WORLD PERCUSSION PEDAGOGY APPLICATIONS FOR STUDIO PERCUSSION TEACHERS

Abstract

This scholarly essay provides recommendations for studio percussion teachers on incorporating world music pedagogy and world percussion instruments into their curriculum. Percussion pedagogy texts by Michael Udow, Gary Cook, and Cort McClaren serve as the basis for a critical analysis of the pedagogy of core percussion instruments. Concepts of world music pedagogy by Patricia Shehan Campbell, Michael Bakan, and Howard Spring are examined alongside my experience studying numerous world music styles. Numerous examples from each pedagogical tradition are explored and considered in their ability to heighten student cultural awareness, appreciation for percussion as a field, and serve as effective percussion training exercises. Recommendations for percussion studio teachers include sample lesson vignettes demonstrating how to modify, integrate, and create “high cultural connectivity” in their lessons. World percussion instruments explored include Afro-Cuban percussion, Iranian tombak, Korean janggu, Spanish flamenco cajón, Middle Eastern riq, and Brazilian pandeiro. World music styles referenced include: Cuban rumba, batá drumming, salsa, bembé, son, Brazilian choro, and Spanish flamenco