Reproduced with permission

Education in World MusicsProfessor Patricia ShandChair, Graduate Department ofMusicFaculty ofMusic, University of TorontoEmail: pshand@chass.utoronto.ca

In recent years, Canada has become increasinglymulti-ethnic, and this has presentedchallenges at all levels of the educational system) Many music educators feel thatthey ought to include music of various cultures in their curricula, but they areconfused about how to proceed.Until very recently, education in world musics wasnot included in Canadian university music education programs of study, and mostteachers in Canada today find themselves ill equipped to deal with musics of non-western cultures. Changes in teacher education are essential if the ideal ofmulticultural music education is to become a reality for the twenty-first century.

The Ideal

From an ethnomusicologist's perspective, the ideal of education in world musics is todevelop bimusicality. To achieve that ideal, outsiders are immersed in music-makingwithin a musical culture unt they become fluent and can participate as insiders.From a music educator's ~erspective, the ideal is to broaden students' concept ofMUSIC,experiencing it as a diverse multicultural human practice.?To achieve thisideaL students particip ato actively in authentic music-making in the music of avariety of cultures. David Elliott advocates dynamic multiculturalism, wherebystudents are exposed to "the widest possible range of world music" and areencouraged to develop "a world view of musical concepts," thus learning "todiscriminate and appreciate the differences and similarities among musical cultures,"and developing '''bimusicality' at least, and 'multimusicality' at most."3

Educational ideals place multicultural music education in a broader context. Here weencounter social and political ideals of anti-racism; democratic and humanisticideals of developing respect for others in a pluralistic society, and of helpingmembers of minority communities to participate more fully in Canadian culture byrespecting and celebrating their contribution to our multicultural mosaic+

1 Canada's two colonizing founding peoples were British and French, but increasing numbers ofimmigrants and refugees from all parts of the world have changed the demographic profile of Canada.1986 census figures indicate that 2.8% of Canadians were aboriginals (Indians, Metis, or Inuit), while37.5% were of neither British nor French ethnic origin. See Fleras and Elliott (1992), pp. 27-29.Percentages of Canadians of non-British or French origin are considerably higher in the large urbancentres. For example, in 1992, 47% of the students in Toronto schools had mother tongues other thanEnglish. SeeMoodley (1995),p. 802.2 I am drawing on the work of my University of Toronto colleague David Elliott (1995) whodistinguishes between music, Music and MUSIC. He maintains that each particular example of music (aspecific musical composition or improvisation) exists within the context of a particular musical prac~ce(Music). There are a variety of specific Musics in the world. MUSIC is the term which he uses to describethe global phenomenon, a diverse human practice which is multicultural in essence. The student needs toexperience a wide variety of music, drawn from a variety of Musics, in order to develop a concept ofMUSIC.3 Elliott (1989), p. 17.4 Since 1971,Canada has had a federal policy promoting multiculturalism. The province of Ontario alsohas official policies promoting multiculturalism and anti-racism.

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The Reality

While acknowledging the worthiness of these ideals, I am frustrated by the difficultyof realizing them. Within the educational system, developing fluency in another musictakes substantial investments of time and money. Given financial and timeconstraints, we may sacrifice depth of musical engagement for breadth, resulting insuperficial tokenism and dilettantism.

Ifwe are to make progress in realizing the ideals of multicultural music education, wewill need to educate a generation of teachers with the necessary competence andconfidence in teaching world musics. Are we meeting this challenge now? Clearly theanswer is NO. Can we meet the challenge? Should we even .tr}': to meet it? Thispaper emerged as I sought answers to these questions.

The musical and educational ideals of multicultural music education involveconcepts of community. and I believe our best hope of meeting this challenge is todraw on the strengths and expertise within our own communities. I identified a groupof people actively engaged in teaching, writing, thinking about and doingmulticultural music education in the University of Toronto community, andcommitted myself to exploring the challenges with them. My aims were to considerpast efforts at education in world music at the University of Toronto; to examinecritically our current efforts; and to consider possible future directions. I hoped thatmy paper would help focus discussion among ISME seminar participants aboutapproaches to teacher education in world musics being developed in other countries.

