A philosophical way forward :

Becoming Human Through Music

A paper for the

UNESCO : FIJI Meeting of experts
presented on Monday, November 25th, 2002,
Nadi, Fiji
________________________________________

As long ago as 1972, Professor John Paynter of York University wrote :

Above all,
Music is about feeling
It is about being sensitive to sounds
About saying things through sounds
About listening to sounds you’ve never heard before …

At its most fundamental

Music is about getting excited by sounds

There’s not such a big gulf between the music of today and the music of the
past … All that has happened is that

Resources have increased.

[Paynter, 1972 : 7]

This was written in the year that I started teaching and it contains some guiding
principles which have influenced my teaching all this time.

In this quote, Paynter was providing a philosophy for classroom music education. It
was at once both revolutionary and profound. In the particular context in which he
wrote this, he was noting the fact that, with the technological advances of the 20th
century, any sound in the world, whether made by humans, animals or occurring in
the natural world, can be the basis of a piece of music. The distinction between noise
and music has disappeared, since, as a result of technology, any sound can now be
recorded, manipulated and become a valid piece of music, communicating a
message. It was a lone cry from a composer turned music educator, who wanted to
have the music of the 20th century taken seriously and understood. He felt the only
way forward for this to happen was to revolutionise classroom music practice. It
will be no surprise therefore that his ideas soon took force and began to reverberate
in music classrooms around the world.

At the same time that Paynter was revising our thoughts on music education, there
was a similar marked interest in music outside of the Western context. A new world
of sound was becoming increasingly available. In Universities, there was a similar

1
shake-up in the way that music was being considered. Western music was no longer
deemed the most important music in the world; instead, the discipline of
Ethnomusicology was taking shape with the emergence of a realisation that music, as
a language practised universally, is a form of behaviour. At last, people were
realising and verbalising that at the base root of music from any culture around the
world was the principle of communication, not just entertainment.

Add to these statements the fact that Australia has always been, but is now firmly, a
multicultural country, there was a distinct need for the music curriculum itself to
become multicultural. The first rumblings about this in Australian music education
came in the 1960s and grew out of the University study of ethnomusicology. The
world’s organisation for music education, ISME, through its Panel on World Musics,
drew up a series of principles for music education in 1994 highlighting that music in
essence is multicultural. It is not surprising that this document is clearly compatible
with the Paynter quote from 1972.

If we return to the Paynter quote, it is easy to read what he has written with World
Musics in mind and not just Western music; for example, he wrote : music is about
being sensitive to sounds … about listening to sounds you’ve never heard before. These
simple sentences speak volumes in terms of a philosophical background for modern
music curricula. For ‘being sensitive to sounds’ read ‘being sensitive to what
someone somewhere else in the world is saying through musical sound’, and we
have a firm basis for the inclusion of World Musics in a classroom music programme.
‘Listening to sounds never heard before’ can also surely be interpreted as a clarion
call for listening to musics of other cultures.

Further more, if I substitute a few words replacing music of the past with the words
World Musics, it also makes great sense. The quote would now read : there is not such
a big gulf between the music of the Western world and World Musics. All that has
happened is that resources have increased.

Paynter’s new way of thinking about music in education provided a long needed
change of direction. As such, he can be seen as one of the most visionary music
educators of the twentieth century. He was fortunate in the fact that the voice of his
forceful arguments was joined by those of other composer-educators, such as Murray
Schafer1, George Self2 and Brian Dennis3. It is not surprising, therefore, that these
ideas are now the philosophical basis of the music statements of National
Curriculum documents of many countries; this includes Australia, the UK and even
the USA, where an accent on students creating music from nothing and
communicating through sound can be found.

The way was now open for the study of music outside the Western world in the
Australian music curriculum. The National Curriculum instructs music educators to
use musics from around the world from the Primary years onwards. However, I also
suggest to my Early Childhood students that they use world musics in the

1
As put forward in his books : The Composer in the Classroom, Ear Cleaning, The New Soundscape,
BMI Canada Ltd [and UE], plus When Words Sing, Berandol Music Ltd [and UE].
2
Similarly for George Self : New Sounds in Class published by Universal Edition
3
Similarly for Brian Dennis, Experimental Music in Schools : Towards a New World of Sound, OUP,
1970.

