traditional music as co-construct of intercultural … music as co-construct of intercultural music...

60 JOURNALOFCONTEMPORARYEDUCATIONALSTUDIES1/2013 RenataSamPalmić

Renata Sam Palmić

Traditionalmusicasco-constructofinterculturalmusiceducation

Abstract:Fromadidactic,sociocultural,social,andcommunicationangle,theprimaryschoolisanimportantlinkbetweenthediversityoftraditionalmusicanddifferentfolkcultures.Thisworkwishestocorroborateknowledgeoftheneedforstrengtheningthesensibilityofmusiceducationpupilstowardstheirownmusicalandculturalidentityasasourceandstimulusfordevelopingfeelingsfortraditionalmusicalandculturalpluralisminanurbanenvironmentasaco-constructofthemulti-culturalsocietyandinterculturaldialogue.Thepaperpresentstheresultsofanexaminationoftherelationshipsandattitudesofpupilstowardtraditionalmusicaftertheyhavecompletedcompulsorybasiceducation.TheresultsoftheexaminationofaCroatiansampleshowedthat,inthemulticulturalrealityofcontemporarysociety,traditionalmusichasstrongpotentialtoserveasthefoundationofinterculturalmusiceducationinprimaryschool;however,themusiceducationcurriculashouldbemoreopentomulticulturalisminprimaryschooleducation.Aninterculturalapproachtoprimaryschoolmusiceducation,basedontraditionalregionalmusicintherole ofco-constructorandtogeneralinterculturaleducationinthemulticulturalsociety, isnecessary.Thisneedisdrivenbythemanifoldmeaningoftraditionalmusicforthedevelopmentoftheindividualandsociety,andtheappearanceoftraditionalmusicbeyondthesourceofitscreationinvariousmusicalformsandgenres,regardlessofplaceandhistoricalmoment.

Key words:traditionalmusic,intercultural(music)education,compulsorybasiceducation

UDC:37.015.31:7

Scientificarticle

Renata Sam Palmić, Ph.D., University of Rijeka, Faculty of Teacher Education, Slavka Krautzeka b.b., 51000 Rijeka, Croatia; e-mail for correspondence: [email protected]

JOURNALOFCONTEMPORARYEDUCATIONALSTUDIES1/2013,60–76

Traditionalmusicasco-constructofinterculturalmusiceducation 61

General starting points

Interculturalmusiceducationisgroundedinthegeneralaimofinterculturaleducation(Fiorucci2008;Gobbo2004;Hrvatić2009;Mantovani2008;Nieto2004;Perotti1995;Piršl2007;Portera2007),andencompassesinterculturallifelonglearning.Inthiscontext,musicandmusiceducationarepowerfultoolsforthede-velopmentofinterculturalitywhenitcomestothefollowingareas:understanding,developingasensibilityfordifferences/otherness,communicationandcommuni-cationcompetence,andtheacquisitionofexperiencethroughinteractionwithvariousculturalgroups.Theintertwiningofmusicaldifferencesanddiversitiesisrootedintheknowledgeofandfeelingstowardsone‘sownmusicalandculturalidentity,anacknowledgementandknowledgeofothermusicalculturesthatdifferfrom“mine”and“ours”andarespectforthem,andonone‘sabilityformusicalandculturaldialogue.Musiceducationisdefinedasmulticulturalandinterculturaleducation(Disoteo2000).Theaimsandtasksofmusiceducationweremodifiedaccordingtotheneedsofthesocialstructureofanethnic/nationalcommunity,whichcorroboratestheclaimthatmusicwas(andis)perceivedasanimportantareainthedevelopment,functioning,andexistenceofacertainculture.

Musiccantriggeruniversal feelings1, butuniversalityisnotinherenttoitinthesenseinwhichitisusedandinwhichitwishestopresentitself:asameansofunitingallpeoples(ibid.).Thisisparticularlypertinenttotraditional music2(Bezić1983;Ceribašić2007),andthereceptionoffolkmusicalexpressioninitsentirety.Eachcultureandsocietyestablishesitsownmusical“language”withspecificscales,rhythms,rulesforcreatingmusicandreproducingit,improvisationsthatcorrespondtodifferentconceptionsoftimeandspace,oflifeanddeath,and

1Musicisnota“universallanguageasitisoftensuggested,formusichasagreatinherentabilitytoevokeemotionsandstimulatemomentsofaggregation,butthatissomethingcompletelydifferenttoauniversallanguage”(Disoteo2000,p.7).

2Theterms“folkmusic”and“traditionalmusic”arewellreflectedinthenameoftheprincipalassociationofethnomusicologistsworldwide.Itwasestablishedin1947asTheInternationalFolkMusicCouncil(IFMC),andin1981,changeditsnametoTheInternationalCouncilforTraditionalMusic.


ofideologiesandbeliefs/religions(Disoteo2000).Interculturalmusiceducationdepartsfromthefactthatallmusicisintendedforallpeople,regardlessofitsgreatdiversity,uniqueness,andcharacteristics,andregardlessofthemannerinwhichitisformedandtransmitted,whatitssenseistotheindividualandgroup,andhowitisspokenof(PesekandPettan1994;Pettan1998).Collectiveiden-tityisapowerfulinfluenceonthedevelopmentofindividualidentity,andthus,alsoindividualmusicalidentity,astheindividualfeelspartofan“us,”which,althoughitcanbedefinedindifferentways,playsanimportantroleinindividualandcollectivebehavior.Musicitself,andmusicwithinthecontextofeducationalprocesses,canincitecommunicationbetween“me”and“us”and“us”and“them.”Traditionalmusicplaysatwofoldrole:itstrengthensfeelingsofbelongingtoone’sownculture–bothregionalandnational–andempowersprocessesofcreating/fosteringanacceptanceandrespectforthediversity/othernessoftraditionalmusicalexpression.Interculturalmusiceducationtakesintoconsiderationthepresenceofadialecticalrelationshipbetweenthepupils’affiliationstoanindividualandcollectiveidentity,arelationshipthathasgreatinfluenceontheformationofculturalidentity (Disoteo2000;O’Flynn2005).Regionalandnationaltraditionalmusicintheclassroomenablespupilstodelveintotheirownculture,whichmeansbecomingandremainingawareofthelimitlesspossibilitiesforchange,contact,andacculturationthatareafeatureofthemulticulturallessongroup.

