Curricular Challenge and Change

AMU3O - Grade 11 Curriculum 

Some aspects from the Grade 11 curriculum, section B “Reflecting, Responding, and Analysing” could be seen as Eurocentric. 

B1.1 listen to and/or perform selections that represent a wide variety of musical genres and styles, and describe and reflect on their responses to them (e.g., document their initial reactions to more than one version of the same Leonard Cohen song; describe their response to several selections of music they like, and identify any common traits; describe the emotions conveyed in a work by a composer from the Romantic period)

B2.1 identify and explain the interrelationships between traditional, commercial, and art music in specific cultures or communities (e.g., the integration of elements of traditional music from multiple cultures into commercial music in Canada; the use of Hungarian folk songs in the work of art music composers from that country)

Something I notice each time I examine the curriculum documents is that these were written well over a decade ago and are in need of a revamp. It is a bit sad because each time I come back to the documents, more time has passed and the expectations just keep getting more and more outdated. In B1.1, they mention a “wide variety of musical genres” yet in parentheses only choose to mention Cohen and a Romantic period composer, which is implied to be from the Western Romantic classical period. The Arts curriculum as a whole has always been open-ended and open to interpretation. It does not have fixed guidelines like some other core subjects, so most educators, if informed with their practice, have been adapting these expectations to address decolonization. 

Ways to decolonize the curriculum: 

• Being open to change and open to the idea of being uncomfortable with topics we may not know a lot about

• Being open to learning, and challenging who gets to decide what music is “valuable” or “academic” to learn

• Diversify the repertoire and performance practices. B2.1 can still be applied to make connections and comparisons between for example, Indigenous music in Canada, (and bringing in community partners where possible to promote direct learning), and student voice (cultural music that the students bring in and get to be the experts on) 

• Exploring musical theory beyond Western staff notation, the value of oral music traditions, not just written music, non-Western approaches to rhythm and melody

• Have students connect their learning to lived experiences