The Past: A Brief History of Education in World Musicsat the University of Toronto

During the 1980s, the University of Toronto Faculty ofMusic offered various electivecourses, designed to expand undergraduate students' knowledge of and experiencewith the world's musics, [SeeChart 1.]Folk Music Ensembles provided students withopportunities to perform "ensemble gemes of European and North American choraland instrumental [folk] music." David Elliott introduced a Multicultural MusicEducation course, designed as "an investigation of scholarly and recorded sourcesand aesthetic and sociological issues with respect to the development of curriculummaterials for the teaching of music in a multicultural society.t'f The First Year coremusic history course, required of all undergraduate music students, included in thefall term "an exploration of the formative processes in the music cultures of theworld."7 Other specialist courses, taught by ethnomusicologist Timothy Rice,included Topics in Ethnomusicology and Folk Music of the Balkans. Rice also workedclosely with the instructors of the Folk Music Ensembles and with David Elliott in theMulticultural Music Education course.

One valuable outgrowth of the collaboration between and among specialists inethnomusicology, music education, and performance was the 1985 "Music MeansHarmony" conference, organized by the University of Toronto Faculty of Music, inco-operation with the Ontario Music Educators Association, and designed to exposeteachers to a variety of world musics. Conference co-chairs Timothy Riceand Bruce

5 Faculty of Music 1985-6 calendar, p. 20.6 Faculty of Music 1983-4 calendar, p. 18.7 Faculty of Music 1981-2 calendar, p. 18.

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McGregor emphasized that there are important social as well as aestheticjustifications for including the music of Canada's various ethnocultural groups in theschool curriculum. "When we educate in music, we are constructing an importantpart of society's view of itself .... When we fail to teach about all music, we are notjust ignoring musical forms and modes of expression. We are ignoring the people forwhom these forms and expressions are meaningful.T Eight workshops werepresented, each led by a performer or group of performers representing oneethnocultural community within the city of Toronto. Music educators attending theconference had the opportunity not only to hear the music and watch the performers,but also to participate in a variety of musical activities and to take away lists ofresource materials (music,books, recordings, films, etc.) upon which they could drawif they chose to include the music of any of these cultures in their own classrooms.The teachers attending the one-day workshop also had the opportunity to hearpapers about multicultural music education, presented by Charles Leonhard andDavid Elliott. The conference proceedings were published by the University ofToronto Institute for Canadian Music in 1989.

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In 1990, ethnomusicologist James Kippen was appointed to replace Timothy Rice.Kippen worked closely with his musicology colleagues to revise the undergraduatemusic history curriculum. A new compulsory First Yearcourse,Music as Culture, wasintroduced in 1992-3. It provided a foundation for other world music courseofferings. [See Chart 2.] Kippen notes that "from day one [Music as Culture]articulates a philosophical and theoretical perspective that attributes equalimportance to traditions other than the one most students think they came tostudy."9 During the first term, the focus is "on music as an acoustical and structuralphenomenon. Our aim is to introduce music not just as a Western concept but as aglobal concept." In the second term, the focus is on music in society. The course"examine[s] the relationships between music and religion, politics, and economics; ... look[s] at musicians as social beings to determine how they became musicians andhow they are viewed by the rest of society; ... explore]s] the transmission of musicin written and unwritten forms, and the role of performance practice in shaping ourunderstanding; assess[es] music as a cognitive phenomenon, and look[s] at itsrelationship to language." "Thecourse advocates the holistic approach to music; butthe key phrase is 'music as a social fact'."lO

During the 1990s,Kippen has taught Music as Culture and has also offered severalethnomusicology courses, designed forMusicology students but available as electivesto Music Education students: Music of Sub-Saharan Africa, Classical Music of NorthIndia, and Topics in Ethnomusicology .

In 1991-2,the Folk Music Ensembles were renamed World Music Ensembles, to reflectthe wider variety of music represented. The ensembles provided opportunities forstudents to participate in authentic music-making. Some of the instructors for thesegroups were primary culture bearers; others had gained their expertise throughimmersion, including intensive ethnomusicologicalfieldwork.

In 1993-4,four new courses, grouped under the title Education in World Music, wereintroduced, combining aspects of the World Music Ensembles with the MulticulturalMusic Education course, and replacing those courses. [SeeChart 3.]

8 Multicultural Music Education: The 'Music Means Harmony' Workshop (Toronto: Institute forCanadian Music, University of Toronto, 1989), P: vii.9J. Kippen, personal correspondence with P. Shand, Nov. 29, 1995.1 J. Kippen, personal correspondence with P. Shand, May 20, 1996.

