LEARN MUSIC HANDS on

Releasing stress through the power of music
Music can have a profound effect on both the emotions and the body. Faster music can make you feel more alert and concentrate better. Upbeat music can make you feel more optimistic and positive about life. A slower tempo can quiet your mind and relax your muscles, making you feel soothed while releasing the stress of the day. Music is effective for relaxation and stress management.
Research confirms these personal experiences with music. Current findings indicate that music around 60 beats per minute can cause the brain to synchronize with the beat causing alpha brainwaves (frequencies from 8 - 14 hertz or cycles per second). This alpha brainwave is what is present when we are relaxed and conscious. To induce sleep (a delta brainwave of 5 hertz), a person may need to devote at least 45 minutes, in a relaxed position, listening to calming music. Researchers at Stanford University have said that "listening to music seems to be able to change brain functioning to the same extent as medication." They noted that music is something that almost anybody can access and makes it an easy stress reduction tool.
So what type of music reduces stress the best? A bit surprising is that Native American, Celtic, Indian stringed-instruments, drums, and flutes are very effective at relaxing the mind even when played moderately loud. Sounds of rain, thunder, and nature sounds may also be relaxing particularly when mixed with other music, such as light jazz, classical (the "largo" movement), and easy listening music. Since with music we are rarely told the beats per minute, how do you choose the relaxation music that is best for you? The answer partly rests with you: You must first like the music being played, and then it must relax you. You could start by simply exploring the music on this web page. Some may relax you, some may not. Forcing yourself to listen to relaxation music that irritates you can create tension, not reduce it. If that happens, try looking for alternatives on the internet or consult with Counseling Service staff for other musical suggestions. It is important to remember that quieting your mind does not mean you will automatically feel sleepy. It means your brain and body are relaxed, and with your new calm self, you can then function at your best in many activities.
Experiment now. Experience a "sound bath" and let the music carry you away
The links below each open relaxing musical selections in YouTube.
A Moment of Peace Meditation
Aneal & Bradfield, "Heaven and Earth Spirits" track from Life & Love). Lovely contemporary piano music with accompanying instruments and nature scenes.
Echoes of Time
C. Carlos Nakai from the Canyon Trilogy. Serene Native American flute music, with a picture of Nakai backlit by the sun at the Grand Canyon.
The Winding Path
Ken Kern from The Winding Path. Highly rated, beautiful piano music with accompanying instruments with pictures of exquisite flowers and plants.
Classical Indian Music for Healing and Relaxing
Gayatri Govindarajan, "Pure Deep Meditation" track. Lovely and rhythmic music played on the veena, the most ancient of the Indian plucked-instruments, with nature scenes.
Angels of Venice
Angels of Venice from Music for Harp, Flute and Cello. Classical with 3 instruments with nature pictures.
Earth Drum
"Spirit Vision," (David & Steve Gordon. Serene and lovely contemporary Native American informed-drumming music utilizing Taos Log Drum and Incan Pan along with other instruments and ocean/forest nature scenes.
Buddha Spirit
Aneal & Bradfield from Light & Love. Reflective but strong contemporary music utilizing various instruments and occasional humming voices with colorful oscillating fractals
Spa Relaxing Music
Tranquil contemporary instrumental with piano and a fixed candle light.
Relaxation Music: 1-Hour Meditation Candle
Serene contemporary instrumental with piano and one flickering candle.
Sleep Deeply
Dan Gibson. Nature sounds and instrumental, tranquil sleep music.
Weightless
Marconi Union. The sounds on this video are carefully arranged harmonies, rhythms, and bass lines that help slow a listener's heart rate, reduce blood pressure, and lower levels of the cortisol stress hormone.

UNITED CHURCH OF ZAMBIA
ST ANDREWS CONGREGATION
ADVERT FOR MUSIC LESSONS
The United Church of Zambia St. Andrews Congregation’s Community Development and Social Justice Committee (CDSJC) has embarked on a fund raising project to support various needy areas of the Congregation as well as the outlying communit.
As music is a good enabler to praise and worship God and can be a good and profitable skill for society, it is a tool identified by CDSJC to assist with the above cause.
We are therefore inviting interested prospective students of music to register for class starting soon.
LESSONS ON OFFER
• Rudiments and Theory of Music
• Aural/Voice Training
• Piano playing
• Guitar playing
• Conventional Drums playing
• Conducting of Choir.
• Other Instruments on Special arrangement.
Please note that there is no upper limit in age to interested prospective students.
Though young students in primary and secondary school are encouraged to register.
The training shall be conducted by a team of able music trainers led by Mr Brian Musonda of St Andrew's congregation.

REGISTRATION
For registration forms and further details please contact the St. Andrew's CDSJC Convener or the St. Andrews Administrative Secretary on 0211 263486 sel: +260955754255 or the Principal Music Tutor on the Project Mr. Brian Musonda on 096403665/0955808035 or email [email protected]

CHARGES
K600.00 per month
Or
K150.00 once off sessions
Please hurry as a manageable number of not more than 40 students will be allowed for a start.

COME ONE, COME ALL AND SUPPORT A VERY NOBLE CAUSE OF SUPPORTING THE NEEDY IN OUR CHURCH AND THE COMMUNITY

Enjoy music and get rid of your stress.

