Open access peer-reviewed chapter
This table provides a comparative overview of the selected studies, highlighting key contributions to understanding Lied pedagogy in Germany and South Africa.
Abstract
This chapter presents a comparative literature review on the pedagogical use of German art song (Lied) in vocal education within Germany and South Africa, examining how the repertoire functions both as a tool for technical development and as a cultural artefact. Situated within the broader field of comparative education, it explores how institutions in two contrasting socio-historical contexts approach teaching the same musical tradition. In Germany, Lied holds a foundational place in curricula, while in South Africa, its inclusion reflects lingering postcolonial tensions within music education. The chapter critically examines how German art song is integrated into vocal pedagogy in both countries, highlighting pedagogical implications, cultural tensions, and curricular strategies adopted to inform more inclusive, globally responsive teaching practices. Using a qualitative and comparative literature review approach, the study synthesises scholarly research, policy documents, curriculum frameworks, and theoretical perspectives from comparative and postcolonial education. It analyses how Lied is taught, contextualised, and assessed in both countries, focusing on pedagogical practices, curriculum orientation, and cultural accessibility in institutional voice training. Findings reveal that while Lied supports vocal technique development in both contexts, its integration in South African institutions often lacks cultural grounding, raising questions about fit, equity, and curricular ownership. The review highlights systemic differences in repertoire availability, teacher expertise, and institutional philosophies, influencing how students engage with European material in non-European settings. The chapter argues for a more inclusive and context-sensitive approach to vocal pedagogy that values both technical excellence and cultural relevance in global music education systems.
Keywords
- German art song
- vocal pedagogy
- comparative education
- curriculum transformation
- postcolonial music education
1. Introduction
German Art Song, or Lied, is a foundational genre within classical vocal training, known for its expressive nuance and pedagogical richness [1, 2]. In Germany, Lied holds a central position in conservatoire curricula, where it is used to cultivate diction, musical interpretation, and poetic sensitivity [3]. However, its integration into vocal pedagogy in South Africa remains relatively underexplored, especially within the broader discourse of post-apartheid curriculum reform and the decolonisation of music education [4, 5]. This chapter evaluates the role of German Art Song in vocal pedagogy through a comparative lens, focusing on its adoption in Germany and South Africa. It investigates how institutional, cultural, and curricular frameworks influence the teaching of Lied and considers how this repertoire might support or hinder inclusive and context-sensitive music education [6].
In today’s globalised higher education environment, Western classical repertoire raises essential questions about cultural relevance, knowledge ownership, and pedagogical equity [7]. German conservatoires immerse students in Lied’s historical and linguistic context, whereas South African institutions tend to emphasise African choral traditions and opera, with limited attention to Lied [8]. Rather than challenging the pedagogical value of Lied, this chapter interrogates its role in different educational environments. Drawing from comparative education theory, postcolonial curriculum studies, and literature on vocal pedagogy, it explores whether the repertoire reinforces colonial hierarchies or could be repositioned as a tool for intercultural dialogue and vocal development [9].
2. Literature review: Vocal pedagogy, German art song, and comparative education
The existing literature on classical vocal pedagogy consistently affirms the value of structured repertoire in shaping vocal technique, musical interpretation, and professional identity [10]. German Art Song, widely considered one of the most expressive and technically demanding repertoires, is prominent in European conservatoire training [11]. However, researchers increasingly call for a critical reassessment of how this repertoire is taught, especially when applied in postcolonial educational systems such as South Africa [12]. In Germany, the teaching of Lied is deeply institutionalised. Pedagogical practice includes vocal coaching and rigorous training in German diction, historical and literary analysis, and stylistic interpretation [13]. These holistic frameworks situate Lied as a technical and cultural artefact, aligning with broader traditions in Western classical training [14]. In South African institutions, by contrast, Lied is often taught with less emphasis on contextual grounding. Students frequently encounter challenges related to pronunciation, textual interpretation, and cultural unfamiliarity [15]. These difficulties reflect a broader disconnect between the repertoire’s European origins and the lived experiences of many South African students, especially those from indigenous language backgrounds or disadvantaged educational contexts [16].