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t obvious reason for this curricular change was financial. Five courses wereThe:o!d into four. But there were educational justifications as well. Although the

i',ii' Mrzt ·~ltural Music Education course had provided students with valuable theoretical,tV u t~ d e its separation of theory from practical music-making ran counter to therf#~~~':!';;,.;~:oe:~~t~:~"::~;~~%e~~f:~~;a:'::~Education

'\'praxial philosophy of music education developed by David Elliott is based onh.epremise that "Music is a human practice inclusive of many subpractices of'~'.fening and making music." "Because music is, in essence, something that people makesdoa people's music is something that they are, both during and after the making oferus{c,and the experiencing of music .... " 11Elliott emphasizes the importance of·ying students oppor~ities :~ experi~nce m~sic as .a d~;r~:se hUJ?an practice, ~d~considers it essential that authentic mUSICmaking, inducting students intoarticular music cultures," be "the focus of all music education curricula,"12aintaining that students learn most effectively in the context of "a reflective musicalfacticum, a close representation of viable music-practice situations, or musicltures."13 He believes that "formal musical knowledge [should be] filtered into thebntinuous stream of authentic music making and listening as needed/'l+ The newducation in World Music courses were designed to function as reflective musicalracticums.

The Present: Description of Education in World Music Courses, 1995-6

Four Education in World Music courses are offered annually. The 1995-6 offerings, were: West African Drumming and Dancing, Middle Eastern and Persian Music,

;. Japanese Shakuhachi Ensemble, and Balinese Gamelan. Students in each course metone hour per week throughout the fall and spring terms, and also worked onindividual projects related to their own areas of specialization and interest.Although the weekly classes were predominantly practical, the instructors alsoprovided some theoretical and sociocultural contextualizing. World Music Ensemble

'instructors continued to teach the new Education in World Music courses.P In 1995-6,James Kippen served as course co-ordinator, and was responsible for studentassessment. (While the old World Music Ensembles had been offered on a "credit/nocredit" basis, Education in World Music courses were graded.)

A:

;j , ,The 1995-6 student assessment was based on two components:(1) the student's practical contribution to his or her particular world musicensernble,and (2) a project, consisting of an essay on one of the following: (a) the adaptabilityof the music for the general school curriculum; (b) an historical/cultural investigationinto certain aspects of the music; (c) an analytical/theoretical study of the structureof the music; (d) an assessment of the original context of performance, and analysisefaspects of performance practice including technique. In addition, each projectIn~luded (a) a short composition or arrangement for any group of instruments or,:oIces demonstrating a grasp of some of the principles at work in the music; or (b) alive or taped performance, demonstrating the adaptation or incorporation of

11 Elliott (1989),p. 10.i~Elliott (1989),p. 10.Elliott (1989),p. 10.1~Elliott (1989),p. 10.During 1995-6,the Gamelan and Middle Eastern courses were taught by ethnomusicologists. The

?hakuhachi instructor was a Canadian flute player who had spent several years studying under a masterm Japan, Her students also had the opportunity to attend a master class and concerts presented by thetow:mg shakuhachi master, Akikazu Nakamura, The West African course was taught by a member of theNatiO~~1Dance Group of Ghana, now a Toronto resident. Assisting with the Middle Eastern course wasatradltional master of dammam (drum) and of the ney-anban (bagpipe), visiting Toronto from Iran.

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techniques and principles at work in the music.

Education in World Music courses are open to Bachelor of Music students from allprograms of study. During 1995-6, there were students from Music Education,Performance, History and Culture, and from the common First Year Bachelor ofMusic program. There were also a number of undergraduate, graduate, andcommunity auditors. The varying backgrounds, interests, and experiences of thestudents make these courses a real challenge to teach, but they also produce a senseof broad community which is rare in university music courses.

During 1995-6, I observed World Music classes, attended the World Music concertsand rehearsals, and spoke frequently with instructors, students, and MusicEducation colleagues to gain their personal perspectives on the World Music courses.In March I administered a questionnaire to the students and another to the fourinstructors. Questions focussed on the objectives of the instructors; students'reasons for electing World Music courses; instructional strategies; what students feltthey had learned; their attitudes toward world music before and after taking aWorld Music course; and students' perceptions of relationships between their WorldMusic course experiences and their experiences in other courses. The questionnairesprovided a rich diversity of qualitative data. In a paper of this length I cannot dojustice to this diversity, but I will include some examples of the responses.