Interculturalmusiceducationencompassesthetraditionalregionalandna-tionalmusicofthedominantculture(i.e.,themajoritygroup),andthetraditionalmusicofotherethnicgroupsornationalminoritiesandofotherpeoples.Inthismanner,traditionalmusicbecomesaconstructofmusicpedagogyforintroducingpupilstoanunderstandingofandparticipationinmusicalandculturalvarietyanddiversity.InDisoteo’sstudyoninterculturalmusiceducation,musical identity isthecenterofattentionandhearticulatesitonfourlevels.Theseare:imprint,experience,value,andcompetence.AccordingtoDisoteo(2000),interculturalityispresentinaclassinwhichtwopupilswereborninthesametown,buthavedifferingaffiliationstotraditionalmusicandhavegrownupindifferingmusicalmatrices.Thepluralityofonemusicalidentitycanbe(andoftenis)presentbe-tweenteachersandpupils,andbetweenmembersofdifferentgenerations,ethnicgroups,orregion(ibid.).

Inviewingidentityinthecontextofinterculturality(Baloban2005;Barth1994;Gidens1991;Kalanj2008;Korunić2003;Parsons1994;Touraine1992),itisnecessarytoforsakeabipolarviewofidentityandglobalization.AsDisoteo(2000)states,historyandhistoricalmemoryareofgreatimportanceforinterculturalprocesses,whichisincontrastwithfearsandviewsthatclaimthatintercultur-alitynegatesone‘sownidentity.Bothindividualandcollectivememoryshouldberememberedasthey,ashasalreadybeenstressed,shapeeveryindividual.Thus,musicalidentitiesinaninterculturalcontextmeet,acknowledge,respect,accept,compare,permeate,andpromoteeachother.Theybecometherealityofamulticulturalsociety.O’Flynn(2005)explainsthatstudiesofconceptionsofmulticultural/interculturalmusiceducationhaveshedlightonthealternativepossibilitiesofbringingtraditionalmusiccloser,andthatrecentmusiceducation


curriculaindifferentcountriesareproofofpluralisticviewsofmusicandmusiceducation,whilealsoenablingtheintroductionofaninterculturalmusicmodelforteachersandschoolsintheirentiretyinashortperiodoftime(ibid.,pp.191–203).Interculturaleducationallowstheteacheramorepronouncedroleinbroadeningthemulticulturalhorizonsofhis/herpupils.

Examination of Pupils’ Sensibility towards Traditional Music on a Sample in Croatia: Purpose, Topic, Goals, and Tasks of Research

Education,inparticular,compulsorybasiceducation,isthemostpowerfulandstrongestcreatorof(1)individualandcollectivemusicalandculturalidentity,(2)adynamic,multiculturalsociety,and(3)theintegrationofinterculturalmusiceducationco-constructedbytraditionalmusic–Croatianmusicofmicroculturesandamultiethnicmusicaltradition–intoexistingsubsystemsandtheirprocesses.

IntheRepublicofCroatiainthe1990sand,inparticular,thefirstdecadeofthetwenty-firstcentury,theprimaryschoolcurriculaknownasthePrimary School Croatian National Educational Standard(HrvatskiNacionalniObrazovniStandard…2006)possessedpronouncednationalcharacteristics.However,gene-rallyspeaking,anopennessandpluralityineducationpracticewasexpressedatthesametime.Thefundamental presumptionthatservesasthepointofdepartureinthisworkis:Croatiantraditionalandmulticulturalmusicarenotsufficientlyacknowledgedasco-constructorsof interculturalmusiceducation,norintheprimaryschooleducationprocessinthedevelopmentoffeelingsofmusicalandtraditionalselfhood,dialogueskills,andofamulticulturalintertwiningbetweenmusicaldifferencesandvarietiesinurbanCroatianenvironments.Theresearch topicinthisworkisthepupils’viewsandrelationshiptowardstheirowntradi-tionalmusicalidentityandthetraditionalmusicofothercultureswithinCroatiaandbeyond.

Thegoalswere:

– determiningtheeffectsofmusiceducationintheareaoftraditionalmusicinprimaryeducation;

– determining,describing,andanalyzingthesimilaritiesanddifferencesinthepupils’sensibilityoftraditionalmusic,andtheirperceptionsofmusicalandculturaldiversityaccordingtotheregioninwhichtheybelong.

Thetaskswere:

– determiningthepupils’views and relationships ofregionalmusicandCroatiantraditionalmusic,ingeneral,afterthecompletionofprimaryschool;

– determiningtheviews, relationships andindicatorsofthepupils’ forthetraditionalmusicofnationalminoritiesandothernations;

– determiningthepupils’needs forperceivingtraditionalmusic;


– examininghow pupilsperceivetraditionalregionalmusicandtraditionalmusicingeneral;

– examiningthepupils’sensitivity towardsmusicalandculturaldiversityanddifferentidentitiesintheirclassroomandenvironment;

– determiningtheexistence ofmulticulturaldialoguebetweenpupils.

Inordertorealizethegoalsandtasksoftheexaminationofthepupils,asurveyonthepupils’viewsandrelationshiptowardstraditionalregionalmusicandmulticulturaltraditionalmusictheyhadacquiredthroughmusiceducationinprimaryschoolwasconstructed.