2
Kindergarten and Pre-school settings, so that children at this age, who do not have
preconceived ideas about music, become used to the sound; if heard at this age, it
will never sound ‘foreign’ to them again.

The question arose early on : which musics should be taught in Australian schools?
People chose philosophical arguments based on relevance to Australia and
Australian culture. I have argued elsewhere and at length about which musics
should be taught, and at the top of the list comes Australian Aboriginal music4. This
is not the place to reiterate those same reasons. Suffice it to say that there is no
argument sufficiently forceful which says that any other music should come before it.

Given all this background then, there should be much multi-cultural music learning
taking place in Australian schools, and, at the head of that, should be Aboriginal
Australian music. But that is not the situation at all. I shall spend the rest of this
paper describing the major points why such a situation is not current.

1 The National Curriculum and its effect.

What I need to say straight away is that in the majority of schools that I visit, both
state and private, Primary and Secondary, now have music on a much-reduced scale
than in previous decades. Classroom music, as a discrete subject, is in decline in
schools.

The gulf between what the National Curriculum framework for music states and
what is actually happening in schools is ever widening. I believe it is essential to
sound some warning notes in a forum such as this so that further improvements and
refinements take place. The evidence is slowly emerging that music education is in a
serious condition in Australia, and not only there, but in other countries in the world.

In my State, the problem centres around the fact that Literacy and Numeracy have
been promoted by the government as the areas most urgently required in education.
Ten years ago, it was understood that education was failing students, and not
preparing them adequately for future employment. In short, it was perceived that
literacy and numeracy levels were falling and something urgently had to be done
about it.

At the Primary level, this means that all of each morning at school is taken up with
two hours of literacy teaching and one hour of numeracy. Other curriculum areas,
which form the majority of the National Curriculum, are left to the afternoon; since
there are only five afternoons during a week, comprising 90 minutes of schooling
each, then everything else has to be squashed into that time. This is informally called
‘the crowded curriculum.’

At the secondary level, schools are required to show how literacy and numeracy is
being tackled in all areas of the curriculum, including music. Some ludicrous

4
Hurworth, G [1999] “Preparing Primary Teachers to Use Australian indigenous Music in the
Classroom” in Music Education at the Edge : Needs, Identity and Advocacy, selected papers of the
1998 International Seminar for Music in Schools and Teacher Education, South Africa, published by
ISME Commission for Schools and Teacher Education, 1999, pp. 87 to 92.

3
statements are therefore being proposed in order to fulfil these specifications. For
example, the rhythmic aspects of music can be equated with numeracy, and singing
songs, which use texts, help with literacy. This overlooks the need for students to be
musically literate, as well, which, to my mind, would include having a musical
knowledge of Australian Aboriginal music.

Within the State primary system, the Music specialist has all but disappeared in the
past ten years for various reasons. With the introduction of the standards-based
National Curriculum [1994], music is still required to be taught in Primary schools.
However, as research has shown ‘the introduction of standards-based education has
effected the teaching of classroom music in … Victorian State schools’ [Burke, 2002 :
22]. The emphasis for teaching music in primary schools now rests particularly
with the general classroom teacher.

The Victorian version of the National Curriculum is written in such a way that the
best approach to music teaching is through an integrated arts programme. In this
way, Primary school children at least participate in some arts activities. Again,
Paynter had the answer in 1974, when he produced his book of projects5 which
integrate all the arts by producing a classroom musico-dramatic performance. Such a
performance would include dance and movement, the visual arts [costumes,
scenery], a dramatised story and music. All of this is to be written produced and
made by the children. Finally, the whole thing can be videoed. This is the approach
I offer my early childhood and primary students for use in the classroom. I rarely see
this approach being used in schools.

Other methods of including music as cheaply and as comprehensively as possible,

include staging a school musical. I have been told proudly in many schools by
teachers that they have music in their school; by this, they actually mean that they
stage a musical every year, which involves all the upper grades of the school.
Alternatively, I hear that there is a school concert in which all grades prepare one or
two items each [in other words, a maximum of two short songs]. The musical or the
concert turns out to be the entire musical participation for the children during that
year and is a very poor substitute for a classroom music program. I might add at this
point that I am passionate about the existence of classroom music from the first
primary through to middle secondary years.

Whatever the situation, it is rare to find a State Primary school where music is a
weekly event, and that the school has developed a sequential programme for its
students to follow. At this stage, there are no research findings on the amount of
music teaching which occurs in Primary schools. However, the informal findings
would suggest that there is only a fraction of what there used to be ten years ago.