I asked the instructors to describe their main educational objectives. Their responsesincluded:(1) developing students' skills in

• performance• listening• memorization• reading (Iapanese notation)• analysis

(2) teaching new repertoire(3)expanding students' knowledge (e.g.,performance practice)(4)developing students' appreciation and enjoyment of the music and cultures(5)helping prepare future teachers to deal with multicultural classroom situations.lf

I asked the students: "What have you learned from taking the course(s)?" Responsessuggest that the instructors' objectives were achieved. Students felt that theydeveloped skills of performance, listening, memorization, reading, and analysis; thatthey learned repertoire; that they acquired knowledge; that they gained appreciationand enjoymentof themusic and cultures; and that they learned some materials whichcould be adapted for use in a school situation.I? .

In terms of new performing skills, students reported, for example, on the intensivelistening and co-operation required by gamelan,18and they reported on the joy ofmusic-making which values such priorities as imagination and self-directedexploration. They also reported new knowledge about the music, for example aboutthe improvisatory aspects and structural intricacies of gamelan. One studentcommented on having applied new skill with the Shakuhachi to creating acomposition in the Japanese style. A number of students commented on newopenness in their attitudes and approaches to music of different cultures, the

16 Only one instructor mentioned this objective.17 Elliott (1989), p. 10.18 "To play without music, to listen to everyone else and to know exactly where you are at all times.Garnelan is a unique ensemble that requires co-operation."

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openness which derives from experiential understanding of new musical complexityor unfamiliar tuning systems; a few even developed new interest in the culturesthemselves.19

Only one student specifically related what she had learned to her future in theclassroom: "Some of the rhythmic layers could be useful, to learn to be independentin rhythmic training. Also Moroccan liras are easy. Other instrumental music is quitecomplex to teach in schools, ... requiring instruments that are not available."

Several students mentioned that the courses had helped them as performers in othercontexts, particularly in matters of rhythm, percussion techniques, and sensitivity tovocal style.2o And finally, students spoke positively of a deepened understandingand appreciation of music of diverse cultures, their own included.U The positiveover-all responses to the courses were gratifying in their stress on an achievement ofboth musical and cultural relevance.

The instructors' views of what the students had learned were congruent both withstudents' views and with their own course objectives. Significantly, while they feltmost objectives had been met, neither group indicated success in preparing futureteachers to deal with multicultural classrooms; nevertheless, in a follow-up on thisissue, one instructor wrote: "Anyexperience of another culture will in some way helpstudents deal with a multi-cultural classroom situation. The deeper the immersion, themore it will help. I am not claimingthat gamelanclasseswill provide miraculous results .. ., but they should make the students a little more aware of different cultural andmusical perceptions and activities."

The instructors attributed student attitude changes to having taken World Musiccourses, citing "the development of a broader and less ethnocentric view of music,""a heightened awareness of 'other' systems of music and culture in general," "insightinto another way of learning and practising music," and students' increasedversatility.

Said one instructor: "It's quite clear . . . that technology has made historicallyinevitable, and challenged our abilities to co-existwithin, an unprecedentedly

complex pluralistic society. We need not look beyond the decisive demographicchanges in Toronto over the past 25 years .... All institutions and most individualsmust come to terms with this challenge, and I see these ensembles as a contributingfactor.... This is the real challenge of our time -- to shift from an insular, Euro-centric view to a broader one of music as a function of humanity. The ensembles havetremendous potential for work in this direction, and are therefore worth the effortand cost."

I was encouraged that most students indicated interest in learning more about, andparticipating in, the musics of other cultures in the future. For example: "I plan onseizing any opportunity with music of other cultures which arises." Another studentwrote, "Iwould be ~ interested in continuing this line of study. Experiences whichinvolve other aspects of the culture (with the music) such as dance, would also bemost welcome." And a third sought more "workshops (more intensive than just one

19 One student reported: "1have a greater appreciation for music of different cultures as a result of takinl?,this course. It's also inspired me to read up on African cultures which has proven to be very interesting. 'Another student wrote: "1used to laugh as a child when my friends' parents would play Persian music onthe stereo. 1simply did not understand the music. But now the music has more meaning, and 1respect themusic of other cultures ... and the complexity of it all."20 "It's helped me in my percussion course, having already learned techniques in this class. It's also helpedme sing WIth greater stylistic sensitivity in choir, especially some of the African songs."21 "1consider these courses among the most valuable I have taken at university. I feel with the way theworld is today, with the overlap of genres, etc., it is essential to gain as many types of musical experiencesas possible."

