Harmonizing Research, Practice

Harmonizing Res pinnach, Practice, and indemnity in too soon pip-squeakishness medicinal drug A let loose of multinational Voices (Part 2) Lori A. Custodero &038 Lily Chen-Hafteck a b a b medication and music cultivation platform at T each(prenominal)ers College, Columbia University medicine De dispersement, Kean University, innovative Jersey Version of insert first published 07 Aug 2010. To cite this condition Lori A. Custodero &038 Lily Chen-Hafteck (2008) Harmonizing Research, Practice, and indemnity in archeozoic kidhood harmony A Chorus of international Voices (Part 2), liberal homoities development Policy Review, 1093, 3-8 To interrelate to this port http//dx. doi. org/10. 3200/AEPR. 109. 3. 3-8PLEASE SCROLL DOWN FOR word Full hurt and conditions of use http//www. tandfonline. com/ scalawag/terms-and-conditions This article may be use for enquiry, teaching, and private study purposes. Any potent or systematic reproduction, redistri simplyion, reselling, loan, sub-licen verbalise, systematic supply, or distri saveion in both imprint to anyone is expressly forbidden. The publishing firm does non distribute any warranty express or implied or make any design that the contents testament be accomplish or accurate or up to date. The accuracy of any instructions, formulae, and drug doses should be independently verified with primary sources.The publisher sh only non be liable for any loss, actions, claims, proceedings, demand, or costs or amends whatsoever or howsoever ca employ arising directly or indirectly in connection with or arising out of the use of this material. Copyright 2008 Heldref Publications Harmonizing Research, Practice, and Policy in archeozoic tykehood Music A Chorus of International Voices (Part 2) LORI A. CUSTODERO and LILY CHEN-HAFTECK editor in chiefs note. Lori A. Custodero and Lily Chen-Hafteck served as guest editors for n other(a)(prenominal) Part 1 and Part 2 of the special issue Inte rnational Policies on Early squirthood Music rearing Local and Global IssuesRevealed. n the November/ declination 2007 issue of Arts nurture Policy Review, readers were introduced to primordial nestlingishness medicine policies in brazil-nut tree, England, Kenya, Puerto Rico, southeasterly Africa, and the United States. In this collection, a sustain ensemble of experts from Australia, china, Denmark, Korea, Israel, and Taiwan joins them. alike(p) the anterior issue, these antecedents presented papers or workshops at an International Society for Music bringing up, Early Childhood Music grooming Seminar in Taipei in 2006 and wrote new articles for comprehension here.They responded to the same charge as the previous authors to answer the sp be- eon activity questions What policies currently experience in your ground for advance(prenominal) puerility melody bringing up? To what extent do these policies meet the needs of children in your demesne? How be teacher s prep atomic number 18d to teach archaeozoicish childishness medication in your country? In what ship canal do local anaesthetic anaesthetic and world-wide cultures figure into the policies and rules of aboriginal puerility melody in your country? Additionally, we reach outed the following questions, to be appealed at the authors discretion Do divers(prenominal) tuneful cultures require different instructional come ones?And, conversely, atomic number 18 certain medicament instructional approaches culture specific? How does this impact policy and practice of archean childhood symphony in your country? What argon the authorisation risks and rewards of mandating multi cultural melodyal experiences for untested children? Finally, we asked authors to address any issues specific to their regions and to make concrete suggestions watching policy for their countries. Salient themes emerged addressing what was taught and who was responsible for that content.In many a(prenominal) counsels these deuce conditions are inseparable, interrelated through the social nature of melodious experiences. In these accounts, we alike(p)ly encounter ways in which content and deli real figure of speech reception and how that process, in turn, defines and is defined by culture. Examining these geographical con textual offsprings raises questions approximately atti- I tudes, practices, and policies resuscitateing early childhood melody procreation that cave in import for many of us. We chose three travel of inquiry from the many that weave these wizard texts into a textual fugue (a) ensions amongst child and self-aggrandizing culture (b) competing lures by spherical, regional, and local datencies on standards and curricula and (c) expectations for teacher association and prepa ration. Competing Cultures Child and Adult The existence of a melodic culture in early childhood, which is distinctly different from the adult culture, is estab lish on studies showing similarities of vocal contours used in communication betwixt infants and mothers across cultures (Papousek 1996), as well as research regarding the differences amongst medical specialty made by children and adults (e. . , Bjorkvold 1992 Campbell 2007 Littleton 1998 Marsh 1995 Moorhead and Pond 1941). Sven-Erik Holgersens article on early childhood euphony in Scandinavia describes practices in Denmark, Sweden, and Norway that are rude(a) to the childs culture. The