piccolo, (Italian: “small flute”) in full flauto piccolo, highest-pitched woodwind instrument of orchestras and military bands. It is a small transverse (horizontally played) flute of conical or cylindrical bore, fitted with Boehm-system keywork and pitched an octave higher than the ordinary concert flute.
The piccolo’s compass extends three octaves upward from the second D above middle C. Its orchestral use dates from the late 18th century, when it replaced the flageolet (also called flauto piccolo). A six-keyed piccolo in D♭ was formerly used in military bands to facilitate playing in flat keys. Piccolo is also the name of an organ stop; the word can be applied to other instruments, such as the piccolo clarinet or the violino piccolo (“small violin”).
Timpani, or kettledrum, and drumsticks. Musical instrument, percussion instrument, drumhead,

INSTRUMENTS OF THE ORCHESTRA
String Family
WHAT: Wooden, hollow-bodied instruments strung with metal strings across a bridge.
WHERE: Find this family in the front of the orchestra and along the right side.
HOW: Sound is produced by a vibrating string that is bowed with a bow made of horse tail hair. The air
then resonates in the hollow body. Other playing techniques include pizzicato (plucking the strings),
col legno (playing with the wooden part of the bow), and double-stopping (bowing two strings at
once).
WHY: Composers use these instruments for their singing quality and depth of sound.
HOW MANY: There are four sizes of stringed instruments: violin, viola, cello and bass. A total of forty-four are
used in full orchestras.
The string family is the largest family in the orchestra, accounting for over half of the total number of musicians on
stage. The string instruments all have carved, hollow, wooden bodies with four strings running from top to bottom.
The instruments have basically the same shape but vary in size, from the smaller VIOLINS and VIOLAS, which are
played by being held firmly under the chin and either bowed or plucked, to the larger CELLOS and BASSES, which
stand on the floor, supported by a long rod called an end pin. The cello is always played in a seated position, while
the bass is so large that a musician must stand or sit on a very high stool in order to play it. These stringed
instruments developed from an older instrument called the viol, which had six strings. The violin as we know it today
was developed by master-craftsmen in 16th-century Italy. There is one more member of the string family: the HARP.
It is found at the end of violin section, and its forty-seven strings are plucked, not bowed.
Viola
Double Bass
Violin
Harp CelloUnlabeled graphicUnlabeled graphicUnlabeled graphicUnlabeled graphicUnlabeled graphicINSTRUMENTS OF THE ORCHESTRA
Brass Family
WHAT: Long brass tube that is curled around, ending in a bell
WHERE: Find this family in the back of the orchestra on the right side.
HOW: Sound is made by buzzing the lips into a cup-shaped mouthpiece. The valves are used to change the
length of the tubing and alter the pitch. The musician can also control the pitch using lip pressure.
WHY: Composers use the brass family for big themes and brilliant passages.
HOW MANY: There are four members of this family: horn, trumpet, trombone, and tuba. Eleven to fourteen brass
instruments will be found in the orchestra.
The brass family usually sits across the back of the orchestra. The HORN is in the back row of the orchestra, behind the
bassoons and clarinets. The horn is a very long brass tube wrapped around in a circle several times. If you unwound a
horn’s tubing, it would be twenty-two feet in length! The TRUMPET sits to the right of the horns, and the TROMBONE
sits behind the trumpet. The trombone is an ancient instrument that has not changed much since the early times when
it was called the sackbut. Part of the trombone’s tube, called a slide, is movable, sliding in and out to change the pitch.
The last member of the brass family is the TUBA. The tuba was first used in a symphony orchestra by Richard Wagner.
Tuba
Trumpet
Trombone French HornUnlabeled graphicUnlabeled graphicUnlabeled graphicUnlabeled graphicINSTRUMENTS OF THE ORCHESTRA
Woodwind Family
WHAT: Wooden or metal tubes with holes in the tubing, to be covered or uncovered by the fingers and
change the pitch.
WHERE: Find this family in the middle of the orchestra.
HOW: Sound is made by blowing across an open hole (flute, piccolo) or against a reed (clarinet, oboe,
bassoon). This causes the column of air in the instrument to vibrate, and the musician can change
the pitch by covering or uncovering certain holes on the body of the instrument.
WHY: Composers use this family for color and sparkle. Each woodwind has a unique and distinct timbre.
HOW MANY: There are four members: flute, clarinet, oboe, and bassoon. Eight to twelve are used in full
symphony.
The woodwind family sits together in the middle of the orchestra, behind the violins and violas. The name
“woodwind” originated because the instruments were once made of wood and are played using wind (by blowing).
The FLUTE is now made of silver or sometimes gold. The flute has a cousin, very short and small, called the
PICCOLO. This instrum ent plays the highest notes in the orchestra. The CLARINET sits directly
behind the flutes and is long and black. It is descended from an instrument called the chalumeau. The OBOE sits to
the right of the flute, is black in color, and has a wider opening at the end called the bell. The oboe is an ancient
instrument, once called the hautboy, from the French. The oboe’s big brother is the ENGLISH HORN, found to the
right of the oboes. To the right of the clarinet, behind the oboes, is the BASSOON. The bassoon is a very long wooden
tube that has been folded in half so you can see the bell from the audience.
Flute
Piccolo
Bass Clarinet
English
Horn
Clarinet
Bassoon
OboeUnlabeled graphicUnlabeled graphicUnlabeled graphicUnlabeled graphicUnlabeled graphicUnlabeled graphicUnlabeled graphicINSTRUMENTS OF THE ORCHESTRA
Percussion Family
WHAT: Various instruments of wood or metal that are struck with mallets.