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morning). Library resources (publications and recordings). Live performances,concerts. Perhaps a longer term commitment. Looking for easy repertoire useful in aclassroom situation (collecting and using it in teaching music)." One particularlymotivated Music Education student took the gamelan course for credit in 1994-5,and during 1995-6 audited it while taking the West African course for credit. Shealso took Topics in Ethnomusicology, and wrote term papers on world music in theHistory and Culture Introduction to Research course, and in the Research in MusicEducation course. She notes; "I've particularly tried this year to connect all mycourses, constantly researching ... World Music." This desire for ~ givesparticular poignancy to the frequent complaint of students and instructors that 50minutes a week is simply not adequate for learning the music of another culture.22

Assessment of Education in World Music Courses

Education in World Music courses clearly are not satisfying the basicethnomusicological ideal of bimusicality or complete fluency in another music. JamesKippen assesses the situation clearly: "With currently limited resources allowing for aone-hour session each week ... , the goal of bimusicality ... is unattainable. Itbecomes possible merely to offer the chance for students to understand a little of amusical language and play with a few phrases, thereby getting a glimpse of its beautyand potential .... A supplemental academic module ... is designed to contextualizepractical learning .... Without the opportunity to experience directly the vagaries oflife surrounding the practice of music in Bali, West Africa, or Iran, students areencouraged to fill in some of these gaps through background reading, listening, andviewing (where possible). '" The primary ethnomusicological goal of the Educationin World Musics program is purely and simply the students' cultural enrichment.There is a great deal to be said for approaching from an unfamiliar angle the familiartask of making music. Such an aim has its immediate advantages, particularly inmaking us more critically aware of our increasingly pluralistic and multi-culturalsociety. Moreover, the quintessential experience of thinking about and making musicin a different way is also part of a broader educational philosophy; it may also makea practical contribution to the professional preparation of music educators who mustdeal with our constantly changing and increasingly diverse society."23

The World Music courses function primarily as performance courses,24and Kippenfeels that the students gained most from their music-making aspects. "There isevidence," he says, "that there were some transcendental experiences while doing themusic. Some students were clearly transported by the musical experience, and that Ibelieve was the most important and worthwhile thing about the whole venture. "25

In my opinion, each of the 1995-6 Education in World Music courses functionedeffectively as a musical practicum, involving students in authentic music-making and

22 One student wrote: "I think it would be best to learn more about the traditions, history, and culturaldifferences of the Persian and Bali people. We could understand further by discussing the context inwhich the music is performed." Another student wrote that "these courses need more time and depth ofexperience. Students will, of course, learn about the structure and cultural context in their own research,but the use of video material of the music being played in its true setting, a reading list and definitely arecommended listening list would involve the students more in the music and their own learning.Recordings of previous performances would be both inspirational and instructional. Films of practisingmusicians from the actualmusic culture would be hurnblirig. Perhaps part of the performance (at the end ofthe year) for each ensemble could be a demonstration of the musical structure; designing and participatingin such a presentation would formalize the students' knowledge of musica1 elements they haveexperienced in class."23 J. Kippen, personal correspondence with P. Shand, April 21, 1996.24 Instructors reported that 70% to 90% of class time was spent on activities directly related to~erforrning.5 Elliott (1989),p. 10.

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blem-solving, and as a music educator, I was impressed with the aural;;/ii.~ro lopment achieved. Students were able to learn via oral transmission, to hear new. "tievbres tuning systems, and rhythms, and to use their newly developed aural skills'~he ~ontext of music-making. I was also impressed with the development ofPfudents'ability to memorize. Improved skills in listening and musical memory are of.....aI importance for any musician, and certainly for future teachers, whatever type of~usic they may teach. And having been taught via oral transmission in the WorldMusic courses,26and having experienced the value of modelling by the instructor,MusicEducation students may be more inclined to apply such teaching approachestheir own classrooms.

