An innovative approach to music education combining Eastern and Western thought

Abstract

One very important characteristic which immediately sticks out between East and West is the way each perceives music. Many of the concepts which differentiate the music of the east have remained true to their past whereas European concepts underwent an evolution which took music along a different path. As such non-European musics (which I am here referring to as Eastern) can impart different possibilities but can also provide a musical insight which is different than that of the west but which continues to enrich European music by way of composers who have and who are fusing non-western influences in their compositions. This study aims to create an awareness of some of the concepts that give life to non European musics. Melodic and rhythmic examples will illustrate some non-European characteristics and will highlight a number of musical possibilities that can be fused into one's work. This study also looks at the results of a questionnaire which was handed out to a number of students taking instrumental studies. More importantly this exercise reveals the students' need for more creative work and for improvisation. Seven instrumental teachers were also interviewed to learn about their views on the inclusion of some world music aspects. Despite an awareness of world music issues, it seems that no real effort is being made to include elements which are non-European. What also emerged was that the teaching is still very much based on western tradition and that little or no time is dedicated to creative work. A chapter on the historical background traces out the eastern influence which has left its mark on the European scene and which highlights the importance of being acquainted with these non-western ideas. To conclude characteristics of different scales and rhythms will serve as a springboard for creating an awareness of non-western characteristics.