WHERE: Find this family in the back of the orchestra on the left side.
HOW: Sound made by striking the instruments.
WHY: Composers use percussion instruments to give style and flair to a piece. This family provides the
most noticeable rhythm to a piece.
HOW MANY: There are many instruments in this family. In orchestras, one musician is assigned to play the
timpani, and then two to four additional musicians cover the remaining instruments.
Another family of the orchestra is the percussion family. This family is found on the far left side of the orchestra.
Most of the percussion instruments are struck with mallets or sticks. One group of instruments in this family is the
drums. TIMPANI, the pitched drums, stand alone and have one designated player. Other drums are the BASS
DRUM, the FIELD DRUM, the SNARE DRUM and even the DRUM SET. You can hear other
percussion sounds created by CYMBALS, TRIANGLES, CHIMES, WOOD BLOCKS, TAMBOURINES,
SLEIGH BELLS and m any others. Som etim es a com poser uses tuned percussion instrum ents such
as XYLOPHONES (tuned wooden bars), VIBRAPHONES (tuned metal bars) and the GLOCKENSPIEL (very highpitched metal bars). The PIANO is also a member of the percussion family because its strings are struck with feltcovered hammers.
Triangle
Piano
Glockenspiel
Tambourine
Bass Drum
Chimes
Timpani
Snare DrumUnlabeled graphicUnlabeled graphicUnlabeled graphicUnlabeled graphicUnlabeled graphicUnlabeled graphicUnlabeled graphicUnlabeled graphic

Journal of University Teaching & Learning Practice
Volume 12 | Issue 2 Article 8
2015
Promoting African Music and enhancing
intercultural understanding in Teacher Education
Dawn Joseph Dr
Deakin University, [email protected]
Kay Hartwig Dr
Griffith University, [email protected]
Follow this and additional works at: http://ro.uow.edu.au/jutlphttp://ro.uow.edu.au/jutlp
Research Online is the open access institutional repository for the
University of Wollongong. For further information contact the UOW
Library: [email protected]
Recommended Citation
Joseph, Dawn Dr and Hartwig, Kay Dr, Promoting African Music and enhancing intercultural
understanding in Teacher Education, Journal of University Teaching & Learning Practice, 12(2), 2015.
Available at:http://ro.uow.edu.au/jutlp/vol12/iss2/8 Unlabeled graphicUnlabeled graphicPromoting African Music and enhancing intercultural understanding in
Teacher Education
Abstract
Australia is a culturally diverse nation. The Arts provide a pathway that contributes to the rich tapestry of its
people. Tertiary music educators have the responsibility to provide opportunities to effectively prepare and
engage pre-service teachers in becoming culturally responsive. The authors discuss the importance and need
to include guest music educators as culture bearers when preparing pre-service teachers to teach multicultural
music. Drawing on data from student questionnaires, author participant observation and reflective practice in
2014, the findings highlight the experiences and practical engagement of an African music workshop in
teacher education courses. Generalisations cannot be made, however, the findings revealed the need,
importance and benefits of incorporating guest music educators as culture bearers who have the knowledge,
skills and understandings to contribute to multicultural music education. This experience may be similar to
other educational settings and it is hoped that the findings may provide a platform for further dialogue in
other teaching and learning areas.
Keywords
Music education, Australian teacher education, Culture and diversity, African music.
This journal article is available in Journal of University Teaching & Learning Practice: http://ro.uow.edu.au/jutlp/vol12/iss2/8 Promoting African Music and Enhancing Intercultural Understanding
in Teacher Education
Setting the Scene
In April 2014, Author 1 visited Griffith University as part of her academic study leave to work
with Author 2 on a number of projects. One aspect of the visit was for Author 1 to present an
African-music workshop to music-education students in the School of Education at Griffith
University (Mount Gravatt Campus). Griffith University was established in 1975 and offers over
300 degrees or programs across five campuses. Students attending this university represent 131
countries (Griffith University 2014). Author 2 strongly felt that her students would gain
considerably from the African-music workshop, as it was presented from someone from Africa,
thus would present an authentic experience for her students. She also recognised the need and
importance of including guest music educators as culture bearers when teaching about music and
culture from another “land”, as she herself is Western-classically trained. As immersion to Africa
was not possible or practical for Author 2’s students, an authentic experience from Author 1
provided an alternative opportunity. Belz (2006, p.42) points out that if non-Western music is to
be learnt and studied it should be “with a member from that culture”. Author 1 was born in
Johannesburg and lived there for more than three decades; she currently lives in Melbourne and
introduced African music into the teacher-education programs at Deakin University beginning in
2001. As a music tertiary educator, she uses a pedagogy that links society, culture and history. As
“each culture has its way of passing on the rules of music-making” (Nettle 1998, p.28), it is
important to know what these are; and future teachers need to find out what they are before
teaching music from another culture. Both authors were keen to explore students’ engagement in
music-making (African) with an authentic culture bearer, and to demonstrate that it is possible to
pass on knowledge, skills and understanding of another music and culture. The authors firmly
believe that it is necessary to prepare teacher-education students to be culturally responsive. In
their future classrooms, these students will teach children from various parts of the globe who
come to live in Australia from a diverse range of languages, ethnicities, faiths, cultures and
traditions. They have a responsibility to prepare their future students as global citizens respecting
all cultures.
