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Music for all? Exclusionary practice in music education and what this means for Kodaly educators
Journal article   Peer reviewed

Music for all? Exclusionary practice in music education and what this means for Kodaly educators

Rachael Dwyer
Bulletin of the International Kodaly Society, Vol.34(1), pp.20-28
2009
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Abstract

Specialist Studies in Education western music making music education Kodaly values in music
There is a view held by some within the world of Western art music that art is not suitable for mass consumption. The perceived superiority of art music is evident in some music education programs, not only through the study of the canon, but also through the replication of its music-making practices in the classroom. Furthermore, the right to actively participate in music is reserved for those perceived to possess the necessary talent. This notion of talent being a prerequisite for music making is so ingrained in Western culture that it remains unquestioned by many. There is an emerging school of thought that identifies these attitudes of talent and elitism as inappropriate in the context of music education, as they exclude some students from participating and devalue students' previous musical experiences. In this paper, I will discuss two main issues: the nature of music making in the Western art music tradition and the ways in which exclusionary practices are embedded; and the implications this can have for music educators. It is hoped that this discussion will encourage teachers to reflect upon the beliefs and values that they hold about music and music education, and to consider how these beliefs and values may or may not serve the needs of the students. Such deliberation both affirms inherent good practice as well as contributing to the evolution of a more informed and inclusive approach to music education.

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