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Ethnomusicology in the Classroom: a Study of the Music Education Curriculum and Its Inclusion of World Music

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Ethnomusicology in the Classroom: a Study of the Music Education Curriculum and Its Inclusion of World Music ETHNOMUSICOLOGY IN THE CLASSROOM: A STUDY OF THE MUSIC EDUCATION CURRICULUM AND ITS INCLUSION OF WORLD MUSIC A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Elizabeth R. Recob December 2019 Thesis written by Elizabeth R. Recob B. A., Kent State University, 2013 M.A. Kent State University, 2019 Approved by ___________________________________ Jennifer Johnstone, Ph.D., Advisor ___________________________________ Kent McWilliams, Ph.D., Director, School of Music ___________________________________ John R. Crawford-Spinelli, Ed.D., Dean, College of the Arts ii TABLE OF CONTENTS Page LIST OF FIGURES LIST OF TABLES ACKNOWLEDGEMENTS CHAPTER I. INTRODUCTION…………………………………………………………………………...….1 Opening and Background……………………………………………………………..…..2 Survey of Literature…………………………………………………………………….....4 Purpose of Study……………………………………………………………………..…..12 Methodology………………………………………………………………………….….13 II. WORLD MUSIC IN THE COLLEGE CURRICULUM………………………………….….15 Music as a World Phenomenon offered as a Kent Core Class………………………..…16 The Music as a World Phenomenon Class…………………………………………..…..21 Students’ Perceptions of Music as a World Phenomenon…………………………….…33 III. THE COLLEGE CURRICULUM FOR MUSIC EDUCATION AT KENT STATE UNIVERSITY………………………………………………………………………………...….37 Kent State University Admission Requirements……………………………………..….38 Non-Music Requirements………………………………………………………………..39 Education Requirements…………………………………………………………………42 Music Requirements………………………………………………………………….….43 Conclusion and Summary of the Music Education Curricula………………………...…46 IV. MUSIC EDUCATORS’ LESSON PLANNING……………………………………….……51 National Standards…………………………………………………………………...…..51 Creating…………………………………………………………………………..52 Performing……………………………………………………………………….53 Responding…………………………………………………………...………….55 Ohio Standards……………………………………………………………………..…….56 Current Lesson Plan Topics of Music Educators…………………………………...……59 The College Music Society Manifesto……………………………………………..…….61 Conclusion……………………………………………………………………………….63 V. THE EDUCATION OF THE MUSIC EDUCATOR………………………….……………..67 What Do Teachers Know about World Music?.................................................................67 How are Teachers Teaching World Music?.......................................................................82 What Do Teachers Want to Learn about World Music?....................................................85 Conclusion…………………………………………………………………………….…86 BIBLIOGRAPHY……………………………………………..…………………………………90 iii LIST OF FIGURES Figure Page 1. Dr. Priwan Nanongkham’s Music as a World Phenomenon class using Western instruments to play non-Western music…………………………………………………………………..……3 2. World Music: A Global Journey, by Terry E. Miller and Andrew Shahriari, Fourth Edition...23 3. “An Inside Look” from World Music: A Global Journey by Terry E. Miller and Andrew Shahriari, Fourth Edition, p. 128……………………………………………………………..….24 4. “Questions to Consider,” in World Music: A Global Journey by Terry E. Miller and Andrew Shahriari, Fourth Edition, p. 53…………………………………………………………...……..25 5. “Listening Guide,” in World Music: A Global Journey by Terry E. Miller and Andrew Shahriari, Fourth Edition, p. 287……………………………………………….………………..25 6. Ke Li, a visiting scholar from China, demonstrating how to play the guqin, an instrument from China, to KSU students…………………………………………………………………….27 7. Joe Culley, a local from Kent, Ohio, playing the table, an instrument from India, for KSU students……………………………………………………………………………………..……27 8. Nattapol Wisuttipat, Chamni Sripraram, and Priwan Nanongkham playing in a Piphat ensemble, music from Thailand, at a wai khru ritual at UCLA. The players in this ensemble are from Kent State University, UCLA, and Chicago…………………………………….……..28 9. Brian McCoy, demonstrating a hurdy gurdy, an instrument from Hungary, at a workshop at KSU Stark Campus……………………………………………………...……………………….28 10. Yuan Ni playing the erhu, a Chinese fiddle, at a KSU Asian Music Concert………….……29 11. Nattapol Wisuttipat playing the ranat ek, an instrument from Thailand, for the author’s Music as a World Phenomenon class…………………………………………………………….31 12. Soundscapes: Exploring Music in a Changing World, by Kay Kaufman Shelemay, Third Edition……………………………………………………………………………………………32 13. The Table of Contents in Soundscapes: Exploring Music in a Changing World, by Kay Kaufman Shelemay, Third Edition………………………………………………………………33 14. Graduation Requirements for Kent State University’s Music Education- B.M………..……39 15. University Requirements for Kent State University Music Education-B.M…………….…..41 iv 16. Additional Requirements for Kent State University Music Education-B.M…..