ABSTRACT
This chapter presents teachers observations that are summarized in a number of domains including reasons for study, the competence of musician-teachers, familiar pedagogical techniques, previous training as an asset or obstacle to learning, imitation as teaching technique, vocalization and solmization, practice, modification of traditional teaching strategies, and the passing on of cultural knowledge. As ethnomusicologists' research interest in music teaching and learning converges with the goal of educating first-world students in the world's musical cultures, a phenomenon known as world music pedagogy is emerging. The chapter explains the Robert Garfias model, which at the University of Washington has allowed artist-musicians from a wide array of cultures to provide students with private lessons as well as ensemble experiences, depending upon the instrument and genre. The study of a musical tradition some distance from the cultural realities of students weaned on Western European art music is both a serious sonic adventure and a step into another world view.
