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how does each author use authenticity as a strategy for making or justifying decisions in music education?

authenticity enhances an aesthetic experience; for others, authentic musical encounters enhance student motivation

since the original loses some of its essential qualities in a simplification.5

His view of historical authenticity calls for knowing the intentions of the composer, the performance practice of the time, using period instruments, and being musically creative within the boundaries of the composer's intentions

Peter Kivy's twofold model of authenticity. Focusing on historical authenticity in performance, Kivy explores two main aspects of authenticity: historical (attention to the intent, sound, and practice of the original) and personal (interpretation and expression of the performer).

Swanwick writes: "'Authentic' musical experience occurs when individuals make and take music as meaningful or relevant for them"

Swanwick's emphasis on the importance of personal relevance yields different choices for a music teacher than Palmer's position does.

Another example is found in the work of music educator and researcher Kay Edwards, who also reached the conclusion that attention to authenticity increases student response to learning. In her qualitative study of the response of children to a unit on Native American music, she found that the group using instruments of the Navajo, Hopi, Apache, and Yaqui peoples generated more journal responses overall (her criterion measure) and more responses about instrument playing than the groups with the inauthentic (traditional music room) instruments.

Using indigenous instruments, original languages, and involving culture bearers in instruction benefits student involvement and interest as well as helps them develop musical skills. Connecting the story of a piece of music to students' own experiences and encouraging students to create new music in the style of music being studied help facilitate meaningful experiences for students.

"World music pedagogy concerns itself with how music is taught/transmitted and received/learned within cultures, and how best the processes that are included in significant ways within these cultures can be preserved or at least partially retained in classrooms and rehearsal halls.

Represent similarities and differences in graphic or symbolic form

Sorting, classifying, using metaphors and analogies

Word processing tables (Word software)

Web-based/downloadable graphic organizers

Inspiration and Kidspiration software

Beginning, middle, end

Clarifying information

Teacher-prepared and student-prepared comments

Webbing

Cornell Note-taking Forms

Inspiration and Kidspiration software

NoteStar

Read•Write•Think Notetaker

Word processing notes (Word software

5.Nonlinguistic representations:

Creating graphic representations

Drawing pictures and pictographsEngaging in kinesthetic activityGenerating mental picturesMaking physical models

Digital camerasGraph Club softwareInspiration and Kidspiration softwareKid Pix software

there is an intrinsic trade-off between that kind of learning and the more wide-ranging learning that is so natural for young children. Knowing this, it's more important than ever to give children's remarkable, spontaneous learning abilities free rein. That means a rich, stable, and safe world, with affectionate and supportive grown-ups, and lots of opportunities for exploration and play. Not school for babies.