Multicultural Awareness: Teaching Musics of the World, a Renewed Commitment
Identifieur interne : 000413 ( Istex/Corpus ); précédent : 000412; suivant : 000414Multicultural Awareness: Teaching Musics of the World, a Renewed Commitment
Auteurs : William M. AndersonSource :
- Music educators journal [ 0027-4321 ] ; 1980-09.
English descriptors
- Teeft :
- Africaand asia, Appreciation class, Diverse timbres, International society, Logical ways, Music cultures, Music education, Music education profession, Music educators, Other areas, Other peoples, Resounding impact, School district, School year, Sonic languages, Western composers, Western music, World musics, York times.
Url:
DOI: 10.2307/3400594
Links to Exploration step
ISTEX:A210301CB1D8BD491B42DC39F67CDFF7181B363DLe document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title xml:lang="en">Multicultural Awareness: Teaching Musics of the World, a Renewed Commitment</title><author wicri:is="90%"><name sortKey="Anderson, William M" sort="Anderson, William M" uniqKey="Anderson W" first="William M." last="Anderson">William M. Anderson</name><affiliation><mods:affiliation>Professor of Music and Assistant Dean of the Kent State University Graduate College, Kent, Ohio.</mods:affiliation></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:A210301CB1D8BD491B42DC39F67CDFF7181B363D</idno><date when="1980" year="1980">1980</date><idno type="doi">10.2307/3400594</idno><idno type="url">https://api.istex.fr/document/A210301CB1D8BD491B42DC39F67CDFF7181B363D/fulltext/pdf</idno><idno type="wicri:Area/Istex/Corpus">000413</idno><idno type="wicri:explorRef" wicri:stream="Istex" wicri:step="Corpus" wicri:corpus="ISTEX">000413</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a" type="main" xml:lang="en">Multicultural Awareness: Teaching Musics of the World, a Renewed Commitment</title><author wicri:is="90%"><name sortKey="Anderson, William M" sort="Anderson, William M" uniqKey="Anderson W" first="William M." last="Anderson">William M. Anderson</name><affiliation><mods:affiliation>Professor of Music and Assistant Dean of the Kent State University Graduate College, Kent, Ohio.</mods:affiliation></affiliation></author></analytic><monogr></monogr><series><title level="j">Music educators journal</title><idno type="ISSN">0027-4321</idno><idno type="eISSN">1945-0087</idno><imprint><publisher>SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><date type="published" when="1980-09">1980-09</date><biblScope unit="volume">67</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="38">38</biblScope><biblScope unit="page" to="41">41</biblScope></imprint><idno type="ISSN">0027-4321</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0027-4321</idno></seriesStmt></fileDesc><profileDesc><textClass><keywords scheme="Teeft" xml:lang="en"><term>Africaand asia</term><term>Appreciation class</term><term>Diverse timbres</term><term>International society</term><term>Logical ways</term><term>Music cultures</term><term>Music education</term><term>Music education profession</term><term>Music educators</term><term>Other areas</term><term>Other peoples</term><term>Resounding impact</term><term>School district</term><term>School year</term><term>Sonic languages</term><term>Western composers</term><term>Western music</term><term>World musics</term><term>York times</term></keywords></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader></TEI><istex><corpusName>sage</corpusName><keywords><teeft><json:string>world musics</json:string><json:string>music education</json:string><json:string>other areas</json:string><json:string>music educators</json:string><json:string>western music</json:string><json:string>western composers</json:string><json:string>resounding impact</json:string><json:string>school district</json:string><json:string>international society</json:string><json:string>music education profession</json:string><json:string>york times</json:string><json:string>africaand asia</json:string><json:string>music cultures</json:string><json:string>other peoples</json:string><json:string>sonic languages</json:string><json:string>logical ways</json:string><json:string>school year</json:string><json:string>appreciation class</json:string><json:string>diverse timbres</json:string></teeft></keywords><author><json:item><name>William M. Anderson</name><affiliations><json:string>Professor of Music and Assistant Dean of the Kent State University Graduate College, Kent, Ohio.