Music, literature, and community: Reflections on a framework for learning through and from Aboriginal and Torres Strait Islander music

Thomas Fienberg
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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.
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音乐、文学与社群:透过原住民与托雷斯海峡岛民音乐学习的框架思考
受探索非土著澳大利亚人如何与土著和托雷斯海峡岛民建立有意义的联系的愿望的启发,这篇文章反思了我的博士研究,以及教育工作者在为原住民提供空间以直接为创造互惠互利的教学体验做出贡献方面可以发挥的作用。它特别评估了建立和实施一个以我的高中音乐课为中心的项目的过程,因为学生们正在合作改编Ngiyampaa作曲家兼舞者Peter Williams分享的两首歌曲。这篇文章有意反身,因为它询问了进行这项研究的历程和动机。作为一名非土著教师研究员,我列出了我个人在理解土著和托雷斯海峡岛民历史和文化方面成长的三个基本支柱:音乐、学术文献,最重要的是当地社区。然后,文章讨论了导致博士研究中音乐互动成功的挑战和因素,这一过程被理解为共同创作,关键是,在项目的各个阶段,作为互惠关系的形成,获得了变革性的学习体验。本文鼓励采用启发式方法,将原住民和托雷斯海峡岛民的音乐更多有效地纳入中学音乐课堂,而不是将共同创作作为一种教学策略。通过以民族志的形式阐述实施深思熟虑、非殖民化和道德方法学习土著和托雷斯海峡岛民音乐的经验,我希望鼓励教育工作者在自己的叙事中想象自己,其中包括他们的学生和当地第一民族社区的成员,带来丰富而有回报的音乐合作和持续的富有成效的关系。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
3.00
自引率
37.50%
发文量
37
期刊介绍: Research Studies in Music Education is an internationally peer-reviewed journal that promotes the dissemination and discussion of high quality research in music and music education. The journal encourages the interrogation and development of a range of research methodologies and their application to diverse topics in music education theory and practice. The journal covers a wide range of topics across all areas of music education, and a separate "Perspectives in Music Education Research" section provides a forum for researchers to discuss topics of special interest and to debate key issues in the profession.
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