Traditional music as co-construct of intercultural music education

Transcription

1 60 JOURNAL OF CONTEMPORARY EDUCATIONAL STUDIES 1/2013 Renata Sam Palmić Renata Sam Palmić Traditional music as co-construct of intercultural music education Abstract: From a didactic, sociocultural, social, and communication angle, the primary school is an important link between the diversity of traditional music and different folk cultures. This work wishes to corroborate knowledge of the need for strengthening the sensibility of music education pupils towards their own musical and cultural identity as a source and stimulus for developing feelings for traditional musical and cultural pluralism in an urban environment as a co-construct of the multicultural society and intercultural dialogue. The paper presents the results of an examination of the relationships and attitudes of pupils toward traditional music after they have completed compulsory basic education. The results of the examination of a Croatian sample showed that, in the multicultural reality of contemporary society, traditional music has strong potential to serve as the foundation of intercultural music education in primary school; however, the music education curricula should be more open to multiculturalism in primary school education. An intercultural approach to primary school music education, based on traditional regional music in the role of co-constructor and to general intercultural education in the multicultural society, is necessary. This need is driven by the manifold meaning of traditional music for the development of the individual and society, and the appearance of traditional music beyond the source of its creation in various musical forms and genres, regardless of place and historical moment. Key words: traditional music, intercultural (music) education, compulsory basic education UDC: :7 Scientific article Renata Sam Palmić, Ph.D., University of Rijeka, Faculty of Teacher Education, Slavka Krautzeka b.b., Rijeka, Croatia; for correspondence: rsampalmic@inet.hr JOURNAL OF CONTEMPORARY EDUCATIONAL STUDIES 1/2013, 60 76

2 Traditional music as co-construct of intercultural music education 61 General starting points Intercultural music education is grounded in the general aim of intercultural education (Fiorucci 2008; Gobbo 2004; Hrvatić 2009; Mantovani 2008; Nieto 2004; Perotti 1995; Piršl 2007; Portera 2007), and encompasses intercultural lifelong learning. In this context, music and music education are powerful tools for the development of interculturality when it comes to the following areas: understanding, developing a sensibility for differences/otherness, communication and communication competence, and the acquisition of experience through interaction with various cultural groups. The intertwining of musical differences and diversities is rooted in the knowledge of and feelings towards one s own musical and cultural identity, an acknowledgement and knowledge of other musical cultures that differ from mine and ours and a respect for them, and on one s ability for musical and cultural dialogue. Music education is defined as multicultural and intercultural education (Disoteo 2000). The aims and tasks of music education were modified according to the needs of the social structure of an ethnic/national community, which corroborates the claim that music was (and is) perceived as an important area in the development, functioning, and existence of a certain culture. Music can trigger universal feelings 1, but universality is not inherent to it in the sense in which it is used and in which it wishes to present itself: as a means of uniting all peoples (ibid.). This is particularly pertinent to traditional music 2 (Bezić 1983; Ceribašić 2007), and the reception of folk musical expression in its entirety. Each culture and society establishes its own musical language with specific scales, rhythms, rules for creating music and reproducing it, improvisations that correspond to different conceptions of time and space, of life and death, and 1 Music is not a universal language as it is often suggested, for music has a great inherent ability to evoke emotions and stimulate moments of aggregation, but that is something completely different to a universal language (Disoteo 2000, p. 7). 2 The terms folk music and traditional music are well reflected in the name of the principal association of ethnomusicologists worldwide. It was established in 1947 as The International Folk Music Council (IFMC), and in 1981, changed its name to The International Council for Traditional Music.

