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An Investigation of Fourth and Fifth Year Pre-Service Music Teachers’ Preferences For, Familiarity With, and Willingness to Teach Six Ethnic Music Styles in Taiwan

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An Investigation of Fourth and Fifth Year Pre-Service Music Teachers’ Preferences For, Familiarity With, and Willingness to Teach Six Ethnic Music Styles in Taiwan AN INVESTIGATION OF FOURTH AND FIFTH YEAR PRE-SERVICE MUSIC TEACHERS’ PREFERENCES FOR, FAMILIARITY WITH, AND WILLINGNESS TO TEACH SIX ETHNIC MUSIC STYLES IN TAIWAN DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Chia-Chieh Wu, M.M. Graduate Program in Music The Ohio State University 2017 Dissertation Committee: Jan H. Edwards, Advisor Daryl W. Kinney Julia T. Shaw Timothy J. San Pedro Copyrighted by Chia-Chieh Wu 2017 Abstract The purpose of this study was to examine Taiwanese fourth-year and fifth-year pre-service music teachers’ preferences for, familiarity with, and willingness to teach six ethnic music styles (i.e., Chinese, Hokkien, Hakka, Taiwanese Aboriginal, Vietnamese, and Indonesian) to the largest student cultural groups in Taiwan. Participants (N = 126) listened to 18 excerpts and rated their preferences for, familiarity with, and willingness to teach the ethnic music examples on seven-point Likert-type scales. As a validity check, the pre-service music teachers were required to identify the ethnic language in which each music example was performed. However, their abilities to identify the languages were not strongly correlated with their preferences for, familiarity with, and willingness to teach the music examples. Findings indicated that the pre-service music teachers’ preference and familiarity ratings were positively correlated to their willingness to teach the six ethnic music styles. Additionally, the participants’ enrollment year, and the interaction between the year of enrollment and certificate level significantly affected the participants’ familiarity with the ethnic music styles. Furthermore, music training was a significant variable that affected the participants’ willingness to teach the Hokkien ethnic music style. Three open-ended ii questions regarding what the participants liked and disliked about the selected music and what would influence their willingness to teach the music examples were addressed to the pre-service music teachers. Participants’ most common responses for these open-ended questions focused on music style, timbre, and language, respectively. iii Dedication To my parents and my family iv Acknowledgments I am deeply indebted to my adviser, Dr. Jan Edwards, for her continued patience, assistance, encouragement, and guidance throughout this study. I would like to express my gratitude to the committee members, Dr. Daryl Kinney, Dr. Julia Shaw, and Dr. Timothy San Pedro for their valuable insights and suggestions about the development of this dissertation. I would like to thank the university faculty for their assistance in allowing me to conduct my study in their schools. I would also like to thank all the pre-service music teachers who contributed to this research. This study would not have been completed without their participation. My family and friends have given me tremendous support and encouragement. My beloved parents, Yu-Hsin and Yu-Ting, have always been supportive of my goals and dreams with their unconditional love and believed I could make it throughout the period. I would like to thank my husband, Hung-Yuan, for his constant inspiration, patience, and devotion. Special thanks go to my three-month daughter, Claire Wu, for accompanying me when I wrote my dissertation and giving me great strength in my life. Finally, I would like to thank my dear friends in Ohio for their countless care and help. v Vita 2005 ............................................................ B.A. English Teaching, National Dong Hwa University, Taiwan (Formerly National Hualien Teachers’ College) 2008-2012………………………………….. Music Teacher, Nantun Elementary School, Taichung, Taiwan 2011 ............................................................ M.M. Music Education, National Taichung University of Education, Taiwan 2013 ............................................................ Graduate Teaching Associate, The Ohio State University, Columbus, Ohio Publications Wu, C. C. & Edwards, J. (2016). Implications of the evaluation of the arts IMPACT program in Columbus, Ohio. In T.S. Brophy, J. Marlatt, & G. K. Ritcher (Eds.), Connecting practice, measurement, and evaluation: Selected papers from the 5th International Symposium on Assessment in Music Education, (pp. 155-162). Chicago, IL: GIA. vi Wu, C. C. & Chuang, M. J. (2012). An investigation of the feasibility of developing music teacher certification in Taiwan. In T.S. Brophy (Eds.), Music Assessment across Cultures and Continents-The Culture of Shared Practice: Selected papers from the 3rd International Symposium on Assessment in Music Education, (pp. 201-214). Chicago, IL: GIA. Fields of Study Major Field: Music vii Table of Contents Abstract……………………………………………………………………………………ii Dedication……………………………………………………………………………….. iv Acknowledgments………………………………………………………………………... v Vita………………………………………………………………………………………..vi List of Tables……………………………………………………………………………. xii List of Figures…………………………………………………………………...