COMPARATIVE PROGRAM ANALYSIS IN TRADITIONAL MUSIC TEACHING

Abstract

In this study, it is aimed to compare, evaluate and analyze the curricula of some universities in Bulgaria, England, the Netherlands, China and Turkey that provide music education in the traditional sense. By comparing music education programs in different countries, it aims to reveal good practices in the field and to contribute to the development and dissemination of these practices. In addition, it is aimed to be a resource for music educators, academicians and researchers working in this field. For this purpose, curricula were analyzed in terms of their general structure, content, academic staff and learning-teaching process.  The data obtained were obtained through document analysis and the similarities and differences between the curricula were revealed. Music education programs in the countries subject to the research stand out with their course contents, academic staff profiles and education periods suitable for their cultural heritage. According to the findings obtained from the research; when their general structures and contents are examined, it is seen that traditional music education programs are aimed at training artists and music educators. It was determined that music theory and performance-based practices are in the majority. Cultural studies and instrument training are also included in the curricula. It was also seen that music technology and ethnomusicology were included as a minority. When the learning-teaching process was examined, it was seen that the music curriculum should be completed in the same period in all countries except England. The credits were found to be compatible with the European Credit Transfer System (ECTS), and it was found that only in China, annual credit-based evaluation was made in the credit system. When the academic staff was analyzed, it was found that the highest number of academic staff was found in the Chinese Conservatory of Music. When the academic staff of the schools subject to the research were examined, it was seen that there were expert music educators, academicians, nationally or internationally recognized musicians.