Research Methodology

Sample

Thesampleencompassedthepopulationofpupilsthathadjustcompletedprimaryschool.ItconsistedofpupilsfromthefiveregionalcentersofCroatia:Rijeka,Pula,Split(LittoralCroatia),Zagreb(CentralCroatia)andOsijek(LowlandCroatia).Thesamplecomprised1,000examinees.Theinstrumentforcollectingdatawasaquestionnaire.Thequestionnaireoftheexamineeswasvoluntaryandanonymous,inwhichtheethicalcodeforusingchildrenforresearchwasrespected(Dulčić2003).Theresearchwasconductedinthefirstyearsofsecondaryschoolwithpriorwrittenandoralpermissionobtainedfromtheschool’sprincipal.Theexaminationofthepupilswasconductedonarandomsamplefromthegrammarschools,with997pupilsparticipatingintheresearch.ThefollowingTabledisplaysthesampleofpupilsaccordingtocity:

City f %

Pula 194 19.9

Rijeka 202 20.7

Split 180 18.4

Zagreb 200 20.5

Osijek 201 20.6

TotalN 977 100,0

Table 1: Display of the sample of pupils according to regional center

Measuringinstruments

Theinstrumentforcollectingempiricaldatawasconstructedfortheneedsofthisresearchasastructuredquestionnaire.Thequestionnairecontains:1)closed-endedquestions,2)open-endedquestions,and3)statementstowhichaLikertscalefrom1to5wasadded: 1 = strongly disagree, 2 = disagree, 3 = somewhat agree, 4 = agree, 5 = strongly agree.Thequestionnaireconsistsofstatementswithin


variousresearchvariables.PilotresearchwasconductedonasampleofpupilsinthefirstyearofgrammarschoolinRijeka.Allstatementswithincertainvari-ablesshowedinternalconsistency,astheirCronbach’salpharangedbetween.828(Table3),.844(Table4)and.900(Table2).Basicdescriptivestatisticalindicatorswerecalculatedforalldata(i.e.,thefrequencyandpercentageofcertainanswers,andwherepossible,thearithmeticmeanandstandarddeviation).Thedifferencebetweenmorethantwogroupsinquestionnairedatawascalculatedbyanalysisofvariance(ANOVA),Levene’stest.AScheffe’stestwasusedasapost-hoctest.

The Results of the Statements and Discussion

RelationshiptowardsandviewsofCroatiantraditionalmusicandthemusicofothernationalities,statements:1–34:

Statements 1 2 3 4 5 M SD 1.Ineverturnontheradioinordertolisten

tofolkmusic.7.1 6.6 9.9 1.7 57.7 4.13 1.24

2.ItneveroccurredtometoaskmymusiceducationteachertoplaymoreCroatianfolkmusic.

6.7 6.6 11.5 23.3 52.0 4.07 1.22

3.Ilikemusic,justnotfolkmusic. 4.2 10.4 19.0 16.0 50.4 3.97 1.22 4.Idon’tlikelisteningtofolkmusic. 6.2 9.5 22.6 18.6 43.0 3.82 1.25 5.IknowverylittleaboutCroatianfolkmusic. 5.4 11.7 28.8 30.0 24.2 3.55 1.13 6.Folkmusiciscompletelyuninterestingtome. 9.6 17.0 24.0 15.0 34.4 3.47 1.36 7.Myfriendswouldridiculemeiftheyknew

thatIwasinterestedinfolkmusic.13.4 15.5 23.7 18.2 29.2 3.34 1.38

8.Ican’tunderstandmanyofthewordsinfolksongs.

13.7 18.7 29.0 20.7 17.9 3.10 1.28

9.Thelyricsoffolksongsarepronouncedinafunnyway.

12.0 19.1 34.0 17.7 17.2 3.09 1.23

10.Folkmusicbelongsatvillagefestivities. 15.3 20.2 27.8 15.1 21.6 3.07 1.3511.Folkandtraditionalmusicbelonginthe

village.16.4 21.0 26.4 13.1 23.1 3.05 1.38

12.ThetraditionalmusicofmyregionismorebeautifulthanthatofotherregionsofCroatia.

19.0 18.9 30.1 13.0 18.9 2.93 1.35

13.IlearnedenoughaboutthetraditionalmusicofCroatiainprimaryschool.

16.7 27.7 34.2 11.6 9.8 2.70 1.16

14.Folkmusicdoesnotbelonginthecity. 22.4 30.2 24.9 8.4 14.1 2.61 1.3015.IlikelisteningtoLatinAmericanfolkmusic. 26.1 22.9 28.5 11.5 11.1 2.58 1.2816.IlikethefolkcostumesofvariousCroatian

regions.29.8 18.7 27.8 12.2 11.5 2.56 1.33

17.Folkmusicisprimitivemusic. 24.8 29.7 27.2 7.8 10.5 2.49 1.2318.Inmyfamily,thesongsofoldfromourregion

areoftensung.31.7 29.1 21.1 9.3 8.8 2.34 1.25

19.Iwouldliketoknowmoreaboutthefolkmusicofothercultures.

34.5 26.8 23.7 9.6 5.3 2.24 1.17

20.Myparentsintroducedmetothevalueoftraditionalregionalmusic.

34.9 27.9 22.5 8.0 6.7 2.23 1.19


Statements 1 2 3 4 5 M SD21.Iperceivetraditionalregionalmusicthrough

ethnomusic.29.8 30.9 30.0 6.2 3.1 2.21 1.37

22.IcanrecognizethefolkmusicofthenationalminoritiesofCroatia.

