QCT Standard Four

1. QCT Standard Four • Cultural and Linguistic Diversity in the Music Classroom

2. (TylerLegrand, 2011)

3. Cultural and Linguistic Diversity in the Music Classroom • ESL - English as a Second Language • CALD - Cultural And Linguistic Diversity • MLOTE - Main Language Other Than English • LBOTE - Language Background Other Than English (The State of Queensland (Department of Education, Training and Employment), 2006/07, p. 3).

4. Cultural and Linguistic Diversity in the Music Classroom The Scenario A year 12 Chinese exchange student has enrolled at your high school and has elected year 12 music. The student is an ESL student and has a non-western music background. The student is a highly skilled Guqin (pronounced goo-chin) player but has never played a western musical instrument, nor can he sing. The student is intelligent and technologically proficient, however is frequently disengaged and has trouble forming friendships with his peers due to the language barrier. The student is at risk of failing year 12 music due to his lack of interest and participation. The unit of work is Music of the Theatre and the assessment task is to compose the theme song for a concept musical in response to a visual stimuli chosen by the student. Students must demonstrate an understanding of the musical theatre genre. Minimum of 32 bars or approximately 1 minute in length; using Sibelius or Finale to score and record their composition.

5. Cultural and Linguistic Diversity in the Music Classroom What options are available to the ESL student in the music classroom?

6. Cultural and Linguistic Diversity in the Music Classroom Adaptation • curriculum • teaching materials • assessment and certification • teaching and learning strategies • delivery modes including non-classroom (Commonwealth of Australia, 2005)

7. Cultural and Linguistic Diversity in the Music Classroom (CAST, Inc., 2012)

8. Cultural and Linguistic Diversity in the Music Classroom Other Strategies • enhancing peer acceptance through classroom activities to involve all students • practical use of technology in learning and teaching • staff collaboration (cross-curricular) • effective communication with ESL program tutor, homestay family etc. • translator • professional partnerships/networking • research - culture, history, customs etc. (Foreman, 2008)

9. Cultural and Linguistic Diversity in the Music Classroom Enhancing peer acceptance through classroom activities to involve all students • ESL student presented a short, informal lecture on the Guqin Practical use of technology in learning and teaching • The use of technology as a communication tool to network and source a Guqin for the student

10. Cultural and Linguistic Diversity in the Music Classroom Staff collaboration (cross-curricular) • Communicated and collaborated with staff from other departments to determine the student’s strengths and weaknesses in other academic disciplines • A specialist instrumental music teacher employed at the school (whose nationality was Chinese) was willing to assist the ESL student Effective communication with ESL program tutor, homestay family etc. • Communicated and collaborated with the student’s ESL program tutor and the Member of the College Executive, International Education in the International Centre at the school to accommodate the learning needs of the student

11. Cultural and Linguistic Diversity in the Music Classroom Professional partnerships/networking Chinese Societies • Australian Centre of Chinese Culture & Arts • Chinese Australian Historical Association Inc. • Chinese Club of Queensland Research - culture, history, customs etc.

12. Cultural and Linguistic Diversity in the Music Classroom The Guqin is an ancient traditional Chinese stringed instrument. The Guqin is customarily made of wood (paulownia wood or China fir) and closely resembles a seven-stringed zither (Ministry of Culture, P.R.China, 2003). http://www.jsggg.net/sjyc_show.asp?yc_id=33

13. Cultural and Linguistic Diversity in the Music Classroom Chinese music is commonly centred around the pentatonic scale, however it also uses at least three variations of a seven-tone scale (“Introduction of Folk music”, 2010).

14. Cultural and Linguistic Diversity in the Music Classroom Bibliography ACCCA (2012). Australian Centre of Chinese Culture & Arts. Retrieved August 21, 2012, from http://www.accca.com.au/ Campbell, P. S. (2008). Musician and Teacher: An Orientation to Music Education. (p. 188). New York, NY: W. W. Norton & Company, Inc. CAST, Inc. (2012). About UDL. CAST (Center for Applied Special Technology). Retrieved August 26, 2012, from http://www.cast.org/udl/index.html Commonwealth of Australia (2005). Disability Standards for Education. Canberra: Commonwealth of Australia. Foreman, P. (Ed.). (2008). Inclusion in Action. (2nd ed.). South Melbourne, Victoria, Australia: Cengage Learning Australia Pty Limited. Introduction of Folk music. (2010). eStudy Chinese. Retrieved August 20, 2012, from http://www.estudychinese.com/web/aboutchina/culture/classicalmusic/news01.htm Ministry of Culture, P.R.China (2003). The History of Guqin. In ChinaCulture.org. Retrieved from http://www.chinaculture.org/gb/en_artqa/2003-09/24/content_39804.htm Pinghu, G. (2006). Running Water (Liu Shui). On Masters of Guqin (Da Shi Gu Qin) [CD]. China: China Record Corporation. The State of Queensland (Department of Education, Training and Employment) (2006/07). ESL Handbook For Schools: English as a second language program. (p. 3). Brisbane, Queensland: Queensland Government Education Queensland. Retrieved from http://education.qld.gov.au/studentservices/inclusive/cultural/esl/docs/schoolseslhandbook2006-07.pdf TylerLegrand (2011, November 22). A Failure to Communicate [video file]. Retrieved August 25, 2012, from http://www.youtube.com/watch?v=8Ox5LhIJSBE