Music Teachers' Attitudes, Classroom

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MUSIC TEACHERS’ ATTITUDES, CLASSROOM

ENVIRONMENTS, AND MUSIC ACTIVITIES IN

MULTICULTURAL MUSIC EDUCATION

DISSERTATION

Presented in Partial Fulfillment of the Requirements for

the Degree Doctor of Philosophy in the Graduate

School of The Ohio State University

Sharon M. Young, M.M.Ed.

*****

The Ohio State University

1996

Dissertation Committee:

Professor Patricia J. Flowers

Professor Jere L. Forsythe Approved by

Professor Jan McCrary CAdvisor Professor Vesta Daniel School of Music UMI Number; 9639384

UMI 300 North Zeeb Road Ann Arbor, MI 48103 Copyright by Sharon M. Young 1996 ABSTRACT

Multicultural education has been defined as a movement that values diversity and educational equity for ethnically diverse, exceptional, and low socioeconomic status students. Its main purpose is to develop the ability to recognize and prize diversity and to encourage positive and productive interactions among people of all cultures.

Music is a very powerful approach to multicultural education, for it is through the arts that people of the world share and transmit their cultures. Music teachers are accountable for providing music education for all students, regardless of race, ethnicity, or culture. Music teachers must therefore have an understanding of multicultural education and what teaching from a multicultural perspective entails. The instruction and study of music from a multicultural perspective involves performing, listening to, and experiencing the music of many different racial, ethnic, religious, and cultural groups.

The attitudes and perceptions of music teachers concerning multicultural education are significant because these attitudes are manifested in the music teachers’ teaching strategies, the lesson activities planned by the teacher, and the music classroom environment. This study examined music teachers’ attitudes toward multicultural education and investigated the impact of those attitudes upon the music classroom environment, music activities, and teaching strategies.

Thirty elementary and middle school teachers in two suburban and one urban school district in Ohio were surveyed to sample their attitudes, philosophies, and level of comfort with diversity and multicultural education. Ten of the 30 surveyed teachers were also interviewed to gain more in-depth information concerning attitudes toward multicultural education.

Most teachers, regardless of the district, believed that multicultural education is important to the education of the elementary school child and that multicultural education is essential for all children, regardless of ethnicity. Teachers also considered music to be a manner of cultural expression for all cultures and that the ethnicity of the child should not be a prerequisite for an introduction to the abundant diversity of the world’s music. Teachers did not believe that multicultural education was about minority people, neither did they believe that Afrocentric education and multicultural education were synonymous.

Although all teachers appeared to believe that multicultural education was good and beneficial to all children, there was inconsistency in the definition of multicultural education, the most important goals of multicultural education, and uncertainty in how multicultural music education should be approached.

in DEDICATION

To the World’s Children

IV ACKNOWLEDGMENTS

I wish to thank my advisor, Dr. Patricia Flowers, for her encouragement, support, and intellectual guidance in this endeavor and for her expert assistance in editing the manuscript.

I am also grateful to my doctoral committee: Dr. Jere L. Forsythe, Dr. Jan

McCrary, and Dr. Vesta Daniel for their inspiration, motivation, and enthusiasm throughout this project. VITA

May 19,1962...... Bom - Pine Bluff Arkansas

1984...... B.S., Music Education University of Arkansas at Pine Bluff Pine Bluff, Arkansas

1986 ...... M.Ed., Music Education University of Arkansas Fayetteville, Arkansas

1986 - 1993 ...... Elementary Music Specialist Pulaski County Special School District Little Rock, Arkansas

1993 - Present ...... Graduate Tcaching Associate Ohio State University

FIELD OF STUDY

Major Field: Music

VI TABLE OF CONTENTS

Page

Abstract...... ii

Dedication ...... iv

Acknowledgments...... v

V ita...... vi

List of Tables ...... x

CHAPTER

1. INTRODUCTION ...... 1

Overview ...... 1 Need for the Study...... 5 Purpose of the Study ...... 6

2. REVIEW OF LITERATURE...... 8

Overview ...... 8 History of Multicultural Education ...... 8 Definitions and Goals of Multicultural Education ...... 10 Myths and Approaches to Multicultural Education ...... 13 Attitudes and Research ...... 18 History of Multicultural Music Education ...... 23

vn 3. METHODOLOGY...... 26

Introduction ...... 26 Description of Population ...... 27 General Definitions ...... 28 Student Demographics ...... 28 Staff Demographics ...... 28 Demographic Data ...... 29 Description of Subjects ...... 32 District A...... 33 District B ...... 34 District C ...... 35 Student Subjects ...... 35 Variables...... 36 Operational Definitions ...... 37 Assumptions ...... 38 Limitations of the Study ...... 38 Procedure ...... 39 Instruments ...... 39

4. RESULTS...... 43

Overview ...... 43 Survey...... 43 Mean Response to Survey Items 1-26 ...... 43 Variability of Response from District C, Items 1-26 ...... 50 Mean Responses - Items 28-33 ...... 55 Mean Responses - Items 34-41 ...... 58 Mean Responses - Items 51-59 ...... 62 Interview ...... 64 Recurring Themes ...... 67 Classroom Environment ...... 68 District A ...... 71 District B ...... 72 District C ...... 73 Student Questionnaire ...... 74 Findings of the Study ...... 84

5. DISCUSSION AND CONCLUSION...... 86

Overview ...... 86

vni Philosophies, Definitions, and Attitudes Concerning Multicultural Education ...... 88 Classroom Diversity and Teacher Attitude Toward Multicultural Education ...... 90 Goals of Multicultural Education ...... 93 Lesson Plans and Music Activities ...... 95 Classroom Environment ...... 99 Across District Observations ...... 101 Student Opinion ...... 101 Conclusion and Recommendation for Future Research ...... 103 Urban vs. Suburban Teachers ...... 105 Suggestions for Further Study ...... 106

APPENDICES

A. Music Specialist’s Multicultural Education Survey ...... 109 B. Elementary Music Teachers’ Attitudes Toward Multicultural Education - Interview ...... 117 C. Multiculturalism in the Music Classroom - Classroom Environment Checklist...... 119 D. Diversity in Music Questionnaire ...... 121 E. Teacher Abstract ...... 124 F. Letter of Agreement ...... 126 G. Teacher Consent for Participation in Social and Behavioral Research 128 H. Letter to Parents ...... 130 I. Parental Consent for Participation in Social and Behavioral Research 132 J. Percentages to the Music Specialists’ Multicultural Education Survey - District A ...... 134 K. Percentages to the Music Specialists’ MulticulturalEducation Survey - District B ...... 138 L. Verbatim Responses...... 142 M. Responses to Student Questionnaire - Nina’s Class (District A ) ...... 166 N. Responses to Student Questionnaire - Phil’s Class (District A ) ...... 170 O. Responses to Student Questionnaire - Rhonda’s Class (District A) ...... 173 P. Responses to Student Questionnaire - Donna’s Class (District B) ...... 176 Q. Responses to Student Questionnaire - Carl’s Class (District B ) ...... 180 R. Responses to Student Questionnaire - Lydia’s Class (District C) ...... 184

BIBLIOGRAPHY...... 188

IX LIST OF TABLES

Page Table

1. District A Demographic Data - Student Race/Ethnic Data...... 29

2. District B Demographic Data - Student Race/Ethnic Data ...... 30

3. District C Demographic Data - Student Race/Ethnic Data ...... 30

4. Comparison of Student Demographic Data by District ...... 31

5. District Comparison of Academically or Economically Disadvantaged Students with Students Receiving Aid to Dependent Children ...... 31

6. District Comparison of Children with a Disability ...... 31

7. District Comparison of Staff Demographics ...... 32

8. Code Numbers and Names of Interviewed Teachers ...... 33

9. Survey Responses by District, Items 1-26...... 44

10. Survey Responses by District, Item 27...... 47

11. Summary of Items 1-26 Which Received the Highest Ratings-Ranking (1-5) ...... 48

12. Summary of Items 1 -26 Which Received the Lowest Ratings-Ranking (22-26) ...... 49

13. District C - Percentage Responses to the Music Specialists’ Multicultural Education Survey ...... 51 14. Average Ratings of Items 28-33, Based Upon a 4-Point Scale ...... 56

15. Average Ratings of Responses - Items 34-41 ...... 59

16. Average Responses ofMusic Teachers in Each District-Items 42-50 ...... 61

17. Summary of Teacher Responses - Items 51-59 ...... 63

18. Paraphrased Interview Responses by District ...... 65

19. Recurring themes from Teacher Interview Responses ...... 68

20. Individual Teacher Ratings for Each Item in the Classroom Environment Checklist - District A ...... 69

21. Individual Teacher Ratings for Each Item in the Classroom Environment Checklist - District B ...... 70

22. Individual Teacher Ratings for Each Item in the Classroom Environment Checklist - District C ...... 71

23. Frequently-Given Responses for Items I-IO - District A ...... 75

24. Frequently-Given Responses for Items 1-10 - District B ...... 76

25. Frequently-Given Responses for Items I-IO - District C ...... 77

26. Frequently-Given Responses for Items 11-28 ...... 78

XI CHAPTER 1

INTRODUCTION

Overview

E pluribus unum... out of many, one.

The United States, a mosaic of diverse cultures, is a pluralistic society whose macroculture is the national culture shared by the constituents of many microcultures.

Diversity is the operative term for the American society, and demographers suggest that the racial and ethnic proportions of the world will change by the 21st century. The population of the United States is becoming less Euro-American - the National

Education Association (1988) reported that the number of minority group members is increasing.

The American Council on Education estimates that, by the year 2000, 40% of all public school students will be minority group members (Gill, 1991). In some urban areas, African-Americans (hereinafter referred to as Blacks) and Hispanics will constitute a majority of the school-age population (Griffeth, Erase, & Ralph, 1989).

Ethnic minority students are in the majority in 25% of the nation's largest school districts and comprise 30% to 50% of the school-age population (Grossman, 1991;

Larke, 1991). Haberman and Post (1990) projected that there will be 62,644,600

1 school-age children in the United States by the year 2010, 38% of which will be minority group members. Half of these students will reside in nine states —

California, Florida, Illinois, Michigan, New Jersey, New York, Ohio, Pennsylvania, and Texas.

Predictions at the time of this writing estimated that minorities in the United

States would make up one-third of the population. By the year 2000, Caucasians

(hereinafter referred to as Whites) will make up only 55.9% of the United States’ population (Litcher, 1989), and by 2010, one of every three people in the work force will be a minority group member (Larke, 1991). Baker (1977) predicted that, by the year 2000, 5 billion of the 6 billion people on earth will be non-White. At the time of this writing, there were approximately 19 million Hispanics in the United States, comprising 7.9 % of its total population. This percentage was projected to double by the 21st century (Field, 1988; Kellogg, 1988). The current and projected percentages of the total United States population and ethnic distribution estimate that the White, non-Hispanic population has and will continue to decrease from 79.9% in 1980 to

49.8% by the year 2080 (Correa & Tulbert, 1991). Although the quoted demographic data vary slightly, they support the assertion that the United States is becoming increasingly more diverse.

Inasmuch as children are products of their cultures, culturally diverse students represent a growing population, as well. Culture has been interpreted as a map that provides “standards for deciding what is ... what can be ... how to feel... what to do ... and how to go about doing” (Goodenough, 1963, p. 258-259). Culture, a combination

2 of beliefs, values, and customs, determines who people are and who they will become.

Individuals learn culture through the socialization processes of their particular surroundings. A cultural group provides an individual with a way of life; it shapes unexpressed values and social institutions (Gollnick & Chin, 1986). Any group that shares traditions that empower them to interact with the world around them is a part of a cultural group. Cultural identity with a particular microculture can be based upon ethnic origin, sex, age, socioeconomic level, geographic region, and exceptionality.

The interaction of microcultures and macroculture influence characteristics and values of other microcultures within American society (Gollnick & Chin, 1986).

Music is an intensely puissant approach to education that is multicultural.

Through the arts, people of the world share and transmit their cultures from generation to generation. Music is art, and Elliot (1990) elaborated that music is culture because it is a specific form of human activity that involves the creator, creation, and context in which the creation was constructed.

Music is extraordinary, culturally intertwined, and ecumenical. American society is not only comprised of many cultures, but of “many musics” (Reimer, 1993).

Music education in a “multimusical culture” is required to offer excellent and diverse music experiences for and representative of the cultural backgrounds of all students.

Reimer (1993) described three musical needs in a pluralistic culture: (1) to make

American western musical heritage available to all its citizens, (2) to honor and preserve the music of cultural subgroups in America, and (3) to give citizens access to music of subgroups. Music and the other arts provide a unique avenue for the celebration of

America’s diversity and a pursuit for those factors that unify us. The instruction and study of music from a multicultural perspective involve performing, listening to, and experiencing the music of groups that are distinguished by ethnic origin, age, class, sex, and religion (Campbell, 1992a). Music making and listening are established in social and cultural contexts. When the music of an ethnic group is studied, the culture of that group is studied. The study of diverse music indicates how microcultures have influenced each other and have dealt with life experiences.

Because music is important to life and to education, music education should signify the diverse music which characterize American society. Regardless of economic status, cultural background, or exceptionality, all children respond to music.

Multicultural music education is a conduit to the understanding of other cultures and the contribution of those cultures to American music. The music of other cultures celebrates and emphasizes the universality of human experience that transcends cultural boundaries. Music is free to journey and, just like language, is continuously being remodeled, adapted, and redefined to produce new human values, to organize thought, to transcend the perimeters of local culture and inner self. Every new musical creation or improvisation is an act of reproducing socially-transmitted musical ideas into new expressions, thereby amending and reconstructing cultural heritages. This ethereal quality of music sanctions its freedom of human expression, regardless of race, culture, or ethnicity. Music education, therefore, aids the understanding of human diversity and similarity.

4 Need for the Study

Demography consequentially affects education. Living in the diverse American society in the 1990s requires not only a tolerance of but an appreciation for society’s inhabitants. Teachers are accountable for educating all students, regardless of race, ethnicity, or culture... an understanding of multicultural education is imperative.

A casual reading of periodical literature and methods in music education seemed to suggest that music teachers have generally supported teaching from a multicultural perspective. Because of varied viewpoints of what multicultural education meant and encompassed, however, some teachers expressed uncertainty about what teaching music from a multicultural approach entailed. This uncertainty further impeded the implementation of multicultural activities into the music classroom. Music teachers had an exigency to develop a philosophy that recognized and affirmed the worth and relevance of the cultural backgrounds of their students and the musical contributions of diverse cultural groups. This would enable teachers to better understand multicultural music education, its meaning, and its implementation

(Bayer, 1994; Williams, 1991).

Although music educators may have supported multicultural values, there existed varying definitions, approaches, perceptions, and philosophies toward multicultural education. The philosophic positions and perceptions of music teachers concerning multicultural education evolved into attitudes that became evident in the classroom environment, music activities, and teaching strategies. Attitudes are built

5 upon prior knowledge, awareness, or experience with the attitudinal object. Price

(1986) defined an attitude as “a learned pre-disposition reflecting the way one feels about a subject while not in the presence of that subject, which is not directly observable. Positive and negative evaluations, beliefs, and feelings regarding a phenomenon that may produce error in perception and recall” (p. 153). Because the

United States is becoming more diverse, an understanding of the attitudes of music teachers concerning diversity and multicultural education is important.

Purpose of the Study

The purpose of this study was to examine music teachers’ attitudes toward multicultural education and to describe how these attitudes are reflected in classroom environment and music activities. Specifically, five research questions were addressed:

1. What are music teachers’ philosophies, attitudes, and definitions of multiculturalism?

2. Is there evidence of multiculturalism in music teachers’ lesson plans, classroom environments, and music activities?

3. What are 4th- and 6th-grade students’ interactions with children who are members of different cultural groups, and what multicultural activities do they recall from music class?

4. Do music teachers from different districts (urban vs. suburban) hold notably different beliefs about multiculturalism? 5. Are there notable relationships between teacher attitude patterns and class diversity in an attitudinal survey and personal interview responses? CHAPTER 2

REVIEW OF LITERATURE

Overview

The review of literature and research is organized into four main sections: (a) a brief history of multicultural education, including an explanation of theories concerning pluralism; (b) an overview of definitions and goals of multicultural education as expounded by multicultural theorists; (c) a discussion of the general myths and various approaches to multicultural education, including approaches used in the music classroom; (d) an examination of attitude research concerning multicultural education; and (e) a discussion of the history of the multicultural education movement in music education.

History of Multicultural Education

How has cultural diversity affected American education? Several theories have described the nation’s philosophic concepts concerning pluralism: Assimilation,

Anglo-Conformity, Melting Pot, and Cultural Pluralism. Assimilation is a process of fusion in which the microculture acquires the attitudes and customs of the dominant culture. Assimilationist philosophy stresses recognition of similarities and rejection of

8 variances. The Anglo-Conformity Theory demands the complete renunciation of the

minority culture’s heritage. The Melting-Pot Theory, which was more readily accepted

by some ethnic minorities, affirmed acculturation ... the differences of minority

cultures would be “melted away” and all minorities would become part of the

American culture, thus heirs to the American Dream. Italian and Greek immigrants

often changed their last names and allowed their children and friends to speak only

English in their homes. Assimilation, Anglo-Conformity, and Melting Pot Theories are

based in ethnocentricity, a ubiquitous belief in the superiority of one’s own culture.

The ethnocentric person equates diversity with inferiority. Stereotyping, prejudice,

racism, individual, and institutional discrimination are consequences of ethnocentrism

(Gollnick & Chin, 1986). This concept is still apparent in today’s society.

The Intercultural movement of the 1940s was the nation’s first attempt to

acknowledge diversity. Interculti.iral education emphasized the attitudes and behaviors

toward people who differed and supported the ideal of inclusion (Olneck, 1990). The

interculturalist view evolved into the practice of “melting differences” in order to

create social harmony. The endeavor was to create a homogeneous “ethnic American”

identity. Interculturalist philosophy ascribed to acculturation or the “Melting Pot”

Theory. During the Interculturalist movement, schooling in the United States began

with an attempt to “Americanize” through the acculturation of immigrant populations.

Social structure in the United States often placed and continues to place minority people in a disadvantaged position (Anderson, 1990). Knowledge of diverse cultures

was seldom calculated into the school curriculum or classroom. Stereotyping of ethnic

9 groups segregated minorities, and education of minority students was an indication of societal prejudice and institutional discrimination. Society dealt with people of color differently, which was reflected by teachers who had no understanding of prejudice ... neither had the new pluralistic society occurred (Tran, Young, & DiLella, 1994).

Segregation was “the law of the land” in southern states and de facto in northern states.

The Civil Rights Movement, led by African Americans, was a catalyst for cultural pluralism and cultural revival of other minorities. With the fall of segregation came desegregation and the birth of integration. American society was transforming from a structure of segregated pluralism to one of integrated pluralism, or what Grant

(1977) referred to as “new pluralism,” an initiation of multicultural education.

Definitions and Goals of Multicultural Education

The literature provided many definitions and descriptions of multicultural education. The National Council for the Accreditation of Teacher Education (1977) described multicultural education as “preparation for the social, political and economic realities individuals will experience in culturally diverse and complex human encounters ... providing a process for persons to develop competencies for perceiving, evaluating and behaving in different cultural settings” (p. 14).

Multiculturalists proposed varied meanings for multicultural education. Banks

(1994) defined multicultural education as an educational reform movement that valued diversity and focused on the equitable education across income, ethnicity, cultural background, and exceptionality. It was established upon cultural pluralism and

10 acknowledged that each culture was influenced by and influences another. Based upon human rights and equity, multicultural education emphasized strength in diversity.

Multicultural education as delineated by Baptiste (1979) contended that diversity was a reality of life. Although concerned with cultural groups within American society that were victims of discrimination, the primary aim of diversity was to develop intellectual, social, and personal growth of all students to their highest potential.

Nieto (1992) described multicultural education as a process involving relationships among people, teacher expectations, learning styles of students, learning environment, and other cultural variables that were significant to schools successfully educating all students. The American Association of Colleges for Teacher Education

(1989) asserted that multicultural education esteemed diversity as a valuable resource that should be conserved and augmented.

Multiculturalists envisioned diversity and ethnic identity as cornerstones to the development of an inclusive personal identity. Education that was multicultural, according to Sleeter and Grant (1988), was a broad concept that included the correlates of race, ethnicity, sex, socioeconomic status, and exceptionality. Multicultural education honored the unique differences of cultural groups ... harmonizing relationships by cultivating appreciation and understanding (Olneck, 1990).

The goals of a multicultural education, as summarized by Grant (1977), are (a) to develop greater ability to recognize and prize diversity, (b) to acquire greater understanding of other cultural patterns, and (c) to gain positive and productive interaction among people and among experiences of diverse cultural groups.

11 Multicultural education could aid individuals and communities in valuing and

preserving their own cultural uniqueness so that America’s diverse society would

continue to value and sustain itself. Spears, Oliver, and Maes (1990) stated that

multicultural education allowed students to understand their own culture and the

culture of others in a critical light, ultimately promoting understanding, respect, and

values of other cultures.

A multicultural approach to education restructured the entire education process

to promote equality and cultural pluralism (Sleeter, 1993). Course content was

reorganized according to knowledge of diverse racial and ethnic groups. Cultural

learning styles and involvement of students in actively thinking and investigating

situations were valued. Multicultural education transformed the entire school program

to reflect diversity and encourage equity.

Haberman and Post (1990) depicted multicultural education in a society as

education that should release individuals to successfully function as “individuals, members of minority groups and participants in the general society” (p. 31).

“Multicultural education or classroom diversity aims to revise the public assignment of

status by including those who have been left out, or whose contributions have been undervalued in higher tracks of study” (Chen & Goldring, 1994, p.58).

Some educators advocated multicultural education; however, they were

concerned that a global perspective of the movement would negate the significant

issues of racism and racial discrimination (Gay, 1983). Theorists affirmed that a

common goal of multicultural education was the reduction of racism and bigotry

12 (Bennett, 1990; Sleeter & Grant, 1988). The literature demonstrated that multicultural education was an amalgamation of ideas whose central thrust was the recognition and study of diverse cultures.

The field of multicultural education, although continuing to be legitimized, had opponents. Conventional theorists perceived the movement to be seditious, for it confronted issues of race and equity. Opponents worried that multicultural education gave students a “fragmented” view of culture. These educators criticized it as emphasizing separatism, therefore hindering the child’s ability to be successful in mainstream America (Sleeter, 1993).

The movement has been described as a central idea that emanated in the progressive pluralist approaches to education. Its central focus was the sensitization of

White teachers to minority differences. Some analysts not only denounced multicultural education but also criticized multicultural teacher training. Amodeo &

Martin (1982) found that multicultural training appeared to have no effect on changing stereotypical attitudes. The many explanations and definitions of multicultural education by advocates and critics accented the confusion of what multicultural education meant and how it should be authenticated in the classroom.

Myths and Approaches to Multicultural Education

The varying alignments of educators who used the term “multicultural education” determined the approaches used in the classroom. Sleeter (1993) described five approaches which educators used to address multiculturalism:

13 1. Teaching the culturally diverse and exceptional child aimed to aid minority, low-income, and exceptional students to assimilate and excel in today’s

society. This approach did not emphasize transforming course content but presented

subjects to be more appealing to the atypical student.

2. The Human Relations approach was concerned with emotions or feelings

of the atypical student. The main focus was to limit stereotypes, to compare and

contrast differences and similarities, to recognize the contributions of minority

students, and to increase self-esteem of diverse students.

3. The Single Groups Study approach sought to raise the consciousness about

a group through the study of the culture, history, and contributions of a specific group.

4. The Multicultural approach supported transformation of the curriculum through the knowledge of diverse cultural and ethnic groups. Transformation of the cuniculum promoted equity. This approach considered individual learning styles and advocated bilingualism and multilingual study for all students.

5. The Multicultural/Social Reconstructionist approach was founded upon the combination of previous approaches and included contemporary social justice issues affecting all groups. Students were persuaded to study and take action on social issues.

Banks (1981) stated that multicultural teachers needed six competencies: (a) democratic attitudes and values, (b) a multicultural philosophy, (c) the ability to view events and situations from diverse ethnic perspectives and point of views, (d) an understanding of the complex and multidimensional nature of ethnicity in American society, (e) knowledge of the stages of ethnic understanding and their curricular and

14 teaching implications, and (f) the ability to function at increasingly higher states of ethnic understanding.

Gold, Grant, and Rivlin (1977) proposed a three-phase framework for personal preparation for multicultural teaching: Phase I, self-awareness and personal examination of ones values and beliefs; Phase II, development of a knowledge base which increases appreciation for diversity; Phase III, classroom implementation and evaluation of multicultural experiences.

The preponderance of definitions, explanations, and approaches caused teachers to view multicultural education quite differently. Several myths concerning multicultural education in the music classroom existed. The first myth was the belief that multicultural education is for the “others,” those individuals who are members of minority cultures, i.e., African-Americans, Hispanics, and victimized groups.

Teaching from a multicultural perspective meant only teaching about “others” and was therefore not necessary in homogeneous settings.

This myth was a marginalization of the concept of multicultural education

(Price, 1992). This marginalization neutralized the fact that students lived in a pluralistic society. Multicultural education may have been important in homogeneous settings; for example, the character and needs of mral homogeneous settings were changing. Because of technological, economic, and demographic changes, rural communities were recognizing the need to look outside of the community for answers, rather than within (Oliver & Hawley, 1992).

15 Dodds (1983) suggested that multicultural music education was probably most important in rural, homogeneous settings because it gave students the opportunity to experience contact with other cultures through music, allowing the students to have a broader global perspective of life. This suggestion was supported by Schmid (1994):

Children learn at an early age that there are cultural differences in the

world ... allowing children to interact with musics of diverse cultures is

a perfect method of developing an understanding of the fact that one can

value one’s own way of doing things and also find value in a different

way... the strongest argument for music in today’s multicultural

curriculum is that it is basic to human existence, (p. 34)

A monocultural perspective decreased the student’s opportunity to expand on musical preferences. “All persons in the educational institutions of the nation should learn about the differing and unique contributions to the national heritage made by each ethnic group” (National Multicultural Awareness Commission, 1983, p. 32).

The second myth was the notion that multicultural education reinforced separatism by stressing a “we” versus a “they” polarity. This myth was grounded in the “Melting Pot” Theory. Garfias (1983) stated that the concept of music as a universal language and America as a cultural melting pot were at the base of difficulties facing music teachers. Multicultural perspective focused on the presentation of other cultures which simultaneously allowed children to be aware of the

“uniqueness” of their own cultures.

16 The third myth was the perception that multicultural education meant only teaching about the music of those cultures represented in one’s own school or classroom setting. This perception also limited the concept of multicultural music education. The literature asserted that the aim of multicultural education was to develop the intellectual, social, and personal growth of all students, regardless of the racial or ethnic makeup of the school or classroom. The cultures of the world represented a global society, and children needed to experience diversity out of the immediate environment. Gamble (1983) declared that music teachers should avoid isolated approaches to the teaching of music.

The task of music educators was to make music stimulating and alive for the student. Diversity was plentiful in our “multimusical culture.” It was, however, least likely to be a part of the music education of our youth. Music appeared to be caught in a traditional “European” web.

Yudkin (1993) described cultural pluralism and cultural particularism as two methods in which multicultural music education could be approached. The Cultural

Pluralistic approach related to American culture, recognized a common culture shaped by American values, promoted unity among diverse groups, and emphasized human commonalities. This method was built on stressing similarities. The Cultural

Particularistic approach de-emphasized American culture, focused on cultural diversity, rejected a common culture among groups, and emphasized human interest. This approach stressed differences and individuality. Neither procedure, according to

Yudkin, was inherently better. The method chosen depended on the music program

17 and individual lesson objectives. Mere activities, however, that were devoid of a specific cultural context did not comprise a multicultural approach.

