Music education in third-world countries

This entry was written by Ali Farahani

Music education in third-world countries is facing many problems that limit access to it and it’s full of challenges. These rising and falling obstacles are made of the socioeconomic, cultural educational systems, etc.
Here we will inspect some of the most important challenges which make difficult the progress of music education in this area.

1- Limited references
Usually, in many third-world countries, education institutions, particularly, those that focus on the dissemination of art disciplines, don’t have enough resources. The lack of financial resources for the provision of music education tools as well as musical instruments, and the lack of experienced teachers and suitable facilities, reduce the quality of music education provided especially to children.

2- socioeconomic factors.
High levels of poverty in third-world countries may prevent children from following music education.
Families may put their priorities on basic needs over cultural activities such as learning music. This limits the number of students participating in the music program.

3- cultural standpoints deterrent
Cultural attitudes toward music education are different and sometimes it may reduce value or misunderstand its validity and importance. Generally, in the development and growth of music especially among children, the culture’s domination of society and lack of artistic recognition create a kind of predestined view that affects the fate of this art. In a society where cultural beliefs marginalise music and trap it in a corner, so, art can not be active and remains passive and has no fans or it goes astray and finds quiddity like the heart in an underground movement.  Certainly, this cultural disconnect led to a lack of support for music education initiatives.

4- Gender discrimination
Gender discrimination can cause problems in music education, in some societies old beliefs and traditions may prevent girls from participating in art activities, particularly, music. Patriarchal societies can keep half of the society limited and lead to limited representation of certain groups in the field of musical talent development. Although third world societies are so Sick that boys and girls are confined in this area.

5- Lack of experienced teachers
The lack of skilled music teachers is an important issue that it caught the collar of promotion and dissemination of this art for a long time. Without experienced teachers, the quality of music education, what is transmitted is incomplete and infirm, even if it may even cause ، escape the art students to cut off their connection with art education and destroy their talent.

6- Disconnected from the world and isolation
Though limited to a certain number of music genres may lead to a reduction in the variety of music fields and disconnection of world music. The limited program prevents the development of music education as universal. Cooperation with international organizations can provide more opportunities for music education in the third world.

7-  Infrastructure challenges
Inadequate infrastructure, including, a lack of education spaces, schools, conservatories, music venues,  lack of suitable facilities for holding concerts, all of them are high obstacles in front of music. A prominent example of this is that there is only two music conservatory in the capital of a big country like Iran.

8- religious beliefs
Religion can have various effects on music education.
For instance, in some cultures, music may be compatible with values and religious principles and it enhances the power of music as a booster element, like, the influence of different religions in Indian music.
On the contrary, in some societies, music may conflict with religious principles and some religious opinions may be made circumscription for music activities.

In Iran, the influence of Islam on music has created different historical periods. In the primitive Islamic periods, music faced limitations and sometimes masters of music were killed, sometimes rejected and exiled and sometimes isolated and in some periods completely reciprocal movement was going on.

Post a Comment

Required fields are marked *
*
*
Your email is never shared.

Nasser Masoudi: The Voice of Gilan and a Legacy of Iranian Music

In Iranian music, certain singers have become emblematic of their homelands through their distinctive voices. Historical figures such as Eghbal Sultan, who epitomized the grandeur of Azerbaijani music, and Taj Isfahani, who conveyed the authentic essence of Isfahan, serve as notable examples from the Qajar era. Nasser Masoudi occupies a similar position; his voice emerged as a symbol of Gilan while also achieving national acclaim. Before him, Master Ahmad Ashurpur represented Gilan’s musical landscape, but his extended residence outside Iran limited his continuous engagement in the music scene. In contrast, Masoudi’s consistent presence allowed him to introduce the voice of Gilan to audiences across Iran.

Farhad Poupel: The Voice of the Shahnameh in the Orchestras Around the World

In an era when almost no trace of contemporary Iranian music can be heard in international concert halls, except (so-called!) avant-garde works that owe their existence solely to the fashionable slogans of the “pseudo-intellectual” crowd who have seized the already meager resources for performing classical music from the true artists of the field, the numerous performances of Farhad Poupel’s works shine as a ray of hope for lovers of sincere musical art. Without resorting to trendy slogans, he has kept the flame of Iranian classical music alive purely through the power of his artistry.

