The Transmission of Knowledge in African American Music Paper

The Transmission of Knowledge in African American Music Paper

Working towards the assignment: Review Working towards the assignment: Review Working towards the assignment: Key words Review • …focus on any aspect… • …discuss the ques2on…(I am not asking you to answer the ques2on) • …philosophical challenges… • …review and evaluate… • Can music be assessed: Assessment of GCSE musical performance in the UK from a philosophical perspec2ve • What is musical knowledge? A discussion of musical knowledge and philosophical perspec2ves in the Kodaly method Working towards the assignment: Review • Can composi2on be assessed or taught? Assessing and teaching music composi2on within the context of the GCSE A Level music examina2on in Singapore • Can music be assessed: How is music being assessed in a UK conservatoire seKng? • What is musical knowledge? An explora2on of how musical knowledge and musical learning have been conceptualised and/or opera2onalised within the Cypriot Na2onal Curriculum • What gives music its meaning? In the context of one to one instrumental lessons with Key Stage 2 pupils • Can music be assessed: Is a summa2ve grade an effec2ve feedback for high school music students? • What gives music its meaning?: Exploring musical meaning in a kindergarten classroom and its implica2ons for teaching and learning • What is musical knowledge? An explora2on of how musical knowledge and learning have been conceptualised within 1:1 piano lessons with beginner students in the United Kingdom • Each week we will focus on a different aspect of the assignment • Most of you should begin to work on your draft before the module finishes Timeline: Review • During the session in Week 10, you will need to be ready to share • Your choice of question • Your reason for choosing this question • Your key arguments that you want to include • The key authors that you think are important • Completing the suggested framework should support you with this • Each of you will present (using PowerPoint or something similar) your progress to a small group. As a small group you will discuss any problems or issues that you are struggling with, or new ideas that you can offer to the group • Draft submission 25th March 2021 • Formative feedback received by 22nd April 2021 (4 weeks from submission) • Final submission by 17:00 (UK) 29th April 2021 Working from the question to a structure (1) Focussing on any aspect of music education in any country, discuss one of the following questions in relation to the philosophical challenges that it presents to music educators. In your discussion, review and evaluate the philosophical writings of musicians and educators, as well as literature from the fields of philosophy and aesthetics, and the wider area of arts education. What is musical knowledge ? Title: What is Musical Knowledge? The Transmission of Knowledge in Irish Traditional Music Focus: The transmission and assessment of knowledge in Irish Traditional Music Assignment plan • Introduction, aims and definition of scope • Contexts where transmission takes place: Informal settings (community/sessions) (Author, Date; Author, Date) and formal settings: schools/universities (Author, Date; Author, Date; Author, Date). • Types of knowledge: Propositional: Knowledge about (Author, Date; Author, Date, Author, Date) and Procedural: Knowledge how (Author, Date; Author, Date). Other knowledge types (Author, Date; Author, Date). • Ornamentation (Author, Date; Author, Date). • Regional Style (Author, Date). • Arrangement (Author, Date; Author, Date, Author, Date). • Technique (Author, Date; Author, Date; Author, Date; Author, Date). • Cultural/relating to identity: ‘inherited knowledge’. Knowledge acquired through experience of playing or listening (Author, Date; Author, Date). • Assessment of knowledge types: Fleadh Cheoil competition , Comhaltas Ceoltóirí Éireann : procedural (Author, Date; Author, Date, Author, Date). Junior and Leaving Certificate: procedural and propositional (Author, Date; Author, Date). • Conclusion and implications for teachers and learners Working from the ques1on to a structure (2) Focussing on any aspect of music educa0on in any country, discuss one of the following ques2ons in rela2on to the philosophical challenges that it presents to music educators. In your discussion, review and evaluate the philosophical wri0ngs of musicians and educators, as well as literature from the fields of philosophy and aesthe0cs, and the wider area of arts educa0on. Can music be assessed? Title: Can music be assessed? Exploring summa0ve assessment as an effec0ve means of assessment for high school music students in China Focus: Why is summa2ve assessment used, how is summa2ve assessment used and what part can it play in the musical development of learners. What are the possible alternate