Music may provide a rich pathway for “strengthening the foundations of tolerance, reducing
discrimination and violence, and learning to live together” (UNESCO 2014a). Australia is made
up of waves of migration from various parts of the world and is considered a multicultural country.
It is important to recognise that the word “multiculturalism” is used widely to describe diverse
ethnicities, cultures and languagues in societies. The notion of multiculturalism “embodies an
ethic of acceptance of, and respect for, cultural diversity, community harmony and inclusion” (The
Australian Collaboration 2013). Both authors are of the firm belief that the promotion of
multiculturalism does not only occur through government policy, NGOs and other key
organisations; rather, education is key to foster “respect for all people regardless of colour, gender,
or national, ethnic or religious identity” (UNESCO 2014a). UNESCO (2014a) points out that it is
“especially important to reach out to children and young people during their formative years,
notably through educational materials and curricula”, to teach about tolerance and understanding
of all people. The authors of the current study focus on the rich diversity that exists in Australia,
where difference is celebrated and embraced as a way forward to learn of other people, including
their music and culture. This paper makes a step towards documenting best practice in a
music-as-culture approach to pre-service music-teacher education by focusing on the teaching and
1
Joseph and Hartwig: African Music in Teacher Educationlearning of African music, where an authentic culture bearer (Author 1) shares music and culture
in a music workshop with education students. The music-as-culture approach presents an
opportunity for them to experience, connect and engage with non-Western music.
Australia is considered one of the world’s three most culturally diverse nations where social
harmony, social inclusion and commitment to respect difference is upheld (The Australian
Collaboration 2013). It is not possible to provide exact figures of the number of Australians from
each African country (see Hugo 2009), Hugo in his study of Africans found that together,
Brisbane, Perth, Adelaide and Sydney are home to 24% of African-born Australians. Thus
Africans are part of the rich fabric of multicultral Australia. The arts, including music, provide a
pathway that contributes to the rich tapestry of people, cultures and differences. According to
Freedman and Stuhr (2013, p.4), “arts education can help future generations learn about
themselves and their community”. They further point out that arts education “preserves and
transmits heritage, helping students to recognise and appreciate the diverse perspectives they will
encounter in an increasingly global community” (p.4). The arts “connect people in a deep and
powerful way”, and engagement through the arts may help people have a “greater cultural
appreciation, understanding and respect” for each other in the wider community (Multicultural
Arts Victoria Annual Report 2010, p.4). Music engagement in educational settings is a powerful
medium to understand, appreciate and embrace cultures and people. The notion of working with
local communities, artists-in-residence and the wider arts community is central to the effective
implemention of the Australian Arts Curriculum. The Shape of the Australian Curriculum: The
Arts clearly outlines that “students will come to understand and engage with the multiple and
culturally diverse practices of music, learning about Australian and international music”; they will
also have the opportunity to “research traditions and contexts of music and music practices”
(ACARA 2011, p.14). In a tertiary setting, Author 1 has previously argued that “by providing rich
multicultural programs for our pre-service students in dance education, we can foster positive
experiences that promote diversity and enhance intercultural and cross-cultural understanding”
(Joseph 2013, p.135).
Workshop on African Music: Context
As Africa is made up of 54 countries, giving a comprehensive knowledge of the music and
cultures of the entire continent is unfeasible (Miya 2003). The music of Africa is clearly diverse in
the way that it sounds from area to area and how it is used within society (Rocheleau 2009). Due
to the limited time of the workshop, Author 1 focused on listening, singing, playing and moving.
The music (including songs and CD sound tracks) and movements taught were presented “under
the guidance of the cultural insider” (Nettle 1998, p.28). Students entered the workshop room to
the sound track of Umoja. The fast and loud rhythms made them feel they had entered Africa. Of
the four songs taught in the workshop, one was from West Africa and three from South Africa.
The West African song Yehmaya was rote taught in three parts with scarfs and movement. The
second song, a worksong called Ra Sila Miele from the sePedi people, was taught in unison with
three different movements using body percussion through imitation. The third, Masithi Amen from
the Xhosa people, was sung in unison with harmonic parts played on xylophones. Students were
encouraged to improvise using non-melodic instruments (drums, claves, shakers etc.). The fourth,
Thumina Mina from the Zulu people, was taught as a three-part unaccompanied hymn. A capella
singing is central to South African indigenous music. To end the workshop, a rhythmic game of
passing the stone was taught, where students listened to a sound track by Mafikizolo and passed
claves (instead of a stone) around the circle to the beat and off the beat. This game was a fun way
2
Journal of University Teaching & Learning Practice, Vol. 12 [2015], Iss. 2, Art. 8
http://ro.uow.edu.au/jutlp/vol12/iss2/8to end the workshop in a circle (representing the African communal way of teaching and learning),
but also giving the students an example of how to teach beat, listening and coordination.
Author 1 also provided the students with some theoretical underpinnings of African music.
However, the focus of the workshop was on “doing” rather than just hearing about African music.
In her talk about African music she emphasised that music permeates every aspect of life, and that
it is interactive, participatory and communicative (Opondo 2000). The music of Africa may be
classified as “traditional” or “contemporary” (Nzewi 1999). Music and movement (dancing) are
inseparable and form a partnership in African culture. According to Green (2011, p.230) “there is
no dance in Africa that is without some form of music, even if it is the voice or simple hand
clapping”. Music-making in African society has a social function: unlike in Western culture,
people in Africa perform music with each other rather than merely for each other (Miller 1989).
