In this article the author attempts to briefly review styles of research and consider some implications for music education. It is argued that, although research constitutes a limitless range of activities, there are none the less certain essential conditions to be met. General areas for research are identified that seem central to music education. Note . This article first appeared in the International Journal of Music Education , No. 1 (May 1983), and is reprinted with permission of the editor and the International Society of Music Education.
The great majority of civilizations have developed their own musical instruments, or adopted and adapted those of their neighbours. The use of musical instruments, whether to supplement or replace the human voice, is a feature found in many, many different cultures. Thus, certain scholars have proposed more scientific ways of dealing with musical instruments. Other societies have their own ways of classifying musical instruments, some of which are quite complicated. Cultures around the world also have their own ways of explaining, valuing and combining musical instruments. Musical instruments serve as cultural icons, as markers of identity. The study of attitudes toward musical instruments is as important as the study of their construction and performance techniques. Learning about these similarities is a good way to start the study of world music, and an excellent way by which to marry the study of world music to that of the western classical tradition.