3 62 JOURNAL OF CONTEMPORARY EDUCATIONAL STUDIES 1/2013 Renata Sam Palmić of ideologies and beliefs/religions (Disoteo 2000). Intercultural music education departs from the fact that all music is intended for all people, regardless of its great diversity, uniqueness, and characteristics, and regardless of the manner in which it is formed and transmitted, what its sense is to the individual and group, and how it is spoken of (Pesek and Pettan 1994; Pettan 1998). Collective identity is a powerful influence on the development of individual identity, and thus, also individual musical identity, as the individual feels part of an us, which, although it can be defined in different ways, plays an important role in individual and collective behavior. Music itself, and music within the context of educational processes, can incite communication between me and us and us and them. Traditional music plays a twofold role: it strengthens feelings of belonging to one s own culture both regional and national and empowers processes of creating/ fostering an acceptance and respect for the diversity/otherness of traditional musical expression. Intercultural music education takes into consideration the presence of a dialectical relationship between the pupils affiliations to an individual and collective identity, a relationship that has great influence on the formation of cultural identity (Disoteo 2000; O Flynn 2005). Regional and national traditional music in the classroom enables pupils to delve into their own culture, which means becoming and remaining aware of the limitless possibilities for change, contact, and acculturation that are a feature of the multicultural lesson group. Intercultural music education encompasses the traditional regional and national music of the dominant culture (i.e., the majority group), and the traditional music of other ethnic groups or national minorities and of other peoples. In this manner, traditional music becomes a construct of music pedagogy for introducing pupils to an understanding of and participation in musical and cultural variety and diversity. In Disoteo s study on intercultural music education, musical identity is the center of attention and he articulates it on four levels. These are: imprint, experience, value, and competence. According to Disoteo (2000), interculturality is present in a class in which two pupils were born in the same town, but have differing affiliations to traditional music and have grown up in differing musical matrices. The plurality of one musical identity can be (and often is) present between teachers and pupils, and between members of different generations, ethnic groups, or region (ibid.). In viewing identity in the context of interculturality (Baloban 2005; Barth 1994; Gidens 1991; Kalanj 2008; Korunić 2003; Parsons 1994; Touraine 1992), it is necessary to forsake a bipolar view of identity and globalization. As Disoteo (2000) states, history and historical memory are of great importance for intercultural processes, which is in contrast with fears and views that claim that interculturality negates one s own identity. Both individual and collective memory should be remembered as they, as has already been stressed, shape every individual. Thus, musical identities in an intercultural context meet, acknowledge, respect, accept, compare, permeate, and promote each other. They become the reality of a multicultural society. O Flynn (2005) explains that studies of conceptions of multicultural/intercultural music education have shed light on the alternative possibilities of bringing traditional music closer, and that recent music education

4 Traditional music as co-construct of intercultural music education 63 curricula in different countries are proof of pluralistic views of music and music education, while also enabling the introduction of an intercultural music model for teachers and schools in their entirety in a short period of time (ibid., pp ). Intercultural education allows the teacher a more pronounced role in broadening the multicultural horizons of his/her pupils. Examination of Pupils Sensibility towards Traditional Music on a Sample in Croatia: Purpose, Topic, Goals, and Tasks of Research Education, in particular, compulsory basic education, is the most powerful and strongest creator of (1) individual and collective musical and cultural identity, (2) a dynamic, multicultural society, and (3) the integration of intercultural music education co-constructed by traditional music Croatian music of microcultures and a multiethnic musical tradition into existing subsystems and their processes. In the Republic of Croatia in the 1990s and, in particular, the first decade of the twenty-first century, the primary school curricula known as the Primary School Croatian National Educational Standard (Hrvatski Nacionalni Obrazovni Standard 2006) possessed pronounced national characteristics. However, generally speaking, an openness and plurality in education practice was expressed at the same time. The fundamental presumption that serves as the point of departure in this work is: Croatian traditional and multicultural music are not sufficiently acknowledged as co-constructors of intercultural music education, nor in the primary school education process in the development of feelings of musical and traditional selfhood, dialogue skills, and of a multicultural intertwining between musical differences and varieties in urban Croatian environments. The research topic in this work is the pupils views and relationship towards their own traditional musical identity and the traditional music of other cultures within Croatia and beyond. The goals were: determining the effects of music education in the area of traditional music in primary education; determining, describing, and analyzing the similarities and differences in the pupils sensibility of traditional music, and their perceptions of musical and cultural diversity according to the region in which they belong. The tasks were: determining the pupils views and relationships of regional music and Croatian traditional music, in general, after the completion of primary school; determining the views, relationships and indicators of the pupils for the traditional music of national minorities and other nations; determining the pupils needs for perceiving traditional music;

