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Drawing on frameworks for understanding multiculturalism, the study reports teaching and learning of multicultural music at Pretoria University through narrative reflections and October 2010 interview data. Interpretative Phenomenological Analysis identifies themes emphasizing the need for multicultural music and including students as indigenous culture bearers.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":40,"@type":76,"position":81},"https://docshare.wps.com/document/research-report/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/sharing-ownership-in-multicultural-music-a-hands-on-approach-in-teacher-education-in-south-africa/593504/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/sharing-ownership-in-multicultural-music-a-hands-on-approach-in-teacher-education-in-south-africa/593504.png","ImageObject",300,407,{"name":92,"@type":93},"Jasmine","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-30","2026-10-15",true,{"@type":102,"interactionType":103,"userInteractionCount":52},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"What gap in teacher education research does the study address?","Question",{"text":112,"@type":113},"The study highlights that little research has been done in South Africa on including African music within multicultural music practice in teacher education courses.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"Which methodology is used to analyze the interview data?",{"text":117,"@type":113},"The study uses Interpretative Phenomenological Analysis to discuss themes arising from the interview data with a tertiary music educator.",{"name":119,"@type":110,"acceptedAnswer":120},"What themes are identified in the findings?",{"text":121,"@type":113},"Two themes are discussed: the need for multicultural music and the inclusion of students as indigenous culture bearers.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},593504,1792121814,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":39,"category_name":40,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":52,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":52,"language":139,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":140,"faqs":141,"seo_title":142,"seo_description":67,"update_tm":143,"read_time":144,"preview_page_count":4},2336478487870,"https://ap-avatar.wpscdn.com/davatar_085a072bc5b1113ac321206ff7593b45","Sharing ownership in multicultural music: A hands-on approach in teacher education in South Africa  \nDawn Joseph  \nDeakin University  \nAbstract  \nSouth Africa prides itself in a rich and colorful array of the Arts where music plays a significant role in social regeneration, unity and reconciliation. Little research has been undertaken in teacher education courses in South Africa regarding the inclusion of African music within multicultural music practice. Using the theoretical frameworks of understanding multiculturalism, I report on the teaching and learning of multicultural music at Pretoria University. My narrative highlights what I had learned and reports on the interview data with the tertiary music educator in October 2010. Using Interpretative Phenomenological Analysis, two themes are discussed: the need for multicultural music and the inclusion of students as indigenous culture bearers. Lessons learnt at Pretoria University can be replicated elsewhere in Australia where the sharing of ownership in multicultural music as a hands-on approach is viewed positively, promoting understanding and respect in a shared space and place.  \nKey words: South African education, music education, multiculturalism, African music, teacher education  \nAustralian Journal of Music Education 2012:2,10-19  \nIntroduction and background context  \nAfrica boasts 54 countries with over 3000 ethnic groups speaking over 2000 languages (Zijlma, 2011). The rich diversity of its people and language contributes to the wide spectrum of music and culture. This article focuses on South Africa, a population of 50.5 million people, 11 official languages and a variety of cultures and religious beliefs (Stats SA, 2012) and situates itself within a music teacher education course. According to Gumede (2010),“South Africa is a melting pot of people with their roots in Africa, the East and also the West”. The rich linguistic, cultural and ethnic diversity allows people to have a unique South African identity where difference and compromise allows for acceptance  \nso that a shared South African-ness can exist.  \nPrior to democracy the history of South Africa is best understood in relation to colonialism and apartheid. Since 1994 citizens have lived within the democratic values set out within the SA constitution where respect, empathy and human dignity are key factors. As much has been written on this diverse society and the links made between apartheid and multiculturalism (see McKinney & Soudien 2010), I situate my study within the Bachelor of Education (BEd) primary teacher course at Pretoria University where multicultural music and in particular African music has currency in the process of change in music teacher education despite racial policies inherited before democracy.  \nTheoretical perspectives  \nMcKinney and Soudien (2010) have outlined the difficulty in multicultural education in SA to be inclusive of those that have been marginalized and also to be“just and equitable, in respect of what kinds of cultural capital enjoy respect and recognition”(p. 17) . I have argued elsewhere (Joseph, 2006) that the provision of multicultural arts education within the curriculum has the potential to help achieve a national reconciliation if we recognize and value difference, rather than monopolise social differences. Soudien, Carrimand Sayed (2004, p. 28), argue that “in efforts to accommodate ‘difference’, educational inclusion has taken the form of multicultural education or education for pluralism”. This is“fast becoming the norm” according to Lee and Dallman (2008,  \np. 36) where multiculturalism and diversity are often used interchangeably. In the mid 1990s Banks and Banks (1995) firmly believed that a multicultural education prepares students to“function effectively in a pluralistic democracy society”(p. xi). Writing nine years later in South Africa after democracy Vandeyar (2003) was of the opinion that “an ideal form of multicultural education is one that not only","cbCaivnnELlHLtAR","https://ap.wps.com/l/cbCaivnnELlHLtAR","pdf",509405,"English","# Abstract\n# Introduction and background context\n# Theoretical perspectives","[{\"question\":\"What gap in teacher education research does the study address?\",\"answer\":\"The study highlights that little research has been done in South Africa on including African music within multicultural music practice in teacher education courses.\"},{\"question\":\"Which methodology is used to analyze the interview data?\",\"answer\":\"The study uses Interpretative Phenomenological Analysis to discuss themes arising from the interview data with a tertiary music educator.\"},{\"question\":\"What themes are identified in the findings?\",\"answer\":\"Two themes are discussed: the need for multicultural music and the inclusion of students as indigenous culture bearers.\"}]","Sharing ownership in multicultural music - A hands-on approach in teacher education in South Africa | PDF",1792077374,25]