Unlike other countries that have instigated a standards-based National Curriculum,

Australia has not reviewed music in education. The UK, for example, has
undertaken various reviews over the past years, with the result that they have
changed the focus of music in the National Curriculum. Music, as a consequence,
has improved in status. Australia is therefore lagging quite a long way behind.
However, as I speak, there is a reduced scale review of music education Australia-
wide being undertaken by Dr. Robin Stevens of Deakin University under the

5
The Dance and the Drum, John and Elizabeth Paynter, Universal Edition, 1974.

4
auspices of the Music Council for Australia. We eagerly await the results, which
should be made available next year.

This will be the first complete look at music education in Australia since the
introduction of the National Curriculum, although smaller scale studies have taken
place. For example, in her doctoral thesis, Anne Lierse produced the evidence for the
place of music in secondary education in my home state, Victoria. She found that 37
out of 316 state secondary schools offered no music whatsoever. Staggeringly, only
25% of Victorian schools offer a sequential, developmental music programme
throughout Secondary schooling [1998 : 112]. 50% of State schools have reported
cuts to the amount of time allocated to music classes in the past decade [1998 : 116].
This is an appalling situation.

In short, music is undergoing a fight for its very survival in the school system. As a
result, those students undergoing Primary teacher training at present, perceive music
as un-essential, and therefore will begin to perpetuate the cycle. The damage has
already been done for the forthcoming generation of school children.

2 Inadequacy of teacher training

The same situation is apparent within teacher training. The amount of time available
for music [and the other arts] has diminished markedly in the past five years. My
own institution is an example : out of 12 music subjects available ten years ago, only
five now remain, with only two of these being core subjects. There has been a similar
cut in staffing with music lecturers not being replaced when they retire.

It is not surprising therefore that it is continually being pointed out that teachers are
qualifying with the minimum of skills and knowledge in certain areas. Primary
teachers are required to teach music with only one semester of between 10 and 20
hours tuition during their training, while secondary trained teachers have little time
to absorb pedagogical ideas, yet alone try them out, within the 50 hours available to
them. This is simply not enough time to equip teachers with both the skills and
knowledge, yet alone the confidence to face teaching music across seven years of
Primary schooling. The result is that students are leaving with degrees in Primary
school teaching, who have little or no expectation of teaching any music in the
classroom even though the government believes they will and should.

My own undergraduate students have attempted various research projects [in 2000
and 2002] to ascertain what is impeding general classroom teachers from attempting
to teach a music programme. The most distressing aspect of the whole situation is
that, since there is no time during pre-service training to provide teachers with
attitudes, ideas and strategies for teaching music in schools, they assume that they
are supposed to be teaching instruments [eg. recorder, keyboard, percussion
instruments] and the theory of music. In fact, there are many things that they could
be using in the classroom, if there were time for them to find out about them. The
research has found that these teachers feel that they have no confidence to teach
instrumental music or singing, nor the knowledge to teach theory of music, and so
they don’t bother at all. Some school principals insist that teachers attend some
professional development in music, but this is not an annual occurrence and is only
in some schools and for teachers at certain year levels. The efficacy of such minimal
exposure to musical ideas for the classroom is also debatable.

5
While secondary teachers rely on what little has been taught to them during their
training, it is noticeable that in their first years of teaching they mainly fall back on
what they already know from their own schooling or music learning. Their
immediate assumption is that in order to perform music, students should all know
about the theory of music notation; in addition, many of the teachers who are now
entering the school system have grown up with popular culture, they feel they are
comfortable with, and know quite a great deal about popular music from the past 30
years. In order to achieve some popularity with what they perceive as reluctant
adolescent students, and fast, they tend to want to teach about Popular music, Jazz
and Rock styles and their performers.

3 Available music programs

Music programs in primary schools are failing to use world musics, yet alone
indigenous music. Aboriginal studies can be found within Social Studies, and these
very often use an integrated approach. In the hands of an inspired and inspiring
teacher, such an approach can be excellent; teachers may use a song as an illustration
of a point, or as some colour to aid learning, but will not engage in talking about the
musical elements of that song. At best, they usually ask whether students like the
music. The answer is often : not much.