It has been suggested that the music profession extended its definition of multicultural music education through the study of music by (a) teaching more than one set of cultural values and (b) raising an awareness of the American pluralistic society to a greater appreciation and understanding of America’s cultural diversity.

This was important if music teachers were to provide a musical education that all students found valid, meaningful, and interesting. Reimer (1993) described multimusical culture as “an identifiable American culture, rooted in western traditions, enhanced by all the many world traditions that give this nation its particular distinctiveness” (p. 23). It was the responsibility of the music educator to enhance the diversity and quality of the youths’ musical experiences. An expansion of the definition of multicultural education could be attained when music educators came to a consensus of what multicultural education meant and involved.

Attitudes and Research

Gagné (1990) asserted that there were five variations of learned capabilities; intellectual skills, verbal information, cognitive strategies, motor skills, and attitudes.

Attitudes, intrinsic conditions directed toward a person, object, or event, affected behavioral choices. Attitude has been defined as a predisposition to experience, to be motivated by, or to act toward a class of objects in a predictable manner (Smith,

Bruner, & White, 1956), a predisposition to respond (Osgood, Succia, & Tannenbaum,

18 as cited in Fishbein, 1967), a propensity to react favorably or unfavorably (Samoff,

1960), and an implicit drive producing a response considered socially important in the individual’s society (Doob, 1947). Allport (1967), who first proposed a definition for attitude in 1935, described attitude as “a mental and neural state of readiness organized through experience exerting a directive or dynamic influence upon the individual’s response to all objects and situations with which it is related ... attitude is not behavior, but the pre-conditions of behavior” (p.8).

Fishbein (1967) suggested that attitudes, beliefs, behavioral intentions, and behavior must be investigated as independent phenomena. An examination of the inter-relatedness of these concepts should be the task at hand. Many reviewers inferred that attitudes and behaviors were interrelated (Ajzen & Fishbein, 1977; Calder & Ross,

1973; Schuman & Johnson, 1976), although the relationship was less than perfect

(Bauer, 1966; Corey, 1937; Fishbein, 1967).

The definitions of attitude as a “predisposition, drive, or motivation to respond or act in some manner” certainly appeared to suggest that behavior was an overt extension of an attitude. The music specialist’s attitudes and beliefs concerning multicultural education could therefore be translated in classroom environment, and activities.

Several studies examined the prospective teacher’s attitudes about multicultural education. Cooper, Beare, and Thurman (1990) examined students’ teaching experiences in Minnesota and south Texas. The study had two main purposes: (a) to determine the connection between a teacher’s cross-cultural experiences and his

19 attitudes toward multicultural teaching, and (b) to compare attitudes and actions of student teachers in multicultural settings with those in monocultural settings. Subjects were students who participated in a satellite student teaching option in the Pharr-San

Juan-Alamo School District in south Texas and students remaining in Minnesota.

Results indicated that satellite student teachers expressed a willingness to demonstrate multicultural competencies. Minnesota student teachers showed less effort in emulating multicultural skills in their classrooms. This finding suggested that cross- cultural experiences and background positively affected attitude toward diversity.

Multicultural education was an embodiment of an attitude, i.e., teachers must first be aware of their own biases. Phillips (1988) stated that nurturing diversity meant making multicultural education a process of action through which adults achieved clarity about the condition in society and ways to change it.

Attitude change was also studied by Larke, Wiseman, and Bradley (1990), examining the attitudes and perceptions of pre-service teachers toward minority students. They found that, through the Minority Mentorship Project, attitudes of pre service teachers moved from apathy and pity before the project to strength and pride in minority students at the close of the project. They contended that the integration of multicultural education, cross-cultural mentoring, and human relations training provides strategies for attitude change of pre-service teachers about minority students.

Mahan and Rains (1990) studied the impact of cultural immersion on teacher interaction with people of different ethnicities. Teachers completing a cultural immersion experiment ranked eight instruction approaches frequently selected to

2 0 facilitate teacher learning about Native Americans and Mexican-Americans. Based upon the rankings determined by the participants, the most valued approaches involved contact (live or on film) with ethnically-diverse people. This suggested that regular and increased interactions with ethnic or minority people brought about friendships, learnings, and experiences that could be transferred to classroom behavior.

Tran et al. (1994) examined the effects of a multicultural education course on the forming of attitudes toward European, Mexican-American, and African-American students. Subjects were recruited from an “Introduction to Multicultural Education” course at San Diego State University. The objectives of the class were to introduce methods to reduce racism and stereotyping on the subconscious level, to establish a sense of community, and to promote values. The “Introduction to Multicultural

Education” course appeared to have had a significant effect on changing student attitudes toward ethnic groups. This supported Mahan and Rains (1990), who determined that interaction with ethnic groups brought about experiences that could be transferred to classroom behaviors.

An articulated acknowledgment of multicultural education did not invariably translate into advocating cultural pluralism. Various studies investigated teacher acceptance of the multicultural theory. Mclnemey (1987) examined Australian teachers’ attitudes toward multicultural education curricula and their perspectives concerning pluralism in South Wales schools. The study found that teachers were in favor of minority children maintaining their ethnic heritages. The teachers’ assimilationist orientation, however, was more interactionist than pluralist. Chen and

21 Addi (1990) found that diverse classrooms led to friction for many teachers. Paine

(1988) utilized questionnaires and interviews in his descriptive study of teachers’ perspectives concerning diversity. It was concluded that novice teachers’ experiences with diversity were often superficial. Young teachers were unable to talk about student differences and were uncertain of how to approach differences of diverse students.

The effect of diversity on teacher perspectives of their workplace was studied by Chen and Goldring (1994). Researchers discovered that diversity negatively correlated with the mean academic achievement of the class but correlated positively with class size and discipline problems. Findings also revealed that the effect of classroom diversity on teachers’ perspectives of their jobs were strong and significant.

Teachers’ conceptions toward culture and multicultural education policy were studied by Sachs (1989), who hypothesized that the aggregation of interpretations for the term “culture” could be expected to cause a variety of ways in which teachers and writers of educational policy perceived the term. Results suggested that there were coincidences between teachers’ articulated understanding of the term and explanations found in educational policy. Sachs (1987) detected teachers’ perceptions about culture were influenced by the milieu which shaped their knowledge. “People don’t learn social lessons cognitively; they learn them affectively, by emotionally processing and anchoring lessons learned from intimate experiences” (Sachs, 1989, p. 33). Attitudes of teachers were translated into classroom environments and teacher behaviors. An attitude of embracing diversity saturated the classroom. The teacher should be an active pluralist, one who valued diversity and built on the unique contributions each

2 2 student brought to class. The classroom mirrored the society in which children lived. The teacher should emphasize similarities and focus on people of and relevant to the child's world, if the teacher is to understand the whole child, he must become cognizant of the child's cultural background. Children could also gain from understanding the heritage and cultural background of the teacher.

The literature also offered research concerning teachers' perceptions of multicultural education goals. Haberman and Post (1990) studied cooperating teachers' perceptions of the goals of multicultural education and the effect their opinions had on pre service teachers. It was found that cooperating teachers and pre-service teachers believed that tolerance for others and individuals getting along with individuals should be the goals of multicultural education. Authors interpreted this as the teachers' and pre-service teachers' inability to recognize the existence of subgroups in American society and their prodigious pledge to tolerating diversity.

Much of the debate on multiculturalism centered around the contusion about the meaning of culture, the refusal to acknowledge the connection of Western culture with other cultures, and difficulty in accepting that multiculturalism in America was significant to its national fortitude (Trachtenburg, 1990).

History of Multicultural Music Education

Multiculturalism in music classes is not a new phenomenon. Jordan (1992) provided an history of multicultural music education that is summarized in this section. In

1907, the Music Supervisors’ Conference promoted musical literacy, performance competencies, and musical taste but the music of other cultures was rarely featured in

23 its writings. But it held its first conference on International Relations in 1929, and by the late 1920s and early 1930s, a surge of internationalism led to the emergence of interest in world music.

Since then, music education has been a part of the multicultural education movement. Before social movements brought attention to issues related to pluralism, interest in the various music of world cultures could be found in music teaching.

Coleman (1927) provided instructions for making musical instruments of other cultures, including Indian, Polynesian, African, and Chinese. Interest in world music was also reflected by McConathy (1927) in his series of song books. Textbook companies began publishing songbooks and, in 1939, attention was focused on hemispheric unity between the people of North American and South America, an interest also promoted by MENC.

During the interculturalist period of the 1940s, inter-American unity was an important focus of music education. In 1948, an international music council was created by the United Nations Educational, Scientific, and Cultural Organization

(UNESCO), and, from it, the International Society for Music Education (ISME) was formed in 1953. The Society for Ethnomusicology was established a year prior, and ethnic studies became a part of university instruction. The “many lands” idea had become evident in music textbooks, and music teachers occasionally taught songs, dances, and stories from other cultures.

During the 1960s, concern for civil rights caused social upheaval and was the catalyst for change in American schools. Attention was directed to the study of foreign

24 music, and colleges and universities offered courses in ethnomusicology. In 1967, the

Tanglewood Symposium (an assembly of performers, conductors, educators,

sociologists, anthropologists, government and industrial leaders, scientists, and others)

met to discuss the function and value of music and the arts in American society. The

Symposium promoted music of all periods, styles, forms, and cultures.

The impetus for a tmly multicultural curriculum came in 1972 with the

enactment of Public Law 318, Title IX (Montague, 1988), which sanctions

multicultural education by recognizing the heterogeneity of the nation and the

significance of a greater understanding of one’s own heritage and the heritage of others

to a “harmonious, patriotic and committed populace” (Montague, 1988, p. 3).

Coincidentally, the National Black Caucus was also founded in 1972.

Music education in recent years has been influenced by federal and state mandates in multicultural education and by the diversity and philosophical perspectives

of various schools and school districts. Music teachers have also been influenced by

literature and clinical presentation available to them (Campbell, 1993). MENC

continues to contribute to the multicultural education movement in music education through its publications and conference presentations.

25 CHAPTERS

METHODOLOGY

Introduction

The definition of multicultural education can be outlined in several statements:

(a) a movement valuing diversity and educational equity for ethnically diverse, exceptional, and low socioeconomic status students; (b) a “process” that embrangles relationships among people and cultural variables; (c) a concept that extols diversity through the cultivation of cultural understanding and appreciation.

The goals of multicultural education as affirmed by multicultural theorists and experts can be summarized as follows: (a) to develop the ability to recognize and prize diversity, (b) to foster respect, values, and understanding of cultural patterns, and (c) to encourage positive and productive interactions among people of all cultures (Banks,

1984; Gay, 1983; Grant, 1977; Sleeter, 1989).

The perceptions of music educators toward the multicultural education concept are characterized by uncertainty. The purpose of this study was to investigate the various attitudes of elementary and middle school music teachers concerning multicultural education and to describe the manner in which these perceptions are exhibited in the music classroom environment, music activities, and teaching strategies.

2 6 Description of Population

Three public school districts in Ohio provided the population for the study.

Selection of school districts was based upon demographic information gained from each district’s 1995 Education Management Information System (EMIS) District

Profile. The EMIS District Profile includes data on student outcomes, student and staff demographics, financial resources, and expenditures. The profiles are formatted so that information included is: (a) useful to school districts for local decision making, (b) helpful for instructional improvement decisions, (c) instrumental in student and school performance improvement, (d) useful in facilitation of comparisons, and (e) useful in describing school district characteristics (demographics). The EMIS District Profile in this study was used to facilitate comparisons and provide school district characteristics.

The selected school districts were assigned codes. District 1, a suburban district, was given the code letter A. District 2, also a suburban district, was given the code letter B. District 3, an urban district, was given the code letter C. The EMIS

District Profile compares ethnic percentage data of each district to ethnic percentage data for the state. The following general definitions are reported by the EMIS Profile and are helpful in explaining the demographic statistics observed in this study.

27 General Definitions

Student Demographics

Disability Condition. The percentage of students indicating one of the

federally-defined disability conditions, who are educated by the district.

Percentage of Students Disadvantaged, (a) Economic and Academic - Total percentage of students indicated as having some sort of disadvantage; (b) Aid to

Dependent Children - Total percentage of students whose parents receive Aid to

Dependent Children, as reported by State Department of Health and Human Services.

Racial Ethnic Data. The percent of students in each racial/ethnic group.

Staff Demographics

The following staff demographics profiles are offered by the Ohio Department of Education (1995):

Average Number of Total Years of Experience - Teachers Onlv. The average number of total years of experience for all teachers in the district.

Certified Personnel. Librarians, teachers, counselors, and administrators.

Classified Personnel. Cooks, custodians, and maintenance people.

Degree Status - Teachers Onlv. Percentage of teachers (a) with no college degree, (b) holding a Bachelor's degree, or (3) holding a Masters degree or above.

Racial/Ethnicitv. The percentage of staff members in each of the racial/ethnic groups in each staffing category.

28 Staff Resources. Total number of staff, reported on a full-time equivalency

(FTE) per 100 students.

Total Number of Employees. All employees, reported on a FTE.

Demographic Data

Tables 1-7 aid in describing the staff and student characteristics of each school district participating in the study.

Table 1 District A Demographic Data - Student Race/Ethnic Data

Asian or Pacific Native White Black Hispanic Islander American Multi-Racial 96.3% 0.4% 0.6% 2.6% 0% 1%

The percentage of students who are Economically and Academically

Disadvantaged is 2.2%. Twenty-seven percent (27%) of students receive Aid to

Dependent Children, and 12.9% of students have some form of disability. The percentage of full-time certified teachers is 70.3%. There are 577.2 full-time employees in District A, 96.9% of whom are White. Most of the teachers, 62.2%, have a masters degree and above; 37.2% of the teachers have a bachelors degree. The total average teaching experience is 19.3 years.

29 Table 2 District B Demographic Data - Student Race/Ethnic Data

Asian or Pacific Native White Black Hispanic Islander American Multi-Racial 94.7% 3.9% 0.5% 0.7% 0.1% 0%

The percentage of Economie and Academically-Disadvantaged students for the district is 0. The percentage of students who are recipients of Aid for Dependent

Children is quite small, only .6%. Eleven percent of the students have some form of disability. There are 233.6 full-time employees, 70% of whom are certified teachers,

96.9% of whom are White. Most of the teachers in this district, 64.1%, have earned a masters degree and above. The average teaching experience is 15.5 years.

Table 3 District C Demographic Data - Student Race/Ethnic Data

Asian or Pacific Native White Black Hispanic Islander American Multi-Racial 45.1% 50% 0.6% 2.5% 0.1% 1%

The percentage of students that are Economically and Academically

Disadvantaged is 59.2%, and 39.7 % of all students receive Aid to Dependent Children.

The percentage of Children with a Disability is 11.6%. Eighty-four percent of all full time employees are certified, 50% of whom are White. There are 8,043.6 full-time

30 employees in District C. Most of the teachers in this district, 58.2%, have a bachelors degree, and 51.5% have a masters degree and above. The average teaching experience is 14.4 years.

Table 4 Comparison of Student Demographic Data by District

Asian or Pacific Native Multi- District White Black Hispanic Islander American Racial A 96.3% 0.4% 0.6% 2.6% 0% 1% B 94.1 3.9 0.5 0.7 .1 0 C 45.1 50.0 0.6 2.5 .1 1

Table 5 District Comparison of Academically or Economically Disadvantaged Students with Students Receiving Aid to Dependent Children

Academically or Economically Students Receiving Aid to District Disadvantaged Students Dependent Children A 2.2% .2% B 0 .6 C 59.2 39.7

Table 6 District Comparison of Children with a Disability

District Children with a Disability A 12.9% B 11. C 11.6

31 Table 7 District Comparison of Staff Demographics

No. of Years of Full-Time Certified1 Bachelor Masters Teaching Employees Teachers White Degree Degree Experience A 577.2 70.3% 96.9% 37.2% 62.2% 19.3 B 233.6 70.9 96.9 35.9 64.1 15.5 C 8,043.6 84.0 50.0 58.2 41.5 14.4

Description of Subjects

Subjects included 30 elementary and middle school music teachers, 10 of whom were interviewed, and 107 upper-elementary and middle school students, grades 4-6.

Teacher subjects were selected from three school districts in Ohio. The music supervisor in each district was contacted concerning the study, and they provided the names and school assignments of elementary and middle school music teachers in their district. A meeting was held in January 1996 with District A music teachers, after which 3 teachers agreed to participate in the study. District B teachers were contacted by telephone, and each elementary music teacher (n=3) agreed to participate. For

District C, 52 elementary and middle school music teachers were mailed introductory letters, abstracts, and questionnaires; 24 returned the completed survey.

The average years of teaching experience for the 30 surveyed teachers was

12.37 years. Ten percent (10%) of the teachers included in the study were African

American, and 90% were Caucasian. Of the surveyed subjects, 23.33% were male, and

32 76.66% were female. Interviewed subjects were assigned code names and numbers according to district.

Tables Code Numbers and Names of Interviewed Teachers

District A District B District C A-OOl Nina B-OOl Donna C-004 Carla A-002 Dina B-002 Rhonda C-009 Lydia A-003 Phil B-003 Carl C-006 Harry C-013 Eryn

The following descriptions of teacher subjects were obtained from general information reported by subjects on the survey and during the interview.

District A

Dina. A Caucasian female now teaching grades K-4, with eight years of teaching experience. Dina is responsible for teaching music in two separate schools and enjoys teaching primary grade children. She does not have her own music classroom, but that does not inhibit her enthusiasm for teaching. Dina is full of energy!

Nina. A Caucasian female who has been teaching for 16 years, presently teaching grades K-5 in an upper-middle class predominately White suburban district.

Nina’s students have the opportunity to learn guitar, recorder, and singing. Nina is a graduate student in music education, taking a course in Orff methods. She anxiously applies everything she discovers to her teaching.

33 Phil. Teaching grades 6-12, he is responsible for choral music and middle school general music. He has 19 years of teaching experience and describes his approach to teaching as distinctly European. Phil has a distinctive British (Australian) accent.

District B

Carl. A White male vocal/general music educator, responsible for grades K-6, with 4 years of teaching experience. His choral background is apparent in his classroom set-up. The chairs are arranged in a choral formation, and children enter the room prepared to conduct vocal warm-ups.

Donna. A Caucasian female with 17 years of teaching experience, 8 in public schools and 9 in private schools. Donna is responsible for teaching general music and instrumental music to grades K-6.

Rhonda. A vocal/general music teacher with 12 years’ experience, teaching grades K-6 in an upper middle class, predominately White, school district. Rhonda’s life has been filled with music for as long as she can remember — she discusses hearing classical music performed around her home as a very young child. Rhonda is eager to do the same for her own child (she was 9 months’ pregnant at the time of this study).

34 District C

Caria. A White female with 14 years of teaching experience. Teaching grades

K-5 in an urban school district, she is responsible for teaching music in two schools and is excited about teaching in an urban setting.

Ervn. A Black female with 16 years of teaching experience. At the time of this study, she was teaching in two schools, responsible for teaching grades K-8. Eryn describes herself as “pro” cultural diversity, but expresses concern for the attitude of some of her colleagues toward cultural diversity.

Harry. A Black male with 22 years of teaching experience. Harry attended a large university in which he was a minority student and realized the importance of diversity during his academic experience. He teaches grades K-5 and is responsible for teaching music in two schools.

Lydia. A White female with 13 years of teaching experience, teaching grades

K-5. She has had previous teaching experience in rural settings. Lydia is Kodaly trained and affirms that her goal in music teaching is to teach children to sing.

Student Subjects

Interviewed teachers were asked to choose a 4th-, 5th-, or 6th-grade class to participate in the study. One hundred and seven (n=107) elementary/middle school students were chosen by those teachers to participate in the study: 38 in Grades 4 and 6

(Distiict A), 57 in Grades 4, 5, and 6 (District B), and 12 in Grade 5 (District C).

35 Variables

Variables observed in this study were teacher attitudes, classroom environment, teaching strategies, and lesson activities, each examined by the following methods:

1. Music teacher attitudes toward multicultural education were assessed by the Music Specialists Multicultural Education Survey (Teacher Survey). Teachers

(n=30) were surveyed to ascertain their perceptions concerning multicultural education.

2. Ten (n=10) teachers were also administered an Interview to gain more in- depth information on music teachers’ attitudes and philosophies concerning multicultural education. They were asked to define multicultural education and describe their philosophies and their experiences with diversity. No attempt was made by the researcher to judge the information provided by the teachers. The primary objective of the study was to procure information from elementary music teachers about their perspectives concerning multicultural education.

3. The music classroom, i.e., decorations, materials, recordings, videos, ethnic instruments, and visuals, were observed by the researcher and recorded on a

Classroom Environment Checklist, during the interview visit to the music classrooms.

Teaching strategies and lessons were discussed during the interview, wherein teachers were asked to describe a music lesson they believed emphasized multicultural content and activities.

36 4. Students were asked to describe, on a Student Questionnaire, the kind of activities they enjoyed most in music, to name any ethnic or international song performed in music class, or any dances they performed in music class. Students were also asked to describe their cross-cultural interactions.

Operational Definitions

For the purpose of this study, the following operational definitions will apply:

Attitude. A favorable or unfavorable predisposition or opinion founded in experience which motivates one to act; the precursor of behavior (Allport, 1967;

Smith et al., 1956).

Classroom Environment. All conditions and surroundings effecting the development of the student.

Heterogeneous Setting. A classroom condition in which the students are composed of diverse cultures, racial, ethnic, socio-economic backgrounds and exceptionalities.

Homogeneous Setting. A classroom condition in which the students are composed of very similar cultures, racial, ethnic, socio-economic backgrounds, and exceptionalities.

Music Activities. Specific music lessons and actions utilized to attain the music objective.

37 Teaching Strategies. Methods employed by the teacher (cooperative learning techniques, individual assignments, teacher and student centered activities) to aid the realization of the lesson goals and objectives.

Assumptions

It is assumed that; (a) elementary and middle school music educators are familiar with the term “Multicultural Education,” regardless of the school’s environmental setting; (b) a sampling of classroom environment and materials is a valid, if not complete, indication of the importance the teacher places on multicultural education; and (c) responses to the survey, questionnaire, and interview were honest and representative of the teachers’ and students’ beliefs.

Limitations of the Study

The music educators surveyed and interviewed in this study are elementary and middle school general music teachers; therefore, the attitudes of high school choral directors, band directors, or orchestral directors are not included in the study.

Instrumental or vocal teachers’ orientations toward multicultural music education may be different than those found in this study.

The student questionnaires were administered to upper elementary (Grades 4-6) students, because students in this particular age range have the capacity to understand each question and provide a written response to items that require in-depth answers.

38 The experiences of primary grade level students with diversity is not represented in the study.

Procedure

Instruments

Four school districts were selected and three agreed to participate in the study.

A survey instrument was constructed by the researcher, the purpose of which was to sample music teachers’ attitudes, perspectives, philosophies, and level of comfort with diversity and multicultural education. The instrument was submitted to a panel of experts to determine content validity. Each expert was given an evaluation form, on which they were asked to rate each item as: “good,” “fair,” or “poor.” Each item was rated in two categories: “Content Relevance” and “Item Clarity.” The first draft of the survey consisted of 33 items.

Experts returned the evaluation form with suggestions. Items rated as “good” were retained, items rated as “fair” were restructured, and items rated as “poor” were deleted from the survey. The survey was revised and resubmitted to the panel. After the second appraisal of the instrument was received, the researcher made the final revisions. The final draft of the survey (Appendix A) consisted of 59 items, divided into four parts: General Information, Multicultural Attitudes, Availability of

Multicultural Resources-Materials, and Classroom Environment-Behavior. An interview script (Appendix B) was prepared from the survey instrument to gather more in-depth information from subjects. The script consisted of 13 items. Items 1,5,6, 7,

39 and 9 of the interview address music teacher attitudes and philosophies concerning multicultural education. Items 8 and 11 attempt to assess how philosophies and attitudes of music teachers are manifested in music activities, classroom environment, and teaching strategies. Item 12 defines what music teachers believe the goals of multicultural music education to be. Items 2, 3, 4, and 10 explore how Race, Teaching

Experience, and Diversity of the class contribute to music teacher perceptions toward multicultural education. Item 13 attempts to discern the major concerns music teachers have about the multicultural education movement.

The survey instrument and interview were pilot-tested in a rural and urban district, with four teachers participating. They had no problems understanding the purpose of the study, nor did they have any problems completing the survey and interview.

To assess the impact of teacher attitude toward multicultural education on classroom environment, a Classroom Environment checklist was created (Appendix C), based upon a checklist developed by Banks (1984). It was evaluated the presence of visual representations of ethnic American and international cultural groups, visual representation of minority musicians, availability of ethnic instruments, recordings, filmstrips, videos, printed music, and resource materials.

Although this study concerned teacher attitudes and behaviors, a questionnaire was developed for upper elementary and middle school students. The questionnaire consisted of 28 items. Items 1-11 assessed the students’ “cross cultural interactions in the music classroom.” Items 12-22 endeavored to determine the types of music

40 activities students enjoyed and their least favorite music activities. The questionnaire also reflected strategies and types of music lessons and activities implemented by the teacher (Appendix D).

An abstract explaining the purpose of the study (Appendix E), a letter of agreement (Appendix F), and consent to participate in behavioral research form

(Appendix G) was developed. All elementary music teachers in each district were mailed the abstract, letter of agreement, survey, and addressed stamped envelopes.

Surveys were requested to be returned in the stamped envelopes within two weeks.

Three elementary music teachers in both of the suburban districts and 24 of the elementary music teachers in the larger urban district returned the surveys within the 2- week time frame. After the allotted timeframe, a second appeal was mailed, reminding the teachers to return the survey, with a second survey and stamped envelope. Several of the remaining teachers responded to the second appeal. After approximately three more weeks, nonresponsive teachers were telephoned and asked to return the surveys.

Thirty out of 50 surveys were returned, equaling a 60% response rate.

Each participating teacher in Districts A and B was interviewed (n=6), and four teachers were randomly selected to be interviewed in District C. District A interviewed subjects had an average of 14.33 years’ teaching experience: 2 were Caucasian females and 1 was Caucasian male. District B interviewed subjects had an average of 11 years’ teaching experience: 2 were Caucasian females and 1 was Caucasian male. District C interviewed teachers had taught an average of 15.67 years: 1 was a Black female, 1 was a Black male, and the remaining 2 subjects were Caucasian females.

41 Appointments were made with each teacher. The interviews were tape- recorded on a Sony mini-cassette recorder on Sony 90-minute cassette tapes, and the interview lasted approximately 30 minutes. Each interview was transcribed by the researcher and given to the music teacher for approval. During the scheduled interview period, classroom environment was evaluated and recorded on the Classroom

Environment Checklist. Teachers were asked to choose a 4th-, 5th-, or 6th- grade class of theirs to be given the student questionnaire (Appendix D). A letter to parents

(Appendix H) and two consent forms with one copy to be retained by the parent

(Appendix I) were given to each student to take home and return signed. A time was scheduled with the teacher to administer the questionnaire. The researcher administered 107 questionnaires to upper elementary and middle school students: 38 in

Grades 4 and 6 (District A), 57 in Grades 4, 5, and 6 (District B), and 12 in Grade 5

(District C).

42 CHAPTER 4

RESULTS

Overview

This study investigates the attitudes of elementary and middle school music teachers concerning multicultural education and describes the manner in which those attitudes are depicted in classroom environment, music lessons, and music activities.

Thirty elementary-middle school music specialists (n=30) responded to the survey.

Survey

Mean Response to Survey Items 1-26

Two techniques were used to interpret survey data. The first examined and compared the responses of music teachers in each of the three participating districts.

