Undergrad Theses

Bachelor of Arts in Music and Linguistics — Haverford College (PA)

Abstract

This thesis uses the framework of language socialization to investigate the socializing potential of children’s clapping games. Adapting Schieffelin and Och’s 1986 definition of language socialization to refer to music, I establish that 1) music socialization is the coincidence of socialization through music and socialization to use music, and 2) music learners are active contributors to their own socialization. I reinforce these claims by drawing connections between a number of practices and terms — routine, variation, improvisation, evaluation, and common vernacular — in both linguistic and musical settings. My analysis of data borrowed from Curtis (2004), Hubbard (1982), Marsh (1995, 2006), and Merrill-Mirsky (1988), shows that routines, variations, and musical features in clapping games are evaluated and acted upon jointly by multiple members of a given group, demonstrating the performers’ reliance on a common musical and cultural understanding. I conclude that music socialization is a tangible and active process, and that a detailed comprehension of its principles would benefit researchers and educators alike.

Abstract

Orff Schulwerk, the Kodály concept, and El Sistema are three of the most popular approaches to music education used in Western classrooms today. This thesis argues that the philosophies and practical recommendations of these three approaches facilitate social education in addition to musical learning. Building upon the writings of both philosopher Jean-Jacques Rousseau and evolutionary archeologist Steven Mithen, I explore the inherent social qualities that music-making possesses as a result of its proposed common origin with spoken language. Next, I introduce each approach on its own, highlighting the ways in which they center social interaction and attempt to connect with a greater community or culture. After reviewing the approaches individually, I compare and contrast their respective engagements with active participation, repertoire, instrumentation, and performance. Through this synthesis, I clarify exactly why and how music education can contribute to the social education of its students. I conclude by offering suggestions as to how these approaches might learn from each other in order to increase their social efficacy in the modern world.