
81 Texas Tech University, Vallie Owens, May 2021 my students, but also have a repertoire that is primarily American folksongs”. Another focused on multicultural inclusion and stated: “I aim to have a varied repertoire from many cultures around the world; I use folk music from around the world”. One participant offered multicultural music as a part of multi-criteria for repertoire selection:
I use folk songs and games from around the world. Much of my repertoire is commonly used in Kod�́�� and Orff classrooms. I choose specific repertoire based on what students are learning rhythmically and melodically in class.
Countries and Cultural Groups Within the Student Population
Participants (N = 39) reported the countries and cultural groups represented within their student population. Answers were varied and included specific listings of countries or culture groups for example, “Morocco, Netherlands, United States, Germany, United
Kingdom, Spain, France, Chile, Sweden, Korea, Tunisia, Saudi Arabia, Lebanon, other”.
Another example is one participant who stated: “Kuwait, Lebanon, Jordan, Croatia,
Serbia, United States, Canada, South Africa”. One participant simply stated
“Francophones, anglophones”. Other participants offered numerical estimations of “46” or as one participant simply stated, “Over 70 different countries-can’t list them all.”
Cultural Factors Impacting School Populations
Most participants (N = 32) responded to an open-ended prompt that asked, “Do any other cultural factors impact your school?" Some participants did not answer the prompt
(n = 7). Within the participant responses, many participants chose ‘no’ (n = 14). A few participants answered ‘yes’ (n = 2) but offered no details. The responses varied greatly but some themes emerged, host country (n = 3), school for missionary families (n = 2) and specifically listed culture groups (n = 8). For example, one participant stated: “Israeli
82 Texas Tech University, Vallie Owens, May 2021 local culture is a strong factor in the school climate." Another participant stated,
“Moroccan value system as pertains to education." Several participants referenced comments about the effect of Islam. One participant stated:
Religion is taught to all Muslim students (99%). The Kuwait ministry controls what may and may not be taught. Everything (all songs and other teaching material(s) must be approved by the ministry. For example, we could never sing any Israeli folk songs.
Repertoire Representation from Within the Host Country
Participants (N = 39) ranked the frequency of inclusion of music from the host culture of their school. Categories included daily (n = 2), weekly (n = 5), monthly (n = 5), each semester (n = 13) and not applicable (n = 14). The majority of participants responded that inclusion of music of the host country was not applicable (n = 14) or that they included the host country music each semester (n = 13). Some reported including music of the host country (n = 5). A few participants reported daily (n = 5) and weekly (n
= 5) inclusion of music from the host country of their schools. See Figure 4.35. \
Frequency of Inclusion of Music from Host Country (N = 39) 20 13 14 10 2 5 5 0 Daily Weekly Monthly Each Semester Not Applicable 2 5 5 13 14
Figure 4.35 Frequency of Inclusion of Music from Host Country
Inclusion of Music of Host Country
Participants responded to an open-ended question: “To what extent does the integration of repertoire of the host country change by age…” (N = 39). Answers
83 Texas Tech University, Vallie Owens, May 2021 reflected a vast array of answers. Many participants responded that there was no inclusion of music of the host country. One participant simply stated: “no host country music."
Others responded “n/a." However, within the assortment of responses there were a few common themes that emerged: One was that of more inclusion of host country music within younger grade levels (n = 5). One participant advocated the use of host music and stated:
“When students are young is pretty easy to teach them any kind of repertoire however, as they grow up, they show more interest on what is the tendency or personal interests. Starting with young kids with different genres opens the possibility to have more options to work with in the future.”
Other participants stated they included more music of the host country within lessons for older grade levels (n = 3). One participant stated: “Older students who understand the local culture will be exposed to more local repertoire."
A few participants described implementing music of the host country throughout the year (n = 2). One stated:
“Younger students are taught the folk dancing of the host country, older students that can read are taught songs in a local language, older students that are musical literate play the folk compositions of the host country on their instruments”
Another stated: “Steady throughout. The school is based on the American education system.”
Some participants discussed the implementation of the music of the host country based upon seasonal themes. One participant stated: “We do Dutch songs during
Sinterklaas and other Dutch pieces throughout the year.” Another participant discussed seasonal based inclusion as well as collaborating with language teachers:
I collaborate with the Japanese Language teachers and choose songs based on grade level language learning for native and non-native speakers. I teach songs of holidays and well known & loved folk melodies.
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A few participants stated the selection of music was based on the skills (n =2) of their students. One stated that chosen repertoire was “…directly related to their growing technical abilities." A participant echoed this sentiment: “Difficulty of text, instrumentation, harmonic structure, etc. increases as the students move through the grade levels.”
A few participants gave specific examples as they discussed the impact of curricula as well as skills on the inclusion of music from the host country:
I only teach grade 5 beginner band, so the repertoire has to have a limited range and basic rhythm
All students from Gr 1-Gr 8 have access to learning music of Kazakhstan via optional morning dombra classes. Kinder and Pre-K student do not have access to these classes.
Not sure as I don’t teach other grade levels. In Grade 2 we focus on the four languages of Singapore, so we cover, Chinese music, Indian, English and Malay through singing the National Anthem
Other responses contained a plethora of insight into the individual experiences of the participants. One participant described their experience within the music of their host country:
We do not have specific repertoire from the host country in our elementary music classrooms. I speculate that this is the case because we (myself included) are not trained and knowledgeable about the music from Kuwait
Another participant discussed the emphasis on instruction focused on English and stated:
I do very little with the host country as I'm trying to get the native kids to speak English. Occasionally the school will do something, but my job is to get these kids to work on their English and give them other cultural opportunities
One participant mentioned the nuances of working within the music of the host country and still providing cultural relevance:
85 Texas Tech University, Vallie Owens, May 2021
Oman does not have accessible music (aside from a few Arabic tunes). The Muslim religion does not support singing, so finding culturally relevant music is difficult.
