'Unlocking Reflexivity: Is Identifying

Total Page:16

File Type:pdf, Size:1020Kb

'Unlocking Reflexivity: Is Identifying ‘Unlocking Reflexivity: Is identifying individuals’ worldviews a key for non-specialist teachers of RE?’ Submitted by Ruth Elizabeth Flanagan to the University of Exeter as a thesis for the degree of Master of Philosophy in Theology, July 2018. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (Signature) 1 2 Abstract Teachers’ worldviews may impact their practice in terms of pedagogy, curriculum choices, and the value they assign to, and their enthusiasm for, a curriculum subject. Religious Education (RE), in England, involves the teaching of religious and non-religious worldviews. RE teachers often lack training, subject knowledge, confidence or even desire to teach the subject. Teachers may teach aspects of religion(s) and non-religious worldviews which adhere to their own worldviews but ignore aspects of religion(s) and non-religious worldviews with which they disagree. The claim in this thesis is that better understanding of their own worldviews might help teachers guard against these conscious or unconscious omissions of religion(s) and non-religious worldviews and the reinforcement of unexamined biases. To this end, I have developed a working definition of ‘worldview’ as an individual’s frame of reference, held consciously and subconsciously, that evolves due to life experiences that enables them to make sense of the world. I have designed hermeneutical tools for teachers to read themselves, to identify aspects of their worldviews and the narratives which have formed these. These tools have application to the self-examining of life stories, and have been tested, through semi-structured interviews with 10 Primary school teachers in the South West. The findings revealed variations between teachers’ worldview- consciousness and the impact of their worldviews on their teaching of RE: notions of ‘good life’ varied and determined their teaching of, choices within and rationale for RE alongside growing confidence. Depth of understanding was facilitated for some by overseas travel, working and living overseas or in a multicultural area. Greater self-understanding unlocked reflexivity for teachers with acknowledgement of the impact of their own worldviews on their teaching of RE. (275 words) 3 Table of Contents Abstract ......................................................................................................................................... 3 Table of Illustrations .................................................................................................................... 10 Abbreviations .............................................................................................................................. 11 Acknowledgments ....................................................................................................................... 11 Chapter 1: Worldviews and RE .................................................................................................... 12 1.1.The origins of the research ............................................................................................... 12 1.2. Why choose Religious Education as a focus for this research? ....................................... 13 1.3. Problems identified .......................................................................................................... 14 1.3.a. Not ‘realising the potential’....................................................................................... 14 1.3.b. Negative attitudes towards RE .................................................................................. 15 1.3.c. A sense of ‘norm’ and ‘other’ .................................................................................... 15 1.3.d. A lack of confidence in teaching RE .......................................................................... 16 1.4. The possible causes .......................................................................................................... 16 1.4.a. The History of RE ....................................................................................................... 16 1.4.b. The growth of a pluralistic society ............................................................................ 18 1.4.c. A lack of specialist teachers of RE ............................................................................. 18 1.5. A possible solution ........................................................................................................... 19 1.5.a. Assistance from the Interpretive Approach .............................................................. 19 1.6. Aims .................................................................................................................................. 20 1.7. Research Questions .......................................................................................................... 21 Method ........................................................................................................................................ 23 Aims ............................................................................................................................................. 23 1.8. Definition of terms: .......................................................................................................... 24 1.8.a. Reflexivity .................................................................................................................. 24 1.8.b. Worldviews................................................................................................................ 26 1.8.c. Life narrative .............................................................................................................. 28 1.9. Research Context ............................................................................................................. 30 4 1.10 Why is a definition, identification and understanding of worldviews important in education? ............................................................................................................................... 32 1.10.a. Worldview identification may aid self-understanding. ........................................... 33 1.10.b. Identifying worldviews may counter bias. .............................................................. 33 1.10.c. Challenging the notion of neutrality or the myth of the “norm” ............................ 34 1.10.d. Enhancing knowledge and critical thinking ............................................................. 36 1.10.e. Stemming the growth of ‘religious illiteracy’ .......................................................... 