At the secondary level, teachers know they are required to teach some music from
outside the Western context. I am contacted time and again to visit schools, or to run
workshops in such musics. However, there are those who have undertaken
ethnomusicological studies as part of their undergraduate career; as a consequence,
they have some knowledge of one or maybe more musics. They will then use these
in their classrooms. Unfortunately, they do not tend to be Aboriginal Music, and
those that are chosen are taught in a very formal way with project material forming a
solid core of the students’ learning. The most common music introduced at this level
is Music from Indonesia. This is because it is mainly instrumental, and can be easily
adapted to classroom musical instruments. In general, it is attractive to listen to, and
meets with little resistance from secondary students. Furthermore, Indonesian is a
language studied in schools, and the relevance of its study is not hard to see.

There are further impediments to the use of Aboriginal music in schools. Secondary
music programs are being offered in two ways at present. Firstly, there is the more
traditional music classroom program, with a music specialist. Within this approach,
I have come across multiple ways of organising the program depending on the local
school situation. More often than not, schools are providing just one period per
week, and usually either for one or two terms per year; this is a reduced amount of
time than in the period leading up to the 90s as mentioned above. The reduction in
time means that not all the National Curriculum objectives can be met by any means.

Also mentioned earlier is the fact that teachers are designing programs based on
what they already know; they also include material that they think students are
going to enjoy. Two areas therefore emerge : firstly, there continues the formal
teaching of music theory, with its substantive body of knowledge which can be
taught, tested, reported on and evaluated by the teacher; secondly, there is the area
of Popular music, Rock and Jazz styles. These three, inter-related styles, also have an
interesting body of knowledge and have the added bonus that they do not need

6
selling to the students. In a way, this means that music educators are catering for
the tastes of young people, which began in a big way during the 1980s with a Report
published by the Ministry of Education6. This curriculum area is not necessarily
what students may need, nor what the National Curriculum actually suggests.

There was certainly a shift in emphasis in music education following this report, but
this was not matched by a shift in teaching styles, as mentioned earlier. Further
examples of change can be seen by the following scenarios. At the Secondary level,
there has been a marked move towards using an American-based system of Band
playing. Twenty five years ago, such an approach was the exception rather than the
norm. One of my postgraduate students, a Director of Music at a State secondary
college, who is also the Band Director, is currently making a survey of the nature and
extent of band-based music programmes in Australia. This sort of programme is also
based on Jazz, Rock and Popular musical styles and generally does away with the
need for classroom music; where another period is offered in the week, this is usually
taken up with formal, book-based theory learning to support the instrumental
tuition.

It is my experience, even last month when observing a classroom program in a

school, to see that the teaching of these musics is often in a very traditional method,
where students are fixed at desks without possibility of movement and without
opportunities for creativity. For the teacher to remain in control, much of the work is
project-based, with the students copying material into an exercise book, often copied
from what the teacher has written on the board, as well as answering questions from
a book. However attractively presented the book, this is a highly academic approach
to teaching styles of music, which basically accompany dance. Where is the dance to
help with the teaching?

An answer, in small part, has been provided by the establishment of the Rock
Eisteddfod in Australia, whereby secondary schools prepare a short, staged musico-
dramatic production in the style of a Broadway musical; rock music is used as an
accompaniment to dance and movement in order to explore a theme or topic. The
end results, which are assessed, judged and result in an outright winner, are usually
stunning. The themes chosen reflect adolescent thinking, and all too infrequently
include Aboriginal Australian or multicultural issues. For those schools unable to
participate, as well as for primary schools, there is also the possibility of an annual
musical, which, over the years has increasingly turned to using popular, jazz or rock
styles; in other words, catering to the taste of young people at all possible times and
in the name of relevance.

I feel strongly that as long as teachers persist in taking up so much of the available
time with teaching traditional music theory, and providing their students with an
unadulterated diet of purely western popular musics, that young people will grow
up musically and culturally impoverished. There are various points against the
continued use of the music of young people in both the primary and secondary
classroom; these include the following : it cannot be assumed that, because the piece
dates from a couple of years ago, that it will be well-known, and also well liked. If a

6
The report is called Is the Music Curriculum in Dire Straits? W.N. Stringer and J.M. Owen, Ministry
of Education, Victoria, 1986.