approaches? Iden2fying the strengths and weaknesses of the different approaches and sugges2ng amended ways of working for the future. Assignment plan • Introduc0on, scope and context: Grading/assessment (Author, Date; Author, Date; Author, Date). Emphasis on exam-orientated educa2on (Author, Date; Author, Date; Author, Date; Author, Date) Summa2ve assessment (Author, Date; Author, Date), expecta2ons and tradi2ons • Understanding summa0ve assessment: Does summa2ve assessment enable us to understand student’s musical abili2es? (Author, Date; Author, Date; Author, Date) Issues arising from a broad range of musical skills/competencies and a single method of assessment. (Author, Date; Author, Date) What is it to be musical? (Author, Date; Author, Date; Author, Date; Author, Date). What do we value and what can we measure? (Author, Date; Author, Date). The limita2ons of grades, percentages and category labels (Author, Date; Author, Date). Different models of knowledge and the links to assessment approaches (Author, Date; Author, Date). • Understanding who assesses: Who should act as the assessor? (Author, Date; Author, Date). Who gets to judge? (Author, Date; Author, Date). Professional development of teachers. (Author, Date; Author, Date; Author, Date). Growing recogni2on that students should be involved in the assessment process. Selfreflec2on and self-assessment (Author, Date; Author, Date, Author, Date). Considering forma2ve assessment (Author, Date; Author, Date). • Conclusion and implica0ons for teachers and learners: Summa2ve feedback or forma2ve feedback. Striking the balance. Working from the ques1on to a structure (3) Focussing on any aspect of music educa0on in any country, discuss one of the following ques2ons in rela2on to the philosophical challenges that it presents to music educators. In your discussion, review and evaluate the philosophical wri0ngs of musicians and educators, as well as literature from the fields of philosophy and aesthe0cs, and the wider area of arts educa0on. Iden2fy which of the ques2ons you would like to address. Title: Write the 2tle of your assignment here. Make is focused and descrip2ve. Include the key ques2on of the assignment. Focus: Write the focus of your work here. This will help you to understand the key drive of your argument as well as reminding you what you don’t have the word count to consider for this assignment. If I asked you to summarise your assignment in a sentence or two, what would you write? Write it here. Assignment plan • Introduc0on, scope, defini0ons, aims and/or context: What is important to your essay? Outline which of these aspects you need to include. • Argument/evidence 1: Each paragraph will need a framing statement to begin (so that the reader knows what you are arguing). Then you will need to lay out your argument using the literature to support your argument. Make sure that in every paragraph you demonstrate a cri2cal engagement with the literature. Don’t just describe what you have read. Don’t just accept everything as ‘truth’. If you can, make links across arguments. Include all of the key authors that you will use in this sec2on (and add the details of the texts to a reference list). • Argument/evidence 2: Choose another aspect of the argument…make sure that the reader understands how this links to your previous discussion. • Argument/evidence 3: Choose another aspect of the argument…make sure that the reader understands how this links to your previous discussion. • Do you need more arguments/evidence? Con2nue to add them here. • Conclusion and implica0ons for teachers and learners: Refer back to your opening statements. What are the key points to review? Don’t just repeat yourself. How might your argument influence the way that we think about this topic? How might it influence the way we understand our own teaching? What ques2ons do we s2ll need to reflect upon? Working from the question to a structure (3) I would suggest that this is a vital step in preparing for your assignment. Once you have created your version of this framework, it should • guide the structure of your argument • help you to decide what percentage of your word count will be attributed to which part of your argument • help you to identify if you have sufficient support/critique from the surrounding literature for each section of your argument (it is almost impossible to over reference your work, but it is easy to under reference your work) • help you to identify where you have stated your opinion and work on how best to phrase this • help you to identify where you have made bold statements without supporting evidence from the literature • help you to edit your own work. Use your guide to check that the argument you think you have made is clear and concise. Read through your own work and write a synopsis of each paragraph. Does this match your assignment framework? If not, is it an