The teachers’ responses to survey items were totaled and averaged to obtain an overall district average response for each item. Survey Items 1-26 are based upon the following 5-point scale: Strongly Agree = 5, Agree = 4, Neutral = 3, Disagree = 2,

Strongly Agree = 1, Not Applicable = 0. Averaged responses were then rank ordered to determine which statements that teachers in each district agreed with most and which

43 statements teachers agreed with least. Table 9 is a summary of the district average responses of Items 1-26 along with each item’s ranking.

Table 9 Survey Responses by District, Items 1-26 (Where 5 = Strongly Agree and 1 = Strongly Disagree)

District A District B District C (n=3) (n=3) (n=24) Avg. Rank Avg. Rank Avg. Rank # Survey Item Rating Order Rating Order Rating Order 1. Multicultural music education is 4.67 3.5 4.67 1.5 5 2.5 important to the music education of the elementary and middle school child. 2. My concept of multicultural 4.67 3.5 4.33 4.5 5 2.5 education is that all children, regardless of their own ethnic background, should be introduced to the rich diversity of the cultures of the world, including its art and music. 3. I believe that teaching with a 1.67 20.5 1.67 21.5 1 23 multicultural perspective promotes separatism, because concentration is focused upon racial and ethnic differences. 4. Multicultural education is primarily 1.67 21.5 1.33 24 1 23 beneficial to minority students. 5. Multicultural education is about 1.33 25.5 1.33 24 .75 26 minority people. 6. Multicultural education means the 1.33 25.5 1 26 1 23 same as Afrocentric education. 7. Teaching music from a multicultural 1.67 20.5 1.67 21.5 1 23 perspective is dependent upon the racial make-up of the class. continued

44 Table 9 continued District A District B District C (n=3) (n=3) (n=24) Avg. Rank Avg. Rank Avg. Rank # Survey Item Rating Order Rating Order Rating Order 8. I prefer the metaphor of America as a 2J3 15 2 18 1.25 18.5 “melting pot” where people of diverse cultures assimilate with tire dominant culture, and differences are fundamentally melted away. 9. Singing songs from other countries is 1.67 20.5 1.33 24 1.25 18.5 the totality of multicultural activities in the music classroom. 10. The purpose of multicultural music 2.67 13 1.67 21.5 2.75 13 education is to teach world music. 11. The goal of multicultural music 1.67 20.5 2.67 13.5 1.25 18.5 education should be to introduce students to the music of ethnic minorities in the United States. 12. The music teacher should consider 3.33 9.5 4 7.5 4.25 6.5 the cultural differences of students in the classroom when planning music activities. 13. The study of European folk music is a 4 6 2.67 13.5 3.25 11 multicultural activity. 14. The classroom environment 333 9.5 4.33 4.5 3.25 11 (decorations, material, music instruments) should be representative of cultural diversity. 15. Music is an avenue of cultural 4.67 3.5 4.67 1.5 5 2.5 expression for all cultures. 16. All Americans are members of ethnic 5 1 4.33 4.5 4.25 6.5 groups. 17. I believe that the terms “race” and 1.67 20.5 2.33 15.5 1.75 16 “ethnicity” are synonymous. 18. Music teachers should concentrate on 2.67 13 2.33 15.5 2.5 14 similarities between ethnic music. 19. A recent movement suggests that 2 16 2 18 1 23 multicultural education is a threat to social cohesion because it focuses on cultural differences in American society. I support this premise. continued

45 Table 9 continued District A District B District C (n=3) (n=3) (n=24) Avg. Rank Avg. Rank Avg. Rank # Survey Item Rating Order Rating Order Rating Order 20. Multicultural music education is 4.67 3.5 4.33 4.5 6 2.5 beneficial to the child regardless of ethnicity. 21. Music activities reflect the cultures of 2.67 13 3.33 10.5 3.75 8.5 various ethnic groups in the classroom. 22. Music teachers should concentrate 1.67 20.5 2 18 1.25 18.5 exclusively on differences between ethnic music. 23. A goal of multicultural education is 1.67 20.5 4 7.5 3.25 11 to increase the self-esteem of racial minority students. 24. A sufficient number of resources 3.33 9.5 3.33 10.5 2.25 15 (handbooks, videos, recordings) supporting multicultural activities in music are available at my school. 25. School assemblies should reflect 3.67 7 333 10.5 3.75 8.5 ethnic diversity of the students attending the school. 26. I prefer the metaphor of America as a 3.33 9.5 3.33 10.5 4.5 5 cultural “salad bowl” with each ethnic group maintaining its cultural identity, yet being mixed together.

Item 27 concerns the classroom decorations and bulletin boards and inquires about the availability of visual representations of more than one ethnic group, thus its different formatting from the previous 26 items. Table 10 lists average ratings of responses for each ethnic group.

46 Table 10 Survey Responses by District, Item 27 (Where 5 = Strongly Agree and 1 = Strongly Disagree)

District A District B District C # Survey Item (n=3) (Q=3) (n=24) 27. My classroom decorations and bulletin boards reflect famous: Native American musicians 2 3 1 African American musicians 2 2.33 2 Latin American musicians (Latino) 2 1.67 .75 Russian musicians 2 2.33 1 European musicians 2.67 4 3 Asian musicians 2 2.33 1

Most teachers indicated that European musicians were depicted more in their classroom decorations than other ethnic musicians. Latino musicians were depicted least. The low ratings received by teachers in District C is due to lack of a self- contained classroom (to be discussed later). To determine which items teachers agreed with most, this researcher selected items which had been ranked 5th place or higher in each district. Four statements received high ratings-rankings in all three districts, listed in Table 11.

47 Table 11 Summary of Items 1-26 Which Received the Highest Ratings-Ranking (1-5) (Where 5 = Strongly Agree and 1 = Strongly Disagree)

District A District B District C (n=3) (e=3) (n=24) Avg. Rank Avg. Rank Avg. Rank Survey Item Rating Order Rating Order Rating Order 1. Multicultural music education is 4.67 3.5 4.67 1.5 5 2.5 important to the music education of the elementary and middle school child. 2. My concept of multicultural 4.67 3.5 4.33 4.5 5 2.5 education is that all children, regardless of their own ethnic background, should be introduced to the rich diversity of the cultures of the world, including its art and music. 15. Music is an avenue of cultural 4.67 3.5 4.67 1.5 5 2.5 expression for all cultures. 20. Multicultural music education is 4.67 3.5 4.33 4.5 5 2.5 beneficial to the child regardless of ethnicity.

It appears that most teachers, regardless of district, believe that multicultural music education is important to the music education of the elementary and middle school child, and that multicultural music education is essential to the child regardless of ethnicity. Teachers consider music to be a manner of cultural expression for all cultures and the ethnicity of the child should not be a prerequisite for an introduction to the abundant diversity of the world’s music.

There were highly-rated items (ranked 5th or above) that did not receive consistently high ratings across all three districts. Teachers from Districts A and B strongly agreed with Item 16, “All Americans are members of ethnic groups.”

48 Teachers from District B also believed that the classroom environment should be representative of cultural diversity (Item 14). Teachers from District C indicate that

America is best described as a cultural “salad bowl” (Item 26) with each ethnic group maintaining its cultural identity, yet being an interacting and contributing component to

American culture.

The five lowest average rankings, items ranked between 22 and 26, were examined for each district to determine with which survey statements teachers least agreed. Rankings 22 through 26 were selected rather than 22 through 27, because Item

27 is slightly different in form than the previous items. Table 12 is a summary of least agreed with items by all three districts.

Table 12 Summary of Items 1-26 Which Received the Lowest Ratings-Ranking (22-26) (Where 5 = Strongly Agree and 1 = Strongly Disagree)

District A District B District C (tt=3) (Q=3) (n=24) Avg. Rank Avg. Rank Avg. Rank # Survey Item Rating Order Rating Order Rating Order 5. Multicultural education is about 1.33 25.5 1.33 24 .75 26 minority people. 6. Multicultural education means the 1.33 25.5 1 26 1 23 same as Afrocentric education.

Teachers in all districts do not believe that multicultural education is only about minority people, which supports the data reported by teachers in Table 11. Teachers also disagree with the affirmation that multicultural education is synonymous with

49 Afrocentric education. Although there were items that were ranked low (between 22 and 26) consistently across districts, these items did not receive consistently low rankings across all three districts. Teachers in Districts B and C do not concede that multicultural education is primarily beneficial to minority students (Item 4), and the average rating given to Item 9 suggests that teachers in District B believe that multicultural music education consists of more than singing songs from other countries.

District C teachers strongly disagree with the assertion that multicultural education promotes separatism (Item 3), and that it is a threat to social cohesion (Item 19).

District C teachers do not perceive that teaching with a multicultural perspective should be dependent upon the racial make-up of the class.

Variability of Response from District C. Items 1-26

Due to a sufficient number of subjects (n=24), the second technique used to examine survey data was only applied to District C. Item response percentages were analyzed to determine the proportion of items highly agreed with and items highly disagreed with, and items possessing the most variability between responses. The number of subjects in District A and District B was too small to validly represent item variability. Table 13 represents the responses and percentages to Items 1-26 for

District C teachers. Percentage responses for Districts A and B are in Appendix J and

K, respectively.

50 Table 13 District C - Percentage Responses to the Music Specialists’ Multicultural Education Survey Items 1-26 (Where 5 = Strongly Agree and 1 = Strongly Disagree)

5 4 3 2 1 0 strongly agree neutral disagree strongly not agree disagree appli # Survey Item cable 1. Multicultural music education 70.83 25 4.2 0 0 0 is important to the music education of the elementary and middle school child. 2. My concept of multicultural 70.83 25 0 0 4.2 0 education is that all children, regardless of their own ethnic background, should be introduced to the rich diversity of the cultures of the world, including its art and music. 3. I believe that teaching with a 0 0 8.33 45.83 45.83 0 multicultural perspective promotes separatism, because concentration is focused upon racial and ethnic differences. 4. Multicultural education is 0 4.2 0 37.5 58.33 0 primarily beneficial to minority students. 5, Multicultural education is 0 0 833 33.33 58.33 0 about minority people. 6. Multicultural education 0 0 8.33 33.33 58.33 0 means the same as Afrocentric education. 7. Teaching music from a 0 0 0 45.83 54.17 0 multicultural perspective is dependent upon the racial make-up of the class. continued

51 Table 13 continued 5 4 3 2 1 0 strongly agree neutral disagree strongly not agree disagree appli # Survey Item cable 8. I prefer the metaphor of 4.2 4.2 8.33 41.67 37.5 4.2 America as a “melting pot” where people of diverse cultures assimilate with the dominant culture, and differences are fundamentally melted away. 9. Singing songs from other 0 0 12.5 62.5 25 0 coimtries is the totality of multicultural activities in the music classroom. 10. The purpose of multicultural 4.2 58.33 0 2.5 12.5 0 music education is to teach world music. 11. The goal of multicultural 0 20.83 8.33 50 20.83 0 music education should be to introduce students to the music of ethnic minorities in the United States. 12. The music teacher should 4.2 66.66 16.67 8.33 4.2 0 consider the cultural differences of students in the classroom when planning music activities. 13. The study of European folk 16.67 70.83 4.2 0 0 4.2 music is a multicidtural activity. 14. The classroom environment 29.19 50 8.33 0 0 4.2 (decorations, material, music instruments) should be representative of cultural diversity. 15. Music is an avenue of cultural 70.83 29.16 0 0 0 0 expression for all cultures. 16. All Americans are members 41.66 41.66 12.5 0 0 4.2 of ethnic groups. 17. I believe that the terms “race” 4.2 20.83 8.33 33.33 25 4.2 and “ethnicity” are synonymous. continued

52 Table 13 continued 5 4 3 2 1 0 strongly agree neutral disagree strongly not agree disagree appli # Survey Item cable 18. Music teachers should 0 29.16 33.33 25.83 12.5 ' 4.2 concentrate similarities between ethnic music. 19. A recent movement suggests 4.2 0 16.66 29.16 50 0 that multicultural education is a threat to social cohesion because it focuses on cultural differences in American society. I support this premise. 20. Multicultural music education 45.83 50 0 0 0 0 is beneficial to the child regardless of ethnicity. 21. Music activities reflect the 12.5 58.33 16.67 12.5 0 0 cultures of various ethnic groups in the classroom. 22. Music teachers should 0 4.2 12.5 16.67 50 33.33 concentrate exclusively on differences between ethnic music. 23. A goal of multicultural 4.2 3133 20.83 41.66 4.2 0 education is to increase the self-esteem of racial minority students. 24. A sufficient number of 4.2 29.16 4.2 45.83 12.5 0 resources (handbooks, videos, recordings) supporting multicultural activities in music are available at my school. 25. School assemblies should 12.5 62.5 12.5 12.5 0 0 reflect ethnic diversity of the students attending the school. 26. 1 prefer the metaphor of 20.83 58.33 12.5 4.2 0 0 America as a cultural “salad bowl” with each ethnic group maintaining its cultural identity, yet being mixed together.

53 District C teachers were in agreement with survey Items 1, 2, 13, 14, 16, 20, and 26. Over 95.8% agree that multicultural education is significant to the music education of the elementary and middle school child, and all childien, no matter the ethnic background, should experience the diversity of the world’s cultural music. The music classroom, according to the responses given by district teachers, should be representative of cultural diversity (79.16%). Teachers in District C also support the idea that multicultural music activities should include the study of European folk music

(87.5%). Teachers offer a strong belief that music is an avenue for cultural expression

(100%), and all Americans are members of ethnic groups (83.32%). The majority of this district’s music teachers support the metaphor of America as a cultural “salad bowl.”

The degree of consistency was determined by the number of categories across which responses were spread, not including “not applicable.” Responses spread across two categories indicated that teachers were in high agreement with each other on a particular item. Responses spread over four or more categories indicate high inconsistency in teacher opinion on a particular item.

Teachers were most consistent in their responses to Item 7 (“teaching music from a multicultural perspective is dependent upon the racial make-up of the class,”

100% disagree). Item 15 (“music is an avenue of cultural expression for all cultures,”

100% agreement), and Item 20 (“multicultural music education is beneficial to the child, regardless of ethnicity,” 100% agreement).

54 The greatest differences of opinion were found in five items, as follows. Item 8

(“I prefer the metaphor of America as a ‘melting pot’ where people of diverse cultures assimilate with the dominant culture and differences are fundamentally melted away”),

Item 12 (“music teachers should consider the cultural differences of students in class when planning music activities”). Item 17 (“I believe the terms ‘race’ and ‘ethnicity’ are synonyms”). Item 23 (“a goal of multicultural education is to increase the self esteem of racial minority students”), and Item 24 (“a sufficient number of resources, i.e., handbooks, videos, and recordings, supporting multicultural activities, are available at my school”). Responses to these items were spread across five categories.

It appears that teachers were in agreement that multicultural education is important and beneficial to all children, regardless of ethnicity, but there was some disagreement on the goals of multicultural education, the significance of cultural differences to lesson planning, and the meaning of the terms “race” and “ethnicity,” and the availability of multicultural materials.

Mean Responses - Items 28-33

Survey Items 28-33 are based upon a 4-point scale with 4 representing the most positive or favorable response and 1 representing the least positive or least favorable response. The average ratings and rankings of responses to Items 28-33 are presented by frequency of response to each category are reported in Table 14.

55 Table 14 Average Ratings of Items 28 - 33, Based Upon a 4-Point Scale

District A District B District C # Item Response (n-3) (S=3) (11=24) 28. How many times during the year 0-1 1 0 5 are you allowed to use community 2 0 0 0 resources (parents, musicians) in 3 0 0 1 your classroom for the purpose of >3 1 3 11 multicultural music activities? N/A 1 0 7 Mean 1.66 4.00 2.50 29. How often in tlie last year did you 0-1 2 0 10 utilize parents or community 2 1 2 2 resources in your music class? 3 0 0 2 >3 0 1 5 N/A 0 0 5 Mean 1.33 2.66 1.66 30. How many lessons do you teacher 0-1 0 0 1 per class per month? 2 0 0 20 3 3 3 0 >3 0 0 3 N/A 0 0 0 Mean 3 3 2.21 31. Of the lessons you teach per class 0-1 0 0 2 per month, how many include 2-4 3 3 16 multicultural activities? 8-12 0 0 0 >12 0 0 6 N/A 0 0 0 Mean 2 2 2.5 32. How many field trips are you 0-1 3 1 15 allowed to take per year? 2 0 1 1 3 0 0 2 >3 0 1 0 N/A 0 0 6 Mean 1 1 1.2 33. In the last year, how many field 0-1 3 3 18 trips have been related to 2 0 0 I multicultural music activities? 3 0 0 1 >3 0 0 0 N/A 0 0 4 Mean 1 1 1

56 In District A, teachers reported that they were allowed to use community resources 1-3 times per year (Item 28) and that they did, in fact, use resources an average of 1-2 times per year (Item 29). In District B, teachers reported that they were permitted to make use of community resources 2 to 3 or more times per year, but the amount of reported use of community people is similar to that in District A, i.e., 1-2 times per year. In District C, half of the surveyed teachers (n=12) reported that they were allowed to use community resources 3 or more times per year. The remaining 12 teachers reported that the use of community resources was not applicable to them (7) or they were allowed to use these resources 0-1 times per year (5). The majority of

District C teachers (n=10) reported that they actually utilized resource persons 0-1 times per year, which is indicated in the low average rating for item 29 (1.66). Twelve teachers in District C reported being allowed to use community persons 3 or more times per year, and seven of those responded that they actually utilized community resources that many times.

Teachers in Districts A and B reported teaching an average of 8-12 lessons per class per month. Of those lessons taught, teachers reported that 2-3 were devoted to multicultural activities. Teachers in District C teach an average of 2-4 lessons per class per month as compared to the 8-12 lessons taught per class per month by Districts A and B. District C teachers, however, reported that 2-4 or more of those lessons concerned multicultural activities as compared to the 2-3 lessons per month allotted to multicultural activities by teachers in Districts A and B.

57 Although the majority of teachers in District B (2) are allowed to take more field trips than are teachers in District A, teachers in each district reported that 0-1 of those field trips have been related to multicultural activities. The majority of teachers in District C report that they are allowed to take 0-1 field trips per year and one field trip is devoted to multicultural activities.

Mean Responses - Items 34-41

Items 34-41 are reported as average ratings on a scale of 1 to 4, where 1= poor

(none) and 4 = very good (very important). These items ascertain teachers’ self- reported knowledge of ethnic musicians and their contributions to American music, and teachers’ beliefs regarding the level of importance of students’ knowledge of the contributions of minority people to music. Average rating of responses to Items 34-41 are listed in Table 15.

58 Table IS Average Ratings of Responses - Items 34-41

District A District B District C # Item (n=3) (n=3) (n=24) 34. I would describe my knowledge of 3 2.33 2.25 African-American musicians and their contributions to American music as: poor, fair, good, very good, N/A 35. I would describe my knowledge of 2 1.67 1.5 Native American musicians and their contributions to American music as: poor, fair, good, very good, N/A 36. 1 would describe my knowledge of Latin 3 1.67 1.25 American musicians and their contributions to American music as: poor, fair, good, very good, N/A 37. 1 would describe my knowledge of Asian 2.33 1.67 1.5 musicians and their contributions to American music as: poor, fair, good, very good, N/A 38. 1 would describe my knowledge of 3.33 4 3 Western European musicians and their contributions to American music as: poor, fair, good, very good, N/A 39. How important is it for students to know 2.33 2.67 2.75 the contributions of minority people to music, in homogeneous settings? none, somewhat important, important, very important 40. How important is it for students to know 2.33 2.67 2.75 the contributions of minority people to music in heterogeneous settings? none, somewhat important, important, very important 41. How would you rate your training in 2.33 2.33 2 multicultural music education? poor, fair, good, very good

When describing their knowledge of ethnic musicians’ contributions to

American music, teachers in District A considered their knowledge to be fair or better.

59 District A teachers considered their knowledge of African American music and musicians and Latin American music and musicians to be as good as their knowledge of Western European music and musicians. District B and C teachers believe that their knowledge of African American and Western European musicians and their contributions to American music is better than their knowledge of the contributions of

Native American, Latin American, or Asian musicians. District B teachers consider their understanding of the musical contributions of Native Americans, Latin

Americans, and Asians to be comparable, as indicated by the equal ratings given to

Items 35, 36, and 37. Music teachers in District C reported that their knowledge of

Latin American musicians is poorer than their knowledge of Native American, Afncan

American, and Asian musicians.

Teachers in each district report that their training in multicultural music is fair and that it is somewhat important for students to know the contributions of minority musicians in any environment, either homogeneous or heterogeneous.

A 5-point scale was used to rate Items 42-50. Teachers indicated their levels of comfort in culturally-diverse settings and their opinions on the significance of various multicultural music activities. Table 16 is a synopsis of the average responses of teachers in each district to survey Items 42-50.

6 0 Table 16 Average Responses of Music Teachers in Each District - Items 42-50

District A District B District C # Item (tt=3) (û=3) (n=24) 42. On a scale of 1-5, rate your level of 4 3 4.75 comfort with teaching music to a culturally-diverse students. 43. On a scale of 1-5, rate your level of 3.67 2.67 5 comfort with teaching music in a predominately Black setting. 44. On a scale of 1-5, rate your level of 4.67 4.33 5 comfort with teaching music in a predominately White setting. 45. On a scale of 1-5, rate your level of 4.5 2.67 3 comfort with teaching music in a predominately Latin American setting 46. On a scale of 1-5, rate your level of 4.33 3 2.5 comfort with teaching music in a predominately Asian setting. 47. On a scale of 1-5, rate your level of 3 3.33 2.25 comfort with teaching music in a predominately Native American setting. 48. On a scale of 1-5, rate the importance of 3.67 2 4.75 the recognition of holidays and festivities of ethnic groups in the music class. 49. On a scale of 1-5, rate the importance of 4 4.33 5 children’s experiences with music of diverse cultures. 50. On a scale of 1-5, rate the importance of 4 433 4.75 cultural diversity to the music class activities.

District A reported being comfortable with teaching in culturally diverse settings. District B reported being fairly comfortable teaching in diverse settings.

District C teachers reported being very comfortable teaching in culturally diverse settings. District A teachers were most comfortable teaching in White, Latino, and

61 Asian settings and less comfortable in Black and Native American settings. District B teachers indicated being most comfortable teaching in White settings, followed by

Native American, Asian, Latino, and Black settings. District C teachers reported being comfortable teaching in both predominately White and predominately Black settings, but less comfortable in Latino, Native American, and Asian settings.

Teachers rated children’s experiences with the music of diverse cultures as being very significant and rated cultural diversity as important to music class activities.

District C teachers declare that recognition of holidays and festivities of ethnic groups was important. Districts A and B indicated this of less importance than did District C.

Mean Responses - Items 51-59

A 4-point scale was utilized for Items 51-59, ascertaining teacher training and education experiences in multicultural education and the availability of multicultural materials. Table 17 is a summary of these data.

6 2 Table 17 Summary of Teacher Responses - Items 51-59

Average Ratings District A District B District C # Item Ol=3) - (n=3) (n=24) 51. How many workshops have you attended 3.33 2.5 3.75 that support multicultural education? 0-1, 2,3, more than 3, N/A 52. How many OMEA conferences have you 3.67 4 3.5 attended in the last 5 years? 0,1-2,2-3, more than 3, N/A 53 How many multicultural sessions have 3 4 3.5 you attended at those conferences? 0,1-2,2-3, more than 3, N/A 54. What priority do multicultural materials 2 2 2.5 and resources receive in how you spend your budget? 1st, 2nd, 3rd, no priority, N/A 55. How many times in the last 2 years have 2.67 2.33 2 you gone to a public or university library to search for and attain information about various cultures and their music? 0-1, 2-3,4-5, more than 5, N/A 56. When you see multicultural music 2.67 2 2.75 articles in periodicals such as the “MEJ,” how often do you read them? never, sometimes, often, very often 57. Describe the availability of ethnic 2.67 4 2.5 instruments in your classroom, many, some, few, none 58. Describe the availability of recordings of 333 3.67 3 ethnic folk songs and music of diverse cultures in your classroom, many, some, few, none 59. Describe the availability in your 3 3 1.25 classroom of videos concerning ethnic music. many, some, few, none

63 District A and C teachers reported having attended three workshops in support

of multicultural education. District B teachers reported having attended more than

three multicultural workshops. All teachers indicated attending more than three

OMEA conferences in the five years prior to this study. Three to four of those sessions

attended by teachers were devoted to multicultural music education. Average ratings

for each district show that multicultural materials receive second priority in the

majority of music teachers’ budgets. Teachers in each district contend that they have

searched and attained information about various cultures and their music 2-3 times in

the last years.

Interview

Ten teachers were interviewed to obtain in-depth information about their

attitudes concerning multicultural education. The researcher contacted seven

elementary and middle school teachers in District A to participate in the study. Of

those seven, three consented to participate and were interviewed. Every elementary music specialist in District B was interviewed (n=3). Twenty-four teachers in District

C participated in the study, four of whom were randomly selected to be interviewed.

Responses of interviewed subjects in each district and the number of teachers making

that response appear in Table 18, along with paraphrased responses. Numbers of responses per question may not equal the total number of teachers interviewed per

district because some teachers gave more than one answer. Verbatim transcriptions of

interviews are in Appendix L.

64 Table 18 Paraphrased Interview Responses by District

District A District B District C # Interview Question (n=3) (n=3) (n=4) 1. What are your Diversity is normal A diverse society Diversity is a part of feelings concerning and is relative to requires teaching this country. (4) diversity? in school? music. (3) from a diverse in society? in music? approach. (2) Diversity adds richness. (1) 2. How would you One of different parts Different races, One of many describe a and backgrounds. (3) socioeconomic status, different or diverse heterogeneous or different kinds of textures’ race, integrated setting? people. (2) socioeconomic status, and ethnicity. (4) 3. Are you most Heterogeneous, Heterogeneous, Heterogeneous. (4) comfortable teaching because it’s normal. because it’s more Settings are more in a heterogeneous or (2) exciting. (3) interesting. (2) homogeneous setting? Homogeneous: “I Why? have always taught from a European tradition.” (1) 4. How would you Outwardly School setting “Variety of describe your school homogeneous. (2). described in racial backgrounds, income setting? Students are terms. (3) levels, race is 50:50, predominately White, Black:White.” (4) with a wide range of subcultures in the classroom. (1) continued

65 Table 18 continued District A District B District C # Interview Question (n=3) (n=3) (n=4) 5. What is your Education of the Teaching that there is Educating people of definition of world. (1) more than one different cultures and multicultural Learning to respect viewpoint of the the influences of education? differences and world. (2) those cultures on each similarities. (1) Using world other. (2) Teaching toward the resources to teach as cultures of those a music concept. (1) children in the classroom. (1) 6. What is your A part of music; [teachers continue to It should be woven philosophy of music education does define term] “A into the class multicultural music not exist without it. practice of different activities. (2) education? (2) approaches and Music is cultural viewpoints.” multicultural. (1) (3) It’s the only way to teach. (1) 7. Is multicultural Yes. (2) Yes. (3) Yes. (4) education relevant to Because music is American music is It demonstrates a music teaching in multicultural. (1) multicultural. (3) variety of viewpoints elementary schools? of the world. (2) Why? Some concepts lend themselves to certain You can’t teach cultures; knowledge music without being in music is cultural. multicultural. (1) (1) 8. In your opinion, what Addressing concerns Requires teaching Examination of songs does teaching from a of minority groups. from a diverse and dances of many multicultural (1) approach. (1) countries. (2) perspective Studying music Immersion in another It is not superior to comprise? elements through culture. (1) the music concept. learning songs of Proper resources and (1) other lands and preparation. (1) cultures. (2) 9. Do you believe that No, it brings cultures No, it doesn’t No, knowledge leads teaching from a together. (2) separate but unifies. to understanding. (4) multicultural (3) It could, if it is not perspective promotes It must be done approached correctly. separatism? appropriately. (1) (1) continued

6 6 Table 18 continued District A District B District C # Interview Question (ü=3) (n=3) (n=4) 10. Is it necessary to Yes, because society Yes, because Yes, students in teach music of other is not homogeneous. homogeneous homogeneous settings cultures if you have a (1) students need to know need to be able to homogeneous There is a bigger that the world is not relate to others. (3) classroom? picture in life. (1) monocultural. (3) Students need to There is more than know that there are one way of looking at other viewpoints. (4) things. (1) 11. Describe a lesson you [Teachers described] [Teachers described] [Teachers described] have taught or plan to Lessons concerning Lessons concerning Lessons concerning teach that you believe the Chinese New African dances and music of African emphasizes Year. (1) chants. (2) Americans, spirituals, multicultural content Spirituals and jazz. The impact of the jazz, and freedom and activities. songs. (4) (1) spiritual on the music Amahl and The Night of Stephen Foster. (1) Visitors. (1) 12. What should be the Togetherness. (3) Recognition of music Tolerance and most significant of other cultures. (1) acceptance. (3) goal(s) of Authenticity. (I) Development of self multicultural music esteem. (1) education? Appreciation for the cultures of others. (1) 13. If you had one Being stuck in the Starting on common There is a lack of concern about the “peripheral” of the ground. (1) understanding about multicultural issue of authenticity. Technicality of multicultural education movement, (1) labels. (I) education and a need what would it be? for more education. Aiming at one Understanding the (4) culture. (1) point of view of Confusion of terms. others toward (1) multiculturalism. (1)

Recurring Themes

Several responses made by teachers in the sample districts recurred regardless of the questions asked, which appear to indicate teachers’ basic perceptions about multicultural education. These themes were selected based upon the frequency of their

67 occurrences. Table 19 is a list of recurring themes discovered during the teacher interview.