34.3 31.6 24.2 6.6 3.4 2.13 1.06

23.Ilikelisteningtotamburitzamusic. 44.3 21.4 19.4 6.8 8.1 2.12 1.2724.Traditionalregionalmusicisinfashion. 28.0 44.3 21.1 4.5 2.0 2.08 0.9225.I’minterestedinfolksingersandplayers. 42.5 31.3 15.5 5.7 5.0 1.99 1.1226.MyfamilyraisedmeinthespiritofCroatian

folkmusic.39.3 34.3 18.8 4.1 3.5 1.98 1.02

27.IaminterestedinthetraditionalmusicofallregionsofCroatia.

46.4 26.9 17.4 5.6 3.7 1.93 1.09

28.Ifmyfriendsweretobecomemembersofafolkloreclub,Iwouldjointoo.

47.7 28.2 14.1 5.0 4.9 1.91 1.12

29.Iwouldliketoplayafolkinstrument. 50.8 25.7 12.4 4.5 6.6 1.90 1.1830.IlistentoshowsaboutCroatianfolkmusic

ontheradio.52.4 27.4 12.6 4.3 3.3 1.78 1.03

31.Ifollowshowsaboutfolk/traditionalmusiconTV.

59.2 22.6 10.0 3.9 4.3 1.71 1.07

32.Iwasinthefolkloreclubinprimaryschool. 75.4 7.2 3.9 3.9 9.6 1.65 1.3033.Iwouldliketodanceinafolkloregroup. 63.2 21.6 7.3 2.7 5.3 1.65 1.0834.Ireadnewspaperarticlesaboutfolkmusic. 67.8 21.4 7.0 2.0 1.8 1.48 0.85

Table 2: The examinees’ relationship towards and views of Croatian traditional music and the music of other nationalities (Likert scale: 1 = strongly disagree, 2 = disagree, 3 = somewhat agree, 4 = agree, 5 = strongly agree).

Theexamineeslargelyrespondedtothestatements(S)withinthisvariablenegatively,mostlywithmarks1and3,followedby2and,finally,4and5.Suchadistributionofanswerscanbeviewedfromtheangleoftheexaminees’lowlevelofsensitivitytowardstheirowntraditionalregionalmusicandCroatiantraditionalmusicingeneral.Ontheotherhand,theexaminees’relationshiptowardsandviewsontheirownmusicaltraditioncontainselementsofethnocentrism,whileinothersituationstheyarenotdefinedenoughorareevenoccasionallycontradictory.Asmallernumberoftheexamineesexpressedgenerallypositiveviews,whilethesmallestnumberofexamineesdemonstratedapositiverelationshipandstance.Inthiscontext,theexaminees’answerscanbeobservedfromfourlevels:(1)theexaminees’negativestancetowardstraditionalmusic,(2)adivisionofopinionontheperceptionofmulti-regionaltraditionalCroatianmusicasapartofacollectiveandindividualmusicalandculturalidentityamongtheexaminees,(3)(alackof)motivationforinvolvementintraditionalmusic,and(4)traditionalmusicinthefunctionofbringingyoungpeoplecloser,representingcommunicationandleisuretime.TheexamineesexpresstheirviewsinanexceptionallynegativefashioninstatementsS2,S3,S4,S6,S17,S19,S22,S23,S25,S27,S29,S30,S31,S32,S33,andS34.TheiropinionsaredividedinS7,S8,S9,S10,S12,S14,S15,andS16.Itcanbeconcludedthattheexaminees’motivationforexperiencingtraditionalmusicisexceptionallylow.Theexamineesdemonstrateacertainindirectinterest


intheiranswerstoS12,S16,andS28,whichmeansthattheexamineesconnectamoreactivepossibleinteresttocollectivity,communication,andfreetime.

Theresultsobtainedfromtheexaminees’viewsonandrelationshiptowardstraditionalmusic indicatethattheyperceivetraditionalregional,national,andmulticulturalmusicasseparatefromtheirmusiceducation,educationingeneral,andtheirculturalneeds.Thismeansthattraditionalmusicisnotinte-gratedintothetotalsocioculturallivesoftheexaminees,anddoesnotestablishintegrityinthemulticulturalsocietyandcommunitywiththeaimofdevelopingamulticulturaldialogue.However,positiveindicatorsintheexaminees’opin-ionsintheresponsestoS5,S6,S7,S9,S11,S12,S14,S16,andS29,althoughpresentamongonlyasmallorrelativelysmallnumberofexaminees,hintthatacertainnumberofyoungpeoplereflectupontraditionalmusic.This,however,isnotasufficientindicatorofrealmusicalmulticulturalintertwiningbasedonthetraditionalmusicofone’sownregion.Theresultsobtainedpointedtowardstheconclusionthat,inurbanenvironmentsthatarealsospacesweremultipleculturesintertwine(Castells2002;Zlatar2008),youthdonot,objectively,haveanopportunitytoattainsensitivitytowardstraditionalmusicandtogainknowledgeofitsmanifoldculturalvalues(Matulić2008).Thisisinoppositiontomanyotherareasandactivitiesthatarefrequentlyofferedtothemviathemedia(Castells2002;MacLuhan2002).Iconnecttheaforementionedfactswithalowlevelofmotivation,specifically,alackofintrinsicandinducedmotivation(Rotar-Pance2006)thatemanatesasaneffect.

Viewsontheteacher’stransmissionoftraditionalCroatianmusic, state-ments:35–55.

Statements 1 2 3 4 5 M SD

35.MymusiceducationteacherhasaverygoodknowledgeofCroatianfolkmusic.

12.8 13.0 31.0 19.0 24.2 3.28 1.31

36.Iwasn’tabletofamiliarizemyselfenoughwiththetraditionalmusicofallregionsofCroatiainmusiceducationclasses.

38.1 19.2 19.5 11.3 11.9 3.17 1.30

37.Inmusiceducationlessons,IgotacquaintedwiththefolkcostumesusedinCroatiandancesandkolodances.

14.0 17.3 28.5 23.2 17.0 3.11 1.27

38.Weseldomlistenedtofolksongsin7thand8thgrade.