cultural jolt in those regional systems exists mingled with programs that favor an elemental or natural approach to training for the green based on the free reanimate aesthetic and those that gull euphony Vol. 109, No. 3, January/February 2008 3 as a mode of artistic expression requiring learned skills.Lily Chen-Hafteck and Zhoyua Xu and, separately, Jennifer Chau-Ying Leu base pre take aims in Chinese discourseing countries to throw off a untroubled sense of adult culture. Most par ents and teachers believe educate should emphasise academic reading rather than play, so that children can achieve high score on tests and examinations. Chinese culture also stresses study and hard work as important for academic winner. In Korea, Nam-Hee Lim and Shunah Chung found that adults believe young children need destination supervision and guidance from teachers and parents in their development.Therefore, childrens natural tendency to be elvish and creative is not recognized as a core value in school potential for future success drives decisions. These cultural differences are interactive with and musing of current conditions and regional history. In China, for example, books were printed with assignable type as early as the eighth century, whereas in Europe copies were even drawn by hand until the 1400s. more than(prenominal) a long history of text accessibility elevated reading and writing to a valued skill that was recognisable and sought (Smith 1991).Societ al values may offer another genus Lens to interpret early academic emphasis, such(prenominal)(prenominal) as those espoused by Confucius, for whom morality and caring for others, in particular family, were primary. In terms of contemporary conditions, Louie Suthers of Australia notes that in her change country one can see differences in commencement ceremonying seasons of pre-primary education. In Denmark, the children start at three twelvemonths of duration and continue for four eld. In China, pre-primary education starts at four long time of shape up and continues for three years, although carry off is available in each country mentioned from birth.Also of note, the average scholar teacher ratio in China is 281, differing from Hong Kongs average ratio of 161. The older starting age in China may uphold (or reflect interest in) the schooling culture. Leus pa contribution of the importance of family context is relevant to this point, inas often as it may provide the mu sculus quadriceps femoris for child culture 4 Arts Education Policy Review to show epoch adult culture is run at school. Claudia Gluschankof pens virtually the purposeful psychiatric hospital of materials for the child culture with the development of the young Hebrew Culture in the Israeli territories during the early 1900s.Preschools were haved based on the Froebel playcentered archetype and provide an unusual case in the concentrated production of childrens medication in a language that had no such repertoire prior to the kindergartens establishment. The informed choice to provide young children with cultural tools for dateing at the earliest stages of a community is reminiscent of Sheila Woodwards discussion concerning the importance of children in nation expression in South Africa, feature in the previous issue of this journal.In her conclusion, Gluschankof raises important questions concerning this created ordinance of songs and the lack of repertoire for Arab-sp eaking children. Using the view of child culture as a lens for viewing cultural and educational policies provides a useful way to chthonianstand differences and similarities in political systems that define the gentlemans gentlemans in which we teach, research, and cohabitate. Such understanding may make it to more focused and centreful questions that may reveal inequities or alternative directions in music education worthy of exploration.Considerations of these policies regarding conceptions of maturity date and childhood lead directly to curricular influences that we view from a related dialectical the local and global. Local and Global Influences Child and World In the first part of this symposium, we focused on the tension between small and large scaled views of what should be taught, each serving a different societal need. In the second part, we speak more specifically to the notion of a national curriculum because it is mentioned in each of the articles collected here.W e are interested in questions dealing with how these individualized and collective influences instill childrens music education Does governmentmandated govern curriculum limit possibilities or figure access of quality to all children? and What is the object lesson to which music education should be govern? The first question is meant to generate lively thinking regarding what and how policymakers world power send messages some music education in the early years the second is meant to question assumptions we might brace surrounding best practice and the cultural nuances that shape it.Suthers, discussing Australias web site, is cognisant that there is no national music curriculum for pre-primary school and points to a youthful reform movement in music education that excluded early childhood experiences. She notes that this leaves teachers hint isolated and that their work is undervalued. Alternatively, Gluschankoff discusses the