</json:string></affiliations></json:item></author><articleId><json:string>10.2307_3400594</json:string></articleId><arkIstex>ark:/67375/M70-XRHB5C9C-D</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>research-article</json:string></originalGenre><qualityIndicators><score>4.403</score><pdfWordCount>2391</pdfWordCount><pdfCharCount>15778</pdfCharCount><pdfVersion>1.6</pdfVersion><pdfPageCount>4</pdfPageCount><pdfPageSize>576 x 879 pts</pdfPageSize><refBibsNative>false</refBibsNative><abstractWordCount>1</abstractWordCount><abstractCharCount>0</abstractCharCount><keywordCount>0</keywordCount></qualityIndicators><title>Multicultural Awareness: Teaching Musics of the World, a Renewed Commitment</title><genre><json:string>research-article</json:string></genre><host><title>Music educators journal</title><language><json:string>unknown</json:string></language><issn><json:string>0027-4321</json:string></issn><eissn><json:string>1945-0087</json:string></eissn><publisherId><json:string>MEJ</json:string></publisherId><volume>67</volume><issue>1</issue><pages><first>38</first><last>41</last></pages><genre><json:string>journal</json:string></genre></host><namedEntities><unitex><date><json:string>1963</json:string><json:string>during the twentieth century</json:string><json:string>1953</json:string><json:string>twentieth century</json:string><json:string>1972</json:string><json:string>1961</json:string><json:string>1980</json:string><json:string>1967</json:string></date><geogName></geogName><orgName><json:string>ISME</json:string><json:string>University of Santiago</json:string><json:string>University of Arizona</json:string><json:string>Society for Music Education</json:string><json:string>India, and Japanese</json:string><json:string>Kent State University</json:string><json:string>Yale University</json:string></orgName><orgName_funder></orgName_funder><orgName_provider></orgName_provider><persName><json:string>William M. Anderson</json:string><json:string>Bruno Nettl</json:string><json:string>Zoltan Kodaly</json:string><json:string>Kent Ohio</json:string><json:string>John Deichman</json:string><json:string>Education</json:string><json:string>James P. O'Brien</json:string><json:string>The</json:string><json:string>Emile Jaques-Dalcroze</json:string><json:string>Curt Sachs</json:string><json:string>Edward T. Hall</json:string><json:string>Egon Kraus</json:string><json:string>Dean</json:string><json:string>Carl Orff</json:string><json:string>Norman H. Rossell</json:string></persName><placeName><json:string>Germany</json:string><json:string>United States</json:string><json:string>Garden City</json:string><json:string>Chile</json:string><json:string>American</json:string><json:string>India</json:string><json:string>China</json:string><json:string>Brussels</json:string><json:string>Santa Cruz</json:string><json:string>York</json:string><json:string>Mainz</json:string><json:string>Palestrina</json:string></placeName><ref_url></ref_url><ref_bibl><json:string>Collier-Macmillan Ltd., 1964</json:string><json:string>Paris: UNESCO,1955</json:string><json:string>Society for Music Education, 1962</json:string></ref_bibl><bibl></bibl></unitex></namedEntities><ark><json:string>ark:/67375/M70-XRHB5C9C-D</json:string></ark><publicationDate>1980</publicationDate><copyrightDate>1980</copyrightDate><doi><json:string>10.2307/3400594</json:string></doi><id>A210301CB1D8BD491B42DC39F67CDFF7181B363D</id><score>1</score><fulltext><json:item><extension>pdf</extension><original>true</original><mimetype>application/pdf</mimetype><uri>https://api.istex.fr/document/A210301CB1D8BD491B42DC39F67CDFF7181B363D/fulltext/pdf</uri></json:item><json:item><extension>zip</extension><original>false</original><mimetype>application/zip</mimetype><uri>https://api.istex.fr/document/A210301CB1D8BD491B42DC39F67CDFF7181B363D/fulltext/zip</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/document/A210301CB1D8BD491B42DC39F67CDFF7181B363D/fulltext/tei"><teiHeader><fileDesc><titleStmt><title level="a" type="main" xml:lang="en">Multicultural Awareness: Teaching Musics of the World, a Renewed Commitment</title><respStmt><resp>Références bibliographiques récupérées via GROBID</resp><name resp="ISTEX-API">ISTEX-API (INIST-CNRS)</name></respStmt></titleStmt><publicationStmt><authority>ISTEX</authority><publisher scheme="https://publisher-list.data.istex.fr">SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><availability><licence><p>sage</p></licence></availability><p scheme="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B"></p><date>1980</date></publicationStmt><notesStmt><note type="research-article" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</note><note type="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note></notesStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a" type="main" xml:lang="en">Multicultural Awareness: Teaching Musics of the World, a Renewed Commitment</title><author xml:id="author-0000"><persName><forename type="first">William M.</forename><surname>Anderson</surname></persName><affiliation>Professor of Music and Assistant Dean of the Kent State University Graduate College, Kent, Ohio.