Origin: Scotland
Instrumentation: Highland Bagpipes, Highland Snare Drums, Bass Drums, Tenor Drums
Performers: Royal Scots Dragoon Guards Pipes and Drums
Title of the Piece: Scotland the Brave, The Black Bear, and Highland Laddie
In this week’s reading of the Koop’s
article: “Can’t We Just Change the Words?”, the role of authenticity discussed
is done through four different models: authenticity as a continuum, historical
and personal authenticity, authenticity as reproduction, reality, and
relevance, and beyond authenticity. Each model highlights the important factors
as to why each author believes their model is the best approach to take,
however, there is also a downside to these models as well. When looking at
different areas of music education and instruction, one model may better suit
an elementary general music class, but may not have the same impact on a high
school orchestral setting. Additionally, some of the factors discussed in a
certain model like “purchasing indigenous instruments” to provide students with
a “real” experience may not be realistic in a school environment that has low
or no additional funding for these types of resources. Using different models,
music educators must take into account their personal teaching situation and
style when addressing how to effectively and authentically teach world music
within their classroom setting.
Within the modern classroom, there are
many resources to begin to introduce our students to cultural music on a more
global scale. However, this article raises the issues of authenticity into the
foreground of one’s mind. While there are many options for arrangements of
multicultural music created for western instrumentation, Palmer raises the point
that this loses the essential authentic quality of the music we are providing. For example, I could easily take the drone, melody, and percussion featured in
this performance, and transpose it to be performed by string orchestra with
percussion. However, in doing so I am providing a somewhat watered-down version
of traditional Scottish music. When considering improving the authenticity and
enrichment in my multicultural teaching, I could organize an opportunity for my
students to engage in learning experiences that are closer to traditional
experiences. If I were to transpose a piece such as the one provided in my
example for the week, perhaps in hopes of providing the most authentic
experience I could arrange for the local Hibernian Order to come perform for my
students and also allow them an opportunity to interact with the authentic
instruments. Through these types of authentic classroom experiences, I am
providing opportunities that “lead to increased student motivation, heightened
understanding and improved performance.” (Koops, 2010, pg. 25) In doing this,
my students would have a greater appreciation for the true experience of
performing a piece of music from the Scottish culture.
References:
Koops, L. H. (2010). Can't We Just Change the Words? Music Educators Journal. 97(1), 23-28. doi:10.1177/0027432110376892
Matthew, thank you so much for taking me back to my undergrad graduation and all big events during my time at Seton Hill University; they always had bagpipes performing! Although I was not a fan of the bagpipes because they were so loud, I can now look back and appreciate their world music value and authenticity, and appreciate the memories I am flooded with every time I hear bagpipes.
ReplyDeleteI completely agree with your statements about the realistic applications of the models mentioned in the article. Most public school systems do not have enough funds for general classrooms, let alone music and art classrooms. Funding for the arts is diminishing every year. However, I wonder if music classrooms across the country started incorporating more world music, if we would see our funding increase. Would more world music cause administrators and politicians to see more value in our classes?
Hi Kellie,
ReplyDeleteI am glad my example could bring back and transport you to memories at Seton Hall. Bag pipes can be very loud! I however love their sound because it bring me back to hearing them with my grandparents (who are from Ireland). I think that is a great question- I would like to have hope, but it seems no matter how many ways music teachers and educators show the importance and value of music in the schools, we still face budgetary issues. I am not sure incorporating more world music, or authentic world music will advocate for more funding to our programs.
Hi Matthew. I have to agree with your description of authenticity as a continuum in your post. I certainly can understand the dislike for "watered-down" music and how that can make it difficult teach it. You also present good possible strategies that can provide experiences that are as authentic as possible, even with the barriers you mention. These experience are highly enriching to students!
ReplyDeleteAfter reading the Koops article, did you find yourself personally most connected to the continuum view? While we may not have the instruments or skillsets necessary to recreate the music in question, is it still worth exploring for the effort of forging meaningful connections with the culture?