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Exploring Strategies for Developing Western Classical Music Education in the Sultanate of Oman

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Exploring Strategies for Developing Western Classical Music Education in the Sultanate of Oman Khalid Aljabri Exploring Strategies for Developing Western Classical Music Education in the Sultanate of Oman Submitted to the Royal College of Music, London, in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Musicology May 2017 I Abstract The initial aim of this research was to assess whether it was possible to introduce Western Classical Music (WCM) into the Omani school music curriculum. Oman is a model for establishing, firstly, whether it is possible to introduce WCM to a school regime in which it has never previously existed and, secondly, how such an introduction can be most effectively implemented. There was no published research in this area and, as this research developed, the initial stance evolved and modified, leading to broader conclusions. This has implications not only for music education in Oman but also for wider discussions about the role of WCM in non-Western music education and its potential expansion in non-traditional spheres. The thesis reports on both the cultural and historical context of music and music education in Oman, as well as the attitude of Omani Islam to the permissibility of music within an Islamic state. Previous global attempts to introduce alien musical traditions into their curricula are reviewed to establish what lessons might be learned alongside the educational models and approaches adopted within English schools. The English observations are used to design investigative pilot schemes (including alternative pedagogies), which were conducted within four Omani state schools. Throughout the thesis, qualitative research makes use of ethnographically informed case studies and five research methods: semi-structured interviews, surveys, participant observation, field notes and documentation. Data are analysed thematically and via descriptive synthesis in order to identify key concepts and themes and, thus, to arrive at holistic strategies for a potential introduction of WCM into the National Curriculum (NC). Findings suggest that it is possible to introduce WCM into an outward-looking country with links to external governments and an established music scene. Religious reservations were largely overcome by public debate while cultural resistance was soothed by an emphasis on the equal status of national music alongside non-native music education. Observations in English schools found that learning outcomes are dependent on a number of factors including the individual ability of each teacher, teaching resources and a receptive environment. The Omani pilots, in turn, suggest that the incorporation of WCM into the NC requires additional elements such as cultural sensitivity, detailed planning and comprehensive, open debate. Additionally, it was not the musical genre that created the successful outcomes but, rather, the pedagogy. The desired outcome, therefore, was not to effect the introduction of WCM into the Omani national music curriculum per se but to open up the school music curriculum to a more progressive model of pedagogy. This research has implications for the introduction and expansion of new musical genres into National Curricula. II Acknowledgments The author would like to thank the following people and organisations for their ongoing support and encouragement: The Royal Guard of Oman, and The Oman Symphony Orchestra for their generous support. The Ministry for Education in Oman for its valuable assistance in organising the Omani pilots. The teachers, pupils and parents in the participating schools; the officials who agreed to be interviewed and all the other relevant people and members of the public (both in Oman and England) who generously agreed to be interviewed. In particular, and above all, I would like to thank my supervisors for their invaluable and continuous help and support: Professor Richard Langham Smith Dr. Jennie Henley Dr. Rosie Perkins Dr. Laudan Nooshin III Table of Contents 1. Chapter One Research Context and Rationale, and Methodologies .......................................... 1 1.1 Introduction .................................................................................................................. 1 1.2 Methodologies ............................................................................................................. 6 1.3 Methods ..................................................................................................................... 17 1.4 Analysis ..................................................................................................................... 26 2. Chapter Two History of Oman and its Traditional Music ....................................................... 31 2.1 Introduction ................................................................................................................ 31 2.2 History of Oman ........................................................................................................ 32 2.3 Traditional Music of Oman ....................................................................................... 36 3. Chapter Three the Introduction of Western Classical Music to Oman and its Cultural and Educational Role Today ................................................................................................................... 52 3.1 Introduction ................................................................................................................ 52 3.2 Early introduction of Western music into Oman ...................................................... 53 3.3 The introduction of Western Orchestral Classical Music ......................................... 54 3.4 The current role and benefit of WCM nationally and internationally ....................... 58 3.5 Public perceptions of WCM and the National Orchestras ........................................ 61 4. Chapter Four Differing Religious Attitudes Towards the Permissibility of Music in Islam 66 4.1 Introduction ............................................................................................................... 66 4.2 Quranic Interpretation ............................................................................................... 70 4.3 Ahadith (sayings of the Prophet Mohammed) ........................................................... 72 4.4 Early commentaries on the ahadith .......................................................................... 75 4.5 18th Century to Contemporary Views on Islamic Attitudes to Music ....................... 79 4.6 Present Day Islamic scholars and Imams’ attitude to permissibility within Oman .. 82 4.7 Views of the General Omani Public with regard to permissibility ........................... 88 4.8 Brief comparison of Islamic doctrine and practice in Oman, Lebanon and Saudi Arabia in relation to music .............................................................................................. 92 4.9 Conclusion .............................................................................................................. 102 5. Chapter Five Challenges Of Introducing Different Musical Traditions Into National Curricula And What Can We Learn From This For Oman? .................................................... 106 5.1 Introduction ............................................................................................................. 106 5.2 Music, Culture, and Identity ................................................................................... 107 5.3 Challenges related to the introduction of a new type of music ............................... 110 5.4 Challenges involved in the introduction of Western Classical Music to new Curricula ........................................................................................................................................ 116 5.5 Best practice for the successful introduction of a new type of music ..................... 120 5.6 Cultures that failed in the implementation of Western Classical Music ................. 125 5.7 Cultures that maintained their music identity after the successful introduction of Western Classical Music ............................................................................................... 127 5.8 Conclusion .............................................................................................................. 132 IV 6. Chapter Six Historical Bases of Music Education in the English System ............................. 135 6.1 Introduction ............................................................................................................. 135 6.2 Why have a NC? ....................................................................................................... 141 6.3 What is the NC? ....................................................................................................... 144 6.4 How the NC is taught .............................................................................................. 157 6.5 Conclusion ............................................................................................................... 168 7. Chapter Seven The English Curriculum in Practice .............................................................. 169 7.1 Introduction ............................................................................................................. 169 7.2 Observations in the English Schools ....................................................................... 169 7.3 Outcomes ................................................................................................................
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