38 1.10.f. Enriching global citizenship ...................................................................................... 39 1.11. How can individuals identify their own worldviews and the narrative forming it? ....... 40 1.11.a. The challenges in identifying worldviews ............................................................... 40 1.11.b CPD as a tool to begin the reflexive process ............................................................ 41 1.11.c. Competing or complementary roles? ...................................................................... 42 1.12. Structure ......................................................................................................................... 43 1.13. Parameters of the study ................................................................................................. 45 1.14. Research methods .......................................................................................................... 45 1.15. Anticipated research outcomes: .................................................................................... 46 1.16. Conclusion and contribution .......................................................................................... 47 Chapter 2: Literature Review ...................................................................................................... 49 2.1 Introduction....................................................................................................................... 49 2.2. Does teachers’ ‘knowledge’ impact teaching?................................................................. 51 2.3. The relationship between knowledge and experience .................................................... 55 2.4. How does Tacit Knowledge relate to Reflexivity? ............................................................ 57 2.5. Differentiating between Teachers’ Knowledge and Teachers’ Beliefs............................. 59 2.6. Defining Teachers’ Beliefs ................................................................................................ 60 2.7. The impact of teachers’ worldviews on what? ................................................................ 63 2.7. a. The impact of teachers’ beliefs ................................................................................ 63 2.7.b. Teachers’ beliefs guiding actions .............................................................................. 63 2.7.c. Teachers’ beliefs and pupil achievement .................................................................. 64 2.7.d. Teachers’ beliefs producing potentially dismissive attitudes
Recommended publications
  • Playing Panpipes in Southern Russia: History, Ethnography, and Performance Practices
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely aflfect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zed) Road, Ann Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS The original manuscript received by UMI contains pages witFi slanted print. Pages were microfilmed as received. This reproduction is the best copy available UMI PLAYING PANPIPES IN SOUTHERN RUSSIA: HISTORY, ETHNOGRAPHY, AND PERFORMANCE PRACTICES VOL.
    [Show full text]
  • Medium of Performance Thesaurus for Music
    A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
    [Show full text]
  • The Accordion in the 19Th Century, Which We Are Now Presenting, Gorka Hermosa Focuses on 19Th C
    ISBN 978-84-940481-7-3. Legal deposit: SA-104-2013. Cover design: Ane Hermosa. Photograph on cover by Lituanian “Man_kukuku”, bought at www.shutterstock.com. Translation: Javier Matías, with the collaboration of Jason Ferguson. 3 INDEX FOREWORD: by the Dr. Pr. Helmut Jacobs................................................................ 5 INTRODUCTION......................................................................................................... 7 CHAPTER I: Predecessors of the accordion.............................................................. 9 I.1- Appearance of the free reed instruments in Southeast Asia.................... 10 I.2- History of the keyboard aerophone instruments: The organ................... 13 I.3- First references to the free reed in Europe.............................................. 15 I.4- The European free reed: Christian Gottlieb Kratzenstein....................... 17 I.5- The modern free reed instrument family................................................ 18 CHAPTER II: Organologic history of the accordion............................................... 21 II.1- Invention of the accordion..................................................................... 21 II.1.1- Demian’s accordion..................................................................... 21 II.1.2- Comments on the invention of the accordion. ............................ 22 II.2- Organologic evolution of the accordion................................................ 24 II.3- Accordion Manufacturers.....................................................................
    [Show full text]
  • Russian Folk Instruments
    Russian Folk Instruments Balalaika Балалайка The balalaika is a wooden, three-stringed instrument of Russian origin, with a characteristic triangular body. The balalaika is played by strumming and plucking with the fingers of the right hand. An important part of balalaika technique is the use of the left thumb to fret notes on the bottom string, where it is often used to form chords. There are many theories about the origins of balalaika and how it developed into it’s triangular shape. In any case, the first written record was in 1688. The balalaika was supposed to be invented by peasant serfs to relieve their hard living under cruel landlords. Gradually the instrument spread among peasants and skomorokhi (wandering minstrels and jesters) who traveled all around the vast expanses of Russia. Skomorokhi performed at fairs, using their ballads to poke fun at church and state. Tsar Alexei Mikhailovich issued an order to burn all balalaikas, domras, horns and guslis, or punish those who would not yield. Although the repressions ended with the Tzar’s death, balalaikas did not achieve their former popularity until the mid 19th century, with Vassily Andreyev, a violinist, composer and arranger. One day as Vassily Andreyev, a young nobleman, was walking in his estate he heard his house-serf playing the balalaika. He was astonished at the unusual sounds of the instrument as he considered himself a connoisseur of Russian folk instruments. He began to learn how to play it and realized how much potential the instrument held. He set to work perfecting and standardizing the balalaika and even went to St.