Another participant stated: “Music is not generally emphasized by the host country due to conservative Islamic values.”
One participant described working within the host culture language:
Songs from Papua New Guinea must be sung in Tok Pisin. The only instrumental music we'll play would be the National Anthem or to use guitar as an accompaniment for a song (which may or may not be in Pidgin). Other responses did not fall into specific categories. Examples of uncategorized answers included: One participant stated, “We just use a little Mexican music, because the influence of all kinds of genres and styles.” Another participant described their belief of the necessity of adaptability when implementing inclusion of the host country music and responded, “Too much (variability), because the emotional age of the child must go hand in hand with the understanding of the repertoire”.
Cultural Representations Within Repertoire Selections
All participants (N = 39) reported the cultural groups represented within their repertoire selection. Participants were asked to choose from a list that contained a listing of categories and subcategories of cultural groups. Participants selected the groups that were represented within their repertoire selections. Responses will be subdivided into categories for further discussion. See below for the list of culture groups stated in order of appearance within the checklist. The list was developed by the researcher and colleagues from international and national (US) backgrounds proofed the listing. Table 4.15.
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Table 4.15 Cultures Represented within Repertoire Selections
Category North American/ United States Centric Repertoire African American Native American Americana Folk Music Jazz Pop/Rock Broadway Hispanic American Other Classical Music Music of the Western Classical Art Tradition (Time period specific): Renaissance (Time period specific): Baroque (Time period specific): Classical (Time period specific): 20th century (Time period specific): Contemporary Traditional “World” music (music outside of the United States of America) East African Central African South African North African North American: Mexico North American: Canada South American Central American Caribbean Asian: Chinese Asian: Korean Asian: Japanese Asian: Thailand Asian: Indian Asian: Other Austrailian European: Russia European: Germany European: Turkey European: France European: Scotland European: England European: Ireland European: Italy European: Spain European: Ukraine European: Norway European: Sweden European: Other Middle Eastern: Iran Middle Eastern: Iraq Middle Eastern: Saudi Arabia Middle Eastern: Yemen Middle Eastern: Syria Middle Eastern: United Arab Emirates Middle Eastern: Israel Middle Eastern: Other
87 Texas Tech University, Vallie Owens, May 2021
Participants specified repertoire selections from a list of cultures (Table 4.15). The list included repertoire that was planned in an order that created subcategories as follows:
United States Centric repertoire, Western Euro Classical music by time period and then further divided by cultural examples of world music. The list was not meant to be exhaustive but to give an overview of the multicultural representation within the repertoire selections. Many Participants selected United States centric repertoire as seen in Figure 4.36.
Participants' Repertoire Selections: United States Centric Repertoire 40 36 36 35 30 28 25 24 25 22 19 20 16 14 15 10 6 5 0
Jazz Other Pop/Rock Broadway
Native American Classical Music African American Hispanic American Americana Folk Music
"North American"/United States…
Figure 4.36 Participants Repertoire Selections: United States Centric Repertoire
Participants selected time period specific repertoire as evidenced in the following
Figure 4.37.
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Participants' Repertoire Selections: Time Period Specific 30 26 25 22 25 19 20 17 15 12 10 5 0 Music of the Renaissance Baroque Classical 20th Century Contemporary Western Classical Art Tradition
Figure 4.37 Participants’ Repertoire Selections: Time Period Specific
Participants selected the following cultural representations as implemented within their repertoire selections. Data were dispersed into several figures and is discussed below by regions. See Figure 4.38, Figure 4.39, Figure 4.40, Figure 4.41, Figure 4.42 and
Figure 4.43.
Participants' indicated their repertoire selections from within the African continent by region. See Figure 4.38.
Participants' Repertoire Selections: African
40 29 30 20 12 13 9 10 5 5 0 Traditional East African Central West African South North "World" African African African Music (music outside USA)
Figure 4.38 Participants’ Repertoire Selections: African
89 Texas Tech University, Vallie Owens, May 2021
Participants’ indicated their repertoire selections from within Asian continent by country and ‘other’. See Figure 4.39.
Participants' Repertoire Selections: Asian 20 15 16 15 9 9 10 5 4 5 0 Asia: China Asia: Korea Asia: Japan Asia: Asia: India Asia: other Thailand
Figure 4.39 Participants’ Repertoire Selections: Asian
Some participants’ selections were from within North America (Outside of the
US), South America and Central America. See Figure 4.40.
Participants' Repertoire Selections: American (Outside of the US)
20 14 16 15 10 10 6 5 0 North America: North America: South America Central America Mexico Canada
Figure 4.40 Participants’ Repertoire Selections: American (Outside of the US)
Participants indicated their repertoire selections from within Europe. See Figure
4.41.
90 Texas Tech University, Vallie Owens, May 2021
Participants' Repertoire Selections: European 25 23 20 16 17 16 14 14 14 15 13 10 6 3 5 1 2 2 0
European:European: Italy Spain European: Other European: Russia European: TurkeyEuropean: France European: Ireland European: Sweden European: Germany European: ScotlandEuropean: England European: European:Ukraine Norway
Figure 4.41 Participants’ Repertoire Selections: European
A few participants indicated their repertoire selections from within the region of the Middle East specified by country and ‘other’. See Figure 4.42.
Participants' Repertoire Selections: Middle Eastern 12 11 10 8 6 6 4 1 1 2 0 0 0 0 0 Middle Middle Middle Middle Middle Middle Middle Middle East: Iran East: Iraq East: East: East: East: East: East other Saudi Yemen Syria United Israel Arabia Arab Emirates
Figure 4.42 Participants’ Repertoire Selections: Middle Eastern
Participants also reported inclusion of repertoire from the Caribbean (see Figure
4.43) and Australia (see Figure 4.44).
