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comprehensive musicianship through performance

Continued from page 59

grocery store and a recipe from the Korean store owner. I invited the choir to visit an imaginary Korean home, reminding them of etiquette. We ate toraji and talked about what foods have been staples in our country over time and any plants that were really important to our own culture.

We shared memories of doing mundane, ordinary tasks (like gathering toraji roots) and moments that make these tasks hold a special place in our hearts.

The text ends with “my love.” We ex- plored toraji gathering as a symbol of the relationship between the people who performed this task together.

Through this short octavo, the students did increase their reading skill, did some basic analysis and enjoyed the satisfaction of performing a folksong at a high level. But at the heart of the experience there was a common understanding of how all humans create meaning out of what sur- rounds them, and how artists reflect on this in story, poetry, painting and song.

It is impossible to become an instant expert on all world music, so the idea of “going deeper” can be daunting. But even when we can’t uncover all of the background information or explain all of the precise differences between “authen- tic” performances and our own, a bridge of understanding can still be constructed when students see their teacher modeling curiosity and an effort to dig deeper.

For more thoughts about multicultural music and the idea of “authenticity” see Mary Goetze’s article. “Challenges of Per- forming Diverse Cultural Music,” Music Educators Journal, July, 2000

For help with digging deeper and more affective rehearsal planning, consider the CMP Workshop, June 21-25 in Madison. Go to http://www.wmea.com/cmp

mjenks@tds.net

Exclusive Online Interview

Hear from an American teaching music in Korea by reading Margaret Jenk’s special interview with Jennifer Stephens’ available exclusively in the online version

of Wisconsin School Musician.

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