……….……43 17. Major Requirements Kent State University Music Education-B.M…………………………45 18. The National Association for Music Education Standards……………………………..……52 19. Survey from students who are currently taking Music as a World Phenomenon at KSU…...68 20. Survey from students who were previously in Music as a World Phenomenon at KSU. The survey was conducted with 5 participants…………………………………………………….…69 21. Survey from students who were previously in Music as a World Phenomenon at KSU….....70 22. Survey from current students in Music as a World Phenomenon at KSU………………...…70 23. Survey results from current Music as a World Phenomenon students at KSU…...…………76 24. Survey results from previous students in Music as a World Phenomenon at KSU…….……77 25. Survey results from current Music as a World Phenomenon students at KSU………...……79 26. Survey results from previous Music as a World Phenomenon students at KSU………….…80 27. Survey result from the College Music Society national meeting, November 5, 2015. Participants in the survey, used with permission from Jennifer Johnstone………………..…….83 28. Survey result from the College Music Society national meeting, November 5, 2015. Participants in the survey, used with permission from Jennifer Johnstone………………...……84 v LIST OF TABLES Table Page I. Survey results from current Music as a World Phenomenon students at KSU. Correct answers are highlighted…………………………………………………………………….…….72 II. Survey results from former Music as a World Phenomenon students at KSU. Correct answers are highlighted…………………………………………………………………………..74 vi ACKNOWLEDGEMENTS To my committee, thank you for challenging and pushing me. Dr. Johnstone, you have been such a wonderful advisor. You have always had faith in me and have been a comfort during this whole process. Dr. Shahriari, you have completely opened my eyes to the world. I will never forget our trip to Thailand, and all of the memories made. Dr. Venesile, you’ve been a support since undergrad. Thank you for being a part of my education. To my parents, I am who I am because of you. Mom, you have been the friend I’ve needed in life. You’ve never doubted me, and you have always shown your support. Thank you for letting me vent, cry, and talk to you. When no one would listen, you would. I love you so much, mom. Dad, I know I can count on you. Even as an adult, I still will always need dad. I always will. I love you. Mom, dad, I hope I’ve made your proud. To Josh, I’m so thankful we found each other again. Thank you for showing me tough love during this thesis, and giving me the boost I needed to finish. I’m so grateful that we get to share this life together, and am looking forward to our next steps as parents. Lastly, to my sweet daughter, Stella Rosalia. You are the reason mommy worked so hard at finishing this thesis. Even though you are not born yet, I want you to know that you can accomplish anything your heart desires. May you grow up in a world where kindness is most important, and love is shown to everyone. Thank you for giving me a purpose. I love you, sweetheart. vii Elizabeth Recob Department of Ethnomusicology Kent State University ETHNOMUSICOLOGY IN THE CLASSROOM: A STUDY OF THE MUSIC EDUCATION CURRICULUM AND ITS INCLUSION OF WORLD MUSIC Abstract The requirements for a degree in music education often have one semester of world music1 instruction but have multiple of classes of instruction based on Western classical music. Most music educators will teach only what they have learned in their education at the collegiate level. The minimal attention to world music instruction, as well as other areas of music study, e.g., American folk/pop/rock music, in college curricula limits the subjects such educators will likely teach to their own students in the future. Certainly, there are many factors influencing what a music educator will teach their students. Some of these include their own personal knowledge, education, school’s standards, national and state standards, and the planning of other music educators within their school district. While the age level of a teacher’s students and national and state standards will affect their instructional content, there is some flexibility for the music educator to incorporate what they wish to teach in their curriculum, which can include world music. This research reviews the current music education curriculum in a higher education program in Northeast Ohio at Kent State University, and suggest changes that could encourage a more global view of music for future music education students. 1 In this thesis, the reference to world music implies non-Western music. 1 Opening and Background I began my university studies by pursuing a degree in Music Education. My intent was to teach elementary school students. I graduated with a Bachelor of Arts degree in Music Education with a focus on choral
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