A History of Multiculturalism in American Music Education

Early 20th Century:
-1920s: Music textbooks include songs of many European countries
-1930s: Begin to see African American, Eastern European, North African and Native American music in texts
-1940s: Inclusion of Latin American folk music as a way to unify North and South America

Mid-20th Century:
-1950s/60s: Emergence of African and Asian music
-Contemporary styles (jazz/ethnic) added as a response to what kids are listening to

Late 20th Century:
-1990: Washington, DC Symposium
-MENC, Smithsonian Institute, & Society for Ethnomusicology
-Multicultural approaches to music education
-Learned and taught African American, Chinese, Afro-Caribbean, Mexican, and Native American musics

FUN TIME SURPRISE!

Today:
-Most effective programs tap in to musical traditions important to the students
-Teachers have authentic knowledge and experience
-A+B=C

Western Music based curriculum

'The Musics of Asia' - International Music Symposium held in Manila, April 12-16, 1966

Philippine Women's University
- Substantial collection of Asian instuments and recordings
- Increased appreciation for Asian music

Re-appraisal of the concept of music education
-> include Eastern music into school curricula

Today - multicultural material resources readily available in music education

Timeline

1674: Cotton Mather organizes a singing school, The Society of Negroes

1746: "Frank the Negro" leads an NYC singing school of over 40 students

1783: Newport Gardner studies music in Providence, RI, then sets up a singing school in Newport

1854: Rev. Hanks, or Wilmington, NC, starts a black singing school in a mixed race church

1972: MENC creates the National Black Music Caucus

1973: MENC creates the Minority Concerns Comission

Today: Tapping in to African American music...
-Offers all students exposures to new genres
-Allows African American students a respite/reconnect from potential culture loss
-Excellence in music can transfer in to other areas, breaking down old societal norms

Features

Our songs are our history. If we do not have our songs, we do
not know where we are or where we have been. We don't
know how to remember what has happened to us. (Sicangu
elder, 1996) [Lundquist/Sims, 1996]

Oral Tradition

Slave work songs & spirituals were used to communicate in code, coordinate arduous labour, and convey hope for a better afterlife.

http://www.youtube.com/watch?v=jByWbxIg7OI

Call & Response

http://www.youtube.com/watch?v=tvQyfr31ams

Rhythmic ideas both directly and indirectly through African, African American, and Afro-Caribbean styles

Only few Korean folk songs were involved in American general music curriculum (less than 10%)

- Ahrirang
- Doraji (Bluebells), Folk Songs of Korea by Mary C. Kimm Joh
- Pal Guen Dal Ah (Bright Moon) Let's Sing Korean Folk Songs Together by Mary C. Kimm Joh
- Parangsai (Bluebird) Folk Songs of China, Japan, and Korea by Betty Warner Dietz & Thomas Choonbai Park

Ahrirang

Ahrirang, Ahrirang, Ahrariyo
Happiness awaits you on Ahrirang Hill
Onward, onward we walk to our destiny
Onward we walk up to Ahrirang Hill

Ahrirang

Ahrirang, Ahrirang, Ahrariyo
Crossing over Ahrirang Hill.
Dear who abandoned me
Shall not walk even ten thousand feet before his/her feet hurt.

Ahrirang

Ahrirang, Ahrirang, Ahrariyo
Happiness awaits you on Ahrirang Hill
Onward, onward we walk to our destiny
Onward we walk up to Ahrirang Hill