5 64 JOURNAL OF CONTEMPORARY EDUCATIONAL STUDIES 1/2013 Renata Sam Palmić examining how pupils perceive traditional regional music and traditional music in general; examining the pupils sensitivity towards musical and cultural diversity and different identities in their classroom and environment; determining the existence of multicultural dialogue between pupils. In order to realize the goals and tasks of the examination of the pupils, a survey on the pupils views and relationship towards traditional regional music and multicultural traditional music they had acquired through music education in primary school was constructed. Research Methodology Sample The sample encompassed the population of pupils that had just completed primary school. It consisted of pupils from the five regional centers of Croatia: Rijeka, Pula, Split (Littoral Croatia), Zagreb (Central Croatia) and Osijek (Lowland Croatia). The sample comprised 1,000 examinees. The instrument for collecting data was a questionnaire. The questionnaire of the examinees was voluntary and anonymous, in which the ethical code for using children for research was respected (Dulčić 2003). The research was conducted in the first years of secondary school with prior written and oral permission obtained from the school s principal. The examination of the pupils was conducted on a random sample from the grammar schools, with 997 pupils participating in the research. The following Table displays the sample of pupils according to city: City f % Pula Rijeka Split Zagreb Osijek Total N ,0 Table 1: Display of the sample of pupils according to regional center Measuring instruments The instrument for collecting empirical data was constructed for the needs of this research as a structured questionnaire. The questionnaire contains: 1) closedended questions, 2) open-ended questions, and 3) statements to which a Likert scale from 1 to 5 was added: 1 = strongly disagree, 2 = disagree, 3 = somewhat agree, 4 = agree, 5 = strongly agree. The questionnaire consists of statements within

6 Traditional music as co-construct of intercultural music education 65 various research variables. Pilot research was conducted on a sample of pupils in the first year of grammar school in Rijeka. All statements within certain variables showed internal consistency, as their Cronbach s alpha ranged between.828 (Table 3),.844 (Table 4) and.900 (Table 2). Basic descriptive statistical indicators were calculated for all data (i.e., the frequency and percentage of certain answers, and where possible, the arithmetic mean and standard deviation). The difference between more than two groups in questionnaire data was calculated by analysis of variance (ANOVA), Levene s test. A Scheffe s test was used as a post-hoc test. The Results of the Statements and Discussion Relationship towards and views of Croatian traditional music and the music of other nationalities, statements: 1 34: Statements M SD 1. I never turn on the radio in order to listen to folk music It never occurred to me to ask my music education teacher to play more Croatian folk music. 3. I like music, just not folk music I don t like listening to folk music I know very little about Croatian folk music Folk music is completely uninteresting to me My friends would ridicule me if they knew that I was interested in folk music. 8. I can t understand many of the words in folk songs. 9. The lyrics of folk songs are pronounced in a funny way. 10. Folk music belongs at village festivities Folk and traditional music belong in the village. 12. The traditional music of my region is more beautiful than that of other regions of Croatia. 13. I learned enough about the traditional music of Croatia in primary school. 14. Folk music does not belong in the city I like listening to Latin American folk music I like the folk costumes of various Croatian regions. 17. Folk music is primitive music In my family, the songs of old from our region are often sung. 19. I would like to know more about the folk music of other cultures. 20. My parents introduced me to the value of traditional regional music

7 66 JOURNAL OF CONTEMPORARY EDUCATIONAL STUDIES 1/2013 Renata Sam Palmić Statements M SD 21. I perceive traditional regional music through ethno music. 22. I can recognize the folk music of the national minorities of Croatia I like listening to tamburitza music Traditional regional music is in fashion I m interested in folk singers and players My family raised me in the spirit of Croatian folk music. 27. I am interested in the traditional music of all regions of Croatia. 28. If my friends were to become members of a folklore club, I would join too I would like to play a folk instrument I listen to shows about Croatian folk music on the radio. 31. I follow shows about folk/traditional music on TV I was in the folklore club in primary school I would like to dance in a folklore group I read newspaper articles about folk music Table 2: The examinees relationship towards and views of Croatian traditional music and the music of other nationalities (Likert scale: 1 = strongly disagree, 2 = disagree, 3 = somewhat agree, 4 = agree, 5 = strongly agree). The examinees largely responded to the statements (S) within this variable negatively, mostly with marks 1 and 3, followed by 2 and, finally, 4 and 5. Such a distribution of answers can be viewed from the angle of the examinees low level of sensitivity towards their own traditional regional music and Croatian traditional music in general. On the other hand, the examinees relationship towards and views on their own musical tradition contains elements of ethnocentrism, while in other situations they are not defined enough or are even occasionally contradictory. A smaller number of the examinees expressed generally positive views, while the smallest number of examinees demonstrated a positive relationship and stance. In this context, the examinees answers can be observed from four levels: (1) the examinees negative stance towards traditional music, (2) a division of opinion on the perception of multi-regional traditional Croatian music as a part of a collective and individual musical and cultural identity among the examinees, (3) (a lack of) motivation for involvement in traditional music, and (4) traditional music in the function of bringing young people closer, representing communication and leisure time. The examinees express their views in an exceptionally negative fashion in statements S2, S3, S4, S6, S17, S19, S22, S23, S25, S27, S29, S30, S31, S32, S33, and S34. Their opinions are divided in S7, S8, S9, S10, S12, S14, S15, and S16. It can be concluded that the examinees motivation for experiencing traditional music is exceptionally low. The examinees demonstrate a certain indirect interest

