The purpose of this study was to reveal the effects of Westernized arrangements of traditional Korean folk music on music familiarity and preference. Two separate labs in one intact class were assigned to one of two treatment groups of either listening to traditional Korean folk songs (n = 18) or listening to Western arrangements of the same Korean folk songs (n = 22); a second intact class served as a control group with no listening (n = 20). Before and after the listening treatment session, pre- and posttests were administered that included 12 music excerpts of current popular, Western classical, and traditional Korean music. Results showed that participants who listened to traditional folk songs demonstrated significant increases in both familiarity and preference ratings; however, those who listened to Westernized folk songs showed increases only in familiarity ratings but not preference ratings for the same Korean songs in traditional versions. An analysis of participants’ open-ended responses showed that affective–positive responses were used most frequently when explaining preference for traditional versions of Korean folk songs (28.1%) among the traditional Korean listening group; structural–negative reasons (47.8%) were the most frequent among the Westernized listening group.
AbrilC. R.FlowersP. G. (2007). Attention, preference, and identity in music listening by middle school students of different linguistic backgrounds. Journal of Research in Music Education, 55, 204–219. doi:10.1177/002242940705500303
2.
BartolomeS. J. (2011). Beyond guided listening: Exploring world musics with classroom instruments. General Music Today, 24(3), 28–33. doi:10.1177/1048371310396635
3.
BerlyneD. E. (1971). Aesthetics and psychobiology. New York, NY: Appleton-Century-Crofts.
4.
BurkholderJ. P.PaliscaC. V. (2009). Norton anthology of Western music (6th ed.). New York, NY: Norton.
5.
CampbellP. S. (2004). Teaching music globally. Oxford, UK: Oxford University Press.
6.
CoffeyA.AtkinsonP. (1996). Making sense of qualitative data. Thousand Oaks, CA: Sage.
7.
Consortium of National Arts Education Associations. (1994). The National Standards for Music Education. Reston, VA: MENC [now National Association for Music Education].
8.
CookT. D.CampbellD. T. (1979). Quasi-experimentation: Design and analysis for field setting. Boston, MA: Houghton Mifflin.
9.
DammR. J. (2000). Repertoire, authenticity, and instruction: The presentation of American Indian music in Oklahoma’s elementary school. New York, NY: Garland.
10.
DemorestS. M.SchultzS. J. (2004). Children’s preference for authentic versus arranged versions of world music recordings. Journal of Research in Music Education, 52, 300–313. doi:10.1177/002242940405200403
11.
ElliottD. J. (1989). Key concepts in multicultural music education. International Journal of Music Education, 13, 11–18. doi:10.1177/025576148901300102
12.
FungC. V. (1992). Musicians’ preference and perception for world music. Southeastern Journal of Music Education, 4, 178–190.
13.
FungC. V. (1994). Undergraduate nonmusic majors’ world music preference and multicultural attitudes. Journal of Research in Music Education, 42, 45–57. doi:10.2307/3345336
14.
FungC. V. (1995a). Rationales for teaching world music. Music Educators Journal, 82(1), 36–40. doi:10.2307/3398884
15.
FungC. V. (1995b). Music preference as a function of musical characteristics. Quarterly Journal of Music Teaching and Learning, 6(3), 30–45.
16.
FungC. V. (1996). Musicians’ and nonmusicians’ preferences for world musics: Relation to musical characteristics and familiarity. Journal of Research in Music Education, 44, 60–83. doi:10.2307/3345414
17.
FungC. V. (2004). Pre-service music educators’ perceived reasons for preferring three foreign and distinctive Asian pieces. International Journal of Music Education, 22, 35–43. doi:10.1177/0255761404042373
18.
GembrisH. (2002). The development of musical ability. In ColwellR. (Ed.), The new handbook of research on music teaching and learning (pp. 487–507). Oxford, UK: Oxford University Press.
19.
GeringerJ. M.MadsenC. K. (1995). Focus of attention to elements: Listening patterns of musicians and nonmusicians. Bulletin of the Council for Research in Music Education, 127, 80–87.
20.
KangS. (2014). The history of multicultural music education and its prospects: The controversy of music universalism and its application. Updates: Application of Research in Music Education. Advance online publication. doi:10.1177/8755123314548044
21.
KopiezR.LehmannM. (2008). The “open-earedness” hypothesis and the development of age-related aesthetic reactions to music in elementary school children. British Journal of Music Education, 25, 121–138. doi:10.1017/S0265051708007882
22.