91 Texas Tech University, Vallie Owens, May 2021
Participants' Repertoire Selections: Carribean
15 11 10 5 0 Carribean
Figure 4.43 Participants’ Repertoire Selections: Caribbean
Participants' Repertoire Selections: Austrailian 15 11 10 5 0 Australia 11
Figure 4.44 Participants’ Repertoire Selections: Australian
Additionally, within the same list (Table 4.15), participants were asked to respond to an open-ended question that prompted, “to what extent do you use popular/contemporary ‘world music’ (list country & genre as applicable)." This question was a free response question that a few participants responded (n = 4). One participant responded ‘n/a’. Two participants described their implementation of contemporary music:
I use pop and contemporary music when it fits musical criteria that are being taught.
Students typically choose songs. To learn. Sometimes songs are chosen to support learning related to specific occasions such as Kazakh New Year, Chinese New Year, Christmas or Diwali (for example). Dombra is taught every day. We also have 2-3 ‘musicals’ which explore a variety of genres including popular/contemporary world music
92 Texas Tech University, Vallie Owens, May 2021
The remaining participant responded and broached an additional subject
not specific to pop music genre: “As examples of music and social movements or
music as an agent of social change."
Frequency of Multicultural Music within Repertoire Selections
In another question, participants (N = 39) responded on frequency of inclusion of multicultural music using the same list of cultural groups (Table 4.15) but with free response. These answers ranged from percentages to estimated numerical values, but as there appeared to be no agreement within the format of response, the researcher chose to omit discussion of this question as the data were inconclusive.
Frequency of Multicultural Music Lessons by Elementary Grade Levels
All Participants (N = 39) responded on a 5-point Likert scale to a statement regarding their implementation of multicultural music within the various grade levels that they taught. The majority of participants reported including multicultural lessons within the lower grade levels (Nursery-2nd grade): agree (n = 20) and strongly agree (n = 13). A few selected disagree (n = 3) and a few were neutral (n = 2) to the statement “I include multicultural lesson for lower grades (Nursery-2nd grade)." See Figure 4.45.
93 Texas Tech University, Vallie Owens, May 2021
Multicultural Lessons: Lower Grades (Nursery-2nd Grade) (N = 39)
Strongly Disagree 0 Disagree 3 Neutral 2 Agree 20 Strongly Agree 13 0 5 10 15 20 25 Strongly Strongly Agree Neutral Disagree Agree Disagree Multicultural Lessons Lower 13 20 2 3 0 grades (N-2nd Grade)
Figure 4.45 Multicultural Lessons: Lower Grades (Nursery-2nd Grade)
Likewise, participants (N = 39) responded to 5-point Likert scale to a statement regarding their implementation of multicultural music within upper elementary grade levels that they taught. The majority of participants reported including multicultural lessons within the lower grade levels (Nursery-2nd grade): agree (n = 20) and strongly agree (n = 15). A few selected disagree (n = 2) and a few were neutral (n = 2) to the statement “I include multicultural lesson for lower grades (3rd-5th grade)." See Figure
4.46.
Multicultural Music Lessons: Upper Elementary (3rd-5th Grade) (N = 39)
Strongly Disagree 0 Disagree 2 Neutral 2 Agree 20 Strongly Agree 15 0 5 10 15 20 25 Strongly Agree Agree Neutral Disagree Strongly Disagree 15 20 2 2 0
Figure 4.46 Multicultural Lessons: Upper Grades (3rd-5th grade)
94 Texas Tech University, Vallie Owens, May 2021
Repertoire Choices Influenced by Cultures within Student Population
All participants responded on a 4-point Likert scale to the statement “Repertoire choices are influenced by the cultures of the students in my class”. Note that the option of
‘neutral’ was omitted due to human error when the researcher created the question within survey monkey. The majority of participants agreed (n = 16) or strongly agreed (n = 10).
Many participants disagreed (n = 9) and a few participants strongly disagreed (n = 4). See
Figure 4.47.
Repertoire Choices Influenced by Cultures within School (N =39) 20 16 10 9 10 4 0 Strongly Agree Agree Disagree Strongly Disagree
Figure 4.47 Repertoire Choices Influenced by Cultures within School
Participants’ Multicultural Resources
All participants (N=39) responded to open-ended question regarding resources used to identify multicultural selections. Answers were brief and often ambiguous. The majority of participants referenced some form of internet search or online material (n =
23). Examples included: ‘online’, ‘YouTube’, “google” (searches). One participant was more specific and stated: “Repertoire that I have gathered over the year and that is now easily available on YouTube or through Google searches." Another stated: “music education textbooks, online resources (primarily) mamalisa." Some participants listed
‘students’ or ‘parents’ as a resource. A few offered specific curricula or education search
95 Texas Tech University, Vallie Owens, May 2021 engines implemented. For example: “My personal library of music, Holy Names Kod�́��
Collection, Teachers Pay Teachers Resources, First Steps Curriculum, Music K-8."
Another offered: “First Steps in Music, Gameplan."
Several also discussed finding resources from colleagues, students and teachers.
For example: “Song books, local staff members, colleagues who come from all over the world, friends from back home (Australia) that are also teaching all over the world." One participant offered an extensive listing of specific resources:
culture bearers/guest artists, collections of field recordings, Smithsonian folkways, Alan Lomax collection, mus ed collections (from trusted collectors), Goetze DVDs, you tube (as long as I trust source/context)
Participants’ Final Comments about Multicultural Music Implementation
The final question within the survey included an open-ended prompt, “Is there anything more you would like to add about the use of multicultural music in your classroom?” Many participants responded (N = 24), while others skipped the question (n
= 15) and some simply responded ‘no’ (n = 5). Participants discussed specific issues that they faced within their campuses, advocacy for multicultural music as well as other additional information. One participant stated:
At my current school we do limited multicultural music lessons due to these main factors- we see students for only half a year, - The Ministry must approve everything (and this is a long process). – Most of our students are Arab or teacher kids- Because our students are ESL, I’d rather do more songs in English than other languages. At my previous international school (and hopefully my next) many of my answers would be completely different.