8 Traditional music as co-construct of intercultural music education 67 in their answers to S12, S16, and S28, which means that the examinees connect a more active possible interest to collectivity, communication, and free time. The results obtained from the examinees views on and relationship towards traditional music indicate that they perceive traditional regional, national, and multicultural music as separate from their music education, education in general, and their cultural needs. This means that traditional music is not integrated into the total sociocultural lives of the examinees, and does not establish integrity in the multicultural society and community with the aim of developing a multicultural dialogue. However, positive indicators in the examinees opinions in the responses to S5, S6, S7, S9, S11, S12, S14, S16, and S29, although present among only a small or relatively small number of examinees, hint that a certain number of young people reflect upon traditional music. This, however, is not a sufficient indicator of real musical multicultural intertwining based on the traditional music of one s own region. The results obtained pointed towards the conclusion that, in urban environments that are also spaces were multiple cultures intertwine (Castells 2002; Zlatar 2008), youth do not, objectively, have an opportunity to attai n sensitivity towards traditional music and to gain knowledge of its manifold cultural values (Matulić 2008). This is in opposition to many other areas and activities that are frequently offered to them via the media (Castells 2002; MacLuhan 2002). I connect the aforementioned facts with a low level of motivation, specifically, a lack of intrinsic and induced motivation (Rotar-Pance 2006) that emanates as an effect. Views on the teacher s transmission of traditional Croatian music, statements: Statements M SD 35. My music education teacher has a very good knowledge of Croatian folk music. 36. I wasn t able to familiarize myself enough with the traditional music of all regions of Croatia in music education classes. 37. In music education lessons, I got acquainted with the folk costumes used in Croatian dances and kolo dances. 38. We seldom listened to folk songs in 7 th and 8 th grade. 39. Our teacher began introducing us to the beauties of traditional regional music in first grade. 40. I first encountered the traditional music of Croatia in the first three grades of primary school 41. In music education classes, we listened to Croatian folk music very often

9 68 JOURNAL OF CONTEMPORARY EDUCATIONAL STUDIES 1/2013 Renata Sam Palmić Statements M SD 42. My music education teacher is to be thanked most for my knowledge of Croatian folk music. 43. During music education classes, we sang many songs from all regions of Croatia. 44. Our music education teacher taught us to recognize folk instruments by sound My teacher played a folk instrument In my music education classes, the teacher transferred his/her love of traditional regional music to us. 47. My teacher sang Croatian folk songs in various dialects. 48. I can sing folk songs from notation We always sang folk songs by ear My parents are to be thanked most for my knowledge of Croatian folk music. 51. I can recognize the folk music of Istria, Dubrovnik, GorskiKotar, Lika and Banovina, the Croatian Zagorje, Međimurje, Prigorje, Pokuplje, Posavina, Moslavina, Bilogora, Slavonia and Baranja. 52. Our music education teacher acquainted us with terms related to folk music, such as tarankanje, ojkanje, rozganje, naricanje, and ganga. 53. During music education classes, we mostly listened to the ethno music of our own region. 54. We listened to folk music in every class from the 4th grade to the 8th grade. 55. We organized quizzes on the topic of traditional folk music in class Table 3: Views on the teacher s transmission of traditional Croatian music Likert scale: 1 = strongly disagree, 2 = disagree, 3 = somewhat agree, 4 = agree, 5 = strongly agree The examinees voiced their opinions on 21 statements connected with music education curricula, and the content of accompanying textbooks used from the 1 st to the 8 th grade of primary school. During primary school, the examinees had music education classes in accordance with the curricula from 1999 and Thus, the questions encompassed the compulsory and recommended content from both curricula. According to the examinees answers to the statements, the following can be concluded: (1) emphatic agreement with the items cannot be found, (2) complete disagreement or disagreements are expressed in most statements, and (3) the answers for the mark somewhat agree range from 15.6% to 36.4%. I hold that this is an indication of the examinees hesitation regarding

