Appendix 6 - International Music Council

♦ Are any locally available music materials and instruments being used to teach conventional musical
concepts and structures? These will include musical arts types/styles performed in the community that
demonstrate concepts and theories of melody, harmony, textural relationships, form, creative procedure
etc. Local keyboard instruments, for instance, could be used to teach harmonic, melodic and rhythmic
principles as well as idioms as applicable to, and present in the music of the learners' culture.
♦ How do the other teachers, including the School Head, react to classroom as well as extra-curricular
musical arts activities? Learners could be encouraged to interview teachers as well as peers in other
class levels. Relate the responses to those obtained from school outsiders/sponsors - leaders in
politics, religion, social and business life and policy makers in education. This should be a strategic
classroom learning project. How would the persons interviewed like to have music (and what music
genres, categories, types, cultures) practiced/learnt or not be studied, in the school/ community? What
support are they prepared to give?
♦ How does the curriculum/syllabus you are operating make practical sense or otherwise in your school
situation, taking into account the practicability, cultural relevance, background of learners, instructional
facilities and music available in the school location? Identify what is or is not practicable or applicable in
the school situation, given the facilities as well as the learners' attitudes. What measures have been
adopted to make sense of or adjust to any shortcomings or non-practicable/applicable curricular
recommendations and contents?
♦ How does the content of the training received/not received as a music teacher make practical or
cultural sense with respect to experience in the teaching field, teaching resources and cultural
applicability? What are the advantages or shortcomings deriving from the type of training as a music
teacher received? What should be included, omitted, and/or emphasized in the training of music
teachers such as received in order to make musical arts teachers more secure, relevant and
functional?
♦ Has any attempt been made to involve volunteer local musical arts artistes to assist in classroom
instruction/demonstrations on instruments, singing, acting, dancing, etc., also to explain the nature,
history, context/human meaning, values, effects/affect, organization of musical arts performances in the
community?
♦ Is there any systematic teaching of the music instruments and performance types in the culture as
formal and/or graded study? Can the local specialists be recruited as volunteer instructors, or
sponsored by parents/guardians/patrons?
Facilities:
♦ What audio, visual and audiovisual equipment is available for learning purposes? Are they
personal property or provided by the school? Are they really any handicap? Can the
teacher/learners not use alternative (live) examples/illustrations for specific learning activities
and illustrations?
♦ What music instruments, indigenous or foreign, are available for learning and practical music making?
Do they belong to the school/teacher/learners? What indigenous instruments could be used for
effective teaching of aspects of music theory?
♦ What other, teaching aids such as music-writing board/papers, textbooks, costumes etc. are needed
and available or improvised?
♦ What physical space, within and outside the school buildings, is available and suitable for theoretical
and practical music learning?
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