</affiliation></author><idno type="istex">A210301CB1D8BD491B42DC39F67CDFF7181B363D</idno><idno type="ark">ark:/67375/M70-XRHB5C9C-D</idno><idno type="DOI">10.2307/3400594</idno><idno type="article-id">10.2307_3400594</idno></analytic><monogr><title level="j">Music educators journal</title><idno type="pISSN">0027-4321</idno><idno type="eISSN">1945-0087</idno><idno type="publisher-id">MEJ</idno><idno type="PublisherID-hwp">spmej</idno><imprint><publisher>SAGE Publications</publisher><pubPlace>Sage CA: Los Angeles, CA</pubPlace><date type="published" when="1980-09"></date><biblScope unit="volume">67</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="38">38</biblScope><biblScope unit="page" to="41">41</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1980</date></creation><langUsage><language ident="en">en</language></langUsage></profileDesc><revisionDesc><change when="1980-09">Published</change><change xml:id="refBibs-istex" who="#ISTEX-API" when="2017-10-17">References added</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/A210301CB1D8BD491B42DC39F67CDFF7181B363D/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus sage not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.3 20070202//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="research-article" dtd-version="2.3" xml:lang="EN"><front><journal-meta><journal-id journal-id-type="hwp">spmej</journal-id><journal-id journal-id-type="publisher-id">MEJ</journal-id><journal-title>Music Educators Journal</journal-title><issn pub-type="ppub">0027-4321</issn><publisher>
<publisher-name>SAGE Publications</publisher-name>
<publisher-loc>Sage CA: Los Angeles, CA</publisher-loc>
</publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.2307/3400594</article-id><article-id pub-id-type="publisher-id">10.2307_3400594</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>Multicultural Awareness: Teaching Musics of the World, a Renewed Commitment</article-title></title-group>
<contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Anderson</surname><given-names>William M.</given-names></name><aff>Professor of Music and Assistant Dean of the Kent State University Graduate College, Kent, Ohio.</aff></contrib></contrib-group>
<pub-date pub-type="ppub"><month>09</month><year>1980</year></pub-date><volume>67</volume><issue>1</issue><fpage>38</fpage><lpage>41</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> Multicultural Awareness: Teaching Musics of the World, A Renewed Commitment Aira Teaching Heneiiii immitmenrt 4 1 ism Photo courtesy of William Anderson, Kent State University Kent, Ohio. William M. Anderson is Professor of Music and Assistant Dean of the Kent State University Graduate College, Kent, Ohio. James P. O'Brien What should be taught in a typical “music appreciation’ course? Music? Appreciation? History? Composers? Genres? Masterworks? Which music? What historical periods? Which composers? What are the masterworks? James P. O'Brien is an Associate Professor of Music Education at the University of Arizona, Tucson. Bette Yarbrougb Cox Because insufficient attention has been directed toward multicultural awareness in teacher-training institutions, many teachers find it difficult to teach minority culture students. Since inner-city schools are predominantly black, teachers in urban areas, particularly, need training and information on black American culture. Although the California State Music Framework stipulates that “one of the purposes of music education is to Bette Yarbrough Cox is Western Division Commissioner of the MENC Commission on Multicultural Awareness. She developed and administered the LAUSD program under the supervision of John Deichman, Director of Performing Arts, and Norman H. Rossell, Assistant Superintendent in the Instructional Planning Division of the Los Angeles Unified School District. throughout the world; and teachers have been encouraged to broaden their perspectives by bringing examples of some of these musics to the classroom. The seminars on music education at Yale University in 1963 and at Tanglewood in 1967 called particular attention to the need for school music programs to expand their scope of instruction. The report of the Yale conference specifically commented: Perhaps no more dramatic progress has been made in any area of music today than in ethnomusicology. The pervading opinion of not too many years ago was that the musics of Africa and Asia were primitive and to be classed as varieties of ingenuous folk expressions Many ethnic groups, both here in North America and on other continents possess highly sophisticated music cultures. … Any program of music instruction in the schools that does not find a place for at least sample studies in depth of some of these cultures and their musics is turning its And how does all of this add up to “appreciation?’ Whatever we teach, it will never be enough. No matter which symphony of Beethoven we present, there are eight more on the backburner, plus his string quartets, piano concertos, piano sonatas, and so on. If we allude to Stravinsky's early ballet suites, we will have neglected his later neo-classic and seri-alistic works. The essence of an appreciation promote awareness and understanding of the music literature of various national cultures, including our own,’ the majority of teachers are not sufficiently prepared to promote an awareness and understanding of black American music literature. A survey to determine the degree of teacher preparedness and knowledge of Afro-American music was conducted by Cook and Bush among teachers in the inner-city area of the Los Angeles Unified School District.1 The survey showed that 85 percent of the teachers received no seminar training in Afro-American music, 77 percent received none in professional work, 65 percent received none in service, and 82 percent received none in university courses. The sur- R. Cook and E. Bush, A Survey of the State of Black Music Studies in Selected Elementary Schools Within the Los Angeles Unified School District (Master's thesis, California State University, 1976). back on one of the most compelling realities of our time.1 In recent years the curriculums in American elementary and secondary schools have increasingly directed attention toward an exploration of other peoples. It seems clear that since contact among peoples throughout the world is becoming more accessible via air travel, television, radio, and printed literature, teachers are compelled to develop study programs with international viewpoints. The immediacy of such concern for music educators is aptly illustrated in an April 15, 1979 New York Times article entitled “The Resounding Impact of Third-World Music”: “Our popular music, especially disco, our jazz and our concert music are in- Continued on p. 40 Claude V. Palisca, Music in Our Schools: A Search for Improvement (Washington, D.C: U.S. Office of Education, 1964), p. 3- course is survey rather than definitive coverage. All subject matter, even at the most advanced levels, is a delimitation because not all the symphonies of Beethoven nor the masses of Palestrina can possibly be covered adequately. So, would including non-Western components in the traditional music appreciation class further weaken the already di- Continued on p. 41 vey also revealed that teachers employed in this predominantly black inner-city area stated that Afro-American music seldom was included in music curriculums as a source of the history and culture of black Americans, and that they lacked the resources to enliven instruction in black culture. Cook and Bush indicated that 73 percent of the teachers found state-approved music textbooks lacking in equitable representation of Afro-American music literature, 91 percent thought that the books lacked adequate Afro-American music listening material, 65 percent disapproved of the sequential organization of the material, 91 percent felt that composer information was inadequate, and overall that the books were considered insufficient as provided by the amount of available school funds. Continued on p. 42 A Remind Commitmint creasingly drawing their inspiration from Africa and Asia… and the trend is accelerating.2 The article continued to comment that music systems from other areas of the world have had a particularly strong impact on Western composers, including Bela Bartok, Pierre Boulez, Henry Cowell, Claude Debussy, Alberto Ginastera, Lou Harrison, Alan Hovhaness, Zol-tan Kodaly, and Olivier Messiaen. The New York Times further stated, “when younger composers name their influences these days, they are as likely to say Indian music’ or ‘Western African drumming’ as they are to mention John Cage or Karl-heinz Stockhausen (composers who were themselves profoundly influenced by non-Western musics).3 Numerous performers from Yehudi Menuhin to Herbie Hancock to the Beatles have absorbed music practices from a number of areas of the world and have combined them in unique ways to enliven their art. The impact of world musics has begun to affect university music cur-riculums, also; over 100 colleges and universities now offer courses, and often degree programs, in world musics. Some schools now require all music students, regardless of their areas of specialization, to become familiar with musics outside the Western art-music tradition and to develop broad international perspectives. The commitment to such a world 2Robert Palmer, “The Resounding Impact of Third-World Music,’ The New York Times, April 15, 1979. ‘Palmer. view has led several states to include world-music studies in their certification requirements for music teachers. On many campuses performances of African, Indian, Indonesian, Japanese, and Thai musics now attract large audiences, and concerts are often supplemented by visits from touring foreign musicians. The music education profession has also responded to a more international approach to teaching by organizing inservice training sessions in world musics at national, regional, and state music education meetings. The October 1972 issue of Music Educators Journal, devoted to the teaching of world musics, did much to focus attention on this new area of concern for music educators, and perusal of basic music series, such as Silver Burden Music and New Dimensions in Music, reveals a significant commitment to the study of musics from other cultures. There are many