improvement? (amend your framework). If not, does it need improving (amend your paragraph) • help you to make sure that your reference list is complete and accurate • help you to achieve the masters level assessment criteria • by identifying where you are critically engaging with the literature (and where you still need to evidence this) • • by identifying the quality of your academic writing and the way that you signpost the argument, summarise your argument and draw conclusions across the arguments by identifying in-text citations and ensuring that they adhere to APA7 guidelines Journal of Curriculum Studies ISSN: (Print) (Online) Journal homepage: https://www.tandfonline.com/loi/tcus20 Enacting curriculum ‘in a good way:’ Indigenous knowledge, pedagogy, and worldviews in British Columbia music education classes Anita Prest, J. Scott Goble, Hector Vazquez-Cordoba & Beth Tuinstra To cite this article: Anita Prest, J. Scott Goble, Hector Vazquez-Cordoba & Beth Tuinstra (2021): Enacting curriculum ‘in a good way:’ Indigenous knowledge, pedagogy, and worldviews in British Columbia music education classes, Journal of Curriculum Studies, DOI: 10.1080/00220272.2021.1890836 To link to this article: https://doi.org/10.1080/00220272.2021.1890836 © 2021 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. Published online: 25 Feb 2021. Submit your article to this journal Article views: 145 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=tcus20 JOURNAL OF CURRICULUM STUDIES https://doi.org/10.1080/00220272.2021.1890836 Enacting curriculum ‘in a good way:’ Indigenous knowledge, pedagogy, and worldviews in British Columbia music education classes Anita Prest a , J. Scott Goble b , Hector Vazquez-Cordoba a and Beth Tuinstra c a Department of Curriculum & Instruction, University of Victoria, Victoria, Canada; bDepartment of Curriculum & Pedagogy, University of British Columbia, Vancouver, Canada; cDon Wright Faculty of Music, Western University, London, Canada ABSTRACT KEYWORDS In 2015, the British Columbia (BC) Ministry of Education mandated that local Indigenous knowledge, pedagogy, and worldviews be embedded in all K-12 curricula, but most BC music teachers have been unable to fulfill this directive because they are unfamiliar with Indigenous cultural prac­ tices. We designed this multiple case study, informed by Indigenous Protocols and worldviews, to address this gap of knowledge and under­ standing, so educators might learn how to enact the new curriculum ‘in a good way’ (i.e. in a way that aligns with Indigenous peoples’ ways of knowing). We used document analysis and surveys to identify music educators and Indigenous community members who together had already been successful in embedding local Indigenous knowledge in music classes. We interviewed 51 music teachers, culture bearers, cultural workers, and students to learn how they had done this, and whether they found that such embedding had contributed to fostering cross-cultural understanding and respect. Participants reported that singing and drum­ ming, taught orally in tandem with related stories, were the most pre­ valent forms of cultural practice, and that establishing relationships and following local Protocols led to greater cross-cultural understanding and respect. Music curriculum; culturally revitalizing music education; Indigenous music education; rural music education; British Columbia curriculum Introduction In 2015, the British Columbia (BC) Ministry of Education mandated that local Indigenous1 knowledge, pedagogy, and worldviews be embedded incrementally in all new K–9 and 10–12 curricula over a period of four years (British Columbia Ministry of Education. Aboriginal Education Enhancements Branch, 2015a, 2015c, 2015d) in order that all students would hence­ forth be introduced to these perspectives during the course of their studies (British Columbia Ministry of Education. Aboriginal Education Enhancements Branch, 2015b). The First Nations Education Steering Committee (FNESC) and the British Columbia Teachers’ Federation partici­ pated extensively in this massive initiative (Miles, 2020). During this period, Ministry of Education officials have consistently communicated their ongoing expectations that educa­ tional decisions and activities in BC’s 60 school districts facilitate the comprehensive imple­ mentation of this mandate. However, officials have not prescribed the amount of curriculum time dedicated to embedding local Indigenous knowledge, as they recognize that such deci­ sions are contingent on local context. CONTACT Anita Prest aprest@uvic.ca Department of Curriculum & Instruction, University of Victoria, Victoria, Canada © 2021 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. This is an Open Access article distributed under the terms of the Creative Commons Attribution-NonCommercial-NoDerivatives License (http:// creativecommons.org/licenses/by-nc-nd/4.0/), which