UvA-DARE (Digital Academic Repository) Teaching World Music in the Netherlands 1983-2003. A cross-cultural investigation into concepts, ideas and pratcices of music transmission in culturally diverse environments Schippers, H. Link to publication Citation for published version (APA): Schippers, H. (2004). Teaching World Music in the Netherlands 1983-2003. A cross-cultural investigation into concepts, ideas and pratcices of music transmission in culturally diverse environments Amsterdam: in eigen beheer General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: http://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (http://dare.uva.nl) Download date: 22 Jan 2018
CONTENTS CONTENTS Contents s Summaryy in Dutch 3 Contentss 7 Listt of Tables 11 Prefacee 13 Acknowledgmentss 15 DEFININGG THE CHALLENGE 17 -- Rationale, Aims, and Methods Rationalee - an autoethnographic journey 17 Aimss 22 Methodss 24 Chapterr One: SETTING THE SCENE 35 -- Terminology and Approaches Introductionn 35 Worldd Music: the Term 36 Culturall diversity 41 Fourr approaches to cultural diversity 43 Monoculturall 43 Multiculturall 44 Interculturall 46 Transculturall 47 Fromm Concept to Policy 49 Conclusionss 52 Chapterr Two: PERSPECTIVES 55 -- The Discourse in Ethnomusicology and Music Education Introductionn 55 Ethnomusicologyy and Cultural Diversity 55 Culturall Diversity and Music Education 61 Conclusionss 74 7 7
TEACHINGTEACHING WORLD MUSIC IN THE NETHERLANDS J983-200 Chapterr Three - RECONTEXTUALISATTON 77 -- The Dynamics of Tradition, Authenticity and Context Introductionn 77 Traditionn 77 Imitationn 82 Restrictionn and freedom 84 Stasiss and dynamism 85 Traditionn and music education 87 Authenticityy 88 Authenticityy in music education 93 Contextt 96 Recontextualisationn 98 Contextt in music education 100 Conclusionss 106 Chapterr Four: TRANSMISSION 109 -- Approaches to Music Teaching and Learning Introductionn 109 Explicitt and implicit foci 110 Approachess to methods of teaching 118 Notationn & Orality 118 Analyticall & Holistic 123 Conclusionss 130 Chapterr Five: STRUCTURE 131 -- Implications of the Organisation of Music Education Introductionn 131 Formall music education 133 Conservatoiress 133 Publicc and Private music schools 137 Musicc in Schools 140 Non-formall and informal music teaching and learning 143 Privatee music teachers 143 Communityy music 146 Conclusionss 147 8 8
CONTENTS CONTENTS Chapterr Six - CONNECTING THE STRANDS 149 -- Towards a Descriptive Model Introductionn 149 Thee Seven-Continuum Transmission Model (SCTM) 149 Testingg the SCTM: Three Finger Exercises 153 Applicationss of the SCTM as a descriptive model 160 Otherr applications of the SCTM 162 Conclusionss 164 Chapterr Seven - APPLYING THE MODEL 167 -- Four Case Studies Introductionn 167 Casee study 1: Mandinka percussion for Dutch amateurs - O'Bryan 169 Introductionn 169 Backgroundd 169 Djembee in the Netherlands 172 Conclusionss 176 Casee study 2: Turkish Folk Music in formal music education - Avci 178 Introductionn 178 Backgroundd 178 Conclusionss 183 Casee study 3: Balinese gamelan in professional music training - Ketut 185 Introductionn 185 Backgroundd 185 Gamelann in the Netherlands 185 Conclusionss 189 Casee study 4: Indian music as a degree course in the West - Chaurasia 191 Introductionn 191 Backgroundd 191 Settingg 200 Conclusionss 207 Conclusionss & Recommendations...»...»»..»»»...»..> 209 Recommendationss 215 Furtherr Research 216 Glossaryy of Terms...... 219 9 9