Music is used to entertain, to accompany dances, plays, religious ceremonies and traditional rites
and to mark special events such as birth, death, marriage and puberty (Agawu 2003). In African
cultures, the oral tradition of teaching and passing down knowledge to children is generally
accomplished through musical games. In this way they learn how to participate in areas of adult
activity, such as fishing, hunting, farming, grinding maize and attending weddings, funerals and
dances (van Rensburg 1998). Indigenous African music has relied entirely on an oral tradition of
transmitting musical knowledge (Nompula 2011). The “intangible cultural heritage, also known as
‘living heritage’, refers to the practices, representations, expressions, knowledge and skills
transmitted by communities from generation to generation” (UNESCO 2014b). This is learnt in
highly interactive social events, and rituals where music is the predominant means of
communication (Westerlund 1999). The current study contributes to the scholarship of teaching
and learning conducted by both authors at their respective tertiary institutions.
Methodology
This paper focuses on the teaching of non-Western music (African) as an effective way to promote
multicultural understandings. Ethical clearance was obtained from Deakin University to undertake
the research at Griffith University in 2014. For this paper, the authors drew on qualitative research
methodology using questionnaires, observation and reflection. The questionnaire served as
convenient sampling, as students were available at the time of Author 1’s visit to Griffith
University. Purposive sampling served as a useful way to gain insights from a representation “of a
given population [music specialists]” (Gay, Mills & Airasian 2012, p.141). The students
participating in the African music workshop were Author 2’s music-education class. Author 1
explained the wider research project at the start of the music w orkshop and invited students to
participate in a short anonymous questionnaire. Questionnaires are a logical and easy option to
collect information (Wisker 2008), as they give students time to respond to the questions and are
considered to be a cost-effective method to collect data (Strange, Forest & Oakey 2003). Author 1
handed out the questionnaire to all students, and compiled the results to gain feedback about the
workshop. This negated any power coercion from Author 2. The study included questions that
were both closed (such as requesting age and gender) and open-ended, such as, What is
multiculturalism? Why is it important in Australia? What is African music? Why should it be
included in the curriculum? What did or didn’t you enjoy in the workshop? What did you learn?
What aspects were challenging? Of the 30 participants, 28 students completed the questionnaire.
“Opened-ended questions are a very attractive device for smaller scale research or for those
sections of a questionnaire that invite an honest personal comment from the respondents in
addition to ticking numbers and boxes” (Cohen, Manion & Morrison 2000, p.255). The
questionnaire took approximately 10 minutes to complete at the end of the two-hour workshop.
3
Joseph and Hartwig: African Music in Teacher EducationStudents left their questionnaires on the piano at the end of the workshop, and Author 1 later
collected them.
In addition, the authors employed participant observation and reflective practice. Both authors
read through the data on the day of the workshop and discussed some of the feedback. As
reflective practitioners, we consider it important to discuss what we do in our teaching and see our
“practice through the other’s eyes” to make it meaningful (Loughran 2002, p.33). In qualitative
research, “the inquirer reflects about their role in the study and their personal background…for
interpretations” (Creswell 2014, p.186). Hartwig (2014, p.87) argues that “through reflection,
music teachers are able to access their own intentions and the aims of their actions”. As explored
in this present study, students were able to “explain how the actions of the teacher[s] and the
curriculum presented influenced the way they respond[ed]” (p.87). This was made possible
through the questionnaire. Moreover, Author 2 had also participated in the activities whilst Author
1 taught, thus providing useful information on the participants and their engagement. “The
observer becomes a part of and a participant in the situation being observed”; thus, Author 2 was a
“researcher participant while observing and collecting data on the activities” (Gay et al. 2012,
p.382). When analysing the questionnaires, both authors recognised a number of recurring themes,
which will be individually discussed in the next section.
Findings and Discussion
The participants in the African-music workshop were music-education students studying to be
primary and secondary classroom music teachers. The age of the students ranged from 20 to 45:
the cohorts were 20-25 (19 students), 26-30 (four students), 31-35 (one student), 36-40 (two
students) and 41-45 (two students). They are enrolled in three different programs (Bachelor of
Education Primary, Bachelor of Education Secondary and Graduate Diploma of Education
Secondary), but attend a common music-curriculum subject. The closed questions revealed that
there were four international students; and at least 15 identified themselves as mixed ethnicity
(Australian and other). Eighteen females and 10 males completed the questionnaire. At the start of
the workshop the students identified as having very little knowledge of Africa and its music. Only
two students had previously visited Africa, one having travelled to Morocco and the other to
Tanzania. As only one student stated in the questionnaire that they had undertaken professional
development in African dance, all students were for the most part on the same level. The next
section of this discussion will focus on the open-ended questions of the questionnaire.
What is your understanding of multiculturalism?
As authors and tertiary music educators, we were seeking to gain some understanding of what
multiculturalism meant for these students. There was a wide range of responses that were central
to the students’ understanding. Words such as “culture”, “respect” and “community” were
common. Given that the workshop was focused on music, only one student responded to the
question from a musician’s perspective, saying that multiculturalism meant “different cultural
music”, whereas other students had a broader understanding of the term. Some examples included:
• Respecting the traditions of others;
• Appreciating and acknowledging differences and realising the values each culture brings to
society; and
• Different cultures expressing themselves in different ways, catering for and accepting these
vast experiences.