Tabîe 19 Recurring Themes from Teacher Interview Responses

Theme 1 Diversity and heterogeneity are normal and part of this country. Tlieme 2 Heterogeneity is primarily thought of in racial terms. Theme 3 Multicultural education is important to all people because there is more than one viewpoint of the world. Theme 4 Music is multicultural. Theme 5 Multicultural education leads to unity, appreciation, and understanding. Theme 6 Most of cultural activities discussed by teachers were representative of African American culture. Theme 7 Confusion and technicality of cultural labels and terminology.

Classroom Environment

The classrooms of interviewed teachers (n=10) were monitored and evaluated during the day of the interview. The evaluation was only a spot check of content and materials and was valid for the day during which each particular classroom was monitored. The Classroom Environment Checklist was used to record content data, and the availability of materials and content was rated on the following 4 point scale:

4 = strongly, 3 = somewhat, 2 = hardly at all, and 1 = not at all.

Ratings were tabulated for each teacher by district and categorized as

Classroom (the teacher has own classroom) or No Classroom (the teacher does not have own classroom). Tables 20-22 compare the ratings of individuals teachers for

68 each item on the checklist by district and average ratings of teachers with classrooms and teachers without classrooms.

Table 20 Individual Teacher Ratings for Each Item in the Classroom Environment Checklist - District A (where 4 = strongly, 3 = somewhat, 2 = hardly at all, and 1 = not at all)

Classroom No Classroom (n=2) (n=l) # Item Nina Phil M Dina M 1. Bulletin boards depict representations of the following ethnic/cultural groups: Ethnic American 1.17 1.17 1.17 1 1 World 1.4 1.6 1.1 1 1 2. Visual representations of famous minority 1 1 1 2 2 musicians are present in the classroom. 3. The music classroom provides a variety of 3 1 2 4 4 ethnic instruments for teaching students about music of diverse cultures. 4. Instructional materials are available for the study of ethnic music: recordings 4 2 3 4 4 filmstrips/videos 3 1 2 4 4 printed music 4 3 3.5 4 4 5. The school library (resource center) offers a 4 2 3 4 4 variety of materials on the music of many racial, ethnic, and cultural groups.

69 Table 21 Individual Teacher Ratings for Each Item in the Classroom Environment Checklist - District B (where 4 = strongly, 3 = somewhat, 2 = hardly at all, and 1 = not at all)

Classroom (n=3) # Item Donna Rhonda Carl M 1. Bulletin boards depict representations of the following ethnic/cultural groups: Ethnic American 1.17 2.33 1.17 1.56 World 3.2 1.6 1.67 2.16 2. Visual representations of famous minority musicians 1 3 2 2 are present in the classroom. 3. The music classroom provides a variety of ethnic 4 4 4 4 instruments for teaching students about music of diverse cultures. 4. Instructional materials are available for the study of ethnic music: recordings 4 4 4 4 filmstrips/videos 3 4 3 3.33 printed music 4 5 4 4 5. The school library (resource center) offers a variety of 4 4 3 3.67 materials on the music of many racial, ethnic, and cultural groups.

70 Table 22 Individual Teacher Ratings for Each Item in the Classroom Environment Checklist - District C (where 4 = strongly, 3 = somewhat, 2 = hardly at all, and 1 = not at all)

Classroom No Classroom (n=l) (n=3) # Item Carla M Bryn Lydia Harold M 1. Bulletin boards depict representations of the following ethnic/cultural groups: Ethnic American 3 3 1.17 1 1 1.06 World 3 3 1 1 1 1 2. Visual representations of 3 3 1 1 1 1 famous minority musicians are present in the classroom. 3. The music classroom provides a 3 3 2 2 2 2 variety of ethnic instruments for teaching students about music of diverse cultures. 4. Instructional materials are available for the study of ethnic music: recordings 3 3 3 2 2 2.33 filmstrips/videos 1 1 1 1 2 1.33 printed music 4 4 3 3 3 3 5. The school library (resource 3 3 3 2 1 2 center) offers a variety of materials on the music of many racial, ethnic, and cultural groups.

District A

Two teachers in District A, Nina and Phil, had their own classrooms; one teacher in District A, Dina, did not. On the average, bulletin boards in District A depicted little or no representations of ethnic American cultural groups or world cultural groups. Visual representations of famous minority musicians were either hardly at all present or not at all present in the music classrooms in District A.

71 Interestingly and perhaps ironically, the one teacher who did not have her own room received a higher rating for the use of ethnic instruments. Although Dina did not have her own classroom, she received a rating of 4 or “strongly” for Item 3.

Music teachers with their own classrooms had more access to recordings of ethnic music and printed ethnic music than filmstrips and videos, whereas teachers without their own classrooms had great access to ethnic recordings and filmstrips concerning ethnic music and printed music of ethnic groups. This is likely due to the low rating received by Phil on Items 4a and 4c. Phil teaches middle school choir which would allow for less emphasis to be placed on filmstrips and recordings than on printed music. Resource centers in each school observed in District A offered a variety of materials on the music of many ethnic and cultural groups. The average rating received by teachers with classrooms was 3, and the average rating received by teachers without classrooms was 4.

District B

The teachers in District B (Donna, Rhonda, and Carl) had their own classrooms.

Although teachers in District B had their own classrooms. Items 1 and 2 on the checklist received the lowest rating for each teacher. Items 1 and 2 concern visual representations of minority group members and famous minority musicians. Bulletin boards in Donna’s classroom depicted more world cultural groups than ethnic

American groups, and there were no visual representations of minority musicians.

Bulletin boards in Rhonda’s classroom depicted more ethnic Americans than members

72 of ethnic world cultures. Rhonda’s room also had pictures of several minority musicians from various periods in music history. Bulletin boards in Carl’s classroom depicted little or no representations of ethnic American or world cultures, and no representation of minority musicians was in the room.

Teachers in District B had a variety of ethnic instruments available in their classrooms. Instructional materials (recordings, filmstrips, and printed music) concerning ethnic music were greatly accessible in the teachers’ classrooms. A variety of materials on ethnic and cultural music was available in the resource centers at each school. District B teachers also had the benefit of a multicultural resource person.

District C

One teacher in District C, Carla, had her own classroom’ the remaining 3 teachers (Eryn, Lydia, and Harry) did not have their own classrooms. Teachers without their own classrooms had a lower average rating for Items I and 2 than did

Carla, who received the rating of 3 for Items I and 2 (regarding the presence of visual representations of diverse ethnic and cultural groups and visual representations of famous minority musicians).

The rooms utilized by Eryn, Lydia, and Harry had very few ethnic instruments as compared to Carla’s music classroom. On Item 4, concerning the availability of instructional materials, teachers had very few, if any, filmstrips or videos concerning ethnic music. Printed music of ethnic groups was more available to all teachers than were recordings of ethnic music.

73 The resource centers in Carla’s and Eryn’s schools offered some materials on the music of racial, ethnic, and cultural groups. The resource centers at Lydia’s and

Harry’s schools offered very few materials on the music of ethnic minority cultures.

Many materials in District C were shared by schools throughout the district.

Student Questionnaire

Interviewed teachers (n=10) were asked to select a 4th-, 5th-, or 6th-grade class to take the student questionnaire. In District A, two of the interviewed teachers

selected classes. All interviewed teachers in District B chose an upper elementary class to take the questionnaire. In District C, one teacher was able to comply with the request. The remaining three teachers in District C had scheduling problems; therefore, the researcher was unable, after several attempts, to administer the questionnaire to the classes of the three remaining teachers. Six classes totaling 107 upper elementary students were given the questionnaire.

The questionnaire instmment consisted of 28 items. The purpose of Statements

1-10 was to provide information concerning students’ cross-cultural relationships.

Items 11-28 assessed student interaction, the kinds of activities performed in the music class, students’ preferences for various music activities, students’ preferences for various styles of music, and students’ knowledge of ethnic folk songs.

In District A, 38 students completed the questionnaire, 17 of whom were 6th- graders and 21 were 4th-graders. Twenty-four of these students were male, and 14

74 were female. One of the 38 children was Black, and the remaining 37 children were

White.

The total number of students taking the questionnaire in District B was 57, 28 of whom were male and 29 were female. Three students were Black, 54 were White, and 1 was bi-racial. All students taking the questionnaire were 5th- and 6th-graders.

In District C, 12 5th-grade students completed the questionnaire, 6 of whom were male and 6 were female. One student was Native American, and the remaining

11 students were White. District comparisons of the most frequently-given responses to the questionnaire are following, in Tables 23-25 (Items 1-10) and Table 26 (Items

11-28). Individual school responses are in Appendices M through R.

Table 23 Frequently-Given Responses for Items 1-10 - District Â (n=38)

# Item Yes % No % Maybe % 1. I like making new friends. 26 68 3 8 9 24 2. I am shy and have a hard time 5 13 11 29 22 58 making new friends. 3. We have lunch at school. 28 74 0 0 10 26 4. Our school starts at 8:30 in the 8 21 30 79 0 0 morning. 5. I have African American (Black) 18 47 16 42 4 11 friends. 6. I have White friends. 38 100 0 0 0 0 7. I have Native American (Indian) 6 16 25 66 7 18 friends. 8. Some of my fhends are Asian 21 55 12 32 5 13 American. 9. Some of my friends are Jewish. 20 52 6 16 12 32 10. Som e of my friends are Hispanic. 12 32 19 50 7 18

75 Table 24 Frequently-Given Responses for Items 1-10 - District B (n=57)

# Item Yes % No % Maybe % 1. I like making new friends. 52 91 0 0 5 9 2. I am shy and have a hard time 5 9 35 61 17 30 making new friends. 3. We have lunch at school. 35 61 4 7 18 32 4. Our school starts at 8:30 in the 2 4 54 94 1 2 morning. 5. I have African American (Black) 46 81 9 15 2 4 friends. 6. I have White friends. 57 100 0 0 0 0 7. I have Native American (Indian) 11 19 31 55 15 26 friends. 8. Some of my friends are Asian 17 30 26 45 14 25 American. 9. Some of my friends are Jewish. 57 100 0 0 0 0 10. Some of my friends are Hispanic. 23 40 17 30 17 30

76 Table 25 Frequently-Given Responses for Items 1-10 - District C (n=12)

# Item Yes % No % Maybe % 1. I like making new friends. 6 50 0 0 6 50 2. I am shy and have a hard time 0 0 4 33 8 67 making new friends. 3. We have lunch at school. 12 100 0 0 0 0 4. Our school starts at 8:30 in the 1 8 11 92 0 0 morning. 5. I have African American (Black) 11 92 0 0 1 8 friends. 6. I have White friends. 12 100 0 0 0 0 7. I have Native American (Indian) 6 50 1 8 5 42 friends. 8. Some of my friends are Asian 7 58 3 25 2 17 American. 9. Some of my friends are Jewish. 11 92 0 0 1 8 10. Some of my friends are Hispanic. 11 92 0 0 1 8

77 Table 26 Frequently-Given Responses for Items 11-28

# Item District A District B District C 11. What kind of things Play instnunents Sing Sing do you do in music (guitar, recorder) Play instruments Play games class? Play games Play games Sing songs from other Watch movies Listen to music countries Sing Dance Learn music notes 12. Do you like working Yes, I like getting Yes, I like being with Yes, it’s fim working in groups in music more opinions. You my friends; you can with others. You can class? Why? can show your ideas. do more things. It get help that way. It’s easier. It’s fun helps me understand Teachers are not working with friends. better. Everyone is always looking at you involved, and it’s for an answer. hard to make mistakes. 13. What is your favorite Playing instruments Playing games Playing games activity in music Watching movies Dancing Watching videos class? Why? about musicians and Playing instruments Singing other cultures Learning composers Singing Playing games 14. What is your least Playing guitar (it Singing (high notes Watching videos favorite activity in hurts my hands) & solos) (they’re boring) music class? Why? Singing songs I don’t Playing instrumental Listening to jazz like bingo (don’t like it) Reading about opera Learning chords Singing Lectures about opera Warming up (they’re boring) Singing alone (I get embarrassed) 15. What kind of music Rock ‘n Roll Rock ‘n Roll Rock ‘n Roll do you like? Classical Jazz Jazz Jazz Rhythm & Blues Heavy Metal Oldies Classical Classical Rap 16. Do you ever play, No No Yes (jazz & classical) listen to, or sing any Yes, usually classical Sometimes on party of this kind of music day in music class? continued

78 Table 26 continued # Item District A District B District C 17. What is your least Country (it’s stupid Country (twangy Countiy (stupid favorite music? Why? and boring) sound, they sing lyrics) Rap (has bad through their nose) Rap meaning) Rap (it’s rough, not Oldies Opera (ladies scream music anyway) Rock ‘n Roll and you have to pay a Classical Johnny Mathis style lot) 18. . Do you know any No Follow the Drinkin Juba African songs? Can Gourd Che Che Koolay you name them? Black and White The Old Freedom Together Train Lift Every Voice and Follow the Drinkin Sing Gourd Swing Low, Sweet Lift Every Voice and Chariot Sing Four White Horses on the River Sasa Aberewa 19. Do you know any No Go my Sun Sundance Indian songs? Can Arrow to the Sun Tribal ritual songs you name them? Dip, Dip, & Sing Ponumpao 20. Do you know any No Bamboo Flute No Asian songs. Can you Yes (can’t name Sakura, Sakaura name them? them) 21. Do you know any La Cucaracha Ocho Candalic Para Dois y Dois Hispanic songs. Can Cumpleyanos Me El Barkito you name them? Dancing Jose Spanish Happy Chekitin Birthday 22. Do you know any Festival of Lights Shalom Hannukah Jewish songs? Can Hannukah I Shall Not Fear Salom Ora you name them? Dreydel Shalom Chaverim I Shall Not Fear Viahata Top Shema Dreydel, Dreydel Shibboleth bea de Harvest Hatikva Prayers Dreydel, Dreydel continued

79 Table 26 continued # Item District A District B District C 23. Do you know any Greensleeves Scotland’s Burning Kuliara European songs? Can Scarborough Fair Are You Sleeping? The Big Tree you name them? Skyboats Christmas carols Freres Jacques Kookaburra Ode to Joy Yellow Submarine Tomula, Tomula, Auld Lang Syne Tomula 24. Do you know any Star Spangled Banner Star Spangled Banner Star Spangled Banner American songs? Can Home on the Range Old Suzamia Gold Bless America you name them? Wabash Cannonball Clementine Yankee Doodle One Mount in Tree America, The Beautiful 25. Do you ever sing Yes Yes Yes songs in other languages in music class? 26. What is the dance you We don’t dance Turtle Shoes We don’t dance like to do most in Square dances Electric Slide music class? Tinkling Sudeo 27. Have you ever done No Yes Yes sign language with a song in music class? 28. What is your favorite Guitar Autoharp Drum instrument to play in Drum Bass xylophone Xylophone music class?

Statements 1-10 of the Student Questionnaire examine students’ cross-cultural interactions. Statement 3, “we have lunch at school,” and Statement 4, “school starts at

8:30,” are validity check items. Responses to Statement 3 varied because some students walk home and have lunch at home. Variability of responses to Statement 4 occur because students with special duties, such as flag raisers, cross-walk monitors, or other helpers, are required to arrive at school earlier than other students. The responses given confirm that children are willing to respond to each item as accurately as

80 possible. The data provided by the students on the student questionnaire revealed that all students in each district enjoyed making friends regardless of whether they considered themselves to be bashful or outgoing.

Students in Districts B and C reported having Black and White friends more than having friends of other ethnic groups, i.e., 81% of District B students acknowledged having Black friends, and 92% of District C students reported having

Black friends. One hundred percent (100%) of students in all districts reported having

White friends. Forty-seven percent (47% ) of students in District A reported having

Black friends. Sixty -Six percent (66%) of students in District A and 55% of students in District B responded that they did not have any Native American friends. Fifty percent (50%) of District C students reported having friends that were Native

American. Students in District A responded affirmatively to having Asian American

(55%), Jewish (52%), and Hispanic/Latino (32%) friends. Forty-five percent (45%) of

District B students reported that they did not have Asian American friends. All students questioned in District B reported having Jewish friends (100%), whereas only

40% of District B students responded affirmatively to having Hispanic/Latino friends.

The children in District B were very concerned and bewildered regarding their interactions with minority children. They replied to statements concerning the ethnicity of their friends by stating, “we would have friends, we just don’t know any!” District C students (58%) described having friends that were Asian American, and 92% of District C students affirmed having Jewish friends. Ninety-two percent

(92%) of District C students also reported having Hispanic/Latino friends.

81 Questions 11-28 of the questionnaire regard the variety of activities students perform in music class, the activities students favor most or favor least in music class, the students’ preferences for various styles of music, and students’ knowledge of and repertoire of ethnic folk songs. Music activities most described by students were: playing instruments, singing, playing music games, watching movies or videos, dancing, listening to music, and "learning music notes.” Of the activities mentioned by students. District A favored playing instruments; Districts B and C favored playing music games.

The least favored music activity done in music class in District A was playing guitar (students’ most reported reason for not favoring playing guitar was that it “hurt their fingers”). District A students also disliked reading about and listening to opera because they found it “boring.” District B students mentioned singing as the least enjoyed music activity, because of their inability to sing “high notes” and the embarrassment for singing solos. District C students chose watching videos as the least favored activity because it was “boring.” All students indicated liking to work in groups. The main reasons given were: (a) students enjoy working with friends and (b) students feel more secure in groups because they can receive help which provides the means for better understanding of the concept.

The kind of music liked most by students in each district was rock ‘n roll, followed by jazz and classical. The least favorite music chosen by students was country. The reasons given for not liking country music were: (a) “it’s stupid,” (b)

“the lyrics are stupid, they’re always singing about love,” (c) “it has a twangy sound,”

82 and (d) “they sing through their nose.” Students also disliked rap music because “it has a bad meaning” and “it’s rough, it’s not music anyway.”

Students in Distiict A disclosed not knowing any African songs. District B listed 6 songs, one of which was an African song, and the remaining 5 mentioned songs were African American folk songs. District C students listed 5 songs, 2 of which were

African songs, and the remaining 3 were African American folk songs.

Students in District A reported not knowing any Indian songs. Students in

District B named 2 Indian songs, and District C students listed 4. Some of the students in District A reported being familiar with some Asian songs but not being able to name them; the remaining students stated that they were not familiar with any Asian songs.

District B students listed 2 Asian folk songs, and District C students reported not knowing any Asian songs.

Students in all three districts acknowledged being familiar with Hispanic songs:

District A = 3, District B = 2, and District C = 3. Students in each district were familiar with Jewish songs. District A listed 3, District B listed 7, and District C listed

5. Students in all districts could recount and name European folk songs. District A students named 6 songs. District B students named 5 songs, and District C students named 3 songs. American songs were named by all students. Students in District A listed 5 songs. District B students listed 3 songs, and District C listed 3 songs.

Students in each district reported singing songs in other languages. District B responded that they danced in music and named three dances they had learned in music class. The remaining two districts responded that they did not dance in music class.

83 District A students reported not signing with a song, and District B and C reported having signed with a song. The instruments students enjoyed playing most in

District A were the guitar and drum. District B students enjoyed playing autoharp and bass xylophone most. District C students mentioned drum and xylophone as the instruments they liked to play most.

Findings of the Study

The purpose of this study was to examine the attitudes of elementary and middle school music teachers toward multicultural music education and to describe how their attitudes were exhibited in their music classroom environments, music activities, and teaching strategies. The responses made by music teachers to the attitudinal survey and interview indicated the following findings:

1. Music teachers considered multicultural education to be a beneficial concept.

2. Music teachers had various definitions of multicultural education, and some teachers indicated uncertainty about the meaning of the term.

3. Teachers demonstrated differences of opinion concerning the goals of multicultural education.

4. Teachers were uncertain as io how multicultural education should be approached in the music classroom.

5. The best signs of teachers’ attitudes toward multicultural education were music lessons and activities described by teachers and students.

84 6. Class diversity appeared to have some impact upon the kinds of music activities and lessons which teachers chose to present to their classes.

85 CHAPTERS

DISCUSSION AND CONCLUSION

Overview

The population and ethnic distribution of the United States is continually changing, and these changes are evident in the nation’s public schools. In some urban areas, minority students constitute a majority of the school-age population. Schools are a reflection of society, i.e., as society changes, so do schools. It is due to these changes and the nation’s diversity that music teachers are obligated not only to teach music but to raise an awareness and appreciation of this nation’s “multi-musical culture” by teaching more than one set of cultural values or viewpoints. It is the responsibility of music educators to augment and promote the diversity and excellence of each child’s musical experience. The manner in which music teachers perceive diversity and their attitude toward multicultural education is therefore important.

The purpose of this study was to examine music teachers’ attitudes toward multicultural education and the describe how those attitudes were reflected in the classroom environment, lesson plans, and music activities. Five research questions were addressed in this study:

86 1. What are music teachers’ philosophies, attitudes, and definitions of multiculturalism?

2. Is there evidence of multiculturalism in music teachers’ lesson plans and classroom environment?

3. What are 4th- to 6th-grade students’ interactions with people of other cultures, and what multicultural activities do they recall from music class?

4. Do music teachers from different districts (urban vs. suburban) hold notably different beliefs about multiculturalism?

5. Are there notable relationships between teachers’ attitude patterns and class diversity?

Multicultural theorists define multicultural education as an educational reform movement... a process that values diversity and focuses not only on an equal education for all students but an equitable education for low socioeconomic status, ethnic, racial, and exceptional students. The process of multicultural education involves relationships among people and consists of all students, teacher expectations, learning styles of students, and learning environments.

One’s definition of something is based upon knowledge or understanding of that particular subject, which in turn is directly related to one’s opinion or attitude. An attitude is a learned capability based upon prior knowledge and experience with the attitudinal object.

87 Philosophies. Definitions, and Attitudes Concerning Multicultural Education

There were two philosophic or theoretic statements on the survey instrument.

Item 8 concerned the assimilationist philosophy of America as a cultural “melting pot,”

where cultural differences are essentially melted away and each ethnic group becomes

a part of the American culture. Item 26 concerned the cultural pluralist philosophy of

America as a cultural “salad bowl,” where all ethnic groups are part of American

culture yet each group retains its ethnic flavor or identity. There was a great amount of

variability across districts for each item. Item 8, regarding the assimilationist

philosophy, had little agreement among districts. In District A, one of the teachers

agreed with the assimilationist position. In District B, none of the teachers agreed with

this philosophy. In District C, 8.4% of the teachers agreed and strongly agreed with

the assimilationist position. The cultural pluralist philosophy of the cultural “salad

bowl” had the most variability in each district. Perhaps teachers were uncertain of the

meanings of each metaphor or only slightly agreed with aspects of both. The unity or patriotism implied in Item 8 could be appealing to teachers. The first approach of this

nation to recognize diversity was through the assimilationist position, which appeared

to offer freedom, justice, and equality for all immigrants. The acceptance of diversity

in Item 26 is perhaps also equally appealing to teachers, for it is representative of the

“new” pluralism referred to by Grant (1977) and the equity desired by all citizens.

Music teachers in the three participating districts indicated that multicultural music education was important to the elementary and middle school child regardless of

ethnicity, and student ethnicity was not a determining factor in the introduction of

88 students to diverse music. Teachers considered it to be important to teach music of other cultures in homogeneous settings as well as in heterogeneous settings. Teachers believed that students should be able to relate to others and to understand that there is more than one viewpoint in the world because society is not monocultural.

Statements made by interviewed teachers concerning their feelings toward diversity in general support those responses given on the attitudinal survey. Interviewed teachers considered diversity as a normal part of this nation. Teachers who were interviewed believed that diversity in the music classroom required a variety of approaches. Philosophical statements during the interview were: “music is multicultural and music education cannot exist without multicultural education,” and

“multiculturalism should be woven into the class activities.” Some teachers, however, did not state a philosophy but attempted to define multicultural education. For example, when asked to state their philosophy concerning multicultural education, they stated,

“multicultural education is a practice of different approaches and viewpoints.”

Teachers had varying definitions of multicultural education. Most appeared to have a very “global” concept of multiculturalism. Interviewed teachers defined multicultural education as; “education of the world, all its people, and the influences of various cultures upon each other”; “teaching that there is more than one viewpoint”; and

“using world resources to teach a music concept.” This global perspective could be because teachers have more experience in their college training with music of the classical tradition, which includes the study of music composed by composers of many

89 different nationalities; however, teachers have little training in multicultural music or experience with ethnic music. Teachers in each district rated their training in multicultural music between poor and fair.

Classroom Diversity and Teacher Attitude Toward Multicultural Education

Teachers responded on the survey instrument that multicultural education was significant to the elementary and middle school child regardless of the diversity of the class. Interviewed teachers described a homogeneous class as being a classroom of the

“same” or similar kinds of people. These teachers described a heterogeneous classroom or integrated classroom in racial terms. They mentioned other variables when asked by the researcher if they thought of heterogeneity only in racial terms. The majority of teachers that were interviewed (9 of 10) affirmed that they were most comfortable teaching in heterogeneous environments.

Teachers in District A, a predominately White upper middle class suburban district, reported on the survey that they were most comfortable teaching in White settings, followed by Latino (Hispanic), Asian, Native American, and African

American (Black). These teachers referred to their districts as “outwardly” homogeneous. Heterogeneity, according to these teachers during the interview occurred on a socioeconomic level. They stated that subcultures existed within each classroom. District A demographic data show that the percentage of racial/ethnic distribution among students is: 96.3% White, 2.6% Asian, .6% Hispanic (Latino), .4%

African American (Black), and 0% Native American. Those ethnic groups’ teachers

90 expressed being least comfortable with teaching are least represented in the district.

Although teachers reported much variance in the students’ socioeconomic

backgrounds, the EMIS Profile reported that 2.2% of students are economically and

academically disadvantaged and .2% of students receive Aid to Dependent Children.

Ninety-seven percent (97%) of teachers in the district are White. It appears that there

is also little socioeconomic diversity in the district.