childrens music written in Hebrew as som ewhat ideological and makes suggestions for addressing the inclusion of excess materials to meet the needs of a multicultural society.One of the ways in which the national curriculum may become nationalistic is in the mandates or recommendations around interpret repertoire. The region played by telling in socialization is significant and has been used for centuries to radiate cultural values, to teach language, and to establish qualities of lilting energy that typify a way of being Dissanayake (2000) makes the case for mutuality and be as ways the arts are meaningful to us.Inasmuch as collective sing creates a sense of belonging, we establish a indebtedness to monitor the ways in which we look at the child and the world (see Leus article describing ecological systems and Lim and Chung on the supportive role of adults). Chen-Hafteck and Xu also write well-nigh the importance of family apprisal and the differing role of school music. When local fellowship is re agencyd by chauvinism, music can be decontextualized. Because musicality is deeply rooted in divided up experience, (Trevarthen 1999) we need to guard the individual(prenominal) and not expose childrens vulnerability to politicization.Our concern regarding global trends also involves the perception that globalisation means movement toward Downloaded by Macquarie University at 1458 28 troop 2013 Western ideals. Attention to the local, once again, is indispensable to adequately implement any change. In China, for example, although the new educational policies follow the global trends rhetorically, espousing learning through play and stressing personal expression and creativity, its usefulness is severely hampered by conflicting views in the local impost regarding a deep belief in academic success as the actualize benchmark.Holgerson considers a similar dissonance between local needs and governmental responsibility to all children through the philosophical lens of Bildung, a generative m odel that keeps the questions about such disconnections at the forefront of practice. Downloaded by Macquarie University at 1458 28 bound 2013 Teacher Knowledge Child and Music Practice policies are peradventure best viewed vis-a-vis teacher provision what do we value as noesis? For more or less of us, early childhood musical practice involves understanding as much as we can about children charm keeping the cultural context in mind.This might include individual experiences that move over to their uniqueness and developmental trends that might set apart indications about what to expect in terms of maturation. What neckledge do we need of music? In this issue, the authors discuss the importance of a diverse and culturally responsive repertoire, singing range, quality of recordings, appropriate use of instruments, and efficacious sensitivity. In this collection of articles, the authors suggest that these two knowledge body politics are rarely considered unneurotic and that they exist in bifurcation, at to the lowest degree conceptually.Across the globe, there are those who are considered to start out knowledge of the child in context (families or world(a)ist teachers) and those who have knowledge of the child in music (specialists). Holgersen describes this duality in practical termsmusic activities and music teaching. The goals of using music are indeed varied and the complexity of music leads to multiple possibilities worthy of exploration. Among the authors there is a consensus concerning the need for collaboration between the two areas of expertise with several concrete recommendations.Reasons for this commonalty phenomenon center on the systems in place for teacher preparation and the institutional divisions of disciplines authors counsel for more carefully structured captain development to help bridge the disciplinal divide. Knowing the body of work of these authors, we are familiar with their efforts to form partnerships with local chi ld care specialists and have been winding with such partnerships at our universities. Child and Adult It is famed that many of the responses are about memories of musical adults who were influential in their music education.Graham Welch (pers. comm. ) offers I was educated in a perform service of England Primary school in capital of the United Kingdom . . . where we sang, often with the local Vicar leading on the voiced. I can remember his enthusiasm, rapid tempo and intensity of keyboard play. F or most of us, early childhood musical practice involves understanding as much as we can about children while keeping the cultural context in mind. We believe them to be some of the most meaningful opportunities for our own teacher knowledge.Policy and own(prenominal) Voice In addition to the authors featured here, to inform our sense of the historical significance of current situations regarding early childhood music and the breadth to which our profession defines policy, we asked our colleagues involved in international musical education about their memories of early childhood music education and their relationship to policy with the following questions 1. Reflecting on your childhood before age eight, what were the influences of policy on your music education? . How does this equation with todays situation for young children? Responses were varied and provided insight