10 Traditional music as co-construct of intercultural music education 69 whether to select a negative or positive answer. The majority of the examinees expressed positive experiences regarding the teacher s transmission of music in the classroom. For the moment, I will ignore the temporal distance and the age of the examinees as a possible obstacle in the evaluation of S39 and S40. In their estimations of the music education teacher s transmission within subject teaching, the examinees demonstrated reflection and the ability to discern between the professional and the emotional dimension of the teacher in his/her transmission of traditional music, S42 and S46. At the same time, the examinees do not perceive their parents transmission of traditional regional music in a positive fashion, S50. A high percentage of the examinees did not agree with S51, S52, S54, and S55. In addition, a relatively large number also rejected S36, S43, S44, S45, S46, S47, S48, and S49. Contradictions are present in the responses to S48 and S49. A clear conclusion cannot be derived from the answers, though the responses raise dilemmas and questions pertaining to forms of music education work and the methods used in it. A high percentage of negative marks, as well as mark 3, prompt several questions: Do pupils largely sing by ear or from notation? Do they sing from notation by visually memorizing the movements of the melodic curve? If they are able to sing from notation (36.4% of the examinees generally agree), why do they still largely sing by ear (28.1%)? The conclusion is that, in the answers regarding their views of the teacher s transmission of traditional music, the examinees clearly demonstrated perceiving their music education teacher as a key transmitter, largely evaluating this transmission positively. At the same time, their answers point towards problems in the transmission of traditional music: the teachers insufficient emotional engagement, infrequent and/or irregular listening to traditional music in music education classes, and insufficient familiarization with the characteristics of multi-regional music. Views on the teacher s transmission of the music of national minorities and other peoples, statements: Statements M SD 56. I m not interested in the folk music of national minorities. 57. For me, the music of national minorities is a means of familiarizing myself with other cultures. 58. I am not familiar with the folk music of other peoples. 59. In primary school, I never noticed that there were pupils from national minorities in my class who would have liked for music from their folk heritage to have been listened to and sung more often. 60. The music of national minorities is a treasure of Croatian cultural heritage

11 70 JOURNAL OF CONTEMPORARY EDUCATIONAL STUDIES 1/2013 Renata Sam Palmić Statements M SD 61. We should continue familiarizing ourselves with folk musical heritage in secondary school, both with our own and that of other peoples. 62. The pupils in my class that were members of national minorities were pleased when we listened to the music of their folk culture 63. In primary school, I learned why it is important to know the folk music of your own people and that of other peoples. 64. I learned some of the songs of the national minorities of Croatia in primary school. 65. In primary school, I was familiarized with the folk music of distant peoples (e.g., the music of Brazil, India, Japan, and Africa). 66. I prefer the music of one folk over all other forms of folk music. 67. I am familiar with the dances of the national minorities of Croatia. 68. In music education classes, we managed to get acquainted with the traditional music of most of the national minorities of Croatia through listening and singing. 69. In primary school, I learned to recognize the folk music of other European cultures by sound. 70. I felt that my music education teacher liked the folk songs of certain national minorities more than those of others. 71. We built simple folk instruments in primary school (e.g., rattles, percussion instruments, etc.). 72. I know some of the characteristics of Italian, Slovenian, and Hungarian folk music. 73. We discussed the music of national minorities in class. 74. Our teacher would select for listening the music of those national minorities to which some of the pupils in our class belonged. 75. We regularly sang the songs of the national minorities of Croatia in class. 76. I could name several folk songs and dances from other cultures at any hour. 77. I can determine to which folk panpipes belong by their sound and appearance. 78. In class, we talked with pupils that were members of national minorities about their folk music Table 4: Views on the teacher s transmission of the music of national minorities and other peoples Likert scale: 1 = strongly disagree, 2 = disagree, 3 = somewhat agree, 4 = agree, 5 = strongly agree