Another participant conceded:
I would love to use more music from the area in which I teach, however, it has proven difficult to find experts in my area that I can learn from OR use to bring
96 Texas Tech University, Vallie Owens, May 2021
into my classroom. The musical tradition in Kuwait exists, but it is not widely advertised and known (even to locals). I teach using a primarily western influence with other cultural references when appropriate.
In discussing their personal advocacy for multicultural music in the classroom, others stated:
The use of multicultural music help students to get familiarize with a varieties of genres in music. They get well versed in identifying a particular style of music, which is a great thing.
It is very important to bring unity to the class, respect to others, and broad-minded view of other cultures by listening, playing, singing the music of various cultures.
Students love to learn about different countries. Helps foreign students to feel part of the community and peers to appreciate and respect different ways of life.
One participant described their desire to implement more multicultural music in the future: “I plan to implement more of the cultures of students I teach. I am in my first year currently.” Another participant discussed their conviction towards seeking to provide relevancy for their students and detailed: “I try to include the social side of the music: why or when or how it is sung or played, to give deeper meaning to the experience of a foreign culture."
One participant discussed specific resources utilized: “We do loads of repertoire from the WMD curriculum, Walt Hampton’s marimba books, and Japanese Taiko drumming.” Another participant offered non-specific resources used within their classroom: “I use a lot of pre-recorded music on CD & through the internet to expose students to multiculturalism.”
Other participants offered explanations that indicated the reasons for lesser emphasis on the implementation of multicultural music. One participant stated:
97 Texas Tech University, Vallie Owens, May 2021
Multiculturalism is not the driving force behind curriculum design. The main place the takes place in our school is community events, in their language classes and the ‘week without walls’ program.
Another participant offered many comments within their response:
I don’t embrace the use of multicultural material for multicultural sake. I try to connect with the students I know and work with. International students don’t carry the same cultural baggage that North Americans do and while it is crucial to teach about the forces of humanity and history that keep traditionally marginalized peoples down, many of the students that attend International schools come to learn and master the English language, not the American system. As such, if the music is good, I teach it. I’m a music teacher. If it is important to highlight certain themes of the music or the composer, then I do it. Music and life are to be enjoyed. That’s number one and everyone holds hands in my classes and dances together. When authentic connections can be made to social or cultural studies outside of the music room then I embrace and highlight that as well. Otherwise, it’s music for music’s sake.
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CHAPTER 5
DISCUSSION
The purpose of this descriptive study was to ascertain current trends within multicultural music repertoire selection practices of music educators who taught elementary students (Nursery-6th grade) at international schools located outside the U.S., that included curricula that was influenced by U.S. curricula. This study was designed to collect baseline data that could be used to inform future studies involving multicultural music education. Research questions sought to examine elementary school multicultural music educ4ation in selected international schools located outside of the U.S. Participants
(N = 39) answered researcher designed survey questions via Survey Monkey. Data were coded for themes and validation was ascertained via intercoder agreement as data were coded by two colleagues to confirm agreement (Creswell, 2013) within the coding developed by researcher.
Within this study, participants (N = 39) provided baseline data regarding the international schools (n = 33) within the countries (n = 28) where the participants’ taught.
This information included basic demographics that included data about the individual schools, student populations and participants. This included data specific to the international schools where the participants’ taught: estimations of student populations
(whole school and elementary only), class sizes (elementary general classes and elementary music classes), affiliations and organizations and the effect (if any upon the music program within the schools), ensembles offered within the schools, cultural groups represented within the student populations, as well as the effect of the host country upon the music program. Additionally, participants’ offered information regarding their
99 Texas Tech University, Vallie Owens, May 2021 individual demographics: gender, citizenship, ethnicity, degrees earned and music trainings. Participants also supplied information specific to their experiences in music education: including teaching certifications, experience in music education (international and whole career), effects of popular elementary music methodological approaches on their teaching, the perceived focus of their music program. Finally, participants offered specific data regarding their repertoire selection practices and multicultural music inclusion within their music programs.
The data collected represented a fascinating pool of participants from a wide variety of life experiences, school populations and educational philosophies. Yet, within this array of information, interesting discoveries were found.
Teacher Identity
Some participants indicated that they taught within international schools specifically because of the appeal of a multicultural environment (n = 10, see Figure
4.23). Participant #11 affirmed, “I love teaching students from all over the world”.
Another participant #24 echoed this sentiment and affirmed this diversity to be a draw to teaching in international schools and stated, “Cultural diversity." Participants also appeared to be adventurous, as many pursued a career in international schools for the ability to travel (n = 9, see Figure 4.23). Responses such as participant #27, “The ability to travel while teaching” and participant #20, “Traveling and experience new places to live” affirmed the participants’ indications of the adventurous appeal of teaching abroad.
This venturesome spirit and emphasis on travel was also found to be common among international schoolteachers by Savva (2015). This might indicate a certain level of
100 Texas Tech University, Vallie Owens, May 2021 comfort with the ‘unknown’ as these teachers seem to be accepting of immersion in a foreign country, etc.
The desire to travel and teach abroad can provide opportunities for educators to learn through immersion about cultures outside their native environment. Dwyer (2019) reiterated:
Formal exposure to diverse peoples and their perspectives helps educators to reflect on their pedagogical assumptions and strategies. Teaching abroad is an effective professional development approach which creates spaces that promote growth-producing experiences for faculty… (p. 10).
