Music, Literature, and Community: Reflections on a Framework for Learning through and from Aboriginal and Torres Strait Islander Music

Autor/in	Fienberg, Thomas
Titel	Music, Literature, and Community: Reflections on a Framework for Learning through and from Aboriginal and Torres Strait Islander Music
Quelle	In: Research Studies in Music Education, 45 (2023) 3, S.444-462 (19 Seiten)Infoseite zur Zeitschrift PDF als Volltext Verfügbarkeit
Zusatzinformation	ORCID (Fienberg, Thomas)
Sprache	englisch
Dokumenttyp	gedruckt; online; Zeitschriftenaufsatz
ISSN	1321-103X
DOI	10.1177/1321103X231192311
Schlagwörter	Music Education; Literature Appreciation; Indigenous Populations; Pacific Islanders; Intercultural Communication; Intergroup Relations; Teacher Role; Teaching Methods; Learning Experience; Singing; Dance; Musicians; Secondary School Students; Cooperative Learning; Individual Development; Researchers; Indigenous Knowledge; History; Ethnography; Foreign Countries; Australia + Suchen Sie Ihr Suchwort? Musikerziehung; Literarische Wertung; Sinti und Roma; Pacific Rim; Inhabitant; People; Pazifischer Raum; Bewohner; Interkulturelle Kommunikation; Intergruppenbeziehungen; Lehrerrolle; Teaching method; Lehrmethode; Unterrichtsmethode; Lernerfahrung; Gesang; Tanz; Musiker; Sekundarschüler; Kooperatives Lernen; Individuelle Entwicklung; Researcher; Forscher; Geschichte; Geschichtsdarstellung; Ethnografie; Ausland; Australien
Abstract	Inspired by a desire to explore ways in which non-Indigenous Australians can meaningfully connect with Aboriginal and Torres Strait Islander peoples, this article reflects on my doctoral studies and the role educators can have in holding space for First Nations peoples to directly contribute toward the creation of mutually rewarding teaching and learning experiences. It specifically evaluates the processes involved in establishing and implementing a project centered on my senior secondary music class as the students engaged in the collaborative reworking of two songs shared by Ngiyampaa composer and dancer, Peter Williams. The article is intentionally reflexive as it interrogates the journey and motivations behind conducting the study. As a non-Indigenous teacher-researcher, I table three foundational pillars behind my personal growth in understanding Aboriginal and Torres Strait Islander histories and cultures: the music, the academic literature, and most importantly, the local community. The article then discusses the challenges and factors that lead to the success of the musical interactions in the doctoral study--a process understood as co-composition--and critically, the transformative learning experiences gained as reciprocal relationships were forged during various stages of the project. Rather than promoting co-composition as a pedagogical strategy, this article encourages a heuristic approach to increased and effective inclusion of Aboriginal and Torres Strait Islander music in secondary music classes. By setting out in autoethnographic form the experience of implementing a considered, decolonial, and ethical approach to learning from and through Aboriginal and Torres Strait Islander music, I hope to encourage educators to imagine themselves in a narrative of their own, one that includes their students and members of the local First Nations community, leading to rich and rewarding musical collaborations and ongoing fruitful relationships. (As Provided).
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Erfasst von	ERIC (Education Resources Information Center), Washington, DC
Update	2024/1/01