LamontA.GreasleyA. (2012). Musical preference. In CrossI.HallamS.ThautM. (Eds.), Oxford handbook of music psychology (pp. 161–167). New York, NY: Oxford University Press.
23.
LegetteR. M. (2003). Multicultural music education attitudes, values, and practices of public school music teachers. Journal of Music Teacher Education, 13(1), 51–59. doi:10.1177/10570837030130010107
24.
LochheadJ. (1995). Hearing new music: Pedagogy from a phenomenological perspective. Philosophy of Music Education Review, 3, 33–42. Retrieved from http://www.jstor.org/stable/40327086
25.
LundquistB. R. (2002). Music, culture, curriculum, and instruction. In ColwellR. (Ed.), The new handbook of research on music teaching and learning (pp. 626–758). Oxford, UK: Oxford University Press.
26.
MadsenC. K. (Ed.). (2000). Vision 2020: The Housewright symposium on the future of music education. Reston, VA: MENC.
27.
McCarthyM. (1997). The role of ISME in the promotion of multicultural music education, 1953-96. International Journal of Music Education, 29, 81–93. doi:10.1177/025576149702900112
28.
MillarB. (2008). Selective hearing: Gender bias in the music preferences of young adults. Psychology of Music, 36, 429–445. doi:10.1177/0305735607086043
29.
MorrisonS. J. (1998). A comparison of preference responses of White and African-American students to musical versus musical/visual stimuli. Journal of Research in Music Education, 46, 208–222. doi:10.2307/3345624
30.
NethsingheR. (2012). Finding balance in a mix of culture: Appreciation of diversity through multicultural music education. International Journal of Music Education, 30, 382–396. doi:10.1177/0255761412459166
31.
NettlB. (1977). The Western impact on world music: Change, adaptation, and survival. New York, NY: Schirmer Books.
32.
O’NeillS. A.BoultonaM. J. (1996). Boys’ and girls’ preferences for musical instruments: A function of gender. Psychology of Music, 24, 171–183. doi:10.1177/0305735696242009
33.
PalmerA. J. (1992). World musics in music education: The matter of authenticity. International Journal of Music Education, 19, 32–40. doi:10.1177/025576149201900105
34.
ReimerB. (2003). A philosophy of music education: Advancing the vision (3rd ed.). Upper Saddle River, NJ: Pearson Education.
35.
RiceT. (1994). May it fill your soul: Experiencing Bulgarian music. Chicago, IL: University of Chicago Press.
36.
RobertA. C.CharlesB. F.CharlesE. B.WersenL. G. (1967). The Tanglewood symposium: Music in American society. Music Educator Journal, 54(3), 49–80. doi:10.2307/3391187
37.
ShehanP. K. (1984). The effect of instruction method on preference, achievement, and attentiveness for Indonesian gamelan music. Psychology of Music, 12, 34–42. doi:10.1177/0305735684121004
38.
ShehanP. K. (1985). Transfer of preference from taught to untaught pieces of non-Western music genres. Journal of Research in Music Education, 33, 149–158. doi:10.2307/3344802
39.
StrattonV. N.ZalanowskiA. H. (1989). The effects of music and painting on mood. Journal of Music Therapy, 26, 30–41. doi:10.1093/jmt/26.1.30
40.
SzegoC. (1999). Musical meaning-making in an intercultural environment: The case of Kamehameha Schools (Doctoral dissertation). Retrieved from ProQuest Dissertations and Theses database. (UMI No. 9952907)
41.
SzegoC. K. (2005). Praxial foundation of multicultural music education. In ElliottD. J. (Ed.), Praxial music education: Reflections and dialogues (pp. 196–208). New York, NY: Oxford University Press.
42.
TrinkaJ. L. (1987). The performance style of American folk songs on school music series and non-school music series recordings: A comparative analysis of selected factors. Austin: University of Texas at Austin.
43.
WambuguD. M. (2012). Kenyan art music in Kenya’s high school general music curriculum: A rationale for folk-song based choral music (Doctoral dissertation). Retrieved from ProQuest Dissertations and Theses database. (UMI No. 3569554)
Supplementary Material
Please find the following supplemental material available below.
For Open Access articles published under a Creative Commons License, all supplemental material carries the same license as the article it is associated with.
For non-Open Access articles published, all supplemental material carries a non-exclusive license, and permission requests for re-use of supplemental material or any part of supplemental material shall be sent directly to the copyright owner as specified in the copyright notice associated with the article.