15.8 19.9 26.0 18.8 19.5 3.06 1.34

39.Ourteacherbeganintroducingustothebeautiesoftraditionalregionalmusicinfirstgrade.

20.4 18.6 30.4 15.5 15.1 2.86 1.32

40.IfirstencounteredthetraditionalmusicofCroatiainthefirstthreegradesofprimaryschool

23.4 19.7 25.7 16.5 14.7 2.79 1.35

41.Inmusiceducationclasses,welistenedtoCroatianfolkmusicveryoften.

19.4 23.8 30.3 16.9 9.5 2.73 1.22


Statements 1 2 3 4 5 M SD

42.MymusiceducationteacheristobethankedmostformyknowledgeofCroatianfolkmusic.

24.4 20.3 29.6 13.4 12.4 2.69 1.30

43.Duringmusiceducationclasses,wesangmanysongsfromallregionsofCroatia.

22.7 24.3 26.6 15.8 10.6 2.67 1.27

44.Ourmusiceducationteachertaughtustorecognizefolkinstrumentsbysound.

27.7 21.2 30.6 12.9 7.6 2.51 1.23

45.Myteacherplayedafolkinstrument. 34.7 23.4 15.6 11.4 14.9 2.48 1.43

46.Inmymusiceducationclasses,theteachertransferredhis/herloveoftraditionalregionalmusictous.

29.0 23.2 28.1 10.5 9.1 2.47 1.26

47.MyteachersangCroatianfolksongsinvariousdialects.

38.1 19.2 19.5 11.3 11.9 2.39 1.39

48.Icansingfolksongsfromnotation. 31.3 19.8 36.4 7.8 5.5 2.35 1.15

49.Wealwayssangfolksongsbyear. 28.7 28.5 28.1 8.6 6.1 2.35 1.15

50.MyparentsaretobethankedmostformyknowledgeofCroatianfolkmusic.

37.4 27.6 21.6 6.8 6.7 2.17 1.19

51.IcanrecognizethefolkmusicofIstria,Dubrovnik,GorskiKotar,LikaandBanovina,theCroatianZagorje,Međimurje,Prigorje,Pokuplje,Posavina,Moslavina,Bilogora,SlavoniaandBaranja.

42.6 26.6 20.3 5.6 4.9 2.03 1.13

52.Ourmusiceducationteacheracquainteduswithtermsrelatedtofolkmusic,suchas˝tarankanje,˝˝ojkanje,˝˝rozganje,˝˝naricanje,˝and˝ganga.˝

51.0 19.5 18.3 6.1 5.0 1.94 1.17

53.Duringmusiceducationclasses,wemostlylistenedtotheethnomusicofourownregion.

27.1 28.0 32.4 7.7 4.7 1.74 1.02

54.Welistenedtofolkmusicineveryclassfromthe4thgradetothe8thgrade.

52.8 30.9 12.1 2.4 1.8 1.69 0.90

55.Weorganizedquizzesonthetopicoftraditionalfolkmusicinclass.

72.3 18.6 5.4 2.1 1.5 1.42 0.81

Table 3: Views on the teacher’s transmission of traditional Croatian musicLikert scale: 1 = strongly disagree, 2 = disagree, 3 = somewhat agree, 4 = agree, 5 = strongly agree

Theexamineesvoicedtheiropinionson21statementsconnectedwithmusiceducationcurricula,andthecontentofaccompanyingtextbooksusedfromthe1sttothe8thgradeofprimaryschool.Duringprimaryschool,theexamineeshadmusiceducationclassesinaccordancewiththecurriculafrom1999and2006.Thus,thequestionsencompassedthecompulsoryandrecommendedcontentfrombothcurricula.Accordingtotheexaminees’answerstothestatements,thefollowingcanbeconcluded:(1)emphaticagreementwiththeitemscannotbefound,(2)completedisagreementordisagreementsareexpressedinmoststate-ments,and(3)theanswersforthemark“somewhatagree”rangefrom15.6%to36.4%.Iholdthatthisisanindicationoftheexaminees’hesitationregarding


whethertoselectanegativeorpositiveanswer.Themajorityoftheexamineesexpressedpositiveexperiencesregardingtheteacher’stransmissionofmusicintheclassroom.Forthemoment,IwillignorethetemporaldistanceandtheageoftheexamineesasapossibleobstacleintheevaluationofS39andS40.Intheirestimationsofthemusiceducationteacher’stransmissionwithinsubjectteaching,theexamineesdemonstratedreflectionandtheabilitytodiscernbetweentheprofessionalandtheemotionaldimensionoftheteacherinhis/hertransmissionoftraditionalmusic,S42andS46.Atthesametime,theexamineesdonotperceivetheirparents’transmissionoftraditionalregionalmusicinapositivefashion,S50.AhighpercentageoftheexamineesdidnotagreewithS51,S52,S54,andS55.Inaddition,arelativelylargenumberalsorejectedS36,S43,S44,S45,S46,S47,S48,andS49.ContradictionsarepresentintheresponsestoS48andS49.Aclearconclusioncannotbederivedfromtheanswers,thoughtheresponsesraisedilemmasandquestionspertainingtoformsofmusiceducationworkandthemethodsusedinit.Ahighpercentageofnegativemarks,aswellasmark3,promptseveralquestions:Dopupilslargelysing“byear”or“fromnotation?Dotheysing“fromnotation”byvisuallymemorizingthemovementsofthemelodiccurve?Iftheyareabletosing“fromnotation”(36.4%oftheexamineesgenerallyagree),whydotheystilllargelysing“byear”(28.1%)?

