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A Survey on Weifang Teachers’ Attitudes Toward Teaching Chinese Folk Music

Article Review

Linda Kiekel

Northern State University

October 9, 2022
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A Survey on Weifang Teachers’ Attitudes Toward Teaching Chinese Folk Music

Article Review

“A Survey on Weifang Teachers’ Attitudes Toward Teaching Chinese Folk Music”

was a study conducted by Ruochen Han and Bo Wah Leung (2017). The study was conducted

in Weifang City, Shandong Province, China, and it sought to understand the local teachers’

attitudes toward teaching Chinese folk music. The study also examined the teachers’

perceptions of their students’ attitudes towards learning Chinese folk music. The study

concluded that most teachers in Weifang had a positive attitude towards Chinese folk music

instruction but devoted little time to teaching it in their classrooms.

Background

Historically, music held a strong political and philosophical role in Chinese society, but

today Western classical music is predominantly taught in schools (Han & Leung, 2017). The

government supplied music textbook only includes a small section about Chinese folk music.

However, although Chinese music teachers have a set of standards that they should follow,

they are free to design their curriculum as they choose. Music teachers have this freedom

because music is not included in the high school and college entrance exams in China.

Therefore, this study sought to find the correlation between teacher attitudes and practices of

teaching Chinese folk music in Weifang junior secondary schools.

Literature Review

Previous literature suggests that a positive attitude is a necessary component of

success (Han & Leung, 2017). However, schools tend to emphasis teacher skill development

but ignore teacher attitude development. In 2008, Fritz listed the seven necessary attributes of

a positive attitude: self-esteem, responsibility, optimism, progress, imagination, awareness,

and creativity. In addition to these attributes, Han and Leung added that teachers must have a

positive attitude towards their curriculum and students.

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Other literature revealed a potential stumbling point in the Chinese music education

system (Han & Leung, 2017). Music graduates with degrees in Chinese folk music were less

likely to be hired for music teaching positions than those with degrees in Western music. This

reality might cultivate a bias among Chinese music educators, causing them to value Western

music in order to find a job.

Finally, Han and Leung described three main constraints that make teaching Chinese

folk music difficult (2017). The unequal division of resources within China has resulted in a

lack of funding in rural areas. Thus, music teachers in rural areas might be unable to access

the resources needed for Chinese folk music education. Because Chinese folk music is not

valued by those who hire music educators, the teachers may lack the necessary knowledge

and skills to teach Chinese folk music. The mandatory music textbook in China offers little

help, as it provides minimal information and resources about Chinese folk music and

instruments.

Method

To answer their questions about teacher attitudes and perceptions on teaching Chinese

folk music within the music classroom, the authors conducted a mixed methods study among

all music teachers in Weifang (Han & Leung, 2017). First, the authors sent out a survey and

received seventy-two responses. The survey asked closed-response questions about

demographic information, arrangement of the teacher’s music classes, the teacher’s attitude

about teaching the music, and how students might receive Chinese folk music instruction.

The authors then used the survey to select six junior secondary music teachers for an

interview (Han & Leung, 2017). They chose teachers from a variety of experience and

teaching situations. In the interviews, the researchers asked similar questions about teacher

attitude and perception of student attitude, but the questions were open-ended.
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Results

The survey response showed a positive attitude towards Chinese folk music among

the music teachers (Han & Leung, 2017). 62.5% of survey respondents reported some

training in Chinese folk music, and most respondents said that Chinese folk music should

occupy between 20-40% of the learning time in the classroom. However, those who had

studied folk music showed no more of a positive attitude than those who did not. Teachers

with six or more years of experience had a more negative perception of the textbook, while

teachers with five or less years of experience had a more positive assessment of their

students’ attitudes.

More details were gained from interviews with six junior secondary teachers (Han &

Leung, 2017). Five key themes were found. First, none of the interviewed teachers mentioned

Chinese folk music among their favorite music styles. Second, teachers noted that in their

textbook Chinese folk music was only allotted to the music appreciation section. Third, the

teachers reported that students only liked pop music. Some teachers mentioned that their

students liked music but disliked music class. The teachers also surmised that when students

did choose to learn a Chinese traditional instrument, they did so because these instruments

are cheaper than western classical instruments. Fourth, some teachers described music class

as a time for the students to relax and a time for emotional enrichment. Finally, the teachers

expressed that a person with a Chinese folk music degree was not qualified to be a music

teacher.

Discussion

The researchers reasoned that the teachers value Chinese folk music as an art form but

not as something they should teach in their classrooms (Han & Leung, 2017). The researchers

pondered the reasons for this attitude, and came to two critical conclusions. First, they

concluded that the teachers have a misunderstanding of the function of music education. The
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interviewed teachers said that their classes were a break for the students and helped develop

emotional intelligence, but they said nothing about cultivating musical identity within the

students. The researchers also concluded that these music teachers feel intimidated, and think

that they do not know how to teach Chinese folk music. Many teachers used the textbook as

an excuse, saying that it did not provide enough materials or resources. However, the teachers

did not understand that they could go beyond the textbook to develop their own resources and

curriculum.

Furthermore, the teachers echoed the same attitude that is present in most education

systems around the world (Han & Leung, 2017). In many countries, a modern music

education equals an education in western classical music. The interviewed teachers expressed

this sentiment by saying that, for music teachers, piano skills were much more important than

skills on a Chinese traditional instrument. This was partly because teachers were evaluated on

the piano every year but were not evaluated on Chinese traditional instruments. The teachers

were also aware that individuals who had degrees in Chinese folk music were less

competitive on the music education job market. Interestingly, the teachers who had studied

Chinese folk music showed no difference in attitude from the ones who had not studied it.

The researchers concluded that music teachers’ attitudes were affected by their professional

training, job market trends, and their own teaching responsibilities.

Conclusion

Although most teachers expressed an initial favorable attitude towards Chinese folk

music, they saw few pathways or reasons for the inclusion of this music in the Chinese music

education classroom (Han & Leung, 2017). Many teachers blame the textbook, but when

questioned further, they also expressed that there is little value in Chinese folk music

education. In part, this was because these music teachers saw music education as a casual
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enrichment experience rather than as an opportunity to cultivate a music identity in their

students.

The results of this study discouraged me and challenged me to teach differently. I

want to find ways to build pride and identity within my students through the study of music

from their own cultures. Chinese folk music study is valuable not only because of the external

benefits that it brings, but also because the music is a part of my students’ heritage and

identity, so they ought to learn about it and experience its value in their lives.
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References

Han, R., & Leung, B. W. (2017). A survey on Weifang teachers’ attitudes toward teaching

Chinese folk music. International Journal of Music Education, 35(2), 202–215.

https://doi.org/10.1177/0255761415620521