7
student dislikes a song already heard and evaluated long before the classroom music
lesson, it can act as a strong detractor to the success of the lesson. Again, I have
witnessed on many occasions that students do not listen properly to these examples,
even though the song may be used as part of a well-prepared guided listening
lesson, where the teacher is pointing out specifically musical characteristics [eg the
repeat of the refrain, the pattern of chords which forms the Blues etc]. Students don’t
listen in the way the teacher requires because this music is associated in their minds
with informal times, such as parties, and is dance music or has been part of
adolescent’s social chit-chat, eg : how they like and dislike a particular song, a
particular group, the music of a particular style, or how the song dates from a
particular time. This has been discussed long before the music is used in the class.
The words are often dealing with the idea that the one important person is oneself :
this is a natural part of growing up, too, since individuals are discovering who they
are and what they think. But it seems that there could be a danger with presenting
only this view of the world. For a healthy state, shouldn’t students be given the
opportunity to think of others and what they are saying through music? In addition,
being exposed only to music already known, and to styles of music that are already
familiar to the listener, does not take students out of their comfort zones, challenge
them, or really educate them in a rounded sort of way. It would be like eating the
same restricted foods day in day out with little variation.

Finally about these styles of music, in the normal performing situation of popular
music, there is more than likely some other distraction, noise, or talk that is going on
when this music is listened to. Therefore, when this repertoire is presented in a
classroom situation, I constantly observe that it is not actually listened to by students;
instead, it usually promotes students talking, often so loudly, that the essence of the
music is lost, and the words, which are normally already known, are virtually
ignored. If a teacher does manage to produce the necessary focused attention for up
to four minutes of a popular song, without any talking from the students, it then
seems to be un-natural and false for this style of music. Students therefore feel
uncomfortable in examining the music in this way and it detracts from the efficacy of
the lesson. It therefore seems that whatever the way these musical styles are
presented, they can actually be antagonistic to what music education should be
promoting – that is, listening to what music is communicating and how it is doing so.

While there is much sense in using popular musics, it is light years away from the
ideas promoted by Paynter as mentioned above. For example, where is the
composition of music by students? Where is the possibility of ‘getting their hands
dirty with musical sound’ and producing their own pieces in the classroom? Above
all, where is the engagement with all types of music, especially World Musics, and
listening to sounds never before heard?

Yet another detractor from using world musics is the following. In the Western
world, the current insistence on education for a sound economic future is doing
much harm to the arts and humanities, which can be viewed as peripheral to serious
learning; and yet over and over it is proved that engagement in the arts and
humanities produces employable people, who are flexible, have a sense of self-
reliance, are sensitive to other cultures and have an international outlook,
imagination and creativity. These are all highly desirable educational outcomes and
essential attributes for modern employees.

8
With the insistence on other areas of the curriculum taking precedence over the arts
and humanities, education is distracted from producing employable people. Within
Faculties of Education, government funding and policy is actually dictating what
and the way we teach, and often resulting in unsound pedagogical outcomes; this is
not the way to train teachers. The situation should be the other way around – that
the pedagogy dictates how a subject is taught.

It is impossible to cover all matters impeding the teaching of indigenous and world
musics at the present time. However, to finish with, it is important for me to say
some of the things to show the way forward.

In Australia, where world musics are taught, we are following the model finally
established by ISME in 1994. Simply stated, the policy shows that all musics should
be taught in the same way, whether from the past, the present, from Western culture
and from the non-western; that is, they should be taught within their social and
cultural context so that a full understanding of the music can take place. This means
that teachers need adequate training to think of music in these terms.

Nearly each State or Territory has a music educator who has worked on ways of
teaching aboriginal music, often with indigenous people. In Victoria, there is
myself; in New South Wales, Peter Dunbar-Hall, in the Northern Territory, Bill Smith
among others; in Canberra, the Australian Institute of Aboriginal and Torres Strait
Islanders [AIATSIS] produces music materials, but has said nothing about
curriculum or pedagogical issues. During the past year, I have been calling for a
symposium for teaching Australian indigenous music to be worked out by music
educators in tandem with Aboriginal people. What better way forward would their
be towards reconciliation between Aboriginal and non-Aboriginal people by asking
Aboriginal people to help formulate what should be in an Australian music
curriculum and what best way to teach their music?