Theconclusionisthat,intheanswersregardingtheirviewsoftheteacher’stransmissionoftraditionalmusic,theexamineesclearlydemonstratedperceivingtheirmusiceducationteacherasakeytransmitter, largelyevaluatingthistransmissionpositively.Atthesametime,theiranswerspointtowardsproblemsinthetransmissionoftraditionalmusic:theteachers’ insufficientemotionalengagement,infrequentand/orirregularlisteningtotraditionalmusicinmusiceducationclasses,andinsufficientfamiliarizationwiththecharacteristicsofmulti-regionalmusic.

Viewsontheteacher’stransmissionofthemusicofnationalminoritiesandotherpeoples,statements:56–78.

Statements 1 2 3 4 5 M SD56.I’mnotinterestedinthefolkmusic

ofnationalminorities.14.8 16.9 22.6 14.5 31.1 3.30 1.43

57.Forme,themusicofnationalminoritiesisameansoffamiliarizingmyselfwithothercultures.

17.6 12.0 33.3 18.2 18.9 3.08 1.32

58.Iamnotfamiliarwiththefolkmusicofotherpeoples.

18.1 18.5 314 13.8 18.1 2.95 1.33

59.Inprimaryschool,Inevernoticedthattherewerepupilsfromnationalminoritiesinmyclasswhowouldhavelikedformusicfromtheirfolkheritagetohavebeenlistenedtoandsungmoreoften.

26.3 13.9 21.7 15.8 22.3 2.93 1.49

60.ThemusicofnationalminoritiesisatreasureofCroatianculturalheritage.

21.2 18.6 33.4 13.3 13.5 2.79 1.29


Statements 1 2 3 4 5 M SD61.Weshouldcontinuefamiliarizingourselves

withfolkmusicalheritageinsecondaryschool,bothwithourownandthatofotherpeoples.

32.1 16.7 31.5 10.4 9.2 2.47 1.28

62.Thepupilsinmyclassthatweremembersofnationalminoritieswerepleasedwhenwelistenedtothemusicoftheirfolkculture

35.1 16.4 32.5 8.3 7.7 2.37 1.25

63.Inprimaryschool,Ilearnedwhyitisimportanttoknowthefolkmusicofyourownpeopleandthatofotherpeoples.

37.1 25.1 27.1 9.5 4.0 2.28 1.12

64.IlearnedsomeofthesongsofthenationalminoritiesofCroatiainprimaryschool.

42.5 20.3 21.2 8.9 7.2 2.18 1.26

65.Inprimaryschool,Iwasfamiliarizedwiththefolkmusicofdistantpeoples(e.g.,themusicofBrazil,India,Japan,andAfrica).

40.0 23.5 21.0 8.5 7.0 2.18 1.26

66.Ipreferthemusicofonefolkoverallotherformsoffolkmusic.

41.8 25.5 20.1 8.3 4.4 2.08 1.15

67.IamfamiliarwiththedancesofthenationalminoritiesofCroatia.

43.2 26.3 19.8 6.8 4.7 2.02 1.13

68.Inmusiceducationclasses,wemanagedtogetacquaintedwiththetraditionalmusicofmostofthenationalminoritiesofCroatiathroughlisteningandsinging.

37.3 34.2 20.4 5.7 2.5 2.01 1.01

69.Inprimaryschool,IlearnedtorecognizethefolkmusicofotherEuropeanculturesbysound.

42.3 30.7 19.1 4.0 3.9 1.96 1.06

70.Ifeltthatmymusiceducationteacherlikedthefolksongsofcertainnationalminoritiesmorethanthoseofothers.

44.9 27.6 18.7 5.0 3.7 1.94 1.08

71.Webuiltsimplefolkinstrumentsinprimaryschool(e.g.,rattles,percussioninstruments,etc.).

63.6 11.3 7.0 7.4 10.8 1.90 1.40

72.IknowsomeofthecharacteristicsofItalian,Slovenian,andHungarianfolkmusic.

46.5 28.4 16.2 5.8 3.2 1.90 1.06

73.Wediscussedthemusicofnationalminoritiesinclass.

467 29.6 16.7 4.5 2.6 1.86 1.01

74.Ourteacherwouldselectforlisteningthemusicofthosenationalminoritiestowhichsomeofthepupilsinourclassbelonged.

50.8 25.7 18.1 3.9 1.5 1.79 0.97

75.WeregularlysangthesongsofthenationalminoritiesofCroatiainclass.

50.6 29.0 15.0 3.0 2.5 1.77 0.97

76.Icouldnameseveralfolksongsanddancesfromotherculturesatanyhour.

51.9 27.6 15.4 2.4 2.8 1.76 0.98

77.Icandeterminetowhichfolkpanpipesbelongbytheirsoundandappearance.

55.0 26.3 12.0 3.2 3.6 1.74 1.02

78.Inclass,wetalkedwithpupilsthatweremembersofnationalminoritiesabouttheirfolkmusic.

63.7 20.2 10.0 3.3 2.9 1.61 0.98

Table 4: Views on the teacher’s transmission of the music of national minorities and other peoples Likert scale: 1 = strongly disagree, 2 = disagree, 3 = somewhat agree, 4 = agree, 5 = strongly agree