Wasencouraged by the interest and enthusiasm the World Music students brought toeir work in class and to their public performances, and by the positive changes of

.Clttitudetoward world musics which they reported. Appreciation and respect forWorldmusics, and positive experiences of music-making in Education in World Music. courses, should help prepare Music Education students for the challenges which they." 'will face entering multiethnic classrooms. One of the students reported: "I wasethnocentric, not now." While I doubt that such a profound and immediate change'can occur as a result oftaking one of these courses, I do believe the experiences in theWorld Music courses can open students' ears, eyes, and minds, making them mores1.lsceptibleto change.

Unfortunately there was little evidence of students reflecting on musical structure orcultural context, nor on potential classroom applications, nor about the widerimplications of multicultural music education in schools. Troubling questions remain.Will these students know enough to teach world musics? Will they be able to selectappropriate world music and teach it authentically? What standards will they applywhen selecting world music for classroom use? Since graduates of World Musiccourses are not multimusical or even bimusical, where and how will they develop theexpertise which will enable them to provide multicultural music education in theirown classrooms?

My colleague Wayne Bowman warns that Music Education students, and theprofession more broadly, tend toward an uncritical and untheorised treatment of"exoticmusics," marginalising them as an add-on to the cultural and musical statusquo, rather than using them to confront "habitual comfortable assumptions .... Thetrans formative potential isn't realized," he says. "Ibelieve there's real danger of thisparticularly where instruction in alternative musical practices is undertakenunreflectively.W Bowman acknowledges the daunting responsibility facing genuinelyreflective multicultural music teaching and learning, but nevertheless holds out theideal that musical education must "strive to nurture the capacities of full perceptionand informed critical judgment, capacities only fully exercised in their application todiverse musical practices, presumptions, and priorities .... [and] to foster not meretolerance for, but delight in diversity."2S

In assessing our efforts at the University of Toronto over the past fifteen years, Imust conclude that while we have made some progress, we are a long way fromrealizing this ideal.

26 One instructor described his approach as follows: "My main instructional approach has beentraditional oral! aural transmission processes, throwing in analytical explications when it seemednecessary. Oral transmission works best without analytical explication and artificial, out-of-contextexercise, While the latter sometimes accommodates the sensibilities of Western-trained musicians, thefaculty developed is new to students anyway, and best developed the way in which it is traditionallydone - mimicking,memorizing short bits at a time,developing anmtuitive grasp of the idiom."27Wayne Bowman, personal correspondence with P. Shand, April IS, 1996,28B owman, p. 30,

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The Future

As a pragmatist looking to the future, I can suggest modest changes which could bemade in the Education in World Music courses. We could require portions of thestudents' projects to be submitted earlier, rather than at the end of the second term.This would force students to begin their background reading, listening, and writingearlier, and hopefully this would enrich their understanding of the music throughoutthe two terms of music-making. We could timetable an additional hour, perhapsonce per month, when students in all four of the World Music courses could meet withthe course co-ordinator to consider theoretical and contextual matters, and whenstudents could present their projects to their peers, thus exposing all students toaspects of the four world musics, and providing Music Education students withopportunities to teach the music which they had been learning.

Given the need to encourage the MusicEducation students in the World Music coursesto reflect more seriously on implications for their practice as teachers, and the needfor all Music Education students to consider the challenges of multicultural musiceducation, we could require all Music Education students to take at least oneEducation in World Music course. We could add a multicultural music education unitto the required second year Foundations of Music Education course. We could perhapsreinstate a Multicultural Music Education course, with at least one Education in WorldMusic course as a pre-requisite. One of the students, completing her second year ofparticipation in World Music courses, suggested that having a four-hour per weekWorld Music Ensemble in lieu of the required orchestra, band, or chorus, would"produce a depth of knowledge and experience not possible in the current set-up."While financial constraints make this impossible at present, it might be possible toestablish closer ties with those in our communities who are primary bearers ofvarious musical traditions, and to develop co-op programs whereby individualstudents could work closely on an apprenticeship basis with such musicians.