12 Traditional music as co-construct of intercultural music education 71 A very low or low acceptance of the statements within this variable dominates. In addition to clearly expressed views, some contradictory answers can also be found. The negative or largely negative responses that the examinees expressed in most of the items speak for themselves. Less negative answers can be seen in S56, S57, S60, and S64 and, to a certain degree, in S59. The answers to S56 and S57 indicate that the results of the examinees acquired experiences, views, and relationship towards those that are musically and culturally different are doubtful; thus, the same can be said for their perception of the multicultural reality in which they live. More than a third of the examinees hold that they are familiar with the music of other peoples, S58. The results obtained point towards well thought out answers, in which the knowledge acquired can also be taken into consideration as a result of other widespread sources of information. However, the examinees also demonstrate being restricted to their own cultural and music region, a lack of interest, and a low level of accepting the music of others, S60, S66. In this manner, they expose the activity of the existing mechanisms of organi z- ing a multicultural society and educational system, S63, S64, S69, and S75. The distribution of responses to S59 points towards the conclusion that the examinees carefully considered their answers, demonstrating, to some extent, an acceptance of diversity in which the transmission of music through education is the key for opening musical multiculturalism, foremost in the classroom. The examinees honestly confirm their lack of knowledge on the characteristics of the traditional music of other cultures, S69, S72, and S77 (Sam Palmić 2010). Finally, a third of the examinees hold that the continuation of education on traditional music in secondary school is necessary. However, this number is also indicative of the community s passivity and lack of readiness and organization for developing sensitivity towards one s own musical and cultural selfhood, and among diverse individuals and societies, particularly when it comes to the segment of education. Differences between Certain Variables According to City A comparative approach to the examinees answers examined the differences between the variables containing a larger number of items. Significant differences between estimates of pupils from different cities were obtained on all three variables. Comparing the differences between groups (posthoc) showed that examinees from Pula (p = 0.040) and Osijek (p = 0.016) achieved significantly higher results in the variable relationship towards traditional regional music than the examinees from Zagreb, (i.e., pupils from Pula and Osijek have a more positive attitude toward traditional music than the pupils from Zagreb). In the variable teacher s transmission of regional music, the examinees from Osijek achieved significantly higher results (p = 0.012) than the examinees from Zagreb, while on scale teacher s transmission of the national minorities music, the examinees achieved significantly higher results than the examinees from Rijeka (p = 0.004) and Zagreb (p < 0.001).

13 72 JOURNAL OF CONTEMPORARY EDUCATIONAL STUDIES 1/2013 Renata Sam Palmić Variables examined The pupils views and relationship towards traditional regional music 1. Rijeka 2. Zagreb 3. Split 4. Pula 5. Osijek F; p Levene Statistic; p M SD M SD M SD M SD M SD F = 4.44; p = The pupils F = 3.79; views towards p = the teacher s transmission of traditional Croatian regional music The pupils views towards the teacher s transmission of the music of national minorities F = 6.68; p = Table 5: The differences between answers within certain variables according to city 0.31; p = ; p = ; p = In light of these results, it can be concluded: (1) the examinees from Pula and Rijeka demonstrated a more defined and more positive view of traditional music than the examinees from Zagreb; (2) the examinees from Osijek demonstrated a statistically significant more positive evaluation of their teachers transmission than the examinees from Zagreb; (3) the examinees from Pula gave a significantly more positive evaluation of the transmission of the music of national minorities than the examinees from Rijeka and Zagreb; (4) the most pronounced differences were noted in their knowledge of traditional music, in which the examinees from Pula demonstrated the most statistically significant positive difference in comparison to most of the examinees from other cities, apart from Rijeka, while the examinees from Rijeka demonstrated a significant positive difference compared to those from Split. It can be concluded that the examinees from Pula demonstrated a positive difference in all variables, except the second, the transmission of traditional regional music. The examinees from Osijek demonstrated a positive difference in comparison to other cities in their views of traditional regional music and the evaluation of its transmission. The examinees from the largest cities Zagreb, Split, and Rijeka did not demonstrate statistically significant positive differences in their answers. In the total result of all variables, the examinees from Zagreb achieved the poorest results, followed by the examinees from Split. Final thoughts From the sum of their answers, it can be concluded that the examinees demonstrated modest results of traditional regional music and traditional music culture. At the same time, they expressed certain individual sentiments towards the multicultural reality. In addition to their modest knowledge of traditional