    [Show full text]
  • Instrument Resources Balalaika
    SLIDE NAVIGATION 1 2 3 4 5 6 Next As you watch the video, what genres of American music can you name? Are there instruments that stand out for certain genres? Write your answers on a sticky note. Be prepared to share! You will identify key elements within genres (sacred, folk, military, estrada and bard) of Russian music in order to identify and evaluate the characteristics of the musical style. Video Source: https://www.youtube.com/watch?v=dMH0bHeiRNg When listening to Russian music, what are the musical elements of the genres sacred, folk, military, estrada and bard? Which musical instruments help to create the unique sounds of each genre? SLIDE NAVIGATION 1 2 3 4 5 6 Next The music of Russia represents the diversity of the Music Genres culture that has been influenced by the Sacred neighboring regions people and music. Russian Folk music is a unique compilation representative of the surrounding people of the region. The music Military reflects a diversity of sacred, folk, military, estrada Estrada and bard with an overlying idea of NATIONALISM. Bard Use the resources provided to the right to complete the activity on slide 3 Russian Instruments Balalaika Domra Don’t forget to observe the elements of the genres Garmon Rubel as well as the instruments that create the sound! Gudok Zhaleika Lozhki Volynka SLIDE NAVIGATION 1 2 3 4 5 6 Next Use the information sources on Slide 2 to identify the characteristics of Russian music. 1. View the resources on slide 2. 2. Describe the musical elements present within each genre of Russian music: rhythm, dynamics, melody, harmony, tone color, texture, and form.
    [Show full text]
  • U. S. Inspeaor SAYS SHIP WAS SEAWORTHY
    .. V , KBT PRESS RUN THE WEATHER AVERAGE DAILY CIRCULATION Forecast hr 0. S. Weather Bareani for the month of October, 1028 Kew BarcB . S tate C o v » Slembex of5,205 the Audit Burean ot M. ' Clondy today; fair ^ d colder to> _________ ' ClrcnlatloBB___________ - t r morrow. */ VOL. XLm., NO. 31. (TWELVE PAGES) MANCHESTER, CONN., TUESDAY, NOVEMBER 20, 1928. (P. O. So. Manchester, Conn.) PRICE THREE CEN'iHi KLAN GIVEN BRITAIN m As Hoover Sailed on Good-Will Tour DEATHBLOW ♦ * ' 1 SS N ,.S S U. S. INSPEaOR SAYS REDUCE D E T S'* ^ V s s w ^ ^ BY DECISION FORffliHANS 5 x - f SHIP WAS SEAWORTHY U. S. Supreme Court Says May Do So to Strongmen SSSS.S ^s. Says 68 Life Belts on Vestris Order Must Name Mem­ Their Ties With A rn ica ; AS S< ^ Not Guilty” Verdict Were Rotten So He Threw bers, Reveal Oath and Conference Early Next p i p t ' ' For Stewart Expected Them Out; Lifeboats, and Report Finances. Month. Washington, Nov. 20— The per-<*>nings Bailey, presiding, indicated Everything Else Were in ■Washington, Nov. 20.— The jury trial of Col. Robert W. Stew­ he would instruct the jury it was up to them to determine whether a Knights of the Ku Klux Klan to­ Paris, Nov. 2().— Underneath an art, Standard Oil magnate, proba­ apparently calm surface a keen majority of the total membership of Best of Condition, Wit­ day faced the prospect of waging bly will come to an end today, and the committee was physically pres­ diplomatic struggle Is in progress some bitter political battles for its that end probably will be a verdict ent when the' alleged perjury oc­ today over the extent of ground ness Testifies at Prohe.
    [Show full text]
  • Russian Folk Traditions in Contemporary
    RUSSIAN FOLK TRADITIONS IN CONTEMPORARY MUSICAL LITERATURE FOR WINDS: ANALYSIS AND COMPOSITION IN THE MUSICAL LANGUAGES OF RUSSIAN VOCAL FOLK POLYPHONY (AS DESCRIBED BY ALEKSANDR KASTALSKIY), RUSSIAN VILLAGE ACCORDION REPERTOIRE AND SOVIET TOURIST/TRAVELLER BARD SONGS EUGENE BELIANSKI A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO APRIL, 2015 © EUGENE BELIANSKI, 2015 Abstract This dissertation performs analyses of and compositions in three musical traditions that have received little attention in the English-speaking literature: Russian vocal folk polyphony (as described by theorist Aleksandr Kastalskiy in the 1920s), Russian village accordion repertoire and Soviet tourist/traveller bard songs. Each musical tradition is taken through five steps. First, a historical overview of the development of each tradition is provided. Second, a sizeable number of representative pieces or examples from each tradition are analyzed with the use of special methodologies tailor-made to show the most prominent apparent organizational principles in the music (including modes and chord progressions, melodic contour, musical form, poetic form and meter). Third, these analyses, performed upon dozens or hundreds of examples, are compared in order to discover the most typical traits of each musical language or dialect. Fourth, a composition is written in each musical tradition explicitly using these most typical traits: Three Swans (Russian vocal folk polyphony), Torontovka (Russian village accordion repertoire) and Song To Our Children (Soviet tourist/traveller bard song). Fifth, the aforementioned three compositions are arranged and expanded to varying degrees in order to allow them to be performed by contemporary Western small chamber wind groups – the brass quintet and the woodwind ensemble – in pedagogical and other contexts.