4
Journal of University Teaching & Learning Practice, Vol. 12 [2015], Iss. 2, Art. 8
http://ro.uow.edu.au/jutlp/vol12/iss2/8Students recognised the importance of respect and inclusivity, as classrooms in Australia are now
made up of children from all over the globe. As future teachers they used comments like “learning
from different cultures” and “acknowledging and appreciating all the different cultures that make
up society”. These sentiments also align well with the Australian Curriculum, which emphasises
including all cultures that make up the Australian landscape (ACARA 2011). One student saw this
embracing of multiple different cultures within society as “the new culture” for Australia.
What is African music?
Generally most of the students identified “rhythm” and “drumming” with African music.
Responses included:
• African music is drumming, singing, spiritual music;
• It is rhythmic, incorporating beautiful harmonies;
• Has an aural and percussion focus; and
• Is about call and response in singing.
Others recognised that African music is more than “rhythm” and “drumming”:
• It is a way of communicating;
• It involves participation and listening skills;
• Drumming is used in sending messages;
• Through songs music describes or tells a story; and
• It is a connection to the earth and nature.
Why is African music important to include in the curriculum?
All the students agreed that it is important to include music of all cultures in the curriculum. Some
felt that promoting diversity in classrooms is essential and necessary to educate students about
world music and the diversity of the world’s people. Comments such as “it is important to
introduce students to new sounds and cultures” and “make students culturally aware” highlight the
aims of inclusive education and the crucial need to educate the whole child. Music other than
Western art music can be a valuable medium for the teaching of musical elements and concepts.
As one student found, “African music can be a useful tool to teach every concept in music, e.g.
rhythms, instruments, tone, timbre, structure”. Further comments included “it is a good way to
teach polyrhythms” and that it can “broaden students understanding of rhythms and cultural music
differences”. This reinforces that the students gained valuable insights into how African music can
be adopted in classroom practice for something more meaningful than a fun experience. The
workshop was delivered in an interactive way, as African music is about participation and doing
within a group or community context. One student recognised that African music lends itself to a
“hands-on approach that immerses students in the music they are learning”.
Why and what did you enjoy in the class? What was challenging?
The authors recognised that this was a one-off workshop on African music; hence it has limitations
and no generalisations can be made. However, we wanted to identify some key elements of what
the students enjoyed and what was challenging. All students gave very positive feedback and they
used phrases indicating that it was “engaging, interactive and fun”, “very interesting and
rewarding” and “practical and different” to express their experience and engagement. Although the
workshop was “informative”, students also “loved the singing”; they identified their own
participation as more effective than reading about the topic in a book or viewing a YouTube clip.
Some were able to go beyond all this and relate the workshop material to their future teaching
careers. Comments included:
5
Joseph and Hartwig: African Music in Teacher Education• Author 1 was very entertaining and [I] loved the “two hats” approach of classroom teaching
ideas and teaching in the university context;
• Very engaging and made links to teaching, giving real world experiences and connections;
• It was specifically directed to pre-service teachers;
• I would like to model and adapt some of the activities we did in the workshop in my
classroom; and
• It was educational and fun, plus I think I could apply a lot of what I learnt to my teaching in
the future.
Both authors observed during the workshop that each student participated willingly and attempted
every activity. Nine students said that singing in an African language was a challenge for them.
Author 1 in her previous research at Deakin University had found similar comments by her
students (Joseph 2003 & 2005). The pronunciation of words in another language may present a
challenge that applies in a broader context than the workshop examined here. Author 1 provided
the music and helped students to break up the words, teaching them how to pronounce the words
by rote before teaching them the melody. She also gave an English translation of the African text
and reinforced the importance of consulting with an authentic person who can help them
accurately pronounce the words and understand the context of the song (Tucker 1992). Similarly,
Author 1 had found in previous research that students can find singing and moving to be a
challenge (Joseph 2003 & 2005). Students described some of their challenges as:
• Coordination of body movement with singing and instruments;
• Keeping your own rhythm within a group context is not easy;
• Keeping a different rhythm to the others around me while singing;
• Keeping your own parts and not getting distracted; and
• Some of the body percussion in the work song was challenging.
Generally the students found that although it was “fun” and “different”, keeping their own
polyrhythm within the ensemble was a new experience for many of them. As the student who
identified as a classically trained musician stated, “it was difficult to memorise lines and improvise
rhythms”. Western art music is mostly dependent on an exact interpretation of the written score,
leaving the performer with few opportunities for improvisation. This sometimes presents a
challenge for those who rely heavily on a written score.
To what extent do you agree that your level of enjoyment has increased due to the
teaching and learning of African music?
(A five-point Likert scale was included: strongly agree, agree, partially agree, disagree and
strongly disagree, and respondents had an opportunity to say why they chose as they did).
It was heartwarming that no one strongly disagreed or disagreed. Generally they commonly
identified a few benefits; for example, the workshop was “fun”, “exciting” and “different”, and
“the songs were uplifting”. From the 28 respondents, 13 strongly agreed that their level of
enjoyment increased [enjoyment of what? increased relative to what?]. Some of the reasons
included that “[the workshop] was very interactive and light-hearted and everyone could do it!” In
contrast, another said, “It was tricky though manageable, and I enjoyed the rhythm exercises.”