Through these educational experiences abroad, teachers can glean valuable experiences with cultures as they break down barriers and develop skills as they can become more adapt at including more cultures within their repertoire selections. Additionally, relationships may be built with cultural insiders who can assist with facilitating more authentic incorporations of multicultural music within the classroom (Cain, 2010;
Henninger, 2018). Participant #38 indicated the effect that colleagues within the campus can have as cultural experts to assist in multicultural music inclusion, “I collaborate with the Japanese language teachers and choose (multicultural music) based on grade level language learning for native and non-native speakers."
Repertoire Selection
The majority of participants’ responses indicated repertoire selection practices were based upon personal preference (Figure 4.29). Many participants selected repertoire based upon performance factors (Figure 4.31). As participants elaborated on their repertoire selection practices, responses supported the evidence that performability
101 Texas Tech University, Vallie Owens, May 2021 played a factor in participants’ repertoire criteria. Participant #17 “Based in my students performance level” and participant #26 “According to what performance is taking place or monthly themes."
Many participants also specified that components of music literacy had a direct impact on their repertoire selection practices (Figure 4.31).
Participant #39. Because I focus on music literacy (primarily using Kodály) and preparing students for participation in a concert band. I don’t feel like I do as much with multicultural music as I should. This survey has point that out to me, and I intend to revise some things to bring in more multicultural music. Thank you.
While responses were more varied considering the aesthetic value of music as a criteria for repertoire selection, there were still several of the participants who agreed that this is an important consideration (Figure 4.32, Table 4.13 ). As participant #36 concurred:
“Aesthetic criteria is important…” However, this same participant offered additional criteria for repertoire selection in stating; “…Sometimes it depends of the season, topic, cross curricular activities, students' taste etc.”
Additionally, several participants indicated that their repertoire was directly impacted by student choice and interest. As indicated by participant #6 “From children’s backgrounds and interests…” and participant #14 I take into account the cultural background of my students…” By including the cultural experiences of the students, this could potentially manifest as a source of additional cultural experts (students). Experts have advocated that this use of students as cultural insiders is a practical way to authentically implement multicultural music education (Campbell,1994; Dodds, 1983,
Henninger, 2018; Kelly & Van Weelden, 2004). Further, perhaps through practices, such as culturally responsive pedagogy, teachers can elicit more caring, openness and respect
102 Texas Tech University, Vallie Owens, May 2021 of all cultures (Gay, 2018; Lind & McCoy, 2016; Walter, 2017). Hulse (2020) offers an example of implementation of culturally responsive teaching within her collection of songs from the cultures within her student population. Conceivably, music educators could follow her lead and develop a list of repertoires of material that more readily reflects their student population. And yet, one noted purpose of multicultural music education is the introduction of cultures outside of the dominant cultures within the classroom. Additionally, while these ideals and the various manifestations of studies of culture are at the forefront of research, I would postulate that current exercises of practicing teachers within international schools may not as readily reflect these changes as there is the potential for a lag in the transmission of new research into the practicing classroom. Therefore, I would caution that the answers of participants reflected within this study are not judged by currently evolving practices within research, as this survey provided merely a snapshot in time of the decisions self-reported by elementary level music teachers at international schools located outside of the US.
Multicultural Music Implementation
The survey questions uncovered a plethora of information that described the status of multicultural music practices of participants.
Notably, in many responses, participants expressed the importance of multicultural music within their classrooms.
Participant #9: It is very important to bring unity to the class, respect others, and broad-minded view of other cultures listening, playing, singing the music of various cultures.
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Participant #32: I aim to have a varied repertoire from many cultures around the world; I use folk music from around the world.
Participant #14: I take into account the cultural background of my students, but also have a repertoire that is primarily American folksongs.
One participant affirmed the importance of multicultural music inclusion
Participant #19 “The use of multicultural music helps students to get familiarize with a variety of genres in music…” Another echoed this sentiment and added insight concerning the value that can be gained in creating a sense of community within the student population.
Participant #16 Students love to learn about different countries. Helps foreign students to feel part of the community and peers to appreciate and respect different ways of life.
One of the participants described their personal appreciation of implementing multicultural music within their classroom, participant #11 “I am enjoy studying about various places around the world with my students by making music around the world together."
Participants also indicated the desire to include more multicultural music as participant #13 avowed; “I plan to implement more of the cultures of students I teach, this is my first-year teaching." This positive attitude towards the inclusion of multicultural music was echoed within other studies on music teachers within international schools
(Cain, 2010; Walling, 2016).
Another participant indicated the importance of including multicultural music and added their belief in the necessity of starting this inclusion from a young age:
104 Texas Tech University, Vallie Owens, May 2021
Participant #16 When students are young is pretty easy to teach them any kind of repertoire however, as they grow up, they show more interest on what is the tendency or personal interests. Starting with young kids with different genres opens the possibility to have more options to work with in the future.
Notably, the majority of participants agreed that they included multicultural lessons within their lessons with all grade levels (Nursery-5th Grade). See Figure 5.1.
Multicultural Music Implementation by Grade Level (N = 39) Multicultural music lessons are implmented 3rd-5th Grade Strongly Agree 13 Agree 20 Neutral 3 Disagree 2 Strongly Disagree 0
Mul cultural music lessons are implmented Nursery-2nd Grade Strongly Agree 15 Agree 20 Neutral 2 Disagree 2 Strongly Disagree 0
Figure 5.1 Multicultural Lesson Implementation by Grade Level
Differences and Challenges
Specific Challenges
Within this dissertation survey, participants discussed the various challenges they faced in the successful implementation of a more diverse multicultural music program. A few participants expressed that they did not have personal autonomy to make repertoire selections. One participant detailed specific challenges that were due to scheduling
105 Texas Tech University, Vallie Owens, May 2021 issues, the need to emphasize the English language to assist ESL learners (English
Second Language) and also stated “...the ministry must approve everything (and this is a long process)." However, this participant also inferred that these specific challenges and potential hinderances to multicultural music inclusion could fluctuate by campus “…At my previous international school (and hopefully my next) many of my answers would be completely different."