From a non-Aboriginal perspective, there are some key points which can be
amalgamated into a useful statement for music educators, all of which have
previously been approved by Aboriginal people. First and foremost would be that
there is a need to realise that there is a tremendous variety of Aboriginal music, both
contemporary and traditional. All aboriginal music is sung; there is no solo
instrumental repertoire. Words are therefore of paramount importance in their
music. The words tell stories. In fact, music is an essential way of keeping the
stories alive. Contemporary Aboriginal music is nothing more than the traditional
way of telling stories but now by using Western musical means, such as country and
western style music. Time and again, I see lessons on the words of a song in the
context of a social studies lesson. The song may even be played from a recording.
However, there is nothing to do with the musical content and how to understand the
performance context, which is so important to an understanding of aboriginal, or
any, music.

Indeed, as part of the performance, dance is also vital, and I have seen very
successful music sessions in the past, when aboriginal music and dance have been
included together. Movement as part of music is important, since it is an excellent

9
way to develop rhythmic participation and understanding7. The use of dance also
gives a clearer picture of traditional musical performance8. Over and above all of
this, it is important for students to be able to distinguish the musical elements of an
aboriginal performance – the who? why? what? when? how? and where? of the
performance; what apparently seems quite easy to the listener is, in reality, quite
complex.

There are two important issues to consider : firstly, that any music should be
performed for it to be truly meaningful [it cannot just be learnt by listening to it, or
by studying it from a text book]. This means we need a body of musical material for
students to learn, in the original language, recreating the original performance,
including dance, as closely as possible. Secondly, an excellent way into aboriginal
musical study is actually through their contemporary music; most students will have
heard of some of the more prolific and high profile musicians, such as Archie Roach
and Yothu Yindi. Studying their music, and what they have to say through music, is
an excellent starting point – but for the reasons mentioned above, should not be the
only music used.

I started this talk with Paynter’s quote; during my talk, I have seemingly moved a
long way away from it. Paynter’s revolution in school music teaching has been of
paramount importance, but in reality has made little ground. Music programs in
Australia have not been moving forwards, due to various factors, and much of what
is happening in schools is often a far cry from Paynter’s original ideas. It seems that
teachers need another change of direction, and this must come through adequate
teacher training. The new teacher must realise that All music is about something; that
music is by people, for people, but above all about people. All music is therefore about people.
Studying music helps us become truly human. I will return to the Paynter quote to
conclude this talk and say that the next major change in music curriculum has got to
be for us to produce teachers able to teach world musics from a multicultural point
of view; the end product will then hopefully be school students who are more
sensitive to what people are saying, and how it is being said through music. Thank
you for your attention.

Bibliography
Patrick Dodson, chair [1992] Australian Council for Aboriginal Reconciliation

1992 Between Two Worlds : A Report of the World

Council of Churches team visit to Aboriginal
communities in Australia, World Council of
Churches, Geneva

7
Tbis links music with other music methodologies, such those instigated by Jaques-Dalcroze and Carl
Orff at the beginning of the 20th century. Both of these have been used extensively as methodologies in
the past.
8
One of the very few teaching kits available for Aboriginal music was published by Monash
University in 1992 and is called Music and Dance in Traditional Aboriginal Society. It was assembled
and written by Alice Moyle with the aid of Aboriginal friends from Queensland and the Northern
Territory.

10
Burke, Harry [2002] An Investigation into the Standards Curriculum in
Music Eeducation in America, The UK and Victoria,
1992 –2000. Unpublished thesis as part of a
Masters of Educational Studies, Facultyof
Education, Monash University

Groome, Howard [1994] Teaching Aboriginal Studies Effectively. School

Science Press, Australia

Hurworth, G [1989] “Spanning Cultures Through Music :

Pipedream or Reality” in Proceedings of the 5th
Asian-Pacific Conference of Arts Education,
Missouri, USA.

Lierse, Anne [1998] The Effectiveness of Music Programs in Victorian

Government Secondary Schools 1995 and 1996.
Unpublished doctoral dissertation, Faculty of
Education, Monash University

Moyle, Alice [1991] Music and Dance in Traditional Aboriginal

Culture, Faculty of Education, Monash
University, Melbourne, 1991

Mudrooroo [1994] ‘The Poetics of Healing' in You Have the Power,

Archie Roach, Melbourne

Paynter, John [1972] Hear and Now. London, Universal Edition

“ISME Policy on Music of The World's

Cultures” in International Journal of Music
Education, 1994, volume 24, pp 67-68

11