    [Show full text]
  • SENATE 11057 Estimated 1962 Generating Capacity
    1957 CONGRESSIONAL RECORD - SENATE 11057 estimated 1962 generating capacity. It does, ness trails, to view the world from a high Yet the questions to be answered become however, provide a crystal-clear reflection of mountain top. more and more knotty. what the future will bring. Such experiences help set the spirit free. Should we build a dam across a canyon The cost of hydroelectric power and con­ The attainment of spiritual ends, how­ and create a great artificial lake for flood ventional steam power are continuing to go ever, often requires practical means. To as­ control, water supply, irrigation, power, nav­ up-and that of atomic power is coming sure the continuance of such opportunities igation, and fish and wildlife recreation, down. Although Shippingport electricity we must act-now. thereby perhaps impairing the natural beau­ may initially cost 52 mills or more per kilo­ On our great scenic, wilderness, and his­ ties of the canyon? watt-hour, the Atomic Energy Commission toric areas, on our fish and wildlife re­ Shall we provide for the permanent :flow of estimates that by 1964 nuclear power costs sources, our immense national growth and water in the streams to preserve the fish will be down to 10 to 13 mills; by 1967 down way of life are having an unbelievable im­ and wildlife, at the possible expense of re­ to 9 to 11 mills; and by 1980 down to 6 to 7 pact. ducing water storage? mills. This generating cost is therefore ex­ This state of affairs is not going to cure Should water once impounded be released pected gradually to- compare favorably with itself.
    [Show full text]
  • A Home for 121 Nationalities Or Less
    A Home for 121 Nationalities or Less: Nationalism, Ethnicity, and Integration in Post-Soviet Estonia DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Elo-Hanna Seljamaa Graduate Program in Comparative Studies The Ohio State University 2012 Dissertation Committee: Dorothy P. Noyes, Advisor Nicholas Breyfogle Ray Cashman Richard Herrmann Margaret Mills Copyright by Elo-Hanna Seljamaa 2012 Abstract When Estonia declared itself independent from the USSR in August 1991, it did so as the legal successor of the Republic of Estonia established in 1918, claiming to be returning to the Western world after a nearly five-decade rupture caused by illegal Soviet rule. Together with international recognition, this principle of legal continuity provided the new-old state with a starting point for vigorous, interlocking citizenship and property reforms that excluded Soviet-era settlers from the emerging body of citizens and naturalized Estonia’s dramatic transition to capitalism. As a precondition for membership in the European Union and NATO, Estonia launched in the late 1990s a national integration policy aimed at teaching mostly Russian-speaking Soviet-era settlers the Estonian language and reducing the number of people with undetermined citizenship. Twenty years into independence, Estonia is integrated into international organizations and takes pride in strong fiscal discipline, while income gaps continue to grow and nearly 7 per cent of the 1.36 million permanent residents are stateless; equally many have opted for Russian citizenship. Blending nationalist arguments with neoliberal ones, coalition parties are adamant about retaining the restorationist citizenship policy.
