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A critical study of the music pedagogy in post-revolutionary Iran (1979-2010): breaking down the boundaries between two musical methods
In order to distinguish essays and pre-prints from academic theses, we have a separate category. These are often much longer text based documents than a paper.
posted on 09.02.2017by BastaniNezhad, Arya/Ali
This doctoral research examines the similarities between the Iranian and classical pedagogies through utilizing the holistic music education. Iranian classical ney and Western flute will be drawn upon to explore how and to what extent the pedagogical elements relate to and interplay with each other within the two different contexts to attain the same goals through the similar behaviours and functions that embraces all the physical and musical aspects of performance, instrument and instrumentalist. This research aims to demonstrate how the process of holistic pedagogy can aid the acquisition of practical knowledge and skill as a pathway towards sophisticated and mature performance and pedagogy. This study also attempts to illustrate how the pedagogical elements can serve to unite the instrument and the instrumentalist together as one entity, regardless of their cultural and environmental background, in order to lead individuals to not only be professional musicians but, more importantly, to be fine citizens capable of great competence in any field of engagement.
This doctoral thesis is structured in the format of a Thesis by Publication and includes eight journal articles. To undertake this research that qualitative research methodology has been utilized through the autoethnographical approach. The academic research articles included in this research are connected through the selected methodology and holistic music pedagogy and this connects the various sections of the study. Following a contextualising historical account of Iranian music pedagogy, the five key themes have been explored: tone production, primal sound, breathing, balance and support and the centre of gravity. Although all the selected themes were originally used to address both the Iranian classical ney and Western flute, the author had to remove the discussion concerning the ney from the related articles to meet the requirements of the journals and editors’ revisions (see preface, limitations of the study). Through this, the research explored some of the least-articulated aspects of pedagogy which benefit not only flute and ney players, but also other wind instrumentalists.