reasons for studying music cultures of the world; foremost, perhaps, is the realization that there are a number of highly sophisticated musics in the world and Western art music is just one. In 1953 Domingo Santa Cruz, the dean of the faculty of music at the University of Santiago in Chile, commented at a UNESCO conference in Brussels that “for a long time with a ridiculous sense of superiority, we made no effort to understand the people of other civilizations. Things have now changed and without overlooking the distinctive contributions of European music, we are sincerely interested in the productions of other continents.4 Gerald Abraham, as president of ISME, stated in 1961 that “we occidentals recognize that it was a comically narrow and provincial view that our music (Western music) was the only music that mattered; today we at least recognize the validity and wealth of the great musical cultures and languages of India, of China, and of the Arab lands—to take only three.5 The interest in music cultures from other areas of the world has also drawn attention to the need for recognizing the musical contributions of members of minority groups now living in the United States. Be- 4Domingo Santa Cruz, “Music and International Understanding,’ in Music in Education (Paris: UNESCO, 1955), p. 38. •Gerald Abraham, “Music in the World Today,’ irt Comparative Music Education, Egon Kraus, ed. (Mainz, Germany: International Society for Music Education, 1962), p. 26. cause of the ethnic diversity within our country, schools need to ensure that representative examples of a variety of musics are in the curricu-lums. Another important reason for studying world musics is the possibility of discovering new and often very different ways for making music. It is certainly why Western composers and performers increasingly have looked to other areas of the world to enlarge their palette of compositional resources. As one studies the multitude of ways in which people throughout the world structure their music, it becomes apparent that music is not an international language; rather, the world consists of many learned sonic languages. Since there are different but equally logical ways for constructing these sonic languages, it becomes evident that one must study the manner in which they are constructed in order to understand them. Perhaps one of the most satisfying benefits gained from studying different music traditions is that students begin to develop “poly-musicality,’ which is the ability to perform and listen with intelligent appreciation to many types of music. Pioneering teachers have discovered that once students' barriers to a foreign music are broken down and they are able to perform or listen intelligently to the music, a new flexibility and awareness emerges. Students not only learn new musics more quickly and easily, but they also are much less prone to judge a new music negatively (whether non-Western or Western) without first trying to understand it. It is also evident that as students study the ways in which melody, rhythm, texture, timbre, and design function in other music traditions of the world, they begin to reappraise Western music, becoming aware of aspects that they had earlier taken for granted. In Beyond Culture, Edward T. Hall aptly commented that “to have studied cultures significantly different from one's own [brings our own culture's] structures into focus.6 Activities in studying world musics can include singing, playing instruments, directed listening, and physical movement. During a school year it is necessary to determine the amount of time that can be allotted to ‘Edward T. Hall, Beyond Culture (Garden City, New York: Anchor Press, 1977), p. 16. It is also possible for American students to learn to play music instruments from other areas of the world. Teachers often discover that students who have traveled outside the United States have brought back ethnic instruments, even though many of these can be purchased in the United States. A number of colleges and universities own large collections of instruments that teachers can often take their students to see and hear. In many areas of the country it is possible to find native performers who are willing to demonstrate fundamental playing techniques to teachers and students. When authentic music instruments cannot be obtained, teachers can fashion instruments that simulate the sound and appearance of non-Western instruments. The use of slides, filmstrips, films, videotapes, and recordings constitutes an effective presentation of the structure and sound of world music instruments for the classroom. Listening to outstanding examples of music is one of the most important aspects of any music program. Recordings of music from most areas of the world are now available in the United States and excellent performances also can be viewed on 16mm color films. When teachers present musics from other areas of the world, attention should be directed toward giving students an