TEACHINGTEACHING WORLD MUSIC IN THE NETHERLANDS 1983-2003 BibUography... w^ ^ Appendices...241 1 Listt of appendices AppendixAppendix A: Policy Documents 242 Appendixx Al: The Tanglewood Declaration (1968) Appendixx A2: ISME Policy on Musics of the World's Cultures (1992) Appendixx A3: The Bologna Declaration (1999) Appendixx A4: Sound Links: From Policy to Practice - Cultural diversity in ten easy steps AppendixAppendix B: Surveys & Questionnaires 259 Appendixx Bl: Results Survey Cultural Diversity in Conservatoires Sound Links/CONNECT Appendixx B2: Initial Questionnaire Sound Links / CONNECT Appendixx B3: In-depth Questionnaire Sound Links Case Studies Appendixx B4: Student Questionnaire Sound Links / CONNECT AppendixAppendix C: Intersubjectivüy 274 Appendixx CI: Analysis responses consultants to excerpt video Korean p'ansori (D2) Appendixx C2: Analysis responses consultants to excerpt video Algerian rai (D3) Appendixx C3: Analysis responses consultants to excerpt video Turkish saz (D4) Appendixx C4: Analysis responses consultants to excerpt video African djembe (D5) Appendixx C5: Analysis responses consultants to excerpt video Indian bansuri (D6) AppendixAppendix D: References Audiovisual Material. 291 Appendixx Dl: Teaching American jazz. Excerptfrommovie Congorilla (1932) Appendixx D2: Teaching Korean p'ansori. Excerpt from movie Sopyonje (1993) Appendixx D3: Teaching Algerian rai. Excerpt documentary Roots & Routes (2001) Appendixx D4: Teaching Turkish folk music. Excerpt One Monkey, no Show (1995) Appendixx D5: Teaching Mandinka percussion. Excerpt Case Study 1 (2003) Appendixx D6: Teaching Indian classical music. Excerpt Case study 4 (2003) 10 0
CONTENTS CONTENTS AppendixAppendix E: Case Studies & Interviews (Integral recordings on DVD) 291 Appendixx El: Ponda O'Bryan: Mandinka percussion (Amsterdam, July 3, 2003) Appendixx E2: Interview Ponda O'Bryan (July 3,2003) Appendixx E3: Ceylan Utlu: Turkish folk music (Amsterdam, 1995) Appendixx E4: Interview Nahim Avci (June 25, 2003) Appendixx E5: Elsje Plantema: Javanese gamelan (1995) Appendixx E6: Interview Henrice Vonck (July 2,2003) Appendixx E7: Hariprasad Chaurasia: Indian classical music (Rotterdam, May 8, 2003) Appendixx E8: Interview Hariprasad Chaurasia (May 8,2003) Listt of Tables Tablee 1.1: Arts policies towards cultural diversity in the Netherlands Tablee 1.2: Approaches to cultural diversity Tablee 2.1: Terminology and approaches to cultural diversity in the USA Tablee 3.1: Approaches to tradition as a continuum Tablee 3.2: Relationship between original musical event and new reality y Tablee 3.3: Approaches to authenticity as a continuum Tablee 3.4: Approaches to context as a continuum Tablee 3.5: Recontextualising music in education - a dynamic approach Tablee 3.6: Issues of Context cluster Tablee 4.1: Continuum emphasis from tangible to intangible aspects of learning music Tablee 4.2: Contrast in focus between oral and notation-based traditions Tablee 4.3: Continuum emphasis written to oral aspects of learning music Tablee 4.4: Objectivist versus constructivist approaches to learning Tablee 4.5: Continuum analytic to holistic approaches to music teaching and learning. Tablee 4.6: Continua cluster approaches to methods of teaching Tablee 6.1 The Seven-Continuum Transmission Model (SCTM) Tablee 6.2: Indicators for the Seven-Continuum Transmission Model (SCTM) Tablee 6.3: Traditional teaching of p'ansori in the SCTM Tablee 6.4: Contemporary master class rai in the SCTM Tablee 6.5: Gordang sembilan as music in school in the SCTM Tablee 7.1: Djembe lesson Ponda O'Bryan in the Seven Continuum Transmission Model Tablee 7.2: Saz lessons Utlu/Avci in the Seven Continuum Transmission Model Tablee 7.3: Gong Kebyar at a Conservatorium in the Seven-Continuum Transmission Model Tablee 7.4: Aspects of learning highlighted and underemphasised in GSP Tablee 7.5: Insiders views on learning Indian music in the Seven-Continuum Transmission Model Tablee 7.6: Schematic representation structure and content degree course Indian bansuri Tablee 7.7: Progression advanced bansuri lesson Hariprasad Chaurasia, Rotterdam Conservatorium Tablee 7.8: Learning Bansuri at a Conservatorium in the Seven-Continuum Transmission Model 11 1
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