It proposes to enable networking opportunities across primary and secondary music ITE providers, within and beyond borders, and inform strategies for meeting common challenges for music ITE in prevailing policy contexts. The article advances an original framework for comparative research in music education which may provide a conduit and stimulus for future comparative studies in music teacher education. Among major differences charted are distinct models of provision for music instruction outside of schools, participation rates in secondary courses, and varying approaches to cultural diversity in statutory music curricula. (primary) programmes the residual influence of denominational institutions and the dominance of consecutive over concurrent models of secondary music ITE. Key similarities include corresponding provision for music in B.Ed. Employing literature reviews and a survey of music ITE policy and provision in the two jurisdictions, it draws on a range of primary and secondary sources and presents a summary of comparative findings from the MITE project, carried out between 2017-2018. This article investigates policy and provision of music in initial teacher education (ITE) in Ireland and Northern Ireland through a novel approach to comparative music education in ITE. The authors also contend building collaborative networks that extend beyond national borders can enhance understanding and appreciation of different genres, cultures, and languages in music classrooms. This model prioritizes the culture bearers’ involvement in the learning process from start to finish while allowing students ample space to merge unfamiliar cultural perspectives with their own. Utilizing a descriptive case study design, the authors discuss their pedagogical approach and argue a Four Step Flip method (Asynchronous, Synchronous, Face-to-Face, and Hybrid Feedback) can be effectively applied and adopted in online music teaching and learning settings. Acting as culture bearers and tertiary music educators, they selected and taught songs from three different geographic locations (South Africa, Sri Lanka, and the United States). In this study, the authors drew on elements of Collaborative Online International Learning (COIL) to teach three culturally diverse songs to pre-service teachers at a Spanish university. Findings indicate that music educators who are willing to share their unique musical perspectives and experiences beyond cultural and geographic boundaries can cultivate learning environments that are diverse, inclusive, relevant, timely, meaningful, and fun for all involved.Īs music educators around the globe continue to work in blended environments, it is important to explore how pedagogical approaches can be adapted and reimagined in ways that enhance teaching and learning in this changing educational landscape. This paper foregrounds the importance of disrupting the hegemonic cycle of focusing on Western music in education programmes and the importance of fostering transnational collaborations between musicĮducators in different parts of the world. Through autoethnographical vignettes, they share their individual and collective experiences.
#HUE AND CRY ANDERSON CA SERIES#
In this study, the author participants (four tertiary music educators from different places in the world) facilitated a series of online workshops based on songs from culturally diverse settings with a group of preservice teachers at a Spanish university.
Providing students with opportunities to experience culturally diverse music traditions is an important, yet complex task for music educators.
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