……... xiv Chapter 1: Introduction…………………………………………………………………...1 Background……………………………………………………………………………..5 Need for the Study……………………………………………………………………...6 Purpose of the Study…………………………………………………………………. 10 Definitions of Terms………………………………………………………………….. 11 Delimitations of the Study…………………………………………………………… 13 Chapter 2: Review of Literature……………………………………………………….. 15 Philosophical Perspectives of Multicultural Music Education………...……………...17 Rationales for Multicultural Music Education………...…………………………...… 21 Philosophical Foundation: Culturally Responsive Pedagogy…………………………25 Definition……………………………………………………………………………25 viii Culturally Responsive Curriculum and Teaching………………………………….. 26 Music Preference……………………………………………………………………... 31 Historical Account of Studies in Music Preference…………………………………31 Familiarity………………………………………………………………………….. 34 Music Training…...………………………………………………………………… 37 Language and Children’s Responses to Music…………………………………….. 40 Teacher Attitudes…………….………………………………………………………..43 Summary………………………………………………………………………………48 Chapter 3: Research Method and Design……………………………………………….. 51 Purpose of the Study…………………………………………………………………. 51 Participants…………………………………………………………………………… 52 Instrumentation………………………………………………………………………. 54 Music Preference Rating (MPR)…………………………………………………….56 Music Teacher’s Willingness to Teach Rating (MTWR)…………………………...56 Ethnic Language Identification (ELI)……………………………………………….57 Music Selection…………………………………………………………………….. 57 Pilot Study………………………………………………………………………….. 59 Procedure……………………………………………………………………………... 64 Main Study…………………………………………………………………………. 64 Chapter 4: Results……………………………………………………………………….. 67 Descriptive Statistics for Participants’ Demographic Data…………………………... 68 Research Question 1………………………………………………………………….. 70 ix Research Question 2…………………………………………………………………..73 Research Question 3…………………………………….…………………………….76 Research Question 4…………………………………………………………………..80 Research Question 5…………………………………………………………………..82 Research Question 6…………………………………………………………………...84 MANOVA for Preference, Familiarity and Willingness Ratings by Year, Music Training, and Music Certificate Level …………….………………………………..85 MANOVA for Preference by Year, Music Training, and Music Certificate Level..85 MANOVA for Familiarity by Year, Music Training, and Music Certificate Level.89 MANOVA for Willingness by Year, Music Training, and Music Certificate Leve.95 MANOVA for Preference, Familiarity, and Willingness Ratings by Internship…..100 Open-ended Questions……………………………………………………………… 104 Chapter 5: Discussion…………………..…………………………………………….. 118 Summary of Findings……………………………………………………………….. 119 Participants’ Preference Responses..……………………………………………... 119 Participants’ Familiarity Responses...…………………………………………….. 120 Participants’ Willingness Responses…………………………………………….. 122 Language Identification………………………………………………………….. 125 Implications………………………………………………………………………… 127 Recommendations for Future Research……………………………………………...129 Conclusions..…………………………………………………………………………131 References………………………………………………………………………………133 x Appendix A: Fourth-Year Music Listening Questionnaire English and Chinese Version …..…………………………………………………………………………..143 Appendix B: Fifth-Year Music Listening Questionnaire English and Chinese Version. 158 Appendix C: Letter to Solicit Instructor’s Permission English and Chinese Version…. 173 Appendix D: Consent Form English and Chinese Version…………………………… 176 Appendix E: Verbal Recruit Script English and Chinese Version…………………….. 181 xi List of Tables Table 1. Questionnaire Content…………………………………………………………. 59 Table 2. List of Music Excerpts on the Music Listening Survey…………...……………62 Table 3. Item and Reliability Analysis of the Music Excerpts Selection………………. 63 Table 4. Descriptive Analysis of Participants’ Gender…………………………………. 68 Table 5. Descriptive Analysis of the to be Gained Certificate Level…………………... 69 Table 6. Descriptive Analysis of Participants’ Music Training…………………………. 70 Table 7. Descriptive Statistics for Preference by Ethnic Music Style…...……………... 72 Table 8. Descriptive Statistics for Preference Ratings for the Six Ethnic Music Styles... 73 Table 9. Descriptive Statistics for Familiarity by Ethnic Music Style…...………..……. 75 Table 10. Descriptive Statistics for Familiarity Ratings for the Six Ethnic Music Styles.76 Table 11. Descriptive Statistics for Willingness to Teach the Six Ethnic Music Styles.. 78 Table 12. Descriptive Statistics for Willingness to Teach Ratings for the Six Ethnic Music Styles…………………………………………………………………..
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