14 Traditional music as co-construct of intercultural music education 73 regional music and traditional music culture, the results obtained mirror social reality music education and general education in primary school, the influence of upbringing, sociocultural indicators, and the behavior of the individual and the community are insufficiently influential, although they hint at the existence of elements of intercultural sensitivity and the need for introducing elements of the model of intercultural education for musical tradition (Bennett 2003; Byram 1997). At the same time, the examinees also demonstrated a certain negation of other cultures and insufficiently developed views on musical diversity, although some of them showed no rejection of or detachment from these matters (i.e., they accepted diversity as a natural situation). It is up to the examinees, with the assistance of the teachers and the strong support of the education process and other social influences, to initiate personal processes of adapting to diversity in order for the integration of differences (i.e., the intertwining of diverse forms in the area of musical multiculturalism), to become a part of their activities and environment. The examinees, therefore, did not demonstrate a significant interest and motivation for discovering differences, as they did not demonstrate a sufficient interest and motivation for regional and national musical tradition and culture. Their views are fluid and inconsistent, while certain segments of their perception of musical roots are inconsistent; a lack of musical motivation contributes to this, as it is a great hindrance to active knowledge. By invoking both models of intercultural sensitivity (Bennett 2003; Byram 1997), it is possible to ascertain that intensive and prolonged work on developing multicultural and intercultural sensitivity regarding views of traditional music culture lies before the examinees and, directly, before the educational system, the community, and society. The examinees relationships towards otherness in traditional music culture and towards members of other forms of musical expression are also conditioned by empathy and intercultural communication competence (Barbera 2007; Mantovani 2008), which, as the research results indicate, the pupils seem to be greatly lacking. Furthermore, the results showed that intercultural pedagogy is not only limited to the classroom and the classes of immigrant children, but is a need of the pluralist and multicultural society (Gobbo 2004; Portera 2007). The results also confirm that the family and the school are not sensitized towards multiculturalism and ready to face their role as initiators of positive changes in the life of the individual and of society (Portera 2007). This item is extrapolated on the grounds of certain contradictory results in the examinees views of the traditional music of national minorities and their knowledge of the music of their own region. The examinees clearly expressed that it is the duty of the school in a democratic multicultural society to develop multicultural musical sentiments based on intercultural music education and intercultural education in general. Portera holds that intercultural education processes can be successfully activated through strategies based on including all participants of the immediate education process and beyond (ibid.). The obtained results of the examination of the pupils who have just finished primary school demonstrate that the current music education curriculum and its

15 74 JOURNAL OF CONTEMPORARY EDUCATIONAL STUDIES 1/2013 Renata Sam Palmić accompanying textbooks do not reflect support for the multicultural reality and intercultural education processes. A musical interculturality in compulsory basic education grounded in traditional regional music culture presupposes its development through the acceptanc e of musical and cultural relationships, school rules and regulations, and the curriculum, just as the school both modifies and adapts its activities to the changes in society and its needs. The changes accepted by the teachers, pupils, and parents can, through mutual activities, contribute to the development of their multicultural environment (Gobbo 2004). As the examinees pointed out, they did not hold that their parents greatly influenced their relationship towards regional and traditional music, while the influence of the teachers on the same was more significant. I stress the need for acknowledgment, motivation, and communication with the aim of stimulating the musical sociocultural dimension of the education of youth. One of the key reasons for this is the creation of one s image of themselves, and of the musical and cultural identity of the individual and the group. Intercultural dialogue has not been vivified in the classroom, although, as has been stressed, a majority of the examinees do not have an overly negative view of the music of others; likewise, there is no perception of the intertwining between the me you us in music (Fiorucci 2008), while the partial knowledge acquired has not been integrated into the emotional musical cognizance of the examinees and their cultural and everyday lives. The examinees answers, in which it is evident that their perception of traditional music corresponds with their environment, and the greatest responsibility for this lies with the music education curriculum and the transmission of music, speaks in favor of Disoteo s and Fiorucci s views of music as a universal language that has great power to stimulate and provoke emotions and, as such, has universal meaning (Disoteo 2000; Fiorucci 2008). If one is to add to this that one part of public opinion in urban environments is often exclusionary when it comes to traditional music, often placing it among subcultural activities and processes, it is evident that youth are given the message that it is irrelevant for multiculturalism and interculturalism (Abril 2006). The results of this research point towards the need for creating an intercultural music strategy with the following activities: Making music education curricula open to the music of the regions and other traditional forms of musical expression; Projecting the music education curriculum in class and subject teaching of music education, with the aim of achieving a more significant inclusion of traditional music as a foothold for multiculturalism and intercultural dialogue.

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