As the aforementioned participant inferred, the differences were vast between the various populations within the campuses that they served.
Diverse Student Populations
One great diversity between the campuses was the specifications of student populations which included an assortment of grade levels within the selected campuses.
First Grade (see Figure 4.4) was the only grade level that was taught within all 39 schools. Remarkably, not all participants within this study taught First Grade (see Figure
4.6). This created challenges in analyzing the trends across the participants and their campuses as each situation was very unique.
The cultural backgrounds of the students were also very diverse. Participant #12 listed that their campus served “over 70 different countries - can't list them all . . .” Other participants offered more detailed descriptions:
Participant #1: South Korean, Foreign Passport holding Chinese, Japanese, American, UK, French, Russian, Singapore, Australia, New Zealand, India
Participant #6: All over the world; Chinese, Taiwan, American, Israel, Brazilian, Irish, English to name a few.
106 Texas Tech University, Vallie Owens, May 2021
Participant #10: Morocco, Netherlands, United States, Germany, United Kingdom, Spain France, Chile, Sweden, Korea, Tunisia, Saudi Arabia, Lebanon, Other.
While each international school and participant experience is unique, experts have concurred that cultural diversity is often a characteristic common to international schools
(Bagnall, 2012; Marshall, 2019).
Multicultural Resources
There did not appear to be much agreement in the specific curricula and materials implemented for multicultural music education. Although many participants listed the
‘internet’, ‘WI-FI’ and ‘YouTube’ as a source for repertoire (n = 24), there was not much that coincided in the more specific resources listed by participants. Resources instead appeared to vary by each individual teacher. This may indicate that international teachers may have a difficulty in finding appropriate materials and resources for their students.
Investigational Issues
Average Class Size
Challenges emerged conceivably through misinterpretations of a few of the questions. The researcher believes that this was most likely due to language barriers and/or contextual barriers. For example, one question within the survey was an open- ended question that prompted participants to estimate “average class size”. The researcher intended to elicit responses for the average student population per class, but one participant responded with measurements that inferred the size of the physical space where the class was held and responded “5, 3 meters (approximately).” This same
107 Texas Tech University, Vallie Owens, May 2021 participant responded with the same answer to the prompt “average music class size."
Other participants responded with a numerical answer: for example, “22”, while some participants responded with a range of numbers “10-12”. The researcher then grouped the answers within numerical ranges to determine trends within the class sizes (See Table
4.4). This plethora of responses may have been avoided by providing multiple choice numerical values for participants to select from and clarifying the question further by stating ‘average number of students per class.'
Number of Music Teachers on Campus
Another question that proved to be difficult for interpretation and coding was the number of music teachers that taught on the campuses. The majority of participants responded (N = 38), with one participant omitting an answer. Answers ranged from 1-
100. Nearly a third of the answers reported a single music teacher on campus (n = 10).
Almost a quarter of participants reported ‘3’ music teachers on campus (n = 7). A few reported ‘2’ music teachers on campus (n = 4) and a few reported ‘4’ teachers on campus
(n = 3). Two participants responded ‘12.’ As these answers included such a vast array of numerical responses, the researcher believes that perhaps the responses were flawed or misinterpreted. For example, were all the reported music teachers certified within music?
Was music taught as a stand-alone subject? As the answers simply stated a numerical value, it is impossible to infer the true meaning of the statements to determine if these music teachers did indeed teach music as a stand-alone subject with intentional subject matter focus or if music lessons were provided by general education classes that may not be as focused on musical outcomes. The researcher supposed this may have been clarified by adding a question that specifically asked if there were trained music teachers
108 Texas Tech University, Vallie Owens, May 2021 on campus that were solely responsible for music instruction or if the music instruction was provided by classroom teachers. Additionally, by then offering a short answer format to allow participants to expand on their answers might have allowed for further illumination on the answers.
Race/Ethnicity
A question that appeared to produce especially challenging responses was the question of race and ethnicity. The survey question stated “Race/Ethnicity” and offered participants the option to respond in short answer format. This question was included together within one question, because race and ethnicity are often indicated synonymously within demographics discussed in research within the US. Further, this is a typical question within the US. Trends are traced on immigration patterns through the US. Census, which specifically requests that participants respond and report their race and ethnic background
(Ladyzhets, 2020). Originally, the question within this study was structured to reflect the same categories implemented within the US census data. However, during the creation of the survey, one expert reader, an international doctoral student, discussed with the researcher their belief in the potential challenges in asking the question of race and ethnicity. This colleague described that in his personal experiences as a music educator from outside of the US, he had discovered that US research seemed to be much more concerned with gathering demographics of race and ethnicity than research he had observed from outside of the US. He cautioned the researcher to omit the question from the survey and offered edits to soften the impact of what he considered might be construed as offensive or misinterpreted. The researcher implemented his suggestions and decided to include the question as it is often a vital part of demographics gathered by US
109 Texas Tech University, Vallie Owens, May 2021 researchers. The researcher then edited the question to the format of an open-ended prompt that stated “race/ethnicity" and intentionally did not give descriptors to prevent any potential offensive connotation through the possibility of omitting representation of a participants' culture group. Therefore, the open-ended format was utilized to provide participants the opportunity to self-identify and expand their answers as they chose to.