Teachers in District B, a predominately White upper middle class district with a

large Jewish constituency, reported on the survey that they were fairly comfortable

teaching in diverse settings, with their highest level of comfort in White settings,

followed by Asian and Native American. Their least level of comfort was in Hispanic

(Latino) and African American (Black) settings. The racial/ethnic distribution as

reported by the EMIS Profile for District B is: 94.7% White, 3.9% Black, .5%

Hispanic (Latino), .7% Native American, and .1% Asian. Music teachers in District B

were very conscious of the Jewish culture represented in the community and taught a

variety of Jewish songs and dances. Ninety-seven (97%) of the teachers in District B

are White.

District C is an urban district, and teachers reported on the survey that they

were most comfortable in predominantly White/Black settings. Teachers described their school settings in racial terms as 50:50, Black:White. When asked to describe a heterogeneous setting, teachers stated “a variety of backgrounds.” The racial/ethnic demographic data for District C are 45.1% White and 50% Black. There are .6%

Hispanic (Latino) students in District C; 2.5% of students are Asian, and .1% of the

91 children in District C are Native American. More than half (59.2%) of the students in

District C are economically and academically disadvantaged, and 39.7% of all students

in District C receive aid to dependent children. Fifty percent (50%) of certified staff in

District C are White. The data seem to show that teachers in Districts A and C are

most comfortable teaching in settings representative of their districts, whereas teachers

in District B are most concerned with the religious diversity inherent in their district.

Teachers stated that their reasons for being comfortable teaching in

heterogeneous environments (although two of the districts participating in the study are

homogeneous in appearance) are that heterogeneity is “normal,” “exciting,” and

“interesting.” One teacher (Phil) responded that he was most comfortable teaching in

homogeneous environments because he had always taught from a “traditionally

European bias.” Phil teaches in District A, and his perception of multicultural

education is slightly different from the professed perceptions of his colleagues. He

defined multicultural education as “teaching toward the cultures of those students in the

classroom.” Phil believed that the concept of multicultural education is an attempt to

pacify or gloss over the problem of racism and the unequitable representation of

minority cultures in the educational process. Phil’s definition of multicultural

education limits the number of cross-cultural experiences which children have in his

classroom.

Authenticity was also a big issue with Phil. He stated that it is impossible for

ethnic music to be represented authentically unless music is presented by people of those particular ethnic groups; therefore, he does not believe he can authentically teach

92 ethnie music. If music cannot be taught or performed authentically, Phil stated that, “it

is just as if someone from another country is pretending to be an Australian.” Phil

expressed a viewpoint that may be shared by teachers in general but not by teachers in

this study — he was concerned that the study of the music of diverse cultures must be

conducted authentically or not at all. Should the study of the music of diverse cultures

be sacrificed for authenticity?

Goals of Multicultural Education

Teachers had various ideas concerning the goals of multicultural education. The

survey instrument proposed three specific statements concerning goals. Items 10, 11,

and 23. The first statement concerning goals was Item 10, “the purpose of multicultural

education is to teach world music.” In Districts A and B, most of the teachers (2) were

neutral or uncertain on the item, and 1 teacher disagreed with Item 10. In District C,

62.53% of the teachers were in agreement that the purpose of multicultural education is to teach world music, with 37.5% in disagreement with this statement. The percentage responses to Item 10 appear to support the premise that teachers in each district have a global perspective concerning multicultural education.

The second statement. Item 11, stated that “the goal of multicultural education

should be to introduce students to the music of ethnic minorities in the United States.”

Teachers in District A completely disagreed with this item, with 1 teacher responding

“disagree” and 2 teachers responding “strongly disagree.” District B teachers were split.

93 with 1 teacher agreeing that the goal of multicultural education is to introduce students to the music of ethnic minorities in the United States and 2 teachers disagreeing.

District C teachers were also split on this item, with 20.83% agreeing, 50% disagreeing,

20.83% strongly disagreeing, and 8.33% neutral. Teachers appear to be inconsistent in whether multicultural music should emphasize world music or ethnic folk music of the

United States. This again is related to the amount of experiences teachers have had with

Western European music as compared to their knowledge and experiences with ethnic music of the United States.

The third item concerning goals of multicultural education was Item 23, “the goal of multicultural education is to increase the self-esteem of racial minority students.”

Teachers in District A were either neutral (1 teacher) or in strong disagreement (2 teachers) with this statement. There are very few racial minority students in District A.

District B teachers (3 teachers, or 100%) are in total agreement with Item 23. In

District C, teachers are very inconsistent with item responses spread across all five categories. The average ratings given to Item 23 were District A = 1.67 or strongly disagree. District B = 4 or agree, and District C = 3 or neutral.

The ratings and percentage responses given to Item 23 by District A seem to be affected by the homogeneity of the district. District A is a predominately White upper middle class district; there are few minority students represented in District A. District

B, however, rated Item 23 extremely high. District B has a very high percentage of

Jewish constituents which may contribute to the high agreement given to Item 23.

94 District C, the most heterogeneous district, demonstrated the most variability of responses to Item 23.

Interviewed teachers stated that the goals of multicultural education should be:

a. Togethemess (mentioned by most District A teachers).

b. Recognition and appreciation of the music of other cultures and tolerance of other cultures (mentioned by most District B teachers, a predominately White district with a high Jewish constituency).

c. Acceptance and development of self-esteem (mentioned by most District C teachers, a heterogeneous district).

Lesson Plans and Music Activities

Teachers agreed that multicultural education was important, but there was disagreement among teachers in each district concerning how multicultural music education should be approached. Teachers in Districts A and B did not agree that the approach to multiculturalism in the music classroom should emphasize similarities, nor did they agree that the approach to multicultural education in the music classroom should concentrate upon ethnic differences. Responses of District C teachers to items concerning emphasis on ethnic differences or similarities indicated much variability across all five response categories: “strongly agree” to “strongly disagree.”

Teachers did not believe that multicultural education promoted separatism; however, they did stress that polarization could be caused in the music classroom if multiculturalism was not approached properly. Teachers in District A stated that

95 teaching from a multicultural perspective should comprise addressing the concerns of minority groups and introducing students to the music elements through teaching songs of other lands and cultures.

Teachers reported that they taught 8-12 lessons per class per month, and 2-3 of those lessons included multicultural activities. Students in District A were most familiar with Western European and American folk songs, and this was reflected in the children’s song repertoire as indicated on the student questionnaire. They were not familiar with other with other ethnic music of the United States. Students appeared to be somewhat familiar with music from the Jewish and Hispanic traditions, which supports teachers’ level of comfort with these ethnic groups, but students were not as familiar with music of the Asian, Native American, or African cultures.

District B teachers stated that teaching music from a multicultural perspective required having the proper resources, teaching with a diverse approach, and immersion in another culture. District B teachers reported being given the opportunity to use community resources more than 3 times per year. Each teacher reported using those resources an average of 2 times per year. Teachers in District B indicated teaching

8-12 lessons per class per month, and 2-3 of those classes were devoted to multicultural experiences. The students in District B demonstrated knowledge of a large number of ethnic songs. They were not only familiar with songs in each ethnic category in the study, they were also able to name them. Students in District B were most familiar with Jewish folk songs. It is apparent that music teachers in this district attempt to

96 immerse students in the folk song literature of many cultures as possible, without ignoring the culture of their students.

District C teachers reported that the study of songs and dances of many different countries is important but should be in support of the music concept being taught. Lydia, a teacher in District C, stated, “I am Kodaly trained and my goal is to make certain that children can sing in tune. If there are songs from other countries that support this, then I use them, but it is not my primary goal to teach songs from other cultures.”

The majority of teachers in District C reported that they were given the opportunity to use community resources for the purpose of multicultural music activities three or more times per year. Teachers actually utilized such resources an average of 1 to 2 times per year. District C does not have the monetary resources available to Districts A and B. This would limit District C’s ability to invite and compensate resource people to their schools.

Teachers in District C reported teaching 2-4 lessons per class per month compared to District A’s and District B’s 8-12 lessons per class per month. Teachers in District C reported that 2 of the lessons taught include multicultural content and activities, which appeared to be comparable to the 2-3 lessons taught in the suburban districts; however, the proportion is quite different, i.e., 2 multicultural lessons out of

2 lessons per month is much different than 2 or 3 out of 12. The demographics of each district may be related to the significance which teachers in each district place upon the number of music lessons they plan that include multicultural content and activities.

97 Music teachers in each district who were interviewed described a lesson they had taught or planned to teach that they believed included multicultural content and activities. The teachers in District A described lessons concerning spirituals, jazz, the

Chinese New Year, and Amahl and The Night Visitors. Teachers in Districts B and C described lessons concerning the music of African Americans, including African dances and chants, jazz, spirituals, and freedom songs. The descriptions of these particular lessons seem to correlate with teachers’ self-described knowledge of the music and contributions of diverse groups to American music. For example. District A teachers considered their knowledge to be at least fair or better for all ethnic groups mentioned in the study, but considered their knowledge of Western European, African

American, and Latin American to be “good” to “very good.” The remarks made by students in District A on the Student Questionnaire give some indication of the ethnic songs which teachers were most comfortable teaching. Hispanic (Latino), Jewish,

European, and American folk songs were most mentioned by the students on the questionnaire. The students in District A also reported that they didn’t do any dances and they did not sign with songs.

District B music teachers described being most knowledgeable about Western

European and American folk songs and about the contributions of Western Europeans to American music. Teachers in District B rated their knowledge of Native American,

Hispanic (Latino), and Asian American music as poor. Teachers considered their knowledge of African American music and the contributions of African Americans to

American music to be better than that of other ethnic groups. This is perhaps why

98 lessons described by District B teachers centered around the music of African

Americans. Students in District B were familiar with and could name folk songs from

each ethnic group mentioned in the study. The students listed more Jewish folk songs

than songs in other groups. District B teachers appear to introduce students to the

music of many ethnic groups while continuing to validate the cultural backgrounds of

their students. District C teachers described lessons about spirituals, freedom

songs, and jazz as lessons that emphasized multicultural content and activities. They

rated their knowledge of Western European and African American music and

musicians as better than that of Native American, Hispanic (Latino), and Asian

Americans. Students could name songs in each ethnic category except Asian

American. Students reported “learning songs from other countries” as one of the

activities they did in music class. The students in District C reported not dancing in

music class. Many of the teachers in District C share classrooms with other teachers

and do not have their own rooms; therefore, movement activities are very limited.

Teachers in each district considered it to be “somewhat” important for students

to know the contributions of minority people to music in heterogeneous and homogeneous settings, with District C having the highest rating, followed by District B

and District A.

Classroom Environment

Classroom environment consists of all conditions and surroundings affecting the development of the students. In this study, an inventory was made of the physical

99 surroundings, including classroom decorations, ethnic instruments, recordings, filmstrips, videos, and printed music.

Two teachers in District A, Nina and Phil, had their own classrooms. Dina did not have her own classroom but shared a room with the art teacher. Bulletin boards that depicted ethnic minority people or musicians were not observed in the classrooms of music teachers in District A. Ethnic instmments and instructional materials were available in the classrooms of Nina and Dina. Phil, a vocal music educator who did not favor multicultural education, had no ethnic materials in his classroom. This could be because Phil’s primary interest is vocal music education and middle school choir, more than general music education. Some teachers who do not consider themselves general music teachers focus less on ethnic music than music of the Western European tradition. District B teachers (Donna, Rhonda, and Carl) had their own classrooms. Multicultural bulletin boards were most prominent in Donna’s and

Rhonda’s classrooms. Pictures of African American musicians, such as Scott Joplin and William Grant Still, were most displayed in Donna’s classroom. Carl had no pictures of ethnic musicians. All teachers in District B had an abundance of ethnic instruments and instructional materials. District B is an upper income district, and teachers stated that the PTA in their schools were very active, not only in attending school programs but in providing financial support for their music programs.

In District C, three teachers (Eryn, Lydia, and Harry) did not have their own classrooms. One teacher, Carla, did have her own classroom. District C is a lower income district. Teachers without classrooms had much lower scores on each checklist

1.00 item than did Carla. Carla received high ratings on decorations, ethnic instruments, instructional materials, and resources. No teachers in District C had a large supply of filmstrips or videos concerning multicultural music. Some materials are loaned from school to school in District C. There appears to be a difference in the scores of teachers with classrooms and teachers without classrooms in each district, except on

Item 1.

Across District Observations

Music teachers in each district utilized music symbols to decorate their classrooms. Although teachers with classrooms appeared to have received higher ratings for each item, the lowest average item rating was for Items 1 and 2. The primary goal of music teachers is to teach music to children; therefore, music symbols are more evident in the classrooms than representations of minority groups or musicians. The three male teachers (1 each from Districts A, B, and C) generally had lower ratings on Items 1 and 2 of the checklist. The physical environment of the classrooms did not appear to be as big a priority with male teachers in this study as with female teachers in this study.

Student Opinion

The purpose of the student questionnaire was to determine students’ cross- cultural interactions and ascertain the types of activities performed in the music classroom. Students from the 4th, 5th, and 6th grades were selected because of their

101 ability to provide in-depth information to questions. Thirty-eight students (2 classes) in

District A completed the questionnaire, 57 students (3 classes) in District B completed

the questionnaire, and 12 students (less than 1 class) in District C completed the

questionnaire. Less than one-half of students in one class in District C completed the

questionnaire because the remaining students did not receive parental permission to

participate in the study. The remaining District C classes did not complete the

questionnaire due to scheduling problems. There is limited generalizability due to the

small sample of students completing the questionnaire in District C.

District A was an upper middle class, predominantly White, suburban district,

and students reported enjoying making new friends. Cross-cultural interactions were

very limited because District A is a predominately White upper middle-class district.

Children reported having fewer Native American and Hispanic (Latino) friends than any

other group and more Asian Americans and Jewish friends than African Americans. One teacher reported during the interview that students in one particular school still had

problems seeing people of diverse cultures in music videos. This lack of cross-cultural interaction in District A perpetuates a monocultural view of the world. Although teachers iterate that their district is “outwardly” homogeneous, the monocultural view

exhibited by students suggests that few cross-cultural interactions occur.

District B is an upper middle-class suburban district with a large Jewish constituency. Children said that they enjoyed making new friends. The most frequent interactions reported by children occurred with White friends (100%), Jewish (100%),

102 and African Americans (81%). Few interactions occurred with Hispanics/Latinos (40%) and Asian Americans (38 %). The least cross-cultural interaction occurred with Native

Americans (19%). Children in District B were very perplexed at their limited access to friends of other cultures and stated that they would like to have friends of other cultures but they “just didn’t know any.”

District C has a wide variety of cultures within the schools, which is representative of the city at large. Fifty percent (50%) of District C students indicated that they definitely enjoyed making new friends, with the remaining 50% stating that they might enjoy making new friends. District C had the largest number of cross- cultural interactions, with 100% of students indicating that they had White friends, and

92% of students indicating that they had Black and Jewish friends. Teachers described this district as 50% Black and 50% White. More than half of the students indicated that they had Asian American, Hispanic (Latino), and Native American friends. The children’s song repertoire is also an indication of the teachers’ attempts to include songs of as many cultures as possible in this classroom.

Conclusion and Recommendation for Future Research

The purpose of this study was to examine the attitudes of music teachers toward multicultural education and to describe the manner in which those attitudes were manifested in the classroom environment, music activities, and teaching strategies.

Teachers believe that multicultural education is “good” but have different

103 opinions about what it means, what it entails, and how it should be approached in the music classroom. Lack of understanding of multicultural terminology was one area of concern about the multicultural education movement. The disparity indicated by teachers concerning the goals of multicultural music further demonstrates the differences of opinion which music teachers have about the multicultural movement in general.

Music teachers appeared to fear that multicultural music objectives would take precedence over the music concept they were committed to teach. Lack of understanding about multicultural education is the main reason teachers believe that emphasizing multicultural content means sacrificing music content. There is a bias existing among some teachers that appears to suggest that including ethnic material means sacrificing quality. This is also a symptom of lack of training in multicultural music. Teachers mentioned that lack of training and understanding about multicultural education was a major concern they had regarding the multicultural movement.

The importance of the music content was most evident in teachers’ classrooms.

Visual representations of music elements were much more prevalent in the classrooms than were representations of ethnic groups or ethnic cultures. The classroom environment was therefore not the best indicator of music teacher attitude toward multiculturalism. Other variables, such as self-contained music classrooms, the financial resources of the district, and the availability of cultural materials, may have contributed to whether or not the classroom was saturated with evidence of cultural diversity.

104 The best indicator of teacher attitude toward multicultural education appeared to be the number and type of cultural activities to which children were exposed in the music classroom and students’ attitudes about those activities. Although this study did not attempt to discern student attitudes toward multicultural education, the data collected seemed to indicate that students enjoyed making friends and were curious about the cultures of others. This desire of students to learn about and interact with persons of other cultures could be easily enhanced by music teachers with positive attitudes toward diversity, an understanding of multicultural education, a basic knowledge of some ethnic music, and a willingness to seek out information about ethnic music with which they were not familiar.

Fishbein (1967) stated, “Attitude is not behavior, but the pre-conditions of behavior; therefore, attitudes, beliefs, and behavioral intentions and behavior must be examined independently” (p. 10). This study seems to demonstrate that, in some cases, teacher behavior may not be representative of their articulated attitudes; therefore, teachers’ articulated beliefs may or may not be apparent in their behavior.

Urban vs. Suburban Teachers

The teachers in this study acclaimed diversity and multicultural education as beneficial and pertinent to the elementary and middle school child; however, information provided by students in District A (a suburban district) indicated that little if any cross-cultural activities were taking place. Music teachers in District A,

105 although confident with their knowledge of ethnic music, appeared to teach songs and activities representative of their own students. Teachers in District B (a suburban district) considered the religious diversity inherent in this district very important. This was seen in the amount of Jewish songs with which the students were familiar.

Teachers in District B also spent time focusing on the music of other ethnic groups, which indicated that perhaps “diversity” of the district, whether religious, ethnic, or socioeconomic, may play a very vital role in the music activities chosen by the teacher.

Teachers in District C (an urban district) were most comfortable in this setting and appeared to be interested in utilizing diverse activities within their classes.

Suggestions for Further Study

Multiculturalism is a significant term in today’s educational dialogue. Study of the term and concepts relating to it is of extreme importance to music education.

Music educators have very different ideas concerning the meaning of the teim. The lack of understanding of the word “multiculturalism” and the “lingo” associated with it causes uncertainty and apprehension about teaching with a multicultural approach.

Research that (a) compiles and catalogues the most widely given definitions of multicultural education and terms relating to it, and (b) develops general meanings acceptable to the music profession, would enable music teachers to better understand multicultural terminology and aid in closing the gap in teachers’ perceptions about multicultural education.

106 Research could culminate in the development of music courses that introduce prospective music educators to the theories of cultural pluralism. These music courses would acquaint students with the music of diverse ethnic groups and provide information and forums of application on utilizing cultural music to teach a variety of music concepts. This type of training would allow music teachers to be more comfortable with using music of ethnic minorities in their classrooms.

Further study is needed to determine a valid method to ascertain teacher attitudes toward multiculturalism. Certain variables may cause teachers to respond a certain way on a written survey or questionnaire. A method to study teachers’ responses to survey questions and why various teachers respond a particular way would also benefit the continued study of teacher attitudes toward multicultural education.

The impact of teacher attitudes toward cultural diversity and multicultural education on the attitudes of students toward cultural diversity and multicultural education also need further study. If multicultural education is relevant to children of all cultures, then the impact of the music teachers’ attitude concerning multicultural education on the attitude of the child is important. The study of ethnic music could have very different effects on children of various cultures.

The diversity of this nation is ever increasing. Multicultural education will continue to be important if the educational system is to benefit all students. Music teachers play a vital role in the development of the child. Music teachers must then develop an understanding of multicultural education and from that understanding create

107 a philosophy and common consensus concerning how to approach the teaching of multicultural music in the elementary and middle school classroom.

108 APPENDIX A

MUSIC SPECIALIST’S MULTICULTURAL EDUCATION SURVEY

109 MUSIC SPECIALIST’S MULTICULTURAL EDUCATION SURVEY

PARTI

General Information: Sex ______Race ______Years teaching ______Grade levels ______School ______School d istrict ______

Estimate the percentage distribution of the students you teach: White ______Asian ______African American ______Latin American (Latino) ______Native American ______Other ______TOTAL 100%

Estimate the socioeconomic percentage distribution of the students you teach: High ______Middle ______Low ______TOTAL 100%

Estimate the percentage of exceptional students you teach that receive special services (gifted or special education): ______

Place a check mark ( / ) in the blank that describes your school: Rural ______Urban ______Suburban ______

110 PARXn

Directions. Read each statement carefully. Place a check mark ( / ) in the column that best indicates your opinion, philosophy, or perception concerning multicultural education. Use the following scale: SA = strongly agree A = agree N = neutral D = disagree SD = strongly disagree N A = not applicable

SA A N D SD N A ~ 1. Multicultural music education is important to ______the music education of the elementary and middle school child. 2. My concept of multicultural education is that ______all children, regardless of their own ethnic backgroimd, should be introduced to the rich diversity of the cultures of the world, including its art and music. 3. I believe that teaching with a multicultural ______perspective promotes separatism, because concentration is focused upon racial and ethnic differences. 4. Multicultural education is primarily ______beneficial to minority students. 5. Multicultural education is about minority ______people. 6. Multicultural education means the same as ______Afrocentric education. 7. Teaching music from a multicultural ______perspective is dependent upon the racial make-up of the class. 8. I prefer the metaphor of America as a ______“melting pot” where people of diverse cultures assimilate with tlie dominant culture, and differences are fundamentally melted away. 9. Singing songs from other countries is the ______totality of multicultural activities in the music classroom. continued

111 SA A N D SD NA 10. The purpose of multicultural music education ______is to teach world music. 11. The goal of multicultural music education ______should be to introduce students to the music of ethnic minorities in the United States. 12. The music teacher should consider the ______cultural differences of students in the classroom when planning music activities. 13. The study of European folk music is a ______multicultural activity. 14. The classroom environment (decorations, ______material, music instruments) should be representative of cultural diversity. 15. Music is an avenue of cultural expression for ______all cultures. 16. All Americans are members of ethnic groups. 17. 1 believe that the terms “race” and______“ethnicity” are synonymous. 18. Music teachers should concentrate ______similarities between ethnic music. 19. A recent movement suggests that______multicultural education is a threat to social cohesion because it focuses on cultural differences in American society. I support this premise. 20. Multicultural music education is beneficial to ______the child regardless of ethnicity. 21. Music activities reflect the cultures of various ______ethnic groups in the classroom. 22. Music teachers should concentrate ______exclusively on differences between ethnic music. 23. A goal of multicultural education is to ______increase the self-esteem of racial minority students. 24. A sufficient number of resources (handbooks, ______videos, recordings) supporting multicultural activities in music are available at my school. continued

112 SA A N D SD NA 25. School assemblies should reflect ethnic diversity of the students attending the school. 26. I prefer the metaphor of America as a cultural “salad bowl” with each ethnic group maintaining its cultural identity, yet being mixed together. 27. My classroom decorations and bulletin boards reflect famous: Native American musicians African American musicians Latin American (Latino) musicians Russian musicians European musicians Asian musicians

113 PARTIE

Directions. Circle one response for each question below.

28. How many times during the year are you 0-1 2-3 >3 NA allowed to use community resources (parents, musicians) in your classroom for the purpose of multicultural music activities? 29. How often in the last year did you utilize 0-1 2-3 >3 NA parents or community resources in your music class? 30. How many lessons do you teacher per class 2-4 8-12 >12 NA per month? 31. Of the lessons you teach per class per month, 0-1 2-4 >4 NA how many include multicultural activities? 32. How many field trips are you allowed to take 0-1 2-3 >3 NA per year? 33. In the last year, how many field trips have 0-1 2-3 >3 NA been related to multicultural music activities? 34. I would describe my knowledge of African- poor fair good very American musicians and their contributions good to American music as: 35. I would describe my knowledge of Native poor fair good very American musicians and their contributions good to American music as: 36. I would describe my knowledge of Latin poor fair good very American musicians and their contributions good to American music as: 37. 1 would describe my knowledge of Asian poor fair good very musicians and their contributions to good American music as: 38. I would describe my knowledge of Western poor fair good very European musicians and their contributions good to American music as: 39. How important is it for students to know the none somewhat very contributions of minority people to music, in homogeneous settings? 40. How important is it for students to know the none somewhat very contributions of minority people to music in heterogeneous settings? 41. How would you rate your training in poor fair good very multicultural music education? good continued

114 Very Not Comfortable Comfortable 42. On a scale of 1-5, rate your level of comfort 5 4 3 2 1 UN with teaching music to a culturally-diverse students. 43. On a scale of 1-5, rate your level of comfort 5 4 3 2 1 UN with teaching music in a predominately Black setting. 44. On a scale of 1-5, rate your level of comfort 5 4 3 2 1 UN with teaching music in a predominately White setting. 45. On a scale of 1-5, rate your level of comfort 5 4 3 2 1 UN with teaching music in a predominately Asian setting. 47. On a scale of 1-5, rate your level of comfort 5 4 3 2 1 UN with teaching music in a predominately Native American setting.

Not Important Important 48. On a scale of 1-5, rate the importance of the 5 4 3 2 1 recognition of holidays and festivities of ethnic groups in the music class. 49. On a scale of 1-5, rate the importance of 5 4 3 2 1 children’s experiences with music of diverse cultures. 50. On a scale of 1-5, rate the importance of 5 4 3 2 1 cultural diversity to the music class activities. continued

115 51. How many workshops have you attended that 0 1-2 2-3 >3 support multicultural education? 52. How many OMEA conferences have you 0 1-2 2-3 >3 attended in the last 5 years? 53 How many multicultural sessions have you 0 1-2 2-3 >3 attended at those conferences? 54. What priority do multicultural materials and first second third resources receive in how you spend your budget? 55. How many times in the last 2 years have you 0-1 2-3 4-5 >5 gone to a public or university library to search for and attain information about various cultures and their music? 56. When you see multicultural music articles in never some often periodicals such as the “MEJ,” how often do times you read them? 57. Describe the availability of ethnic many some few none instruments in your classroom. 58. Describe the availability of recordings of many some few none ethnic folk songs and music of diverse cultures in your classroom. 59. Describe the availability in your classroom of many some few none videos concerning ethnic music.

116 APPENDIX B

ELEMENTARY MUSIC TEACHERS’ ATTITUDES TOWARD MULTICULTURAL EDUCATION - INTERVIEW

117 ELEMENTARY MUSIC TEACHERS’ ATTITUDES TOWARD MULTICULTURAL EDUCATION - INTERVIEW

1. What are your feelings concerning diversity? in school? in society? in music? 2. How would you describe a heterogeneous or integrated setting? 3. Are you most comfortably teaching in a heterogeneous or homogeneous setting? Why? 4. How would you describe your school setting? 5. What is your definition of multicultural education? 6. What is your philosophy of multicultural music education? 7. Is multicultural education relevant to music teaching in elementary schools? Why? 8. In your opinion, what does teaching from a multicultural perspective comprise? 9. Do you believe that teaching from a multicultural perspective promotes separatism? 10; Is it necessary to teach music of other cultures if you have a homogeneous classroom? 11. Describe a lesson you have taught or plan to teach that you believe emphasizes multicultural content and activities. 12. What should be the most significant goal(s) of multicultural music education? 13. If you had one concern about the multicultural education movement, what would it be?