From Past Days…

Farshad Sanjari, Forgotten Iranian Conductor Met His Tragic End

Farshad Sanjari, one of the most renowned Iranian conductors in the 1970s in Iran died after fire broke in his apartment in Vienna on November 22, 2019. Farshad Sanjari was not involved in politics; however, he was one of the victims of the Iranian Islamic Revolution in 1979. After the victory of the Islamic Revolution, his name was never seen as the conductor of any programmes.

“Pledge of Love”

The “Pledge of Love” is the first album in a series composed based on the tasnifs by the renowned Iranian tasnif-maker Mohammad Ali Amir Jahed and recorded by Sahba Kohan Ensemble with Ramin Bahiraie as signer.

Reza Vohdani; Unveiling unpublished works, preservation of Iranian classical music

Reza Vohdani is a renowned name among tar (traditional Iranian instrument) players, especially within the Iranian music community that values the meticulous practice and teaching of traditional music. While Vohdani honed his skills in music theory and tar playing under the guidance of masters like Ali-Naghi Vaziri, Ali-Akbar Shahnazi, Hossein Dehlavi, and Ahmad Forutan-Rad, it is his unwavering dedication to studying, documenting, and teaching the Iranian classical music repertoire that has solidified his prominence in the field. Recently, Vohdani’s family decided to make his preserved works accessible to the wider art and music community. In this regard, The Persian-language newspaper ‘Iran’ spoke with Sadjad Pourghanad, a musician, university instructor, and music researcher, who shared his opinion into the project, as detailed in the interview below.

The 4th Iranian Festival of Music Websites and Weblogs

The 4th Iranian Festival of Music Websites and Weblogs was held in Niavaran Cultural Center, in Tehran, Iran on Feb. 28th, 2015. The initiator of the festival was Sajjad Pourghanad, Iranian music writer, researcher, founder of the festival and Persian setar and tar player.

Loss of Development in Iranian Music

The mention by music instructors, academicians, students, and music enthusiasts about the lack of development in Iranian music is a topic that has been repeatedly heard, resulting in a superficial understanding and misinterpretation of Iranian music, which has been conveyed to students of the arts. This short essay aims to critique and examine this claim.

New Technique for Playing Classical Guitar (II)

When the author was working on the piece “Playing Love” by Ennio Morricone (from the legend of 1900), he realized a failure of the Lip Technique. Needing to play a chord in the 14th position of the guitar and in order to complete the harmony, it is necessary to play a harmonic note on the 7th or 5th position; it was not possible to touch the string to play this harmonic note, because the Lip Technique is used for getting the notes and not to touch the string and producing harmonic notes. Naturally, the only possible way to touch the string was to use the nose at the required position and playing the note with the right hand, and this was the best option the author found to how to play such harmonic notes, and where the Nose Technique was generated.

Timeless or Timely: The Role of Historical Context in Defining Artistic Value

Imagine that, in the course of historical research, we discover a musical piece whose compositional techniques (including form, melody, texture, and orchestration) resemble those of a second-rate 19th-century composition. But further investigation reveals that this work predates that period by 200 years. Can we still deem it insignificant? Certainly not. Here, the first major role of historical judgment becomes evident.

Whose dream?! Whose reality?!

(A review of the “So Faraway” album; Tar and Tonbak duet; Siavash Imani, Pedram Khavarzmini)

Principles of Violin Playing (I)

The present series of training articles, “Principles of Violin Playing”, seek to help students, to appropriately understand this field, by gradually introducing, categorizing, and teaching the myriad relevant points. One of the principles of playing violin, which must be always kept in mind, is that the selection of the most natural position for the body parts while playing is the best and most appropriate solution. As a matter of fact, any unnatural body part position which requires lots of energy or unusual stretching to maintain, is wrong.

Is the Iranian National Anthem a Copy? (II)

In response, it should be said that it is better for the national anthem of a country to use the musical material exclusive to that country; however, some problems might come up in doing so the most important of which include: lack of familiarity of other countries’ music performer with the concerned country’s specific music intervals and special musical technique; and secondly, the strangeness of that music to the foreign listener.