permits non-commercial re-use, distribution, and reproduction in any medium, provided the original work is properly cited, and is not altered, transformed, or built upon in any way. 2 A. PREST ET AL. Lamb and Godlewska (2020) have documented previous efforts at curricular reform in BC from 1995–2010 that also sought to introduce Indigenous knowledge in schools, albeit on a voluntary basis and less comprehensively. They noted that during this time period, most teachers across content areas were unprepared to teach local Indigenous knowledge using culturally appropriate forms of pedagogy or take into account the ways of knowing and being that inform that knowledge. They also observed that Ministry efforts to increase content knowledge from the ‘local context, while downloading responsibility for such content . . . reduced the likelihood of the integration of local or Indigenous content’ (p. 15), and that ‘local content development and delivery [i]s absolutely essential but must be paired with adequate access to training for teachers and truly meaningful consultation’ (p. 16). Most BC music teachers, having received academic preparation largely in the European classical music tradition and/or in jazz (British Columbia Music Teachers Association, 2016), remain largely unfamiliar with Indigenous knowledge, so they have little idea how to embed Indigenous cultural practices in their classes appropriately and respectfully; they have thus been unable to fulfill the Ministry’s current mandate, which is much more directive and wide-ranging in scope than the previous curriculum. In 2015, when we conceived the study described in this paper, we anticipated that access to training for practicing music teachers to implement this aspect of the new curriculum might be as sporadic as it was from 1995 to 2010 for the previous curricular reform.2 Thus, we designed this study to support music teachers in their learning, thereby increasing the likelihood that they might meaningfully embed Indigenous content, pedagogies, and worldviews in their classes. The aim of our Indigenist3 music education research was to identify public school music educators in rural BC who, working together with Indigenous community members,4 had already been successful in facilitating the embedding of local Indigenous knowledge in their music classes and schools, and to examine the ways they did so. Moreover, we sought to investigate whether participants found that these culturally revitalizing music education practices (McCarty & Lee, 2014) contributed to fostering cross-cultural understanding and respect. We concur with Lamb and Godlewska (2020) that ‘educating all students not only about Indigenous content, but also from Indigenous perspectives and with Indigenous ways of knowing, is a key part of transforming Indigenous and non-Indigenous relations’ (p. 15). Thus, our primary research question was this: Have the efforts of public school music educators in rural British Columbia, working in collaboration with Indigenous community members to embed5 local Indigenous knowledge, pedagogy, and cultural practices into their music classes and schools been effective in fostering cross-cultural understanding and respect? Our sub-questions were these: (1) What specific curricular and pedagogical practices have music educators and/or Indigenous community members in each community introduced and employed in their music classes and schools? (2) Did teachers’, Indigenous community members’, and students’ reflections on classes in which Indigenous cultural practices were embedded indicate that the embedding and its facilitation had contributed to fostering cross-cultural understanding and respect, and, if so, what did they report? We chose to study the promotion of Indigenous cultural traditions and knowledge in public schools in rural BC6 for three reasons: (1) the majority of BC Indigenous people live in rural areas (Indigenous and Northern Affairs Canada, 2011); (2) schools with the highest percentage of Indigenous students are located there; and (3) teachers with experience in working to foster crosscultural understanding can be found there. Our study took place on Nisga’a land and on the unceded7 territories of the Gitxsan, Nuu-chah-nulth, and Hul’qumi’num First Peoples of British Columbia, with their official consent.8 JOURNAL OF CURRICULUM STUDIES 3 We begin this paper with a literature review, an account of the historical, legal, and political contexts of our investigation, and a description of the philosophical underpinnings that guided our thinking. Next, we present our methodology, also showing how it aligns with our Indigenous research participants’ concerns; we endeavoured to undertake this inquiry ‘in a good way’—i.e. to ensure ‘that topics under investigation are identified as priorities by Indigenous people, reinforce Indigenous values, are …