118 APPENDIX C

MULTICULTURALISM IN THE MUSIC CLASSROOM Classroom Environment Checklist

119 MULTICULTURALISM IN THE MUSIC CLASSROOM Classroom Environment Checklist

Using the following scale... 1 = not at all 2 = hardly at all 3 = somewhat 4 = strongly

1. Bulletin Boards depict representations of the following ethnic/cultural groups:

Native American Asian Hispanic/Latino Middle Eastern African American African Asian American Western European Euro-American Eastern European Jewish

Hardly Not at all at all Somewhat Strongly 2. Visual representations of famous minority 1 2 3 4 musicians are present in the classroom. 3. The music classroom provides a variety of 1 2 3 4 ethnic instruments for teaching students about music of diverse cultures. 4. Instructional materials are available for the study of ethnic music: recordings (recordings, CDs, tapes) 1 2 3 4 filmstrips/videos 1 2 3 4 printed music 1 2 3 4 5. The school library (resource center) offers a 1 2 3 4 variety of materials on the music of many racial, ethic, and cultural groups.

120 APPENDIX D

DIVERSITY IN MUSIC QUESTIONNAIRE

121 DIVERSITY m MUSIC QUESTIONNAIRE

Name Race Sex □ Male □ Female School District

Music Teacher

PARTI

Directions. Listen as each question is read. Circle YES if you agree, NO if you disagree, and MAYBE if you are not sure.

1. I like making new friends. Yes No Maybe 2. I am shy and have a hard time making new friends. Yes No Maybe 3. We have lunch at school. Yes No Maybe 4. Our school starts at 8:30 in the morning. Yes No Maybe 5. I have African American (Black) friends. Yes No Maybe 6. I have White friends. Yes No Maybe 7. I have Native American (Indian) friends. Yes No Maybe 8. Some of my friends are Asian American. Yes No Maybe 9. Some of my friends are Jewish. Yes No Maybe 10. Some of my friends are Hispanic. Yes No Maybe

PARTn

Directions. Listen as each question is read. Answer each question in your own words.

11. What kind of things do you do in music class?

12. Do you like working in groups in music class? Why?

13. What is your favorite activity in music class? Why?

14. What is your least favorite activity in music class? Why?

15. What kind of music do you like?

122 16. Do you ever play, listen to, or sing any of this kind of music in music class?

17. What is yoiu least favorite music? Why?

18. Do you know any African songs? Can you name them?

19. Do you knov/any Indian songs? Can you name them?

20. Do you know any Asian songs. Can you name them?

21. Do you know any Hispanic songs. Can you name them?

22. Do you know any Jewish songs? Can you name them?

23. Do you know any European songs? Can you name them?

24. Do you know any American songs? Can you name them?

25. Do you ever sing songs in other languages in music class?

26. What is the dance you like to do most in music class?

27. Have you ever done sign language with a song in music class?

28. What is your favorite instrument to play in music class?

123 APPENDIX E

TEACHER ABSTRACT

124 MUSIC TEACHERS’ ATTITUDES, CLASSROOM ENVIRONMENTS, AND MUSIC ACTIVITIES IN MULTICULTURAL MUSIC EDUCATION

By Sharon M. Young

The United States is a mosaic of diverse cultures, a pluralistic society whose national culture is shared by the constituents of many microcultures. Diversity is the operative term for American society. Diversity affects education. Teachers are accountable for educating all students, regardless of race, ethnicity, or culture. An understanding of multicultural education is imperative.

Through the arts, people of the world share and transmit their cultures form generation to generation. Music teachers have generally supported teaching from a multicultural perspective; however, due to the amalgamation of definitions and varied viewpoints of what multicultural education encompasses, teachers are uncertain of what teaching from a multicultural approach entails. This uncertainty further impedes the implementation of multicultural activities into the classroom. This study will seek to describe the varying conceptions and philosophies of music educators regarding multicultural music education, to gain information on variables that possibly affect attitudes of music specialists, and to observe how these attitudes are replicated in classroom environments, music lessons and activities, and teaching strategies.

125 APPENDIX F

LETTER OF AGREEMENT

126 LETTER OF AGREEMENT

Dear Teacher:

I am conducting a study for my dissertation entitled, “Music Teachers’ Attitudes, Classroom Environments, and Music Activities in Multicultural Music Education.” The purpose of the study is to examine the attitudes of elementary music teachers concerning multicultural music education and to describe how these attitudes are manifested in classroom environments, lesson activities, and teaching strategies. The study will seek to explore the elementary music teacher’s philosophic stance regarding diversity and the teacher’s perspectives concerning the goals of multicultural education.

This study does not seek to judge your opinions or philosophies, neither does it examine your musicianship. The purpose of the study is to determine the varying attitudes and perceptions concerning multicultural education and to describe the manner in which these beliefs are translated into teacher behaviors. If you would like to participate in this study, sign the Agreement Statement below and complete the survey. Thank you for your assistance.

Sincerely,

Sharon M. Yoimg

I,______, understand the purpose of this study and voluntarily agree to participate. I understand that this study is not in any way indicative of my musicianship.

Signature

Date

127 APPENDIX G

TEACHER CONSENT FOR PARTICIPATION IN SOCIAL AND BEHAVIORAL RESEARCH

128 TEACHER CONSENT FOR PARTICIPATION IN SOCIAL AND BEHAVIORAL RESEARCH

I consent to participating in research entitled:

Music Teachers’ Attitudes, Classroom Environments, and Music Activities in Multicultural Music Education

______[principal investigator] or his/her authorized representative has explained the purpose of the study, the procedures to be followed, and the expected duration of my participation. Possible benefits of the study have been described, as have alternative procedures, if such procedures are applicable and available.

I acknowledge that I have had the opportunity to obtain additional information regarding tire study and that any questions I have raised have been answered to my full satisfaction. Further, I understand that I am free to withdraw consent at any time and to discontinue participation in the study.

Finally, I acknowledge that I have read and fully understand the consent form. I sign it freely and voluntarily. A copy has been given to me.

Date: ______Signed: Teacher

Signed:______Principal Investigator

129 APPENDIX H

LETTER TO PARENTS

130 LETTER TO PARENTS

Dear Parents;

Your child’s school has agreed to participate in a research study conducted by Dr. Patricia J. Flowers, Chairperson of Graduate Studies in Music, and Sharon M. Young, Doctoral Candidate in Music Education at The Ohio State University entitled:

Music Teachers’ Attitudes, Classroom Environments, and Music Activities in Multicultural Music Education

Multicultural simply defined means “many cultures.” The United States is a cultural mosaic ... a nation of diversity in which people of all races, ethnicities, sex, and exceptionalities contribute to its overall eminence. Music is an effective forum to address diversity. The purpose of this study is to examine the philosophies, definitions, and beliefs concerning multicultural education and to describe how these are apparent in the music classroom.

The majority of the study concerns teacher attitudes and behaviors; therefore, most of the study will not involve student participation. During the month of January 1996, students will, however, be asked to complete a questionnaire concerning classroom music activities and student interaction within the music classroom. The questionnaire will be administered during class time and will take approximately 30 minutes. Music listening activities will be planned for nonparticipating students.

Please sign the enclosed consent form if you grant permission for your child to participate in the study. Thank you for your consideration. Feel free to call if you have any questions regarding this study.

Principal Investigator Investigator Advisor

Sharon M. Young Dr. Patricia J. Flowers Doctoral Candidate Professor, Music Education Music Education (614) 292-6389 (614) 292-9427

131 APPENDIX I

PARENTAL CONSENT FOR PARTICIPATION IN SOCIAL AND BEHAVIORAL RESEARCH

132 PARENTAL CONSENT FOR PARTICIPATION IN SOCIAL AND BEHAVIORAL RESEARCH

I consent to my child’s participation in research entitled:

Music Teachers’ Attitudes, Classroom Environments, and Music Activities in Multicultural Music Education

______[principal investigator] or his/Iier authorized representative has explained the purpose of the study, the procedures to be followed, and the expected duration of my participation. Possible benefits of the study have been described, as have alternative procedures, if such procedures are applicable and available.

I acknowledge that I have had the opportunity to obtain additional information regarding the study and that any questions I have raised have been answered to my fiill satisfaction. Further, I understand tliat I am free to withdraw consent at any time without prejudice to my child.

Finally, I acknowledge tliat I have read and fully imderstand the consent form. I sign it freely and voluntarily. A copy has been given to me.

Date: ______Signed: Parent

Signed: Principal Investigator

133 APPENDIX J

PERCENTAGES TO THE MUSIC SPECIALISTS’ MULTICULTURAL EDUCATION SURVEY - DISTRICT A

Items 1-26

134 PERCENTAGES TO THE MUSIC SPECIALISTS’ MULTICULTURAL EDUCATION SURVEY - DISTRICT A

5 4 3 2 1 0 strongly agree neutral disagree strongly not agree disagree appli # Survey Item cable I. Multicultural music education 67% 33% 0 0 0 0 is important to tlie music education of the elementary and middle school child. 2. My concept of multicultural 67% 33% 0 0 0 0 education is that all children, regardless of their own ethnic background, should be introduced to the rich diversity of the cultures of the world, includhig its art and music. 3. I believe that teaching with a 0 0 0 67% 33% 0 multicultural perspective promotes separatism, because concentration is focused upon racial and ethnic differences. 4. Multicultural education is 0 0 0 67% 33% 0 primarily beneficial to minority students. 5. Multicultural education is 0 0 0 33% 67% 0 about mmority people. 6. Multicultural education 0 0 0 33% 67% 0 means the same as Afrocentric education. 7. Teaching music from a 0 33% 0 33% 33% 0 multicultural perspective is dependent upon the racial make-up of the class. 8. 1 prefer the metaphor of 0 33% 0 33% 33% 0 America as a “melting pot” where people of diverse cultures assimilate with the dominant culture, and differences are fundamentally melted away.

135 9. Singing songs from other 0 0 0 67% 33% 0 countries is the totality of multicultural activities in the music classroom. 10. The purpose of multicultural 0 0 67% 33% 0 0 music education is to teach world music. 11. The goal of multicultural 0 0 0 67% 33% 0 music education should be to introduce students to the music of ethnic minorities in the United States. 12. The music teacher should 0 100% 0 0 0 0 consider the cultural differences of students in the classroom when planning music activities. 13. The study of European folk 0 100% 0 0 0 0 music is a multicultural activity. 14. Tire classroom environment 33% 67% 0 0 0 0 (decorations, material, music instruments) should be representative of cultural diversity. 15. Music is an avenue of cultural 33% 67% 0 0 0 0 expression for all cultures. 16. All Americans are members 67% 0 33% 0 0 0 of ethnic groups. 17. 1 believe that the terms “race” 0 0 33% 67% 0 0 and “ethnicity” are synonymous. 18. Music teachers should 0 0 33% 67% 0 0 concentrate similarities between ethnic music. 19. A recent movement suggests 0 0 0 100% 0 0 that multicultural education is a threat to social cohesion because it focuses on cultural differences in American society. I support this premise. 20. Multicultural music education 33% 67% 0 0 0 0 is beneficial to the child regardless of ethnicity.

136 21. Music activities reflect the 0 67% 0 33% 0 0 cultures of various etlinic groups in the classroom. 22. Music teachers should 0 0 0 100% 0 0 concentrate exclusively on differences between ethnic music. 23. A goal of multicultural 0 100% 0 0 0 0 education is to increase the self-esteem of racial minority students. 24. A sufficient number of 0 33% 0 67% 0 0 resources (handbooks, videos, recordings) supporting multicultural activities in music are available at my school. 25. School assemblies should 0 67% 0 33% 0 0 reflect ethnic diversity of the students attending the school. 26. 1 prefer the metaphor of 0 67% 0 33% 0 0 America as a cultural “salad bowl” with each ethnic group maintaining its cultural identity, yet being mixed together.

137 APPENDIX K

PERCENTAGES TO THE MUSIC SPECIALISTS’ MULTICULTURAL EDUCATION SURVEY - DISTRICT B

Items 1-26

138 PERCENTAGES TO THE MUSIC SPECIALISTS’ MULTICULTURAL EDUCATION SURVEY - DISTRICT B

5 4 3 2 1 0 strongly agree neutral disagree strongly not agree disagree appli # Survey Item cable 1. Multicultural music education 67% 33% 0 0 0 0 is important to the music education of the elementary and middle school child. 2. My concept of multicultural 33% 67% 0 0 0 0 education is that all children, regardless of their own ethnic background, should be introduced to the rich diversity of the cultures of the world, including its art and music. 3. I believe that teaching with a 0 0 0 67% 33% 0 multicultural perspective promotes separatism, because concentration is focused upon racial and ethnic differences. 4. Multicultural education is 0 0 0 67% 33% 0 primarily beneficial to minority students. 5. Multicultural education is 0 0 0 33% 67% 0 about minority people. 6. Multicultural education 0 0 0 0 100% 0 means the same as Afrocentric education. 7. Teaching music from a 0 0 0 67% 33% 0 multicultural perspective is dependent upon the racial make-up of the class. 8. I prefer tlie metaphor of 0 0 0 100% 0 0 America as a “melting pot” where people of diverse cultures assimilate with the dominant culture, and differences are fundamentally melted away.

139 9. Singing songs from other 0 0 0 33% 67% 0 countries is the totality of multicultural activities in the music classroom. 10. The purpose of multicultural 0 0 0 33% 0 67% music education is to teach world music. 11. The goal of multicultural 0 33% 0 67% 0 0 music education should be to introduce students to the music of ethnic minorities in the United States. 12. The music teacher should 0 67% 0 33% 0 0 consider the cultural differences of students in the classroom when planning music activities. 13. Tlie study of European folk 0 100% 0 0 0 0 music is a multicultural activity. 14. The classroom enviromnent 0 33% 67% 0 0 0 (decorations, material, music instruments) should be representative of cultural diversity. 15. Music is an avenue of cultural 67% 33% 0 0 0 0 expression for all cultures. 16. All Americans are members 100% 0 0 0 0 0 of ethnic groups. 17. I believe that the terms “race” 0 0 0 67% 33% 0 and “ethnicity” are synonymous. 18. Music teachers should 0 0 67% 33% 0 0 concentrate similarities between ethnic music. 19. A recent movement suggests 0 0 0 100% 0 0 that multicultural education is a threat to social cohesion because it focuses on cultiual differences in American society. I support this premise. 20. Multicultural music education 67% 33% 0 0 0 0 is bénéficia! to the child regardless of ethnicity.

140 21. Music activities reflect the 0 33% 0 67% 0 0 cultures of various ethnic groups in the classroom. 22. Music teachers should 0 0 0 67% 33% 0 concentrate exclusively on differences between ethnic music. 23. A goal of multicultural 0 0 33% 0 67% 0 education is to increase the self-esteem of racial minority students. 24. A sufficient number of 33% 33% 0 0 33% 0 resources (handbooks, videos, recordings) supporting multicultural activities in music are available at my school. 25. School assemblies should 0 67% 33% 0 0 0 reflect ethnic diversity of the students attending the school. 26. 1 prefer the metaphor of 0 67% 0 33% 0 0 America as a cultural “salad bowl” with each ethnic group maintaining its cultural identity, yet being mixed together.

141 APPENDIX L

VERBATIM RESPONSES

142 VERBATIM RESPONSES

Nina - District A

1. What are your feelings concerning diversity? in school? in society? in music?______Very important, diversity is a big part of the United States. It is important for everybody to get along, very important. Diversity should be understood and taught in school. Definitely music speaks and has always been a part of diversity. ______2. How would you describe a heterogeneous or integrated setting?______One where there are many parts, but we come together to produce something. ______3. Are you most comfortably teaching in a heterogeneous or homogeneous setting? Why?______Probably heterogeneous. I think it would be more difficult to speak to heterogeneous in a homogeneous situation. I’m sort of basing that on the fact tliat I had an observer come in and talk to me, I forget what the lesson was I was teaching, but it was something multicultural with a lot of diversity, and he said to me where he had taught before would not fly in the area that he taught because he spoke to the fact that he came Irom a completely homogeneous situation, which I thought was interesting.______4. How would you describe your school setting?______I know a lot of people would like to think of this district as being a certain image. In my particular building (school), I totally disagree with it, because we really have almost a revolving door for people coming here to get Ph D s. I’ve learned a lot fi'om the professors and the people who have come here to teach or obtain a Ph.D. or whatever, and it’s really shined a different light on our school. We often have a lot of kids come in that do not speak English at all. ______How do you deal with those students? Do you have a bilingual program? ______Yes, we have an ESL teacher. 1 love it in music! 1 have a girl here form Somalia now; she’s permanently here. A tragic situation, lost both parents and she has come here and is living with her sister; very, very, quiet reserved girl. 1 really think, from her physical size, she’s probably been placed a year or two behind where she normally should be. We’re on a recorder unit now, and she’s not only been learning English from the beginning of the year, but she is also learning to read the language of music. She has done so well. 1 am so proud of her, and she is proud of herself. You can tell when you talk to her, when 1 praise her. ______How do students react to her?______They are very helpful to her. 1 often try to explain to them, “Imagine your having to go somewhere and you only know English as most of us do (or American English), and you’re sitting in a classroom, you know, scared to death, wouldn’t you want others to help you?” They’ve been wonderful to her. Tliere’s really been, since I’ve taught here for 15 years, there has really been a good acceptance policy here. ______5. What is your definition of multicultural education? ______Education that speaks to what you learn about the world. ______6. What is your philosophy of multicultural music education?______1 think it is such an integral part of teaching music that you really could not look at yourself; you could not complete your program and have a holistic music program without it. ______7. Is multicultural education relevant to music teaching in elementary schools? Why? ______Oh, yeah! Everything that you teach, things come from somewhere, 1 mean everybody is familiar with, whether they realize where they come from, even from infancy, kids know songs. They might not know where they come from, but they’re important to know. Also, different songs speak to different concepts that you need to teach and they aren’t necessarily all that your particular culture or where you come from has. ______

143 8. In your opinion, what does teaching from a multicultural perspective comprise? ______Comprises not only literature, but concepts, like for instance, certain cultures speak better to rhytlunic concepts, certain cultures are more melodious. I think you can cover all the concepts, but you can not cover them all thoroughly without the multicultural aspect. ______Some people feel that multicultural activities should be separated or, if you will, be set aside from die music lesson. You are saying, however, that they should be a part of regular instruction.______Oh yes! I really think that multicultural education definitely should not be set aside. I think it should be a very integral part. If it’s integrated, you know, I mean a lot of times when I’m teaching kids things and they get so used to doing the song, and then I’ll trace the roots of the song and things like that, they understand. I mean, it’s not separated from what we’re doing, you know, we miglit be focused in on the concept and, you know, basically all my kids know that there is a direction a piece of music is coming from and this speaks to this concept. I think if it’s integrated really tightly, then it’s done correctly. ______9. Do you believe that teaching from a multicultural perspective promotes separatism? ______No, because everybody has a contribution. I look at my kids and I see them from all different countries and some them bom in a different country, speaking a different language, and they have a contribution to class, to our music class, to our school. Everybody contributes. ______10. Is it necessary to teach music of other cultures if you have a homogeneous classroom? ______Yes, I think it’s more difficult. I think I have a really nice built-in base, here, to work from. I think especially when you teach in a rural town where everybody thinks the same, you know, when you get in a small town, even if they have the same background that 1 have, they think extremely differently. There is a different thinking when you’re in a large city than when you’re in a small time. ______How would you remedy, or what do you do in a situation when you teach in a small town and a homogeneous school district, and there is a certain mind-set concerning diversity? ______Well, since I really haven’t been that type situation, just off the top of my head, I think what I would do is take a really good piece of music (good music is good music no matter where it comes from) and concentrate on the elements that make up that music and then lead into the cultural aspects of it. Good music is good music and kids will enjoy it no matter where it comes from if it is good music.______11. Describe a lesson you have taught or plan to teach that you believe emphasizes multicultural content and activities. ______Okay, one that I recently did was on African American Spirituals. I wasn’t worried about the African American part of it, 1 was worried about the religious content. Then I started thinking as I have been with some other programs that I put on that religion is a big part; it is the foundation of the spiritual and that’s a type of music that has come from African Americans. So I just decided to let it fly; the kids loved it! Do you know Amen? I have it by Sweet Honev in TTie Rock: they loved it! This one kid, it’s his favorite song. I mean it’s an aesthetic experience for him! You can tell by his face. I went through and reviewed the policy on religion; what we’re allowed to do and not allowed to do in the district, and, I loved it! It said if you’re not trying to change their religion and you’re not trying to reflect your own views, it was perfectly fine and I really felt confident doing it, and it was very, very much successful; kids loved it! When you ask them what they want to sing, they want to sing it. “Hey let’s sing that song!” They’re listening very careful to ornamentation of pitches, to improvisation, they loved it! ______12. What should be the most significant goal(s) of multicultural music education? ______I think that it be tightly integrated with the curriculum; it’s not a separation, it’s woven into what we teach, and it’s automatic. ______

144 13. If you had one concern about the multicultural education movement, what would it be?

Dina - District A

1. What are your feelings concerning diversity? in school? in society? in music? Diversity is normal. Diversity is the way things operate. If everything was the same, I imagine it; it would be awful! 2. How would you describe a heterogeneous or integrated setting? I've never been in a homogeneous setting. Heterogeneous is when everybody has their own idea, their own opinion. They each have different backgrounds, that’s the way life is; a heterogeneous setting. 3. Are you most comfortably teaching in a heterogeneous or homogeneous setting? Why? Heterogeneous, because that’s the way the real world operates. 4. How would you describe your school setting? Outwardly it appears homogeneous, because all of the students have about the same skin color. On the other hand, I think it is a very heterogeneous setting because the children are not all from the same community. Many parents are professors at Ohio State and so that brings a lot of transient children. We have a wide range of economic levels here, despite extra-community feelings. There is even a wide range of subcultures that operate within each classroom and in come classrooms that is stronger than others. 5. What is your definition of multicultural education? That’s a hard one. When we learn to respect the similarities between your own and someone elses’ when you learn to respect the differences, too. We’ve been singing a song from Ghana and the kids are finding out, “hey, they play on the playground just like we do!” That is what they get out of it. They’re not sitting in a grass hut in Africa! “Can we play it?” “Can we sing it?” They’re having a ball and the song is not even easy! 6. What is your philosophy of multicultural music education? That it should represent as many cultures that as is practically feasible. That it is not any one thing. It should make some sense to the children; there should be a purpose for it. It is nice if it ties in with what the classroom teacher is doing! 7. Is multicultural education relevant to music teaching in elementary schools? Why? Yeah! The history of music is multicultural. If you go to an opera, you’re getting a multicultural experience. The dances that we do, the mambo, all of those things are multicultural. ______8. In your opinion, what does teaching from a multicultural perspective comprise? Taking the elements of music that you would ordinarily teach - songs, rhythms, movements, all of those things and doing it with another song, another rhythm, another movement, so they can see the normalcy in doing that.

145 9. Do you believe that teaching from a multicultural perspective promotes separatism? No, I think the opposite. If you don’t tell somebody that in Ghana they don’t all look like National Geographic pictures, they’re never going to know that. I didn’t know that when I was little till a missionary came to our school and said, “My school looks like your school,” and we said, “what do you mean, your school looks like our school?” “Wow, that’s neat!”______10. Is it necessary to teach music of other cultures if you have a homogeneous classroom? I think a homogeneous classroom would be scary! It would be like Martians or something, I don’t know! I absolutely, absolutely, if you really truly had a homogeneous classroom they would need to know in life there is a much bigger picture, and they are part of the picture. They are not the bigger picture!______11. Describe a lesson you have taught or plan to teach that you believe emphasizes multicultural content and activities. Okay, as we speak, I am gluing scales onto a Chinese dragon and we are going to celebrate Chinese New Year, which we’ve talked about being a big party, which we understand, and New Year’s which is a new day. There are classroom rats all over this building, and this year happens to be the year of the rat and so they are invited to our party! There are some Chinese songs. One of my classes is working on a sea-study, and I have a Chinese fisherman’s song in the Silver Burdette series, and we listened to that and talked about how that was really “cool.” They said they could hear the sea, so they were looking for something in the music. I thought that was pretty neat. I’m also going to do two songs from Israel. At holiday time I pulled a song about the dreydl from the Songs From Israel CD. ______12. What should be the most significant goal(s) of multicultural music education? For the students to get a sense of who they are and who other people are, too. Knowing you’re a part of a big picture is comforting. 13. If you had one concern about the multicultural education movement, what would it be? That they aim toward one culture, most of my colleagues say it means the same as X, and I say no it doesn’t!

Pha

1. What are your feelings concerning diversity? in school? in society? in music? I’ve approached diversity at this point from a pretty traditional structure, much from a European bias, with very small intrusions from cross-cultural areas, but very unsatisfactorily.

146 How do you feel about diversity in society? I love and relish diversity. I realize most experiences I’ve had with diversity have been on a one-to-one basis; that I’ve had a friend who came from another culture, and I was able to be more on the friendly side of things before the culture became a point and I suddenly noticed that “Gee, this guy is from Poland’’ or somewhere else. It has always felt a little artificial for me; this bounces back to my teaching when, for example, I was fascinated by American Indians (I’m from Australia and I was fascinated by American Indians and the comparison with the Aborigines). It seemed like they’d been treated the same way. But anytime I’ve gone into their music I’ve felt really sort of strange. It has been a really hard umbrella to put on. To say “hey, we’re going to study North American Indian music,” and I’ve even had that feeling on my own professionally, doing a little Jazz music. It’s been a hard culture to absorb. A lot of biases in there. So in general terms, diversity. I’d say. I’ve tended to sort of approach in a one-on-one basis, and I haven’t sort of gone out to immerse myself in a culture so much as I’ve always enjoyed people from various backgrounds. Explain your approach to diversity in music. We’re in a survey type situation here in middle school... it’s not as specific as where I used to teach general music, where we had a full year with the kids. And so most of the areas that have been given to us to study are concerning traditional western-based opera, lives of composers, study of music theory, àll of that. The only time a little bit of diversity seems to crop up is when we are dealing with musical instruments and we have to explain the origins and some of the fresher instruments, but not from any historical direction. We haven’t suddenly headed off on Africa or Latin America. You mentioned feeling like an outsider; why do you think that is? It seems to me. I’ve been trying to learn wood working and the more I struggle on by using books and textbooks, it still always seems an artificial skill to me. I keep wishing I’d bump into an old wood worker and just be able to drink it all in, things he learned from the first time he sharpened the chisel. So often times when I deal with cultural things; say in tlie classroom I feel like that artificial person. I’ve always been amazed at MENC, when they have, say a Gospel discussion. I look around the room and there’s a sea of white faces. Naturally, I understand that African American people may not be attracted to coming to a lectiue on Gospel Music. But it always seems rather artificial to see all these white folks in here clapping and going “hallelujah” and almost mimicking something that truly has to be felt. As if you can sing Gospel music and pretend and you suddenly understand. So, I’ve always felt uncomfortable at those little seminars. I was at OCDA during the summer and we had a singer come in from Chicago; publisher, singer-songwriter, distinguishing Gospel vs. Spiritual. He made a distinction that wasn’t quite the way I had heard the distinction. But again, the audiences of predominantly white European, very strict OCDA group of people were coming out of the room going, “Wow, wasn’t that fantastic?” It still felt like an artificial structure. It didn’t feel like they had discovered the spirit of the spiritual. So that’s where the foreignness comes in for me still. Being a foreigner, it’s real similar to when somebody tries to be Australian to me.