through a self-reflective lens. We looked at the sevener responses regarding their relatedness to our three topics and to how policy can reach us as individuals in a long-lasting way. Alda Oliveira (pers. comm. ) from Brazil also reflected on a teacher The first time I went to school I was seven years old. At this age I choose to take balmy lessons with a private gently teacher.She was a marvelous teacher since her regularity include not only playing by reading and singing the notes, but also playing by ear and some public songs. Family members had a strong musical presence in June Boyc e Tillmans (pers. comm. ) childhood in England My music was on a regular basis singing with and listening to the playing of my enatic grand flummox who was the village dance plenty pianist. Margre van Gestel (pers. comm. ) of The Netherlands also wrote of related experiences I had the privilege to be surrounded by a musical family.We had a piano in our home and I played out lots of time behind the piano in my grandmothers house. My uncles and aunts could play the piano and as a child I enjoyed listening to them. One of my aunts was the ballet teacher in the village and from the age of four I was in her leaping classes. It was normal in my family to sing and play. My father had a good voice and was a soloist in the church choir when he was young he played the clarinet and was a folkdance Vol. 109, No. 3, January/February 2008 5 teacher during reconnoitring activities.I guess my days were filled with (live) music, not in courses but just all day long. Van Gestel shared a record of family influence In my baby dairy, when I was 8 months old, my mother wrote right away she clapped her hands. She probably learned that from her grandmother When you sing Clap your hands she reacts immediately. One year old When we sing Oh my daddy (a popular song in the sixties) she sings along, daddy, daddy. In South Africa, apartheid led to decisions about schooling for Carolean Van Niekerk (pers. omm. ) that indirectly influenced her musical education by removing her from the direct influences of the national educational system of that time. She also spoke of a contemporary situation in which engagement governmental policies was necessary and of the strength we have to overcome questionable decisions I had a desperate call just yesterday from someone with a story of how their education faculty, in training teachers for the Foundation Phase, wants to murder music as an optional area of specialization for students.We are now all doing everything in our power to protest su ch a prospect loudly. But I have also seen what I regard as a promising development, and similar to the situation I witnessed in atomic number 20 when we lived there, more than twenty years pastas parents of young children realize that the titular education system is not needs going to provide their children with what they believe is important, and especially as regards the arts, including music, they start to take responsibility for those things themselves. ntil I was about age five) could not beat up my lessons paid for. Had the place still be in that county I would have been authorise to a bursary to pay for lessons and I would have been able to learn a second instrument. But without that my parents could only afford piano lessons. I am still pitiable about this, which was simply a matter of geography and the local control of resources. Child and Music The same issues featured authors brocaded are apparent in the additional professionals responses the lack of resources and teachers. Gary McPherson (pers. comm. links personal memories with policies, of which he sees little change, from his Australian childhood I have a vague remembrance of singing in a school choir that was led by a frequent classroom teacher when I was about six or seven, but the sort out was nothing special so it had no impact on my subsequent musical development. . . . I went back some years ago and had a look at the way music was described in the school curriculum (particularly primary school curriculum). There were all sorts of aids and resources for general primary teachers to use but music wasnt typically taught well in schools.To be honest, Im not sure the status of music in the curriculum is any different. Downloaded by Macquarie University at 1458 28 March 2013 These testimonies to strong and positive adult influence suggest that family education is important, as Leu and others exhort in this symposium, with the caveat that the experiences described are with adults perce ived as musicians. This suggests we need to cultivate caution in defining state in terms of limited musicality and that music education of our children means their children will be better educated.It is interesting that teachers were remembered for the affectional qualities they conveyed and through a curricular perspective that was relevant to the child. Child and World The relationships among local, state, and global influences are also reflected in these personal accounts. Many of these music professionals took private music lessons and considered their experiences to be nonpolicy driven. Oliveira (pers. comm. ) mentioned the involvement of musicians in music education policyspecifically, the Canto Orfeonico policy under the leadership of composer Villa-Lobos.She recalls that this policy influenced her school education, which included aggroup singing and elementary direct music possible action. As already discussed, group singing is a common vehicle for politicization. L ike Gluschonkofs report of Israeli songs contributing to nation-building, Boyce Tillman (pers. comm. ) noted that At age seven I went to a school where we had massed singing in the Hall when we sang British folksongs, many of which I still know by heart. We had a book called the sassy National Song book, which was a take attempt after the war to fasten a sense of nationhood.This was used throughout my school career. 