Averyloworlowacceptanceofthestatementswithinthisvariabledomi-nates.Inadditiontoclearlyexpressedviews,somecontradictoryanswerscanalsobefound.Thenegativeorlargelynegativeresponsesthattheexamineesexpressedinmostoftheitemsspeakforthemselves.LessnegativeanswerscanbeseeninS56,S57,S60,andS64and,toacertaindegree,inS59.TheanswerstoS56andS57indicatethattheresultsoftheexaminees’acquiredexperiences,views,andrelationshiptowardsthosethataremusicallyandculturallydifferentaredoubtful;thus,thesamecanbesaidfortheirperceptionofthemulticulturalrealityinwhichtheylive.Morethanathirdoftheexamineesholdthattheyarefamiliarwiththemusicofotherpeoples,S58.Theresultsobtainedpointtowardswellthoughtoutanswers,inwhichtheknowledgeacquiredcanalsobetakenintoconsiderationasaresultofotherwidespreadsourcesofinformation.However,theexamineesalsodemonstratebeingrestrictedtotheirownculturalandmusicregion,alackofinterest,andalowlevelofacceptingthemusicofothers, S60,S66.Inthismanner,theyexposetheactivityoftheexistingmechanismsoforganiz-ingamulticulturalsocietyandeducationalsystem,S63,S64,S69,andS75.ThedistributionofresponsestoS59pointstowardstheconclusionthattheexamineescarefullyconsideredtheiranswers,demonstrating,tosomeextent,anacceptanceofdiversityinwhichthetransmissionofmusicthrougheducationisthekeyforopeningmusicalmulticulturalism,foremostintheclassroom.Theexamineeshonestlyconfirmtheirlackofknowledgeonthecharacteristicsofthetraditionalmusicofothercultures,S69,S72,andS77(SamPalmić2010).Finally,athirdoftheexamineesholdthatthecontinuationofeducationontraditionalmusicinsecondaryschoolisnecessary.However,thisnumberisalsoindicativeofthecom-munity’spassivityandlackofreadinessandorganizationfordevelopingsensitivitytowardsone’sownmusicalandculturalselfhood,andamongdiverseindividualsandsocieties,particularlywhenitcomestothesegmentofeducation.

DifferencesbetweenCertainVariablesAccordingtoCity

Acomparativeapproachtotheexaminees’answersexaminedthedifferencesbetweenthevariablescontainingalargernumberofitems.

Significantdifferencesbetweenestimatesofpupilsfromdifferentcitieswereobtainedonallthreevariables.Comparingthedifferencesbetweengroups(post-hoc)showedthatexamineesfromPula(p=0.040)andOsijek(p=0.016)achievedsignificantlyhigherresultsinthevariablerelationship towards traditional regional musicthantheexamineesfromZagreb,(i.e.,pupilsfromPulaandOsijekhaveamorepositiveattitudetowardtraditionalmusicthanthepupilsfromZagreb).Inthevariableteacher’s transmission of regional music, theexamineesfromOsijekachievedsignificantlyhigherresults(p=0.012)thantheexamineesfromZagreb,whileonscaleteacher’s transmission of the national minorities music,theexamineesachievedsignificantlyhigherresultsthantheexamineesfromRijeka(p=0.004)andZagreb(p<0.001).


Variables examined

1. Rijeka 2. Zagreb 3. Split 4. Pula 5. Osijek F; p Levene Statistic; pM SD M SD M SD M SD M SD

Thepupils’viewsandrelationshiptowardstraditionalregionalmusic

2.25 0.56 2.18 0.58 2.35 0.57 2.37 0.56 2.38 0.60 F = 4.44;p = 0.001

0.31; p = 0.870

Thepupils’viewstowardstheteacher’stransmissionoftraditionalCroatianregionalmusic

2.44 0.64 2.39 0.63 2.47 0.54 2.52 0.54 2.59 0.55 F=3.79;p=0.005

3.84;p = 0.004

Thepupils’viewstowardstheteacher’stransmissionofthemusicofnationalminorities

2.13 0.53 2.08 0.62 2.19 0.52 2.35 0.51 2.23 0.58 F = 6.68;p = 0.001

4.21;p = 0.002

Table 5: The differences between answers within certain variables according to city Inlightoftheseresults,itcanbeconcluded:(1)theexamineesfromPulaand

RijekademonstratedamoredefinedandmorepositiveviewoftraditionalmusicthantheexamineesfromZagreb;(2)theexamineesfromOsijekdemonstratedastatisticallysignificantmorepositiveevaluationoftheirteachers’transmissionthantheexamineesfromZagreb;(3)theexamineesfromPulagaveasignificantlymorepositiveevaluationofthetransmissionofthemusicofnationalminoritiesthantheexamineesfromRijekaandZagreb;(4)themostpronounceddifferenceswerenotedintheirknowledgeoftraditionalmusic,inwhichtheexamineesfromPulademonstratedthemoststatisticallysignificantpositivedifferenceincom-parisontomostoftheexamineesfromothercities,apartfromRijeka,whiletheexamineesfromRijekademonstratedasignificantpositivedifferencecomparedtothosefromSplit.ItcanbeconcludedthattheexamineesfromPulademonstratedapositivedifferenceinallvariables,exceptthesecond,thetransmissionoftraditionalregionalmusic.TheexamineesfromOsijekdemonstratedapositivedifferenceincomparisontoothercitiesintheirviewsoftraditionalregionalmusicandtheevaluationofitstransmission.Theexamineesfromthelargestcities–Zagreb,Split,andRijeka–didnotdemonstratestatisticallysignificantpositivedifferencesintheiranswers.Inthetotalresultofallvariables,theexamineesfromZagrebachievedthepoorestresults,followedbytheexamineesfromSplit.

Final thoughts

Fromthesumoftheiranswers, itcanbeconcludedthattheexamineesdemonstratedmodestresultsoftraditionalregionalmusicandtraditionalmusicculture.Atthesametime,theyexpressedcertainindividual sentiments towardsthemulticultural reality. Inadditiontotheirmodestknowledgeoftraditional


regionalmusicandtraditionalmusicculture,theresultsobtainedmirrorsocialreality–musiceducationandgeneraleducationinprimaryschool,theinfluenceofupbringing,socioculturalindicators,andthebehavioroftheindividualandthecommunity–areinsufficientlyinfluential,althoughtheyhintattheexistenceofelementsofinterculturalsensitivityandtheneedforintroducingelements of the model of intercultural education for musical tradition(Bennett2003;Byram1997).