147 2. How would you describe a heterogeneous or integrated setting? That’s a tough one for me in that I tend to be a pretty didactic teacher, a pretty from the front of the room kind of teacher. I sort of do believe in the old Authoritarian teaching system, but you have to have reason to teach good things. You should only teach good things and you should fill your cup if you can. So if that question leans toward how I could make up in the classroom that is truly heterogeneous. I’m a bit at a loss to giving you an answer on that because it’s certainly not part of a structure that positively set to do. It makes me a bit of a loner, I know. Again, when I try to do a gospel or a spiritual each year in this community, which is essentially a 98% white community. Spirituals are not my tradition, my British European tradition. It is much more the American kid’s tradition, but it still feels like a tough sell. Just how far do I go with it? What do I succeed? To me I sometimes feel all I succeed in giving the kids is a sense of that beautiful harmony they would hear if they heard a great Gospel Choir sing. So 1 have. I’m sure, a really clear bias. I’m not sure. I would definitely be on one end of the continuum. 3. Are you most comfortably teaching in a heterogeneous or homogeneous setting? Why? Because I teach from that sort of didactic, authoritarian view, the situation doesn’t seem to me as much an influence as opposed to if it was a real “Let’s exchange ideas’’ in a high school scenario. Where I taught before, there was more of that opportunity. Middle-school, I know I’m not anywhere nearly as comfortable, especially because the kids don’t have as whole lot to talk about. It’s hard to say but, when we have discussions here on Jazz, in 8th-grade (I do a Jazz component). The kids in tins classroom, in this city are still upset by faces of Black people on the screen, they react to that and that still dumbfounds me and I have to spend a lot of time just dispelling basic prejudice. So I tend to do it from that personal thing, by propping them not to react to that, don’t react to anything on the screen; but for some reason, race is more important to these kids than they know. For example, they go to a homeless shelter and they come back saying, “it’s wonderful. We spent the day in our Calvin Klein Blue Jeans, we cared for all those homeless people, and I think I’ve changed because of it!” I’m not committed to that at all. I have serious doubts as to whether that’s so because if they stay in the class they could say something that is truly asinine about poor people vs. wealthy people and not feel very close to the problem at all. So the complexity in the classroom, when I first came back into teaching I was given a substitution in a Black neighborhood, with elementary, little ones, and I felt very at home. I didn’t change a whole lot of what I was doing. They felt I was pretty frmny, the accent. Elementary may not be a good place to make decisions about because the kids are so much warmer, it seems. In the last school that I taught in we had maybe 25% American Indian, and they were proud of that. I felt comfortable teaching there, but I can’t say I did a very good job for what we did musically. I still felt very tmcomfortable. 4. How would you describe your school setting? This school is pretty locked m sort of a White upper middle class. Any minority kids hide themselves pretty effectively. Minimal demands on the school. It’s a pretty locked up environment. In music, I don’t tend to teach from even the kids’ culture. I don’t do a lot of rock and music the kids hear on the radio in choir. I do tend to bring in a culture from “above,” being that I’ve tried to sort through and find what I think is basic beauty and integrity and I’ve tried to judge what I bring to the kids from that point. Jazz has left me in a bit of a quandary, but I tend to take the high road in Jazz from the music and the theory, the simplicity, the happiness, so our school is pretty fixed.

148 5. What is your definition of multicultural education? I would suspect, I haven’t thought about it much because I’ve tended to feel that I’m against multiculturalism, whatever it is. In my mind it has been an attempt by a form of education to I guess address the cultures within the classroom. That only would be funny in this group to do it. It’s only one Anglo-Saxon, Protestant, Dominant culture. So I guess because I’ve worried about multiculturalism I’ve tended to be negative about what it is. Thinking that it is usually teachers that try to teach from the expressions of the kids they find within the group and try to get a flow. I’m definitely “Old School.” 6. What is your philosophy of multicultural music education? I feel that the kids will be brought... It’s a tough one. I see myself teaching in other environments. How would I feel? Ifl were teaching in East High School, what would I do? I tend to believe that at East High School, I would, say in choir, do music of the dominant culture, if, you know, it were showed that it was appreciated. I wouldn’t say to a Black kid, you know, you’re Black, so you can dance or you must be able to sing Gospel. But if there truly was a love of Gospel music in the group, then we would do some of that. We would do what I felt came from the beautiful heritage of music. Judgmentally, I tend to; it’s had to have stood the test of time. So I would want the kids to grow in knowledge and from knowledge comes strength. I tend to think of this integrity as being the most important thing for a kid. So a kid that’s Spanish should understand where he’s come from, where he belongs, but he shouldn’t feel particularly threatened because he is in an all Black school. Just as a Jewish kid in a sense can go to a Catholic school because it’s in the neighborhood and not feel particularly upset about the religion classes because all they talk about in religion classes is Catholic religion. If he has integrity, he can come through that and I think many of them have. So I’m probably somebody for which multiculturalism is still a bad word. Because it sounds like a classroom enviromnent that I’ve never been comfortable in. If it is that; I’m not sure it is that. On the other hand, I would want my classroom to encourage all the diversity in the room. Where I talk ahout integrity, my classroom has a very strict behavioral code - how the kids dress, hats are off in my classroom, how they dress on another. 7. Is multicultural education relevant to music teaching in elementary schools? Why? I would backtrack again and say I’ve sort of agreed with the Great Books theory and say the essence of great thought throughout liistory and when he came out with his original 30 titles, he didn’t have one book by women, he didn’t have one book by anybody from the Orient, and I can think of a few other groups. He didn’t put forth the argument and neither do I that no women have written great books, he just felt from the history of thought, history had led this particular person to put the thought together. In another hundred years we will have a philosophical revival among women. I’m sure Germain Greer will have a philosophical mode, whatever that may be, a standard for that time and place. My approach to kids is that there’s a thing called knowledge. Knowledge in music is like beauty, cultural expression. I know when I taught in elementary it was far more comfortable to relax with the kids and do a wider diversity of music. The integrity question comes to play in middle school and high school. In elementary school, I was a little more daring in doing some culturally varied things. Middle school has been tough. I’ve always felt like I’m putting on person.

149 8. In your opinion, what does teaching from a multicultural perspective comprise? 1 tend to think of them (multicultural teachers) as teachers who are trying to draw out from the kids, that kind of teacher to me tends to be the teacher who draws from what they feel is the knowledge and fruits in the room and builds a sort of cohesive body of knowledge from that. To me it’s a little bit of a game because oftentimes they are leading and that’s why we’re kind of critical of it because they are leading the kids to what they want them to already have said anyway. But it is an attempt 1 think truly to address the concerns of groups; minorities that might happen to be in the classroom by bringing that forth into the room and having that shared. It just still feels to me like too much of a structure. 9. Do you believe that teaching from a multicultural perspective promotes separatism? Teaching from that perspective, like the teacher 1 just criticized, to me always seems to thin out too much. It tends to be beholding to something that they feel is integral. That group will be respected by this group; and it doesn’t seem to happen that way. 1 think that societal racism is about as strong as ever today. I think the kids imagine that the horrors of Bosina just happen in Bosina; it’ll never happen over here. It’s hard for us to imagine, but those kind of hatreds are still right here in the community and actually being bred in this community. It would be good for somebody to show me how 1 can get a better appreciation of other cultures in these kids through music. The little bits 1 do in choir seems like just touching the edges. But they (the kids) are fighting a home base that is already locked up. 1 think there’s something of the human spirit in music, that’s uplifting. If we can carry that message to the kids, a number of things can be knocked down. I went to a school in Chicago; Lena McLin was teaching at this school, and I guess I took a lot of what “ said from her. She said, as a Black lady, from a Black culture, she didn’t teach from any kind of cultural perspective. She taught great music. Great music can help create great lives. ______10. Is it necessary to teach music of other cultures if you have a homogeneous classroom? Yes, I think it is if that music is part of what’s considered great music. 11. Describe a lesson you have taught or plan to teach that you believe emphasizes multicultural content and activities. We did “Amal And The Night Visitors” and we used that as a study of the life and times of a young shepherd boy in that country. The clearest (lesson) to me is obviously in Jazz. We tend at this age to deal heavily not in the theory, but in the lives of people that helped to create Jazz. A typical cross-cultural lesson would be when Jazz originated, the people it came from, where it came from, and not to be distracted by the simple bias they (kids) have toward race. 12. What should be the most significant goal(s) of multicultural music education? I think a lot of cultural things as being almost peripheral to the heart of mankind. It’s important but of lesser importance than what it takes to make a man great. All great soldiers have recognized great soldiers on the battlefield. The goal is to bring out ultimately that fact that we are all one. There’s beautiful color in each of the cultures, but you would hope that the great teacher would show that in each of them there’s a great integrity. Something wonderful. We shouldn’t be distracted by the peripheral. There’s a commonality of beauty in people. 13. If you had one concern about the multicultural education movement, what would it be? That it gets stuck in those thirds that are peripheral. At times it feels that it is fighting a social problem, but it is actually just glossing over what makes true greatness in a culture.

150 Donna - District B

1. What are your feelings concerning diversity? in school? in society? in music? Well, I agree with what you told the 6th-graders, that we are a nation of immigrants and we all came from somewhere else, and that they need to realize that there is more than one view of the world. What are your feelings about diversity in school? As far as student population? Well, we are not a very diverse school. If you’re talking about religion, we have a lot of Jewish children and Christians, so there’s diversity there, but we don’t have a lot of African American children or Asian children, or Latinos, so, unfortunately they don’t learn to get along in that area. You know it was like when you gave the survey, and they said, “Well I would have Native American friends but I don’t know any... so I think these kids may kind of yearn for that, to meet others, different kinds of people. How do you feel about diversity in the music classroom? Well, if you look around we work on that. We have “Mystery Musician” every month. The hardest thing to find is not African American or anything else, it’s women that we don’t find a lot of. So I really try hard, because American Music is so influenced by African American culture that I’ve tried real hard to bring in several people. The 6th-grade has been studying the blues and we’ll go into jazz. I don’t see how anyone can teach American children and not teach jazz; and I haven’t done it much because I haven’t had 6th grade, but I think that because we are a nation of immigrants we have to have music from everywhere. 2. How would you describe a heterogeneous or integrated setting? Well, it would be different sorts of people all together, of course the way we live in the United States, we have a tendency to live in what my husband calls “ghettos.” New Albany is the new White ghetto and people don’t live together; that’s too bad. When you think of a heterogeneous setting, do you think of it only in racial terms? Well, as I say, here, if you think of it in religious terms, you have at least two; we are trying to do “Jerusalem 2000” in April, and we are having trouble finding practitioners of Islam in Bexley! There aren’t any around here! But, you can look at it culturally, I guess I primarily think of it as racial, now of course there is sex, we have boys and girls. Finding the materials that feature women is really hard. 3. Are you most comfortably teaching in a heterogeneous or homogeneous setting? Why? Well, probably homogeneous, cause I know more about and am more familiar with European music; I’m a Kodaly trained person and Kodaly is based upon folk songs and folk songs I know are mostly White American; of course I know quite a few African American, but when you get into Latino... I have some Native American resources, but not a lot of Spanish stuff. 4. How would you describe your school setting? It’s a great school, we have great parents, good kids, a wonderful PTO, the staff works very hard, but it’s not a very heterogeneous group of kids.

151 5. What is your definition of multicultural education? Well, I think it is what I said before, it’s teaching children that there is more than one viewpoint than the way they see the world. The way they see tlie world comes from the way they have been brought up, their experiences, but there are other people that have been brought up a different way and had different experiences. We see the world in a different way, neither one of those ways is necessarily the right way, just a different way. 6. What is your philosophy of multicultural music education? Well, like said before, my goal is for children to know its not just the “dead white guys” (Franz Joseph Haydn, etc.). There are persons alive now that are creating music, and there are different colors and different cultures, and it may sound weird to us, but ours sounds weird to them, but you have to keep an open mind about things. 7. Is multicultural education relevant to music teaching in elementary schools? Why? Oh sure! Because there is music from everywhere, there is American music from everywhere. 8. In your opinion, what does teaching from a multicultural perspective comprise? Well, for example, in my “Mystery Musician,” I try hard to balance people who are dead with people who are alive. I try to balance women with men, which has proven to be a real challenge. I try to balance different genres, you know, orchestral music, vocal music jazz, that sort of thing. Ifiat’s all multicultural, and then in other things, choosing units and songs from different places so we are not all doing the same sorts of songs. In my music literacy training we used mostly folk songs that are probably all European. 9. Do you believe that teaching from a multicultural perspective promotes separatism? No. Why not? It could 1 suppose, but that’s not the goal. The goal is to promote a multicultural mind-set. I don’t see how it could promote separatism, unless you present things and focus solely on how different they were. But that’s not how I present tWngs. 10. Is it necessary to teach music of other cultures if you have a homogeneous classroom? Yes, so that they don’t think that the way the are is the way the world is. 11. Describe a lesson you have taught or plan to teach that you believe emphasizes multicultural content and activities. Well gosh! There are a lot! In the 6th-grade, we’re working on the blues, first we learned chords and now we’re working on the form of the blues, the I’s IV’s and V’s, and next week we’re going to be making up our own blues, which should be fun and learning improvisation and seeing how that’s difrèrent from what Bobby McFerrin calls “paper music” where you see the music on the paper and you produce in. Where, with jazz, you improvise; so that’s one. 12. What should be the most significant goal(s) of multicultural music education? Well, I have always wanted, for when kids are gone from here for them to be able to hear something and say, “Oh 1 know that.. That’s from South Africa,” or “that’s from Bosnia,” or “that’s a quintet.” So that they have a well-rounded view of what the possibilities are; they can get an idea of the smorgasbord that’s out there.

152 13. If you had one concern about the multicultural education movement, what would it be? There’s not really anything that bothers me about it. We have a multicultural resource person. That’s real helpfiil; but 1 think if anything, you have to have a common ground to start with.

Rhonda - District B

1. What are your feelings concerning diversity? in school? in society? in music? Well, certainly, we live in a diverse society, a diverse culture. In my particular school, it is not representative of the United States. This school is a little different. Diversity in music requires a Averse approach. 2. How would you describe a heterogeneous or integrated setting? Well, 1 think that having children in my classroom where 1 had a mixture of backgrounds and cultures would make it that way; however, 1 can bring to my classroom all of those things, also even though 1 don’t have ... 95% Caucasian children here, 1 can bring those things to the class that would make it a heterogeneous setting. ______So does heterogeneous, to you, basically means a “racial thing?” No, 1 don’t think it’s just racial; for me, 1 look at it more as racial, cultural, traditions; a whole variety of things... personal background, family background, too. 3. Are you most comfortable teaching in a heterogeneous or homogeneous setting? Why? That’s hard to answer because this is my first job. I’ve always been here, so 1 can’t speak to teaching anywhere else. I’m perfectly comfortable teaching here and 1 think that 1 bring a lot to the classroom. 4. How would you describe your school setting? We have upper socioeconomic kids who have very much parental support; 95% Caucasian, less than 1% of pretty much everything else, except African-American. We have maybe, maybe, 4%. Our principal would know the exact statistics, but that’s about right. 5. What is your definition of multicultural education? I’ll tell you what 1 don’t think it is. It doesn’t mean having a separate unit or saying, “today we are going to do something multicultural” or music of other lands. 1 think it’s an integral thing you do ALL time, always bringing in music of other cultures and other composers and always bringing in things as just a part of what you do. 6. What is your philosophy of multicultural music education? 1 guess 1 think that it is a variety of viewpoints and approaches. 7. Is multicultural education relevant to music teaching in elementary schools? Why? 1 think so. 1 think it is so easy to do multicultural activities in music and the other arts. 1 can teach history, social studies. It lends itself well.

153 8. In your opinion, what does teaching from a multicultural perspective comprise? I think it makes me make sure as a teacher that I’m prepared. We have a good resource person, I go to her because I can rely on her, and if, for example, I am studying Native Americans, I can make certain that what I am doing is appropriate. You know of course that when we study European composers (we call them “dead white guys”), I point out to the kids that during the classical period, women and other minority people were not acknowledged. This requires me to take a look at everything I once did and make some changes. 9. Do you believe that teaching from a multicultural perspective promotes separatism? I don’t think it does, but I can understand that reasoning. When you’re talking about differences among people, of course that separates people and I think at this time in our society that we have a lot of hate and prejudice and children need to know what it is in history that caused things to be as they are. If you ask kindergartners to look at themselves and tell you what is different many of them would respond “he’s fatter than me!” because they don’t recognize the differences in race. But if you ask a little African American child this question, they recognize the differences because of the way society has regarded differences. How would you suggest combating this theory of promoting separatism?

Well, also talking about similarities, what we have in common. 10. Is it necessary to teach music of other cultures if you have a homogeneous classroom? Yes, because children don’t live in a vacuum, they need to know the diversity of our society. 11. Describe a lesson you have taught or plan to teach that you believe emphasizes multicultural content and activities. We have performed African chants and dances. Children made and researched the African masks. We have performed double jump-rope, urban games and chants. 12. What should be the most significant goal(s) of multicultural music education? The goal is to teach an appreciation for cultures of others, to make students aware of the diverse society we live in. 13. If you had one concern about the multicultural education movement, what would it be? My greatest problem with multicultural education in the way it is affecting some. We have become so technical with political correctness that you’re afraid of whetlier you are saying something or doing something inappropriate; it makes you wamia say “forget it!” The next problem I have is with having “multicultural units.”

154 Carl - District B

1. What are your feelings concerning diversity? in school? in society? in music? Diversity is one of the greatest features of America, I think. Having been to another country, I can appreciate how it can be such a teaching tool, just in life. Meeting different people from different backgrounds and different heritages ... so it’s something I try to do in my teaching as well. ______la. How do you feel about diversity in the school setting?

I think it needs to be natural and not something that is forced or seemingly contrived. For the students, it needs to be something that’s across the curriculum, across the year and not something that is set aside for a unit per se; or one month out of the year, a celebration of another culture, it needs to be infused, if you will, through the curriculum throughout the year. How do you feel about diversity in the music classroom? It adds to the rich source of material for teaching; so I feel free to pull out an Israeli song at anytime during the year, and because I teach around concepts and not necessarily around a unit, it allows me to pull all different types of resources in at any time, given the time of year, so I can do a spiritual at the beginning of the year if it happens to have a particular rhythm or theme, you know, what we’re talking about. I can do the same thing at the end of the year if we’re on a rhythmic unit found it the spiritual. Native American music doesn’t have to be all around Thanksgiving; it’s dependent upon what you’re teaching at the time. 2. How would you describe a heterogeneous or integrated setting? An ideal “mixed” setting would be certainly on whose surroundings represent as many different kinds of people; and depending where you are, you may not have a specific group. If you don’t have any African Americans or any Native Americans of Asian Americans, you can have other types of groups, such as by economic situation, so you try to find as many situations and differences, not just in race or religion necessarily, but in other areas. 3. Are you most comfortable teaching in a heterogeneous or homogeneous setting? Why? I’m probably most comfortable in a heterogeneous setting, because I feel like not matter what I’m teaching. It applies to everyone and yet there might be certain people to whom it is more meaningful and that meaningfulness to those specific individuals allows me to get more enthusiastic about what I’m teaching. 4. How would you describe your school setting? We are heterogeneous as we can be and I think it’s not ideal, but it certainly is wide ranging enough to allow me to do lots of different things and feel that it’s meaningful to everyone, but especially certain individuals in particular. 5. What is your definition of multicultural education? Multicultural education is using resources from many different areas of the world, different cultural backgrounds to teach a concept. So you can have concept and pull in from many different areas to teach that same concept.

155 6. What is your philosophy of multicultural music education? I’m not sure I’ve been in the classroom long enough to have developed a philosophy about it. It’s just a practice that... and somewhat a conscious practice of really trying to represent as many different cultures as I can. Using the somewhat limited resources, as I become more experienced in teaching, obviously you gather more materials and you have more from which to choose. But for now, you know, as I think I am comfortable with many types of different music, I feel comfortable teaching with it. So the philosophy is “if it’s there and it works, USE IT!”______7. Is multicultural education relevant to music teaching in elementary schools? Why? It’s probably more relevant in the music teaching than maybe even in other areas because it’s an area that’s so rich in its history; and it allows for perhaps an introduction to different cultures. I think music can be the bridge for other cultures that you might not be able to find in science or math or something like that. 8. In your opinion, what does teaching from a multicultural perspective comprise? For me, the biggest part is researching and finding good quality material and making myself familiar and comfortable enough with it that I can teach it authentically. The hardest part is, you know, from my background I didn’t have a lot of that taught to me when I was growing up, so I feel like I need to infuse myself into it and get my teaching from a really good source and not from a series book. 9. Do you believe that teaching from a multicultural perspective promotes separatism? No, I don’t think so. If anything, music is just the opposite. It’s a way of unifying and this is just another avenue for doing that. I’ve found in my teaching it certainly not a way of separating and the children don’t see it that way. From my viewpoint, the children don’t see it that way at all. I think they’re just as willing to, after some introduction and some education, they’re just as willing to buy into another culture’s music as they are one that is purely American, if you will. 10. Is it necessary to teach music of other cultures if you have a homogeneous classroom? Yeah, I think so, you know, I guess I feel like you have to meet the children where they (ne. For a lot of them in many communities, what that is, is an Anglo-Saxon Protestant background. So you have to meet them where they are and have them feel comfortable themselves and their music. Then you can start to bring them into other cultures and that really takes a while, to just get comfortable with the subject matter. But, obviously in this world, they are going to be asked to and involved in relating with other people and they have to be comfortable knowing about other cultures so it certainly is necessarily that they get it in their schools and in the music classroom. 11. Describe a lesson you have taught or plan to teach that you believe emphasizes multicultural content and activities. I did a little unit around Stephen Foster. Stephen Foster is obviously pretty much purely American, a White American, and yet a lot of his motivation for what he wrote came from the Negro Spirituals. So, I was able to bring in the singing of spirituals as a way for the children to see what his motivation was for writing the kind of music that he wrote. From the biography I read from, it talked about his relationships with African Americans and the impact it had on his life. That was satisfying for me to be able to make that bridge. So, that’s one example.

156 How did the kids respond to that? They absolutely love spirituals, and I played Kathleen Battle and Jessie Norman, who I think of as the finest examples of that genre. 12. What should be the most significant goal(s) of multicultural music education? I think that it be authentic and not something that is forced upon them as a requirement, authentic in that it is across the curriculum throughout the year, not separated into a month something like that; and that it be authentic with as many examples of good perfonners as possible - not studied, but experienced. 13. If you had one concern about the multicultural education movement, what would it be? I would say that everyone has to respect other people’s backgrounds and where they are in their own development of understanding. So to say that all music teachers need to be comfortable with every culture is expecting a lot and we need to do our best to understand and we need to meet them where they are and teach them in very small steps toward becoming culturally literate in music. I don’t think we ought to condemn those who are not as far along the path to multiculturalism as another person is. Some people are more comfortable singing out their own, from outside who they are, so I feel this is a gradual process. I don’t think this is something we ought to rush on or make people feel uncomfortable about.

Carla - District C

1. What are your feelings concerning diversity? in school? in society? in music? Well I feel that diversity is here because God made us that way and that’s the way he meant it to be and I think it’s wonderful. I think we all have similarities and we all have differences and we all gain strengths from each other. As far as the world, I think it would be a very boring place if it weren’t all diverse. And the diversity in the school I guess that’s probably one reason I love this district so much, we have a very diverse population, and I enjoy working with all the diversity. I think of all different styles, of all different types of people and I just find it a challenge and a very interesting situation. 2. How would you describe a heterogeneous or integrated setting? I guess I would call that a normal class. A normal class is filled with all different styles, all different kinds of children, all different backgrounds of children. Everybody has their own unique things they bring with them and we all learn from each other, so 1 guess 1 feel like I’m in a very integrated setting. 3. Are you most comfortable teaching in a heterogeneous or homogeneous setting? Why? Why, 1 would say heterogeneous setting. 1 guess 1 just find that it’s just a more interesting group to work with, and you have to really see what’s going on, and get to know the students a little bit more and work with the differences and similarities that you see. It makes the kids work in that setting too because this is the life that they’re going to go out to later on and we all need to learn how to work together.

157 4. How would you describe your school setting? You have various social backgrounds. We don’t have a lot of Asian minorities in this school setting. Most of all our students are English-speaking students, although we have a few more Cambodian students this year than we had before and kids who are in an English as a Second Language setting before and they chose to come out of it so that’s been kind of interesting. English has been a problem for some of them and reading has been a very difficult subject for them. We have different cultural backgrounds; we have different backgroimds as far as wealth or money in the family goes. We have some very poor children, and we have a few that are upper middle class, not a lot. Most of our students are from lower middle class parents working in that situation. Many single parent families, many living with grandparents. We have a very mobile situation here where kids are in and out of different schools all during the year. 5. What is your definition of multicultural education? As it relates to music, to me I think of multicultural. I’m thinking of songs, people, instruments, music from different countries all over the world. 6. What is your philosophy of multicultural music education? 1 think it’s very healthy for students to be involved in music of all different styles, types, nationalities. I think it is important not only just in the music learning but 1 also think you can pull social studies into it, science, different areas of the curriculum you can stress in the medium also as well as the music; plus you’ve got the instrumentation, the language, different languages. I’m not very good yet, but it’s intriguing for the student. 7. Is multicultural education relevant to music teaching in elementary schools? Why? Oh Absolutely! 1 don’t think you can teach music without multicultural. 1 don’t say I’ve got to do this because it’s multicultural or today we’re going to do a song from Denmark. Sometimes 1 look for songs from areas because the teacher has asked me to, or a particular holiday or sometimes 1 pull out a music concept and use the things for that. 8. In your opinion, what does teaching from a multicultural perspective comprise? 1 suppose focusing on the different cultures, different nationalities, different countries, but then again you can pull out rhythm, say, you’re studying rhythm in calypso music and focus on that rather than the multicultural. 1 think that the music objective is more important. 9. Do you believe that teaching from a multicultural perspective promotes separatism? No, 1 don’t believe that. The purpose is to bring us all together. 1 don’t think the kids see it that way. ______10. Is it necessary to teach music of other cultures if you have a homogeneous classroom? Sure. It just brings ... everybody ought to have it. Multicultural is a term. Everybody needs to be exposed to all different styles, kinds, cultures of music. 11. Describe a lesson you have taught or plan to teach that you believe emphasizes multicultural content and activities. Okay. Well, we spent two or three weeks on this and it was such a great learning experience for the kids and me. When we started working on it was the spirituals. We used a publication; we learned some particular spirituals and we added movement and we talked about the words, what they meant. We learned “Follow the Drinkin Gourd” and we read the story with it. We learned the code words. 1 got the video, which was very well done and so they knew the background of “Follow the Drinkin Gourd” and then we learned the spiritual and sang that.

158 12. What should be the most significant goal(s) of multicultural music education? To have the students learn and know that we have and there is a lot of diversity in the world. That people are different yet people are similar in many ways, whether it’s through music, studies, or the living environment, we all have to learn about each other and accept those diversities and similarities and live together. 13. If you had one concern about the multicultural education movement, what would it be? I don’t have a complaint. I need to be looking at more resources and becoming more involved getting some more materials. Are materials easy for you to find? Yes, 1 don’t have any complaint; I enjoy what I do.

Lvdia - District C

1. What are your feelings concerning diversity? in school? in society? in music? Well, 1 think we live in a very diverse world and if we don’t acknowledge that and teach our children about it, we’re at a loss. I think we need to have a diverse population of children in schools. I would hate for my children personally, to go to just an all White school or whatever. I think we need to have teachers of different backgrounds. 1 know we’re not allowed to teach “religion,” but I think the religious backgrounds do bring different colors into the mix of the classroom. I would never place certain religions on my children but I do love teaching for Columbus Public Schools because I have children of all different kinds of backgrounds that teach me so many things! I love Columbus. I do remember back in 1969, my goal was to teach in inner city schools. I did a month’s internship during my senior year and I loved it and my mother (who is also a music teacher) said ‘that’s fine, but make sure you are the best music teacher you can be.’ Children deserve the best so that’s why the first four years I taught were a different situation. You enjoy Columbus Public better than your other teaching situations? Yes, I like the excitement. Could you explain your experiences in a rural setting district with reference to diversity? There was no diversity in this setting. Now you have to remember that this is 1970, 1972. It was a public school system with only one family that were Protestants and German background. They even had nuns in some of the schools teaching and they were all good teachers, but I don’t think they knew what the word meant 25 years ago. 2. How would you describe a heterogeneous or integrated setting? Children of different racial backgrounds, children of different socioeconomic backgrounds, so you have a lot of different textures woven into the classroom.