Students recognised how music connected them to the source culture:
• It made me culturally aware;
• I got to participate in the playing of African music. Something I’ve never done before and I
like trying new things;
6
Journal of University Teaching & Learning Practice, Vol. 12 [2015], Iss. 2, Art. 8
http://ro.uow.edu.au/jutlp/vol12/iss2/8• I now have knowledge I can implement in classes and activities which are fun and
engaging;
• I cannot wait to incorporate it in a classroom, I learnt some great ideas; and
• Drumming and rhythmic games, songs and scarves were fantastic.
Of the 12 students who agreed that their level of enjoyment increased, some commented on the
social interaction in the class. Comments such as “the hands-on nature creates a fun and an
interactive learning environment” and “the atmosphere created a community as we worked
together to create music” further reinforce the social and community music-making underlining
the principles of African music. The notion of social learning, working in small groups and
working in community seemed to be an important factor for students; another mentioned that “the
way music is passed through generations is very interesting and so community based, which
excites me as I want to create a very community-based learning environment when I teach”. Of the
three students who partially agreed that their level of enjoyment increased, only one remarked, “I
have always had a strong respect for world music and so my enjoyment level was already pretty
high and probably cannot get much higher”. Students overall indicated a high level of enjoyment
and engagement as they experienced non-Western music in their own university setting.
What role does African music play in Australia?
It was most welcoming to read the social constructs students identified in the wider context of
Australian citizenship. One person said, “There is a strong parallel culturally between music in
Africa and Indigenous Australians, i.e. beat, rhythm, oral traditions and customs.” In the main,
most recognised the benefits of embracing non-Western music and cultures. In particular, one said,
“The more understanding we have of other cultures the more accepting and open we are to other
cultures.” Another student thought that “it would benefit children to learn about the music from
other countries due to changing times, globalisation and multiculturalism in Australia”.
Other students felt:
• Through African music children can learn to value and appreciate multiculturalism and
values;
• It can enhance cultural awareness and teach about diversity;
• It can promote diversity in a fun and engaging way; and
• It has the potential to teach unity in a team way where you get to understand your peers.
These comments by the students help to bring to the fore the power and influence that music may
have in a changing society where differences of all cultures can be respected and celebrated in
education and community contexts.
Authors’ Reflection
This was the first time Author 1 had presented an African music workshop interstate. Her
experience was similar to that at her own university. Author 2 had never presented African music
to her group of students; hence, it was a new experience for her to be able to observe her students
as well as being a participant. Author 2 recognised the value of having a guest as a culture-bearer
from Africa, as it was not possible to take her students to Africa. Upon reflection, Author 1
realised that wearing two hats (one as practitioner/artist and the other as music tertiary educator)
provided students with useful and practical experience and ideas on how to teach the African
songs and movement used in the workshop for classroom practice. Through call and response, rote
and imitation, students were able to grasp ways of teaching and gained some knowledge regarding
the context of the songs taught. Author 2 found the opportunity to see her students “in action”
7
Joseph and Hartwig: African Music in Teacher Educationwith a guest lecturer very worthwhile, giving her a new insight on how some of the students
interacted and participated in a workshop situation. At the commencement of the semester, Author
2 had informed the students that there would be a guest lecturer taking a workshop on African
music, and gave them access to Author 1’s African Music website. When the students arrived for
the workshop, Author 2 observed that some were quite taken back to find very loud rhythmic
music playing. Some looked excited and their bodies immediately responded in movement to the
beat of the music (Umoja); a few, however, were very hesitant at first to enter the classroom and
their faces had an anxious look.
As Author 1 began the workshop with a brief overview of Africa and its music and culture,
students became very settled in their chairs, thinking they would be listening to a traditional type
of lecture. However, after 10 minutes of formal lecture style, the students were asked to clear a
large seating area into an open space for the practical engagement. Author 1 provided Western
notation for three of the four songs. Africans in choral music continue to use the tonic sol-fa
system introduced during the 19th century (Stevens 2001). Students were shown examples of solfa and staff notation and had the opportunity to sing from both forms of notation. Although this
was not traditional in African contexts, as music is generally taught by rote, the aim was to assist
students with the melody line and the pronunciation of the text, given that there was much to
accomplish during the allotted lecture time. Staff and sol-fa notation has a place when transmitting
African music, as it permits the promotion and preservation. During the first song, the students
participated in the unison singing; however, the interest and excitement increased when the song
was sung in three-part harmony. At this initial stage, the students had not yet moved
spontaneously, unlike Author 1 herself, who presented in an energetic style that complemented the
African song and the movement it tended to encourage. As the workshop progressed, with the
direction and guidance of Author 1, the students soon embraced the movement and willingly
entered into the spirit of the music. Author 2 noted that some of the quieter male students found a
place in the workshop and expressed themselves without reserve. As an experienced music
educator, Author 1 ensured that the activities, ideas and ways of teaching could readily be
transferred to the students’ future classroom settings. Both authors noted that it was a challenge for
some students to sing (in parts and unison) while moving and/or playing instruments to make
sounds that differed from the main melody. Author 2 has previously presented music and songs
from around the globe to her class; however, this was the first time that the whole workshop was
dedicated to the teaching and learning of African music. This meant that the students were
extended from their comfort zones of the familiar lecturer and content for the full two-hour
workshop. Although there were no rest breaks during the workshop, the students were very keen to
extend the time and requested more songs. As Author 1 was a guest in the room, the students were
hesitant to initially ask questions about the songs, music, people and culture of Africa. As the
workshop progressed Author 1 became part of the classroom through the “communal” musicmaking of sharing, showing and telling; this gave the students the confidence to ask questions,
take risks and fully engage in the music. She gave reference to her own students in Melbourne and
commented on how they responded and reacted to learning African music, which reassured the
students that their challenges were acceptable. Working away from her own university setting and
students, Author 1 also experienced the “newness” of the situation at the start of the workshop, but
soon relaxed as she felt the acceptance and cooperation from the group. The workshop was
teacher-directed in terms of learning the songs and the movement. The choice of instruments,
improvisation and body percussion was left entirely to the individual students, allowing autonomy
for improvisation. This strategy allowed the students to extend their creativity. Author 2 observed
that some students worked well with specific direction and others thrived on the improvisation
tasks and immersed themselves in the music-making. Both authors used this opportunity to reflect
on actual classroom practice and what can be achieved given the resources available in any
8
Journal of University Teaching & Learning Practice, Vol. 12 [2015], Iss. 2, Art. 8
http://ro.uow.edu.au/jutlp/vol12/iss2/8context. There were times when Authors 1 and 2 supported each other in the delivery of the songs
by leading the sectional movements and part-singing. They also worked together to initially
encourage and motivate the students with positive reinforcement. In this way they modelled good
classroom-teaching practice.
