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.

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.

Five Major Myths About Mozart’s Life

Wolfgang Amadeus Mozart, the renowned Austrian composer, is undoubtedly one of the greatest geniuses in the history of classical music. However, his life is surrounded by numerous myths and legends, some of which are not based on facts. This article explores five of the most common misconceptions about Mozart’s life.

From Past Days…

Is the Iranian National Anthem a Copy? (I)

The alleged similarity between the Iranian and South Korean National Anthems has been a matter of discussion among musicians in Iran for several years. Earlier in 2021, the issue was taken to the media again with not only claims that the anthem is very similar to another song but also the suggestion that its musical content should draw more on the Iranian national music. Some even went to the extent to suggest replacing it with the song “O, Iran” composed by the late Rouhollah Khaleghi. Before delving more into the main issue, it would not go amiss to consider some technical characteristics of the song “O, Iran” composed in 1944.

The Structure of Kurdistan Daf (V)

ehrouz Mohammadi, “Daf and its feasts in Ghaderieh’s Tekyeh” mentions that the outer thickness of arch where studs are located, [is] between one to one and a half centimeters (Mohammadi, 2001: 12). The thickness of arch should be gradually reduced from the installation place of rings to skin (Avazeh of Daf) to create a high volume, clear sound from Daf; also, the connection of arch to skin should not be less than one millimeter, because in this case the skin will be torn due to the sharpness of the wood (Mogharab Samadi, 2009: 79-78). The thickness of wood on the skin side is about two to three millimeters (Tohidi, 2002: 79).

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.

Illusion or Ingenuity?

Mohsen Renani in the preface of his book entitled “The Political Economy of nuclear conflict; an introduction to traversing the civilizations” writes:

Interview with the Makers of the New Qeychak (II)

Regarding the classification of a new instrument in an instrument family, one can point to a number of fundamental issues, one of the most obvious of which is the instrument’s visual features. If we look at how the new instrument has changed compared to its historical versions, the set of visual elements that link the instrument to the Qeychak family becomes apparent. But other characteristics such as the geometric dimensions of the instrument, characteristics of the instrument’s various parts and how they relate to each other, its systematic performance, its sound range (compared to modern versions), the material and color of the sound, the way it is played and the like, can be considered in order to classify the instrument in the Qeychak family.

HarmonyTalk Journal’s Twentieth Anniversary Celebration

On the 10th of Khordad, 1403 (equivalent to May 30, 2024), the twentieth anniversary celebration of the online journal “HarmonyTalk” took place at the Ersbārān Cultural Center. The event garnered such interest from enthusiasts that the venue was completely filled.

Tehran Flute Choir Established

Tehran Flute Choir was established in 1394 (late 2015) by Firouzeh Navai. Tehran Flute Choir, Iran’s first largest flute choir, recruited its members mostly from young talented flutists of Iranian Flute Association. Featuring piccolo, flute, alto flute and bass flute, Tehran Flute Choir, directed by Firouzeh Navai, premiered under the batons of Saeed Taghadosi on January 7-8, 2016 at Roudaki Hall in Tehran.

Journey to Iran Revisited: Celebrating 20 Years of Guity Adjoodani’s Return to Persian Roots

This year marks the 20th anniversary of “Journey to Iran,” an album by Iranian pianist Guity Adjoodani that has resonated with audiences worldwide. Released two decades ago, this album is a beautiful tapestry of twenty Persian folk songs, each carefully selected from the rich musical traditions of various regions in Iran. It also features four notable compositions by the esteemed Javad Maroufi (1915-1992): “Prelude,” “Jila Fantasia,” “Golden Dreams” (Khaab-haa-ye Talaayi), and “Isfahan Rhapsody.” Additionally, the album includes the beloved song “Kiss Me” (Maraa Bebous) by Majid Vafadar (1912-1975), adding depth to an already impressive collection.

A Look at Ali Tajvidi’s Manifold Musical Activities (I)

Ali Tajvidi (1920 – 2004), one of the most prominent Iranian musicians, passed away sixteen years ago. He was one of the most distinguished Iranian artists. To specify one of the fields in which he was unique, one can refer to Tasnif composition. A brief review of his manifold musical activities is presented below.

The Structure of Kurdistan Daf (IV)

Researcher: Mohammad Tarighat Translator: Fatemeh Alimohammadi Daf Structure The Structure of Daf in different cities of Iran has a great variety in terms of dimensions, components and even appearance; some of which are as follows: – Square Daf, on which the skin was stretched either on one or both sides, with strings installed inside it…
Read More »