159 3. Are you most comfortable teaching in a heterogeneous or homogeneous setting? Why? It probably doesn’t matter to me cause 1 just love children. I think personally for me I’m more comfortable with the heterogeneous setting. I certainly could do the other, it’s just my preference. 4. How would you describe your school setting? As far as children? We’re probably split just about half and half between white and black. We have a few Asians, very few; two children just off the top of my hat. The interesting thing that is a challenge at this school, and this is a school of about 315 children. We have four multiple handicapped units and LD units and they are all mainstreamed; I’m sorry, the multiple handicapped units are, the LD classes teachers chose to have them together because they need some time to meet together. So, it’s not ideal, but it works for them. 5. What is your definition of multicultural education? My definition, well, I don’t know if it agrees with other people’s. My first goal in teaching music is to make sure my children know American folk music, I mean, somebody’s got to teach it to them and on MTV and everything, they don’t hear any of that stuff. That’s my first goal. I’m also very, very interested, of course it’s very diverse with American folk music, too. I’m trying to introduce music to them from many different countries, some of them I don’t know much about, but I can get a record or something. My holiday program from December is up here on the bulletin board). We did “December Treasures,’’ and I tried to do music from the Jewish Tradition, Kwanza; with some African Songs, Native American. We have treasures form many different cultures. The foiuth and fifth graders did a program called “Freedom Songs,” and we did music from the 1960’s Civil Right Songs (“Lift Every Voice and Sing,” We shall Over Come”). We also did two songs from the Jewish experience fiom the Holocaust times (“Dona, Dona” and “1 Shall not fear the Multitudes” from the Warsaw Ghetto) as one of the protest things. From the 1860’s we did “Follow the Drinkin Gourd,” “Freedom Train,” and “I Woke Up This Morning With My Mind Stayed On Freedom.” I also had plans to do something from Sweden but we didn’t do that, we cut the program down a little bit. 1 just don’t do this for programs. I try to get my children to doing a lot of different things. I try to do a lot of experiences with them. 1 don’t do music instrumental things with them because that’s all I’ve got (points to limited number of cultural instruments). My biggest goal is to teach them how to sing. I would rather have them be able to match pitches than knowing that “Freres Jacques” was from France. 6. What is your philosophy of multicultural music education? I don’t know how you teach music any other way. Even the songs, if I just stuck totally to “American Songs,” it would be multicultural. 7. Is multicultural education relevant to music teaching in elementary schools? Why? Oh goodness yes! It can help the teacher in their classes. At this school at least we have a country or area that is emphasized a month. The teachers will put things up in the halls and I try to do at least one song from that country from that grade level. This month we did Ireland. Does this go on for the entire month? Yes. It’s easy in music to don multicultural; there’s black history month (which is not just January and February), Halloween. 8. In your opinion, what does teaching from a multicultural perspective comprise? It would comprise the songs of various countries, dances, movements, and listening examples.

1 60 9. Do you believe that teaching from a multicultural perspective promotes separatism? O heavens, no! I think it does just the opposite. If anything I think it makes us stronger, especially here in America where we have so many cultures. We have to understand each other; and my children at least I think, enjoy learning the different things; they act like they do, most of them. You’re always going to have that hard core few that don’t like anything you do. Just like with the Holocaust songs we did with fourth and fifth graders, most of those kids didn’t have any idea of what the Holocaust was. Some had really strange ideas as to what it w^. So I went to the library and got a few books on it and found some picture books, believe it or not. I didn’t want to spend a long time on it and picture books you can just go through and some of the children were in tears, they couldn’t believe. Why shouldn’t they know? They’re old enough to know that. We didn’t discuss some of the real gory details, though some of them had seen Schindler’s List. I think they feel closer because of that. I have one Jewish girl in on of my classes, who, I felt so badly about this. This December Treasures Program, I’m trying to be very multicultural, but she was bothered by some of the songs, so she came to me and said, “I’m singing these songs and they’re in my head and I can’t get them out, could I not sing the program?” So I said I understood and she could just come back and get in choir in January. One of the multihandicapped children was having a real hard time socially and two of the third grade boys came in class and said, “We’re going to sit next to Marcus.” So they did and they helped him find his pages. I heard during lunch period that Marcus was floating on a cloud (his teacher said ) because he said, “I have some friends!” ______10. Is it necessary to teach music of other cultures if you have a homogeneous classroom? Sure. Personally I can’t imagine teaching music any other way, because I like songs from everywhere and I like teaching the songs I like! 11. Describe a lesson you have taught or plan to teach that you believe emphasizes multicultural content and activities. Other than the programs, I don’t have a big goal for multiculturalism but I’m Kodaly trained and my big thing is to get them to read music, sight-reading. But I’m always using songs from other cultures to do it. 12. What should be the most significant goal(s) of multicultural music education? To make the world smaller. To make us understand each other. To make us more tolerant. To empathize with others, hopefully to make us more peaceful someday. 13. If you had one concern about the multicultural education movement, what would it be? One of my personal problems is finding the literature, for example, I would like to have a tape or CD to go along with the notated music; I don’t know what Indonesian music sounds like. There needs to be a lot more materials, videos...

161 Harold - District C

1. What are your feelings concerning diversity? in school? in society? in music? This is a diverse society. Schools are becoming more and more diverse; it’s been said that minorities will be in the majority in urban schools. Teachers should consider and address the diversity in their classrooms, lb. What does this mean for the music teacher?

Music teachers must familiarize themselves with the music of other cultures and use and study those cultures’ music in their classrooms. 2. How would you describe a heterogeneous or integrated setting? A setting that includes a variety of diverse ethnic groups. 3. Are you most comfortable teaching in a heterogeneous or homogeneous setting? Why? I would say a heterogeneous setting, because there is so much to draw from in your classrooms. It’s just more interesting. And those students can contribute so much to the class. 4. How would you describe your school setting? I would say that this school is pretty integrated. 5. What is your definition of multicultural education? Multicultural education is the study of many different cultures and how these cultures have influenced each other. 6. What is your philosophy of multicultural music education? My philosophy? I guess that our nation is diverse and so we as teachers must consider this diversity when we plan music activities for our students. 7. Is multicultural education relevant to music teaching in elementary schools? Why? Yes, it’s relevant in any school. Students have to realize that there are many varied ways of looking at things, not just one view, as our system has used in the past, or the Eurocentric view. No one way of looking at things is necessarily right or wrong, just a different view. 8. In your opinion, what does teaching from a multicultural perspective comprise? Teaching from a multicultural perspective in music would mean including the music of many cultures in your classes and examining how these cultures use music. 9. Do you believe that teaching from a multicultural perspective promotes separatism? No, no I don’t. The world consists of many different people, and multicultural education is a way to develop understanding of the different people and the music of those people. 10. Is it necessary to teach music of other cultures if you have a homogeneous classroom? Yes, I think so, because there is more than one culture in this nation, and although the class may be predominately one culture, it’s not that way in the real world. 11. Describe a lesson you have taught or plan to teach that you believe emphasizes multicultural content and activities. Okay, one lesson we did was on Jazz and the Big Band era. We studied some of the early jazz musicians of that period.

162 12. What should be the most significant goal(s) of multicultural music education? ______I think that an understanding of all people is one of the most important goals, and a development of self-esteem for all students would be another. 13. If you had one concern about the multicultural education movement, what would it be? I think the lack of enough courses in multicultural education or the mandatory study of the music of other cultures in the colleges and universities presents a real problem for public school music teachers.

Erin - District C

Pre-Interview Conversation. The concept of teaching children about other cultures through our materials is one way (to approach multicultural music education); that would be one concept of multicultural education. The concept I like is the concept of the cultures of your building or of your school or of your district and working from that aspect, too. I know I have some classroom teachers that don’t do much with African American history and background and so I try to cover a lot of that from a lot of different angles and aspects; so it’s not just music. Music is and integral part (of multicultural education), but also personalities or movement, things that were happening at the time we are studying might be included. I do some things from other cultures, some Spanish a little. I tend to hook up more historically and society wise, this society ... tend to approach it from that point of view. What are your feelings concerning diversity? in school? in society? in music? Well, we’re a diverse society, so we should try to touch base as much as possible with those different angles and aspects of our humanity. 2. How would you describe a heterogeneous or integrated setting? More than one ethnic group. 3. Are you most comfortable teaching in a heterogeneous or homogeneous setting? Why? Most of my experience has been in a heterogeneous setting so I’m very comfortable doing that. I’ve also done some teaching in a homogeneous setting, so I feel comfortable, but I do notice different reactions.

163 Could you describe some of those reactions? Sometimes the expectations are ... people don’t expect what they get. I taught in one situation where there were different ethnic groups, but the children tended to be all upper middle class, and the teachers were, also. Everybody kind of felt like they knew everything. They knew how to tell the music teacher how to teach, what curriculum she should be following, so we had to kind of work things out with the teacher, to let then know I believe 1 know what I’m doing, I know what I’d like to accomplish, “thanks for your suggestions and now I’m going to do what I need to do.” The children read their teachers and their first attitude with me was “who are you?” “You don’t know about what 1 know.” And 1 had to tell them “yes I do know, here we go, let’s get busy.” I felt that I had to convince them that 1 was authentic. I don’t feel that in this particular situation (present school) with low to lower middle class economic status and I don’t get that kind of attitude, but what I do get more of here is with the older children, fifth grade in particular, sometimes I find that they mature faster and so you run into things you expect to see in middle school, attitudes, hormones. 4. How would you describe your school setting? Seventy percent Black and 30% White (1 guess, I haven’t seen the figures lately). Lower to middle socio-economic status, several one-parent families, many families on some type of public assistance. Teachers are mostly white females, a few maJes. There are more black females than in most schools. 5. What is your definition of multicultural education? Educating people to the cultures the belong to, sharing with people about other cultures and the mind sets of other cultures. Sharing the experiences of those cultures, some musical. 6. What is your philosophy of multicultural music education? It’s part of my teaching style. 1 don’t really separate it out, it’s all interwoven. Its not like we’re doing this, this, and this, although I will highlight things during certain months, but 1 tend to teach across the curriculum, learning about different cultures and our own cultures, too. 7. Is multicultural education relevant to music teaching in elementary schools? Why? Yes. How can you not? It’s just a part of education, a part of living. It has to be. 8. In your opinion, what does teaching from a multicultural perspective comprise? Teaching from the perception of different cultures and the culture that we live in. Sharing the musical experiences of those cultures, sharing, if possible and time and space allows, the movement of those cultures; some of the stories and history and backgrounds of those cultures we live in and cultures that we don’t know very well. 9. Do you believe that teaching from a multicultural perspective promotes separatism? No, because I think that the more we know about one another, then the better we will treat one another, and it needs to be done with understanding. There could be ways to teach that you could cause polarization in the classroom, but 1 think if you do it with sensitivity and understanding. 10. Is it necessary to teach music of other cultures if you have a homogeneous classroom? Yes, because we don’t live in a world like that. They all by tapes and CDs and they all watch TV and they have contact with the outside world besides what’s in their own neighborhood, they need that.

164 11. Describe a lesson you have taught or plan to teach that you believe emphasizes multicultural content and activities. One of the lessons I do about Martin Luther King and Rosa Parks involves music of the Civil Rights Movement. I often start with telling the story about when Martin Luther Kitig was young and it depends on the grade level. With kindergartners we talk about things that arc fair and things that are unfair. We talk about what kids could and could not do; black and white I bring that up to the present. With the older children we talk about Rosa Parks and her story and how the Civil Rights Movements really got started with her. There are all kinds of songs from that period. During December we highlight areas from Kwanza, Hannaka, and Christmas. Each time we add another area, we compare and contrast it with previous areas. We sing songs form the different traditions. We talk about the part the music plays in Kwanza. 12. What should be the most significant goal(s) of multicultural music education? To share our cultures with one another, to make people aware that there is more than just what they know. 13. If you had one concern about the multicultural education movement, what would it be? Helping classroom teachers understand how to use it. It’s a mind-set. It’s not “well I’m going to do multicultural stuff now.” You just do it all the time! I think for music teachers it’s fairly easy to do because it’s always been some aspect of multicultural education in what we do. Have you found there to be a problem with music teachers in their attitudes about multicultural education?______No, not in this district. We have a lot of in-services and many of them have dealt with multicultural education.

165 APPENDIX M

RESPONSES TO STUDENT QUESTIONNAIRE NINA’S CLASS (District A)

(n=21)

166 RESPONSES TO STUDENT QUESTIONNAIRE - NINA’S CLASS (District A)

Response and Percentages Yes % No % Maybe % 1. I like making new friends. 11 52 3 14 7 33 2. I am shy and have a hard time 2 10 11 52 8 38 making new friends. 3. We have lunch at school. 11 52 0 0 10 48 4. Om school starts at 8:30 in tlie 8 38 13 62 0 0 morning. 5. I have African American (Black) 12 48 7 33 2 10 friends. 6. I have White friends. 21 TOO 0 0 0 0 7. I have Native American (Indian) 2 10 14 67 5 23 friends. 8. Some of my friends are Asian 13 62 4 19 4 19 American. 9. Some of my friends are Jewish. 14 67 3 14 4 19 10. Some of my friends are Hispanic. 8 38 10 48 3 14

11. What kind of things do you do in music class? Play instruments (guitar, recorder) Sing Play games Learn about musicians 12. Do you like working in groups in music class? Why? Yes, I like working with my friends. 13. WTiat is your favorite activity in music class? Why? Playing instruments Singing songs from other countries Playing games 14. What is your least favorite activity in music class? Why? Playing guitar (it hurts my fingers) Singing solos Singing songs I don’t like

167 15. Wliat kind of music do you like? Rock ‘n Roll Classical Jazz Oldies 16. Do you ever play, listen to, or sing any of this kind of music in music class? Yes, sometimes 17. What is your least favorite music? Why? Country, because it’s stupid Classical, it’s boring Opera 18. Do you know any African songs? Can you name them? Yes, but I can’t name them. 19. Do you know any Indian songs? Can you name them? No 20. Do you know any Asian songs. Can you name them? No 21. Do you know any Hispanic songs. Can you name them? La Cucaracha Cumpleyanous Dancing Jose 22. Do you know any Jewish songs? Can you name them? Hanukah Dreydel Festival of Lights 23. Do you know any European songs? Can you name them? Yellow Submarine Auld Lang Syne Hark the Herald Angels Sing 24. Do you know any American songs? Can you name them? The Star Spangled Banner Home on tiie Range My Home’s in Montana Wabash Cannonball One Moment in Time America America the Beautifid Celebration, Rock ‘n Roll 95 Bullet with Butterfly Wings 25. Do you ever sing songs in other languages in music class? Yes, in Spanish

168 26. What is the dance you like to do most in music class? We don’t dance. 27. Have you ever done sign language with a song in music class? No 28. What is your favorite instrument to play in music class? Guitar Recorder Maracas

169 APPENDIX N

RESPONSES TO STUDENT QUESTIONNAIRE PHIL’S CLASS (District A)

(n=17)

170 RESPONSES TO STUDENT QUESTIONNAIRE PHIL’S CLASS (District A)

Response and Percentages Yes % No % Maybe % 1. I like making new friends. 15 88 0 0 2 12 2. I am shy and have a hard time 3 18 11 64 3 18 making new friends. 3. We have lunch at school. 17 100 0 0 0 0 4. Our school starts at 8:30 in the 0 0 17 100 0 0 morning. 5. I have African American (Black) 6 35 9 53 2 12 friends. 6. I have White friends. 17 100 0 0 0 0 7. I have Native American (Indian) 4 23.5 11 64 2 12 friends. 8. Some of my friends are Asian 8 47 8 47 1 6 American. 9. Some of my friends are Jewish. 6 35 3 18 8 47 10. Some of my friends are Hispanic. 4 23.5 9 53 4 23.5

11. What kind of things do you do in music class? Sing watch movies Listen to lectures about opera Read about opera Learn about famous composers 12. Do you like working in groups in music class? Why? Yes, it’s easier. Yes, it’s a better chance of getting things right. Yes, it gives you a chance to work with others. Yes, I like getting other opinions. 13. What is your favorite activity in music class? Why? Playing instruments Watching videos 14. What is your least favorite activity in music class? Why? Reading about opera Listening to lectures about opera Singing

171 15. What kind of music do you like? Rock ‘n Roll 16. Do you ever play, listen to, or sing any of this kind of music in music class? No 17. What is your least favorite music? Why? Country (the sound of it gets on my nerves... the way it is put together drives me nuts ... sounds like they are singing through their nose ... it’s too complicated... they sing about love) Opera (it gives me a headache ... it’s all foreign and I can’t understand the lyrics ... it’s boring) Rap (I don’t think it sounds good... there is violence in the songs ... it gets on my nerves) 18. Do you know any African songs? Can you name them? No 19. Do you know any Indian songs? Can you name them? No 20. Do you know any Asian songs. Can you name them? No 21. Do you know any Hispanic songs. Can you name them? No 22. Do you know any Jewish songs? Can you name them? Dreydel Hanukah 23. Do you know any European songs? Can you name them? Greensleeves Skyboats Kookaburra Rose to England 24. Do you know any American songs? Can you name them? Star Spangled Banner Yankee Doodle O’ Suzanna God Bless America I’ve Been Working on the Railroad 25. Do you ever sing songs in other languages in music class? Yes 26. What is the dance you like to do most in music class? We don’t dance 27. Have you ever done sign language with a song in music class? No 28. What is your favorite instrument to play in music class? Drum Guitar

172 APPENDIX O

RESPONSES TO STUDENT QUESTIONNAIRE RHONDA’S CLASS (District B)

(n=12)

173 RESPONSES TO STUDENT QUESTIONNAIRE - RHONDA’S CLASS (District B)

Response and Percentages Yes % No % Maybe % 1. I like making new friends. 11 92 0 0 1 8 2. I am shy and have a hard time 2 17 7 58 3 25 making new friends. 3. We have lunch at school. 12 100 0 0 0 0 4. Our school starts at 8:30 in the 0 0 12 100 0 0 morning. 5. I have African American (Black) 10 83 2 17 0 0 friends. 6. I have White friends. 12 100 0 0 0 0 7. I have Native American (Indian) 2 17 6 60 4 33 friends. 8. Some of my friends are Asian 2 17 6 50 4 33 American. 9. Some of my fiiends are Jewish. 12 100 0 0 0 0 10. Some of my friends are Hispanic. 1 8 6 50 5 42

11. What kind of things do you do in music class? Sing Play games Play instruments Leam about composers Dance 12. Do you like working in groups in music class? Why? Yes, I like interacting with people. Yes, it’s hard to make mistakes. Yes, learning is fun with your friends. 13. What is yotn favorite activity in music class? Why? Playing games Dancing Learning about guys like Mozart and Bach 14. What is your least favorite activity in music class? Why? Playing music bingo Singing in front of the class

174 î 5. What kind of music do you like? Rock ‘n Roll Rap Rhythm & Blues 16. Do you ever play, listen to, or sing any of this kind of music in music class? Yes, on M&M Day (party day) 17. What is your least favorite music? Why? Country Classical (it’s too slow and long) Rap (no point to it... can’t hear what they are saying) 18. Do you know any African songs? Can you name them? Follow the Drinkin’ Gourd 19. Do you know any Indian songs? Can you name them? Yes, can’t name them 20. Do you know any Asian songs. Can you name them? Yes, can’t name them 21. Do you know any Hispanic songs. Can you name them? La Cucaracha 22. Do you know any Jewish songs? Can you name them? Dreydel Hatikvah 23. Do you know any European songs? Can you name them? Scotland’s Burning Are Your Sleeping? 24. Do you know any American songs? Can you name them? National Anthem America, The Beautiful Yankee Doodle Old MacDonald Bullet with Butterfly Wings 25. Do you ever sing songs in other languages in music class? Yes 26. What is the dance you like to do most in music class? Tinklin Zudio 27. Have you ever done sign language with a song in music class? Yes 28. What is your favorite instrument to play in music class? Gong Bass xylophone

175 APPENDIX P

RESPONSES TO STUDENT QUESTIONNAIRE DONNA’S CLASS (District B)

(n=20)

176 RESPONSES TO STUDENT QUESTIONNAIRE DONNA’S CLASS (District B)

Response and Percentages Yes % No % Maybe % 1. I like making new friends. 18 90 0 0 2 10 2. I am shy and have a hard time 1 5 15 75 4 20 making new friends. 3. We have lunch at school. 9 45 4 20 7 38 4. Our school starts at 8:30 in the 1 5 19 95 0 0 morning. 5. I have African American (Black) 17 85 2 10 1 5 friends. 6. I have White friends. 20 100 0 0 0 0 7. I have Native American (Indian) 5 25 12 60 3 15 friends. 8. Some of my friends are Asian 10 50 7 35 3 15 American. 9. Some of my friends are Jewish. 20 100 0 0 0 0 10. Some of my friends are Hispanic. 17 85 3 15 0 0

11. What kind of things do you do in music class? Sing Play instruments Play games Dance 12. Do you like working in groups in music class? Why? Yes, I like working with friends. Someone will know the answer. It takes the pressure off you. 13. What is your favorite activity in music class? Why? Playing games Dancing Learning about composers 14. What is your least favorite activity in music class? Why? Singing in a high key Naming chords

177 15. What kind of music do you like? Rock Jazz Rhythm & Blues Rap Blues 16. Do you ever play, listen to, or sing any of this kind of music in music class? No 17. What is your least favorite music? Why? Country (it has a twangy sound ... it’s boring and annoying) Classical (no beat in it) Rap (doesn’t make sense) 18. Do you know any African songs? Can you name them? Swing Low, Sweet Chariot Sasa Akroma 19. Do you know any Indian songs? Can you name them? Powamapo 20. Do you know any Asian songs. Can you name them? No 21. Do you know any Hispanic songs. Can you name them? Ohio Candalecia Para Me Happy Birthday 22. Do you know any Jewish songs? Can you name them? Shalom Shalom Chaverim Viahata Top Shema Shibboleth bea de Hatika Dreydel Prayers 23. Do you know any European songs? Can you name them? Tomula, Tomula O’ Christmas Tree Christmas Carols 24. Do you know any American songs? Can you name them? Grand Old Flag Star Spangled Banner Yankee Doodle America, the Beautiful 25. Do you ever sing songs in other languages in music class? Yes

178 26. What is the dance you like to do most in music class? Turtle Shoes Electric Slide 27. Have you ever done sign language with a song in music class? No 28. What is your favorite instrument to play in music class? Autoharp Maracas

179 APPENDIX Q

RESPONSES TO STUDENT QUESTIONNAIRE CARL’S CLASS (District B)

(n=25)

180 RESPONSES TO STUDENT QUESTIONNAIRE - CARL’S CLASS (District B)

Response and Percentages Yes % No % Maybe % 1. I like making new friends. 23 92 0 0 2 8 2. I am shy ajid have a hard time 2 8 13 52 10 40 making new friends. 3. We have lunch at school. 14 56 0 0 11 44 4. Our school starts at 8:30 in the 1 4 23 92 1 4 morning. 5. I have African American (Black) 19 76 5 20 1 4 friends. 6. I have White friends. 25 100 0 0 0 0 7. I have Native American (Indian) 4 16 13 52 8 52 friends. 8. Some of my friends are Asian 5 20 13 52 7 28 American. 9. Some of my friends are Jewish. 25 100 0 0 0 0 10. Some of my friends are Hispanic. 5 20 8 32 12 48

11. What kind of things do you do in music class? Sing Play instruments Play games Leam notes 12. Do you like working in groups in music class? Why? Yes, I like being with my friends. Yes, it helps me understand better. Yes, I like sharing my ideas with others. 13. What is your favorite activity in music class? Why? Playing games Playing instruments 14. What is your least favorite activity in music class? Why? Singing solos Warming up

181 15. What kind of music do you like? Rock ‘n Roll Classical Jazz 16. Do you ever play, listen to, or sing any of this kind of music in music class? Yes, classical 17. What is your least favorite music? Why? Country (it’s boring and stupid ... they holler) Rap (it’s rough ... it’s not music, anyway) Opera (the ladies scream and you pay a lot) 18. Do you know any African songs? Can you name them? Follow the Drinkin Gourd Black and White Together Life Every Voice and Sing Swing Low, Sweet Chariot The Click Song from South Africa 19. Do you know any Indian songs? Can you name them? Go My Sun Dip, Dip, and Swing Arrow to the Sea 20. Do you know any Asian songs. Can you came them? Bamboo Flute Sakura, Sakura 21. Do you know any Hispanic songs. Can you name them? Dancing Jose La Cucaracha Cumpleyanos Feliz 22. Do you know any Jewish songs? Can you name them? Prayers Dreydel Haktivah 23. Do you know any European songs? Can you name them? Ode to Joy Happy Birthday Spanish Alphabet Song Are You Sleeping? 24. Do you know any American songs? Can you name them? America America, the Beautiful Star Spangled Banner O’ Suzanna Clementine Camptown Races

182 25. Do you ever sing songs in other languages in music class? Yes 26. What is the dance you like to do most in music class? We don’t dance. 27. Have you ever done sign language with a song in music class? Yes 28. What is your favorite instrument to play in music class? Drum Xylophone

183 APPENDIX R

RESPONSES TO STUDENT QUESTIONNAIRE LYDIA’S CLASS (District C)

(n=12)

184 RESPONSES TO STUDENT QUESTIONNAIRE LYDIA’S CLASS (District C)

Response and Percentages Yes % No % Maybe % 1. I like making new friends. 6 50 0 0 6 50 2. I am shy and have a hard time 0 0 4 33 8 67 making new friends. 3. We have limch at school. 12 100 0 0 0 0 4. Our school starts at 8:30 in the 1 8 11 92 0 0 morning. 5. I have African American (Black) 11 92 0 0 1 8 friends. 6. I have White fnends. 12 100 0 0 0 0 7. I have Native American (Indian) 6 50 1 8 5 42 friends. 8. Some of my friends are Asian 7 58 3 25 2 17 American. 9. Some of my friends are Jewish. 11 92 0 0 1 8 10. Some of my friends are Hispanic. 11 92 0 0 1 8

11. What kind of things do you do in music class? Sing Play games Sing songs from other countries

12. Do you like working in groups in music class? Why? Yes, it’s frm working with my friends. Yes, you can get help that way. They’re [teachers] aren’t always looking at you for an answer 13. What is your favorite activity in music class? Why? Playing games Watching videos Singing 14. What is your least favorite activity in music class? Why? Watching videos (they’re boring) Listening to jazz (don’t like it) Singing

185 15. What kind of music do you like? Rock ‘n Roll Jazz Heavy Metal Classical Rap 16. Do you ever play, listen to, or sing any of this kind of music in music class? Yes, the classical and jazz 17. What is your least favorite music? Why? Country Classical 18. Do you know any African songs? Can you name them? Juba Che Che Koolay the Old Freedom Train Follow the Drinkin Gourd Lift Every Voice and Sing 19. Do you know any Indian songs? Can you name them? Sundance Indian ritual songs 20. Do you know any Asian songs. Can you name them? No 21. Do you know any Hispanic songs. Can you name them? Dois & Dois El Barkito Checktin 22. Do you know any Jewish songs? Can you name them? Hanukkah Shalom, Ora 1 Shall not Fear Dreydel 23. Do you know any European songs? Can you name them? Kuliara The Big Tree Freres Jacques 24. Do you know any American songs? Can you name them? Star Spangled Batmer God Bless America Yankee Doodle 25. Do you ever sing songs in other languages in music class? Yes

186 26. What is the dance you like to do most in music class? We don’t dance. 27. Have you ever done sign language with a song in music class? Yes 28. What is your favorite instrument to play in music class? Drum Xylophone

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