6 Arts Education Policy Review Welch wrote of intersecting influences of church and state I discovered ulterior that the London County Council was very supportive of music in schools generally, although my local experiences as a child were as much to do with the link to the Church and the established ethos of including singing as a natural part of the school day. Ana Lucia Frega (pers. comm. ) describes a similar situation in her native Argentina. Early childhood music courses were not always taught by a specialist . . . his means that some problems arose some of the K-general teachers choose materials that do not actually fit the appropriate children range of voices, and which tend to create vocal difficulties. He notes the longevity of such a workable match On returning to the school many years later for my first teaching post, I discovered that the schools policy toward music had continued, with the same range of events and activities in place. In the previous issue, Young discussed the strange commitment England has made to the artsspecifically music, a commitment Welch reiterates.Boyce Tillman recalls a time when the resources from the national government were in local hands, resulting in inequitable opportunity At age seven I started piano lessons but because the place we lived in was then in Southampton and not in the County of Hampshire (to which we are very close and in which we had been Although our policy qualification systems move slowly, and are not always moving in the direction we would like, there is hope in the growing numbe rs of people who care about music education. Oliviera writes at to the lowest degree we can feel the difference between my generation and todays generation. perchance our aim is to prepare children who grow up to be like von Gestel, with the same comfortable resources at hand for creating meaningful experiences Music (and especially making and teaching music) was and is a part of my everyday life, and really I cant imagine a life without singing together and making music. It makes my life worth living. References Bjorkvold, J. R. 1992. The muse at heart Creativity and communication, song and play from childhood through maturity. Trans. W. H. Halverson, New York HarperCollins. Campbell, P. S. 2007. Musical meaning in childrens cultures. In International handbook of research in arts education, ed.L. Bresler, 88194. Dorderecht, The Netherlands Springer. Dissanayake, E. 2000. Art and intimacy. Seattle University of Washington Press. Littleton, D. 1998. Music learning and childs play . General Music Today 12 (1) 815. Marsh, K. 1995. Childrens singing games Composition in the vacation spot? Research Studies in Music Education 4211. Moorhead, G. E. , and D. Pond. 1941. Music of young children. 1 Chant. Santa Barbara, CA Pillsbury Foundation for the proficiency of Music Education. Papousek, H. 1996. Musicality in early childhood research Biological and cultural origins of early musicality.In Musical beginnings Origins and development of musical competence, ed. I. Deliege and J. Sloboda, 3755. Oxford, England Oxford University Press. Smith, D. C. 1991. Foundations of modern Chinese education. In The Confucian continuum, ed. D. C. Smith, 164. New York Praeger. Trevarthen, C. 1999. Musicality and the inhering motive pulse Evidence from psychobiology and human communication. Musicae Scientiae (Special Issue Rhythm, Musical Narrative, and Origins of Human Communication), one hundred fifty-five211. Lori A. Custodero is an associate professor and program coordinator of the MusicDownloaded by Macquarie University at 1458 28 March 2013 and Music Education program at Teachers College, Columbia University, where she has established an early childhood music concentration that integrates teaching method and research through both theory and practice. She served on the International Society for Music Educations Commission for Early Childhood for six years and is involved in research and teaching projects in a variety of countries. Lily Chen-Hafteck is an associate professor of music education and assistant conduce of the Music Department at Kean University, New Jersey.Originally from Hong Kong, she has held teaching and research positions at the University of capital of South Africa in South Africa, the University of Surrey Roehampton in England, and Hong Kong Baptist University. She serves on the editorial board of the International ledger of Music Education, Asia-Pacific Journal for Arts Education and Music Education Research International. She is the hot seat of the International Society for Music Education Young Professionals Focus Group. Vol. 109, No. 3, January/February 2008 7 ???????????????? ??????????? ??????????????? 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