Many participants responded to the question (N = 36). A few participants omitted this question (n = 3). Ten participants responded "Caucasian", while twelve replied with
"white". Two listed white/Caucasian and one participant submitted "human/white". In all, one can infer that 27 of the participants self-identify as white and/or Caucasian. Within this grouping of "white/Caucasian", one participant responded "white/Macedonian" and another specified “Australian Irish”. Other participants responded and listed a specific country: “Russian”, “Albanian”, “Mexican”, “Chinese”. Other responses included regions: “South Asian”, “Latin”, “Latin American”. Perhaps the most uncategorical response was "normal". As these answers spanned such a wide array of categories and ways to specify "race", the researcher does not believe that the responses gathered provided enough insight into the international interpretations of "race" and "ethnicity" for additional analysis on the participants.
1. Most respondents self-reported within white/Caucasian, even though some
identified as an "other" white race and included additional descriptors within
their answers.
2. Asking and defining race and ethnicity appears to be difficult to translate
internationally.
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How does one provide a global definition for race that can be understood by most people? Interpretations of race and ethnicity can fuse together (as is evidenced by the US
Census), but the terms do denote distinctive meanings. Experts contend that race is not necessarily a concrete idea and can be seen as a social construct that provides identity, representation, and context for interactions within a specific culture (Mukhopadhyay et. al, 2014). Definitions of this word may diverge according to societal values and archetypes (Bates, 2019). However, the descriptor ethnicity can be used to infer how a person chooses and identifies collectively within a shared group (McCoy, 2019). As culture can be seen as a fluid construct (Bond, 2017), it can be inferred that the definitions of race and ethnicity may continue to evolve over time. Perhaps within the international population of teachers (such as in this study), this fluidity of definitions may be even more pronounced and continue to evade clarity due to the varieties of societal and cultural contexts that race, and ethnicity engage in within a global audience.
Therefore, race and ethnicity may both be more globally amorphous to translate within an international population than we may realize.
Implications for Future Research
Although many differences were identified between the participants’ experiences within this study, it is the researchers’ belief that these data may serve as a catalyst for further research. The researcher believes that this population (music teachers at international schools outside of the US), is a relatively untapped research area in which further studies could glean valuable information. As the convergence of music and cultural studies have come to the forefront within research in music education,
111 Texas Tech University, Vallie Owens, May 2021 international schools potentially provide ample opportunity to further develop best teaching practices.
International Schools and International Baccalaureate Program
The researcher intends to replicate sections of this study in the future to focus on schools within the International Baccalaureate (IB) program and survey music teachers on their multicultural repertoire selection practices within the IB programs in the United
States and those located outside of the US. I believe this might provide more similarities between the campuses as some criteria would overlap due to the restrictions and conditions of a school becoming a part of the IB program. This potentially would provide more data regarding trends of likeminded campuses that could provide unique insight into the different manifestations of multicultural music education implementation.
Longitudinal Study of Music Teachers at International Schools
The researcher would also like to develop a longitudinal study to follow international school music teachers throughout their career and to specifically investigate the evolution of the teachers’ repertoire selection practices and multicultural representations within their repertoires. Additionally, the researcher hypothesizes that many of the teachers would relocate to other schools and locations over the course of the study, due to the often-transient nature of international teachers (Taylor, 2016). During the time frame in which the researcher conducted this dissertation, she was aware of four international teachers that moved locations multiple times in the short span of time (3 years). One moved out of the desire to travel more and chose to move from the Middle
East to Asia. Another chose to relocate back to their home country in anticipation of the
112 Texas Tech University, Vallie Owens, May 2021
COVID 19 lockdowns enforced by the host country. Another two international teachers decided to return home to the US due to personal reasons.
Further research is needed to discover the transience or permanence of teachers within international schools. Migratory patterns among these teachers could lead to improved relocation services for those moving abroad. Furthermore, better social and emotional support for those experiencing challenges due to feelings of isolation and being overwhelmed by new cultural expectations and language barriers could be implemented by international schools. Although some research exists on retention of teachers within international schools (Chandler, 2010), this could be expanded upon to include the more specialized population of music teachers within international schools. Discovering the reasons teachers leave international schools could lead to better recruiting practices, as well. This potential for transiency and mobility of the participants, might provide further insight into the ramifications of the effects of the various schools, locations and curricula needs of the potentially numerous campuses throughout the participants’ careers.
Covid 19 Effects on Music Teachers Within International Schools
Additionally, with the phenomenon of COVID 19, there is potential for educators to have experienced displacements, fluctuations in regulations, changes in funding and other events that occurred through quarantines and lockdowns from COVID 19. The researcher believes that this could provide interesting insight into the benefits and challenges of teaching outside of one’s native country during extenuating circumstances of an event such as a pandemic. Bailey (2021) investigated the effects of the COVID 19 pandemic on a select group of international teachers, through a case study that was
113 Texas Tech University, Vallie Owens, May 2021 limited to the posts made on a specific internet forum that served as a platform that international teachers communicated on. Although Bailey (2021) has begun the investigation into this phenomenological event (the effects of the COVID 19 pandemic on international teachers), there is still much research needed to assess the effect upon the specific population of music teachers within international schools.
Recent teaching resources have also emerged that may prove to be useful in multicultural music education, such as Composer Diversity Database (Institute for
Composer Diversity, 2021). But it remains to be seen what effect the availability of such materials might have on the teaching choices of elementary music teachers across the world as further resources become available. The effect of availability of materials on repertoire choices of elementary music teachers would seem a ripe area of future research.
Conclusions
This plethora of data can be used to further research on music teachers within international schools by providing baseline descriptive data regarding the demographics and trends of international schools within the schools (n = 33) and participants (n = 39) represented within this study. It is important to remember that these data provides a snapshot in time of the practices of a specific group of elementary music teachers at international schools. This information can be built upon to contribute to research within multicultural music education by providing more data about the multicultural repertoire selection practices of music teachers within these participant international schools.
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Although the participants reported a wide array of demographics, experiences, and challenges within their teaching positions, there were some interesting discoveries.