Conclusion
This paper documents a one-off workshop on African music run by experienced music educators
as a form of professional development, but which also provided an authentic learning experience
for students (Nettle 1998, Nethsinghe 2012). Both authors, like the music-education students,
found this experience enriching and rewarding. As reported in the findings section, the students
recognised the value of the workshop as participatory and inclusive. The opportunity to work
together in a shared space and reflect on their practice reinvigorated their passion for music
teaching. Author 1 provided what Erwin et al. (2003, p.135) refers to as “an insider’s view of the
culture”; specifically, that of African people from South Africa. The workshop provided Author 2
with a way that incorporated a guest culture-bearer for her students to gain some skills and
understandings of a new and different music. According to Lundquist (1998, p.44) “the ideal
music experience is led by an exemplary musician-teacher from a specific music culture, who is
expressive in the language of the culture, cares about music and students and remains a continuing
student of that musical tradition”. Hence, Author 1 regularly returns to South Africa to undertake
professional development in African music as she continues to share music and culture with
tertiary education students in Australia. It was evident from both authors’ observations and from
verbal feedback to Author 1 at the end of the workshop that the students enjoyed the new music
sung in the original African language and learnt about the African cultures presented (Anderson &
Campbell 1989). Joseph and Southcott (2013, p.243) confirm that “the promotion and provision of
multicultural music education is essential at all levels of education. This can be achieved by the
inclusion of diverse culture bearers, artists-in-schools, and community engagement to work with
both teachers and their students”.
The activities in this workshop may only have had an impact on student’s skills and understanding
of different ways to teach the songs. Abril (2006, p.40) warns that “teachers should not assume
that experiences with multicultural music are sufficient to promote tolerance, acceptance, and/or
value in students”. He rightfully points out that “if educators do not engage students in explicit
discussion surrounding sociocultural issues, students may react negatively to the unfamiliar
musical styles or cultures” (2006, p.40). The authors agree with Abril (2006) that “further research
might investigate the most effective ways in which to interweave musical and sociocultural
objectives for optimal student learning” (p.[?]). The authors assert that as music tertiary educators
they have a responsibility to teach their students about different music and songs from other
cultures. The workshop was concerned with the experience as it was lived, felt and undertaken
(Sherman, Webb & Andrews 1983). It is hoped that the students will adapt and adopt what they
learned from the African-music workshop to actual classrooms. As music-education students they
recognised that African music is an exciting and fun way to teach some of the elements or
concepts in music such as rhythm, beat, tempo and dynamics. Generalisations cannot be made
from such a small qualitative research sample; however, it is hoped that the reflections made by
the students and authors are insightful and will provide a platform for further dialogue regarding
what is relevant and valuable for student teachers as they prepare to be music teachers.
Continued research in this area can only help tertiary educators prepare students to be effective
teachers (Rohwer & Henry 2004). This study at Griffith University will continue with Author 1
9
Joseph and Hartwig: African Music in Teacher Educationproviding professional-development workshops to further up-skill teacher-education students in
the specific area of African music. Students will then trial some of the activities learnt on campus
as they increase their understanding of the theory-practice nexus on their school placement
(experience/practicum) later in the year. Follow-up research through observations, interviews and
questionnaires will further inform the authors of the benefits of including guest culture-bearers in
tertiary education programs, and whether the onsite workshop was adapted or adopted effectively
by students when on placement. The inclusion of African music aligns with the “general
capabilities” and the commitment to engage with a wide range of music and culture of the
Australian Curriculum: The Arts (ACARA 2014). This research-led documentation of bestpractice in teaching music from another culture reaffirms the authors’ assertions that music
requires no visa to travel; students can be transported through songs to travel to other places. By
showing, telling and learning of a different culture, music educators can share, borrow, listen and
dance to the music from other places. In this way, Solbu (1998, p.37) argues, “we will, through
music, meet each other as individuals with all of our joys and sorrows, dreams and longings”.
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