understanding of the cultural context. Students enjoy learning about other peoples' customs and crafts, their music, painting, sculpture, architecture, literature, and dance. Units of study that combine an investigation of a culture and its music will not only be interesting to students, but will provide more meaningful and long-lasting educational experiences. U ITlusiE “Appreciation” luted content? Probably not, since helping students develop a framework for perceiving musical events, whether Western or non-Western, should be the priority objective of cultivating appreciation at all levels. Equally important is the development of a positive attitude for hearing and discussing intelligently all types of music. We can incorporate non-Western music into the appreciation class by presenting the elements with which we perceive all world musics— rhythm, harmony, melody, timbre, intensity, and form. Our task as music educators in the appreciation class is manageable if we admit that content is not as sacred as process, and that “knowing’ twenty-five mas-terworks is not as important as developing a perceptual framework with which to process all types of music. We educate students for lifetime enjoyment of music rather than train them to know which symphonies are great and which are merely good. Let us briefly review what is involved in teaching the music elements. Duration or rhythm: Does the music have a direct pulse, audibly emphasized by an instrument, or is it indirect—that is, felt but not heard? Are there deviations from the pulse in the form of rubato, accelerando, or rallentando? What is the general tempo? Does it change? Are the pulses grouped with consistent duple or triple accent groups, or is a larger unit introduced after an additive cycle of 2+3 or 2+2+3, for example? Are there rhythmic patterns that occur over the pulse? Are these even, uneven, or syncopated? And what effect does the use of duration have on the character of the music? Is it predictable or erratic? Does it build or release tension? Is the treatment of duration compatible with the character of a given area's music? How can we classify the diverse timbres of the world? Voices, whether male or female, convey a text of some description. What is the text? Where and how is it used in opera, oratorio, kabuki, in a kangaroo hunt or an imperial courtyard? Do the singers have special training? Since we cannot classify all the instruments of the world into the four traditional categories of brass, woodwinds, strings, and percussion, we use the categories of chordophone, aerophone, membranophone, and idio-phone that Curt Sachs proffered at the beginning of the twentieth century.1 We can classify clarinets and shahnai, violins and balalaikas, marimbas and bonangs, as well as tabla and timpani this way. These categories help students more accurately visualize what type of instrument produces a given sound instead of relating to the omnipresent Western norm. The diverse timbres of the world are only variations on the four See Bruno Nettl, Theory and Method in Eth-nomusicology (London: The Free Press of Glenco, Collier-Macmillan Ltd., 1964), p. 212. </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Multicultural Awareness: Teaching Musics of the World, a Renewed Commitment</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Multicultural Awareness: Teaching Musics of the World, a Renewed Commitment</title></titleInfo><name type="personal"><namePart type="given">William M.</namePart><namePart type="family">Anderson</namePart><affiliation>Professor of Music and Assistant Dean of the Kent State University Graduate College, Kent, Ohio.</affiliation></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1980-09</dateIssued><copyrightDate encoding="w3cdtf">1980</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Music educators journal</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1980</date><detail type="volume"><caption>vol.</caption><number>67</number></detail><detail type="issue"><caption>no.</caption><number>1</number></detail><extent unit="pages"><start>38</start><end>41</end></extent></part></relatedItem><identifier type="istex">A210301CB1D8BD491B42DC39F67CDFF7181B363D</identifier><identifier type="ark">ark:/67375/M70-XRHB5C9C-D</identifier><identifier type="DOI">10.2307/3400594</identifier><identifier type="ArticleID">10.2307_3400594</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/A210301CB1D8BD491B42DC39F67CDFF7181B363D/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/DebussyV1/Data/Istex/Corpus
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000413 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Istex/Corpus/biblio.hfd -nk 000413 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= DebussyV1
|flux= Istex
|étape= Corpus
|type= RBID
|clé= ISTEX:A210301CB1D8BD491B42DC39F67CDFF7181B363D
|texte= Multicultural Awareness: Teaching Musics of the World, a Renewed Commitment
}}
| This area was generated with Dilib version V0.6.33. |  |