Atthesametime,theexamineesalsodemonstratedacertainnegationof“other”culturesandinsufficientlydevelopedviewsonmusicaldiversity,althoughsomeofthemshowednorejectionofordetachmentfromthesematters(i.e.,theyaccepteddiversityasanaturalsituation).Itisuptotheexaminees,withtheassistanceoftheteachersandthestrongsupportoftheeducationprocessandothersocialinfluences,toinitiatepersonalprocessesofadaptingtodiversityinorderfortheintegrationofdifferences(i.e.,theintertwiningofdiverseformsintheareaofmusicalmulticulturalism),tobecomeapartoftheiractivitiesandenvironment.

Theexaminees,therefore,didnotdemonstrateasignificantinterestandmotivationfordiscoveringdifferences,astheydidnotdemonstrateasufficientinterestandmotivationforregionalandnationalmusicaltraditionandculture.Theirviewsarefluidandinconsistent,whilecertainsegmentsoftheirpercep-tionofmusicalrootsareinconsistent;alackofmusicalmotivationcontributestothis,asitisagreathindrancetoactiveknowledge.Byinvokingbothmodelsofinterculturalsensitivity(Bennett2003;Byram1997),itispossibletoascertainthatintensiveandprolongedworkondevelopingmulticulturalandinterculturalsensitivityregardingviewsoftraditionalmusiccultureliesbeforetheexamineesand,directly,beforetheeducationalsystem,thecommunity,andsociety.Theexa-minees’relationshipstowardsothernessintraditionalmusiccultureandtowardsmembersofotherformsofmusicalexpressionarealsoconditionedbyempathyandinterculturalcommunicationcompetence(Barbera2007;Mantovani2008),which,astheresearchresultsindicate,thepupilsseemtobegreatlylacking.Furthermore,theresultsshowedthatinterculturalpedagogyisnotonlylimitedtotheclassroomandtheclassesofimmigrantchildren,butisaneedofthepluralistandmulticulturalsociety(Gobbo2004;Portera2007).Theresultsalsoconfirmthatthefamilyandtheschoolarenotsensitizedtowardsmulticulturalismandreadytofacetheirroleasinitiatorsofpositivechangesinthelifeoftheindividualandofsociety(Portera2007).Thisitemisextrapolatedonthegroundsofcertaincontradictoryresultsintheexaminees’viewsofthetraditionalmusicofnationalminoritiesandtheirknowledgeofthemusicoftheirownregion.Theexamineesclearlyexpressedthatitisthedutyoftheschoolinademocraticmulticulturalsocietytodevelopmulticulturalmusicalsentimentsbasedoninterculturalmusiceducationandinterculturaleducationingeneral.Porteraholdsthatinterculturaleducationprocessescanbesuccessfullyactivatedthroughstrategiesbasedonincludingallparticipantsoftheimmediateeducationprocessandbeyond(ibid.).Theobtainedresultsoftheexaminationofthepupilswhohavejustfinishedpri-maryschooldemonstratethatthecurrentmusiceducationcurriculumandits


accompanyingtextbooksdonotreflectsupportforthemulticulturalrealityandinterculturaleducationprocesses.

Amusical interculturality incompulsorybasiceducationgrounded intraditionalregionalmusicculturepresupposes itsdevelopmentthroughtheacceptanceofmusicalandculturalrelationships,schoolrulesandregulations,andthecurriculum,justastheschoolbothmodifiesandadaptsitsactivitiestothechangesinsocietyanditsneeds.Thechangesacceptedbytheteachers,pupils,andparentscan,throughmutualactivities,contributetothedevelopmentoftheirmulticulturalenvironment(Gobbo2004).Astheexamineespointedout,theydidnotholdthattheirparentsgreatlyinfluencedtheirrelationshiptowardsregionalandtraditionalmusic,whiletheinfluenceoftheteachersonthesamewasmoresignificant.Istresstheneedforacknowledgment,motivation,andcommunicationwiththeaimofstimulatingthemusicalsocioculturaldimensionoftheeducationofyouth.Oneofthekeyreasonsforthisisthecreation ofone’simageofthem-selves,andofthemusicalandculturalidentityoftheindividualandthegroup.Interculturaldialoguehasnotbeenvivifiedintheclassroom,although,ashasbeenstressed,amajorityoftheexamineesdonothaveanoverlynegativeviewofthemusicofothers;likewise,thereisnoperceptionoftheintertwiningbetweentheme – you – us in music (Fiorucci2008),whilethepartialknowledgeacquiredhasnotbeenintegratedintotheemotionalmusicalcognizanceoftheexamineesandtheirculturalandeverydaylives.

Theexaminees’answers,inwhichitisevidentthattheirperceptionoftradi-tionalmusiccorrespondswiththeirenvironment,andthegreatestresponsibilityforthislieswiththemusiceducationcurriculumandthetransmissionofmusic,speaksinfavorofDisoteo’sandFiorucci’sviewsofmusicasauniversal languagethathasgreatpowertostimulateandprovokeemotionsand,assuch,hasuniversal meaning(Disoteo2000;Fiorucci2008).

Ifoneistoaddtothisthatonepartofpublicopinioninurbanenvironmentsisoftenexclusionarywhenitcomestotraditionalmusic,oftenplacingitamongsubculturalactivitiesandprocesses,itisevidentthatyoutharegiventhemes-sagethatitisirrelevantformulticulturalismandinterculturalism(Abril2006).Theresultsofthisresearchpointtowardstheneedforcreatinganinterculturalmusicstrategywiththefollowingactivities:

– Making musiceducationcurriculaopentothemusicoftheregionsandothertraditionalformsofmusicalexpression;

– Projectingthemusiceducationcurriculuminclassandsubjectteachingofmusiceducation,withtheaimofachievingamoresignificantinclusionoftraditionalmusicasafootholdformulticulturalismandinterculturaldia-logue.


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