Key Discoveries
One unexpected finding was due to the question that was designed to provide further demographic data on the participants’ race and ethnicity. Participants primarily identified as ‘white’, but answers proved to be problematic for the researcher to further disseminate the data for trends. The researcher found that asking questions about race and ethnicity was extremely difficult to translate internationally.
Questions pertinent to repertoire selection practices uncovered interesting discoveries. Participants’ primarily selected repertoire based upon personal preference
(Figure 4.31) and factors related to music performance (Figure 4.33). Some participants stressed music literacy, while others omitted an answer (Figure 4.32). Another influence on repertoire selection were the aesthetics of the music chosen for use in their repertoire
(Figure 4.34). Other factors effected repertoire selection, but responses were more varied by individual participant responses.
Participants also often included comments regarding multiculturalism in their repertoire selection practices and appeared to be have a favorable attitude towards multicultural music as was reflected within their responses. Notably, participants also included multicultural repertoire within their selections and implemented it throughout their grade levels (Figure 4.46 and Figure 4.47).
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Experts agree that the inclusion of multicultural music within music education can cultivate within students a deeper appreciation and respect for music from around the world (Campbell, 2016; Dodds, 1983; Henninger, 2018; Kelly & Van Weelden, 2004).
Choi and Kwon contended (2013):
To fully understand music, students need to explore music from many cultures, not only their own. By studying music from various cultures, students have the opportunity to learn about different cultures, histories and traditions. Studying many different musical traditions will help students accept diversity in their lives (p. 23).
Further, as participant #9 stated:
(multicultural music education) is very important to bring unity to the class, respect to others, and broad-minded view of other cultures by listening, playing, singing the music of various cultures.
Multicultural music implementation within music education at international schools is replete with complex and individualistic issues. We can glean from participants’ responses that despite these varying factors, the benefits of inclusion of multicultural music within music education far outweigh these potential challenges.
Multicultural music is a multifaceted avenue that provides ample opportunity for music educators to delve further into the cultures represented within their student population. However, multicultural music also provides abundant openings to broaden horizons of students through the use of respectful and culturally honoring inclusion of music from outside of the classroom cultures. As experts and researchers continue to grapple with the fluid constructs of culture and implications of how to appropriately include diversities, perhaps we are one step closer to the achieving the dream of
Tanglewood Symposium in successfully including '“music of all periods, styles, forms, and cultures” (Choate, 1968, p.146).
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APPENDICES
APPENDIX A: IRB APPROVAL LETTER
ORIGINAL SIGNATURE AVAILABLE UPON REQUEST
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APPENDIX B: RECRUITMENT EMAIL #1
Greetings,
My name is Vallie Owens-Dong, and I am a PhD candidate in music education working with Dr. Janice Killian at Texas Tech University, located in Lubbock, Texas, United States of America. My dissertation concerns music repertoire selection practices of elementary/primary (for ages 4-12 year olds) music teachers who teach at international schools outside of the United States of America.
I am emailing to ask if you would forward this email to the music teacher on your campus. Your campus was selected for recruitment for this survey because of your inclusion in the International Schools Services Directory. Additionally, this is also how we found the campus contact information. Participation is completely voluntary and all answers will remain anonymous. The survey contains 36 questions and should take 15 minutes to complete.
The survey is provided through the following link:
Thank you for your time.
If you have any questions, please do not hesitate to contact me [email protected]
Respectfully,
Vallie Owens-Dong, PhD student Texas Tech University Lubbock, Texas USA
Dr. Janice Killian, PhD, Professor and Chair of Music Education Texas Tech University Lubbock, Texas USA
The Texas Tech University Institutional Review Board has approved the study referenced above. The approval is effective from March 6, 2018 within the exempt category. Any questions may be addressed to [email protected]
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APPENDIX C: MULTICULTURAL MUSIC EDUCATION SURVEY
Images as appeared within SurveyMonkey
Asterisk * indicated questions that could not be skipped
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33. (continued)
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APPENDIX D: RECRUITMENT EMAIL #2
October 2, 2018
Greetings,
I am emailing to remind you to participate in research on international music education. This survey was originally sent out in June 2018 but is being sent again to allow for more participants to contribute. The survey is the same survey that was previously sent and there is no need to duplicate answers. If your faculty has already participated, we thank you for your contribution. If not, please encourage them to participate at this time. This survey will remain open until October 23, 2018.
My name is Vallie Owens-Dong, and I am a PhD candidate in music education working with Dr. Janice Killian at Texas Tech University, located in Lubbock, Texas, United States of America My dissertation research concerns music repertoire selection practices of elementary/primary (for ages 4-12 year olds) music teachers who teach at international schools outside of the United States of America.
If you have already sent the survey link to your music faculty and they have responded, thank you. Please continue to encourage them to participate. The survey will close on October 23, 2018.
All elementary music teachers on campus are encouraged to contribute. Your campus was selected for recruitment for this survey because of your inclusion in the International Schools Services Directory. Additionally, this is also how we found the campus contact information. Participation is completely voluntary, and all answers will remain anonymous. The survey contains 37 questions and should take about 15 minutes to complete.
The survey is provided through the following link:https://www.surveymonkey.com/r/3YZQDCT
Thank you for your time.
If you have any questions, please do not hesitate to contact me [email protected]
Respectfully, Vallie Owens-Dong, PhD candidate Texas Tech University Lubbock, Texas USA
Dr. Janice Killian, PhD, Professor and Chair of Music Education Texas Tech University Lubbock, Texas USA
The Texas Tech University Institutional Review Board has approved the study referenced above. The approval is effective from March 6, 2018 within the exempt category. Any questions may be addressed to [email protected]
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APPENDIX E: PARTICIPANT SURVEY RESPONSES
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