Challenges of introducing new type of music into a curriculum, where this type of music does not exist.

Challenges, negatives and positives, and the best ways of introducing western classical music education into a curriculum where it does not exist in that country’s curriculum without loosing the folk music of the country itself.

-It is discussing the challenges and the affordances of introducing a new music and music curriculum in particular to a new nation/country, and educational system where that music does not exist.

We are talking specifically about introducing western classical music and how it can cover or vanish the folk music of the country itself if it is done too much/ or wrong/or/and without a proper study on how to introduce it without loosing the native music of the country itself
-We need examples of good and bad experiments, for example in England where classical music has become too western and there is hardly (if any) English folk music is being taught in the state schools in the UK for example, and many other examples that could be found like maybe north America, Asia or/and any other places. This should be backed-up with studies/books/articles that covered these countries e.g.1-we need examples of some countries that introduced western classical music to its people or education system and lost their music

2-we also need examples of other countries who succeeded in this without loosing their musical identity

So basically it is about:

* How to introduce it

* Why to introduce it

* The best ways of introducing it to the curriculum of a different country that doe’s not have it

* What could be the challenges, implications, and the difficulties culturally, educationally, financially, and/or even religiously in some cases (possibly).

* What could the best ways be to do that etc…

All this should be always backed-up with studies. Quotes from books, articles that have discussed these issues and the examples of the countries that succeeded and the ones that failed because they failed in preserving their folk music and lost their own music.

One very important thing please: this has to show the negative and the positives please so it is balanced between those who succeeded in this sort of implementation of a new music into their cultures and music curricula, and those who lost their own music because they gave so much attention the western classical music and gave no care to their own traditional music and as a consequence lost their traditional music and became too western.

Referencing style should be in footnotes (not in the text, I said there MLA because it says I have to chose something), but I want it in the footnotes please and it should be in this style bellow please:

First name and then family name, ‘title of the work’ (city of publication, publisher, year), page number(s).

Some examples are bellow for how to reference if it is a book, or from an article, or a website etc

John Paynter, Sound & structure (Cambridge: Cambridge University Press, 1992), pp. 2-9


Estelle Ruth Jorgenson, ‘Western classical music and general education.’ Philosophy of Music Education Review 11/2 (2003), p. 130.

Ian Donnachie, ‘Orbiston: The First British Owenite Community 1825–
28’, Spaces of Utopia: An Electronic Journal 2 (2006), p. 5.

Rosemary Allen, Tricia Lilley and Gill Smith, ‘Creative expression’, Looking at Early Years Education and Care, vol. 2 (2000), p. 162.

Eleni Lapidaki and Peter R. Webster, ‘Consistency of Tempo Judgements when Listening to Music of Different Styles’, Psychomusicology: Music, Mind & Brain 10/1 (1991), pp. 19–29.

Chapters from books:

Melissa C. Dobson & Stephanie E. Pitts, ‘Classical Cult or Learning Community’, in The Ethnomusicology of Western art Music, ed. by Laudan Nooshin (Oxon: Routledge, 2014), p. 68

Online sources
Department for Education/Welsh Office, “Education and training for the 21st century,” London, HMSO, 1991.
National Curriculum, ‘National curriculum in England: music programmes of study.’ (2013)

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