There might be other modest changes which we could make. If we cannot afford toadd courses, perhaps we could replace one or two existing courses with specializedworld music courses. But truly to commit ourselves to realizing the ideals ofmulticultural music education would require far more profound changes in curriculumand in institutional values -- revolutionary changes. The decision to make auniversity or schoolmusic curriculum more multicultural requires real soul-searching.The conservative would argue that the education system has an importantresponsibility to preserve "our" music, the music of the western classical tradition.The liberal would point to the changing nature of our multiethnic society, wouldargue for a broader definition of "our"music, and would advocate that students beexposed to "thewidest possible range of world music" in order to develop "aworldview of musical concepts." 29 Should we be more conservative or more liberal? Howconservative? How liberal? These are difficult and disturbing questions, questionswhich we must answer at the University of Toronto as we educate students to facethe challenges of the twenty-first century.

29 Elliott (1989), p. 17.

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References

Bowman,Wayne. "TheProblem ofAesthetics and Multiculturalism in MusicEducation," Canadian Music Educator, Vol. 34, No.5 (May 1993),pp. 23-30.

Elliott,David J. "KeyConcepts in Multicultural Music Education," MulticulturalMusic Education: The 'Music Means Harmony' Workshop. Toronto: Institutefor Canadian Music, University of Toronto, 1989.

Elliott, David J.Music Matters: A New Philosophy of Music Education. New York:Oxford University Press, 1995.

Fleras, Augie, and Jean Leonard Elliott. The Challenge of Diversity: Multiculturalismin Canada. Scarborough, Ontario: Nelson Canada, 1992.

Moodley, Kogila. "Multicultural Education in Canada: Historical Development andCurrent Status," in Banks,James A. (ed).Handbook of Research onMulticultural Education. New York: Macmillan Publishing, 1995.

Multicultural Music Education: The 'Music Means Harmony' Workshop. Edited byTimothy Rice and Patricia Martin Shand. Toronto: Institute for CanadianMusic, University of Toronto, 1989.

ReflectionsMy paper focused on education in world musics in my own institution, but myinterest extended far beyond my own city, province, and country, and I welcomedopportunities to discuss with ISME colleagues some of the approaches to teachereducation in world musics being developed in other countries. My paper raisedmany questions, and it was clear from discussion following my presentation, andindeed throughout the seminar in [oensuu, that there are no easy answers as we seekto meet the challenges of education in world musics. It was also clear that efforts arebeing made to try. to meet the challenges, and that there are many possibleapproaches, growing out of particular educational and cultural contexts. I lookforward to on-going discussion and sharing of ideas and approaches at future ISMEseminars and conferences.

Questions for Discussion:

1. In 1994, ISME approved a Policy on Music of the World's Cultures.e? but asPatricia Shehan Campbell has recently pointed out, "a policy is naught but deadwords until it is examined, discussed, and then made applicable to the real world.P!Has the ISMEPolicy on Music of the World's Cultures been examined and discussedin your country? Are such ideals seen as important in your country? If so, whatefforts are being made to realize those ideals, to apply the policy in practice? Areyou able to tap into resources in your community? Do you have fruitful collaborationamong music educators, ethnomusicologists and performers who are primaryculture-bearers?

2. How can we as a profession prepare people to teach world music, to be able toselect appropriate world music and teach it authentically? Where and how canteachers develop the expertise (musicianship and educatorship) which will enablethem to provide education in world musics in their own classrooms?

30 International Journal of Music Education, No. 24, pp. 67-8.31 Patricia Shehan Campbell, "Putting the 15MEWorld Musics Policy to Practice," ISME Newsletter 1(May, 1996), r- 3.

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--.~-~--~----~--~-----------------

PERFORMANCE MUSIC HISTORY ANDDIVISION EDUCATION LITERATURE

DIVISION DIVISION

Folk Music Multicultural Topics inEnsembles Music Education Ethnomusicology

Folk Music ofThe Balkans

History of Music I (fall term)

CHARTl

PERFORMANCE MUSIC HISTORY ANDDIVISION EDUCATION LITERATURE

DIVISION DIVISION

World Music Multicultural Topics inEnsembles Music Education Ethnomusicology

Classical Musicof North India

Music of Sub-Saharan Africa

Music as Culture

CHART 2

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PERFORMANCE MUSIC EDUCATION HISTORY ANDDIVISION DIVISION CULTURE

DIVISIONEducation in WorId Topics in

Music: Ethnomusicology

Balkan Vocal Music Classical Music of NorthIndia

Middle Eastern andPersian Music Music of Sub-Saharan

AfricaBalinese Gamelan

West African Drummingand Dancing

Japanese ShakuhachiEnsemble

Music as Culture

CHART 3

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