    [Show full text]
  • Winter 2011 Magazine
    Winter 2011-2012 RECLAMATIONManaging Water in the West Plains Talk NEWS FROM THE GREAT PLAINS REGION RECLAMATION ISSUES CLIMATE REPORT: “WE LIVE OR DIE BY OUR ABILITY TO LOOK INTO THE FUTURE” AT WORK, AT HOME: NO ESCAPE FROM FLOODING FOR MANY EMPLOYEES WATER YEAR 2011: GP HOLDS THE LINE Background photo: Pathfinder Dam, managed by Reclamation’s Wyoming Area Office. Plains Talk Issue 02-2011: PUBLISHER Tyler Johnson contents EDITOR-IN-CHIEF Buck Feist 2 What Do You Do? A day in the life of Randall Ehlis, Dam Tender at the Dakotas Area Office. ASSISTANT EDITOR Sterling Rech 3 OTAO Student Serves State GRAPHICS Nick Garmon, OTAO SCEP Engineer, serves in Det. 1, C Co. 2-149 General Support Aviation Jerry Leggate Battalion. Nick is a UH-60 Blackhawk helicopter pilot for a MEDEVAC unit operating from Tobias Taylor Muldrow Army Heliport in Lexington, Okla. NEWSPAPER TEAM 4 GP Holds the Line Paula Holwegner, Montana Patience Hurley, Dakotas Water Year 2011 was a historic and challenging year for Reclamation’s Great Plains Region. Jay Dallman, Wyoming Kara Lamb, Colorado Kimberley Parish, Oklahoma & Texas 8 Getting Their Hands Dirty Terri Salter, Nebraska & Kansas “I definitely got my hands dirty,” said Miguel Hernandez, Civil Engineering student at Metropolitan State College in Denver. Plains Talk is an employee 10 Epic Snow publication devoted to the in- terests of Reclamation’s Great Eastern Colorado Area Office highlights partnerships during historic runoff year. Plains Region. Plains Talk is published from 14 Wyoming Tours Highlight Mission the Great Plains Office of Pub- lic Affairs. To be added to the On June 14, a group of 39 members of the Nebraska Association of Resource Districts visited Plains Talk mailing list, submit WYAO and toured Reclamation facilities both upstream and downstream of Casper, Wyo.
    [Show full text]
  • Hands-On Russian Culture Lessons
    Creative Education, 2015, 6, 283-294 Published Online March 2015 in SciRes. http://www.scirp.org/journal/ce http://dx.doi.org/10.4236/ce.2015.63027 Hands-On Russian Culture Lessons Ksenia S. Zhbanova1, Audrey C. Rule2,3, Michelle L. Tichy4 1Gifted Education and Enrichment, CAM Community School District, Anita, USA 2Department of Curriculum and Instruction, 618 Schindler Education Center, University of Northern Iowa, Cedar Falls, USA 3Center for Educational Transformation, University of Northern Iowa, Cedar Falls, USA 4Department of Educational Psychology and Foundations, 607 Schindler Education Center, University of Northern Iowa, Cedar Falls, USA Email: [email protected], [email protected], [email protected] Received 14 February 2015; accepted 2 March 2015; published 5 March 2015 Copyright © 2015 by authors and Scientific Research Publishing Inc. This work is licensed under the Creative Commons Attribution International License (CC BY). http://creativecommons.org/licenses/by/4.0/ Abstract The global diverse society necessitates that teachers develop cultural competency and use au- thentic resources for teaching. This article presents classroom-tested materials for teaching ele- mentary students about aspects of Russian culture, developed by a native Russian and two educa- tion professors. Multiage, multi-racial American Midwestern students from a homeschooling co- operative learned vocabulary and concepts with statistically significant increases from pretest to posttest and a large effect size. The lessons began with recognition
    [Show full text]
  • History of the Accordion
    History of the Accordion Accordion - A Free Vibrating Reed Instrument Introduction The accordion has a long and colorful history – both through its evolution and its multi-cultural contributions to folk culture around the world. The accordion is classified as a reed instrument – Free Vibrating Reed to be specific and further falls into the category - chromatic. The music is created by a flow of air that is either “inhaled” or “exhaled” across a metal tongue (reed) that resonates a tone based on its length. The first incarnation of a free reed instrument was a collection of bamboo reeds, that all “sang” in concert called the Cheng and can be dated to the first Chinese dynasty. The cheng was either brought to Central Europe by Marco Polo in the thirteenth century or else it found its way there with the Tartars via Russia during the migrations of the peoples. 1619 - In Europe the first reed sounding device is known from 1619, (Michael Preatorius, Syntagma Musicum II, De Organographia) But the invention, perhaps inspired by a cheng, was forgotten. 1636 – Marin MersÀnne describes in his letters the cheng, an Asian free-reed wind instrument, thus introducing the principle of the free-reed to Europe. 1740 - The cheng itself was introduced by Johann Wilde in the 1740's into the Russian Court Society of St. Petersburg. 1770 - The physicist, Christian Gottlieb Kratzenstein from Copenhagen, often heard Johann Wilde play the cheng in Petersburg and became fascinated with the sound of the instrument. Kratzenstein examined the sheng and invented an instrument which produced five vowel sounds by the principle of the free-reed.
    [Show full text]