This pedagogical gap aligns with comparative and postcolonial education scholarship critiques, highlighting how curriculum models from the Global North are often transferred without adequate localisation or adaptation [17]. In music education, the dominance of Western classical content can implicitly devalue local traditions and reinforce symbolic hierarchies [18]. Recent contributions in the field advocate for a more inclusive approach. Scholars propose reimagining Lied not as a fixed canon, but as a flexible teaching tool that can be adapted to diverse student contexts. This includes integrating phonetic training, collaborative interpretation, and culturally responsive teaching strategies [19]. These methods echo Freirean critical pedagogy, which prioritises dialogue, student agency, and the co-construction of knowledge [20].
Despite these emerging perspectives, there remains a lack of empirical research on how Lied is experienced by students in non-European settings. Most available literature tends to be theoretical or institutional, leaving a gap in understanding fundamental classroom dynamics, teacher preparedness, and student engagement [21]. Moreover, few comparative studies explicitly examine how the same repertoire is differently implemented across national or cultural contexts. The current study seeks to address this gap by synthesising insights from musicology, education, and postcolonial studies to understand how Lied can be more effectively and equitably integrated into vocal training programmes [22].
3. Methodology
This review employed a structured literature search to identify relevant German Art Song and vocal pedagogy studies. Initial database searches across ERIC, JSTOR, and RILM yielded 120 records. After removing 20 duplicates, 100 titles and abstracts were screened. Sixty full-text articles were assessed for eligibility. Of these, 15 were excluded due to their lack of pedagogical focus or contextual relevance. The final review included 45 studies. The selection process followed a transparent, replicable procedure to check the credibility and relevance of the results (see Table 1 and Figure 1).
| Author(s) | Year | Country | Title/focus | Key contribution |
|---|---|---|---|---|
| Kertz-Welzel A | [23] | Germany | Explores culturally reflective pedagogies in German music education; proposes inclusive Lied instruction. | |
| Buchborn T and Schmauder J | [24] | Germany | Analyses the evolution of Lied training in German conservatoires and proposes pedagogical reforms. | |
| Hahn M | [25] | Germany | Examines education pathways in Germany; highlights institutional continuity from music schools to conservatories. | |
| Lamport M | [26] | Germany | Provides historical-cultural context of Lied during the Goethezeit, informing interpretive performance depth. | |
| Lehmann-Wermser A | [27] | Germany | Addresses national identity and challenges of globalisation in German music education. | |
| Schilling B | [28] | Germany | Examines Germany’s colonial memory and its implications for identity and pedagogy in postcolonial contexts. | |
| Failoni JW | [29] | South Africa | Shows how music enhances cultural understanding and language learning, with implications for Lied instruction. | |
| Shizha E | [30] | South Africa | Critiquing the postcolonial curriculum’s neglect of indigenous epistemologies and musical traditions. | |
| Yende NE | [31] | South Africa | Explores tensions between decolonial reform and global academic standards in South African universities. | |
| Adefila et al. | [32] | South Africa | Examines power dynamics in global decolonisation discourses and representation in academic policy. | |
| Hungwe JP and Ndofirepi A | [33] | South Africa | Evaluates ideological tensions and paradigmatic shifts in curriculum transformation debates. | |
| Heleta S | [34] | South Africa | Advocates for epistemic justice and integrating local knowledge systems in university curricula. |
Table 1.
Figure 1.
The PRISMA flow diagram illustrates the systematic review process, including the identification, screening, eligibility, and inclusion stages of the literature review.
3.1 Identification and data sources
A structured search was conducted across four major academic databases: JSTOR, ERIC, RILM Abstracts of Music Literature, and Google Scholar. The search spanned publications from 2015 to 2025, limited to English-language sources. Search terms included combinations of:
A comprehensive literature search was conducted across ERIC, JSTOR, and RILM databases, using keywords such as German art song, vocal pedagogy, and Lieder performance. After removing duplicates, titles and abstracts were screened, followed by full-text reviews based on defined inclusion and exclusion criteria. Initial database searches identified 120 records. After removing 20 duplicates, 100 titles and abstracts were screened. Sixty full-text articles were retained for eligibility assessment. Of these, 15 were excluded due to a lack of pedagogical focus or contextual relevance. The final sample included 45 studies (see Figure 1 and Table 1).
3.2 Screening and eligibility criteria
A three-stage screening process was employed:
Stage 1 : Title and abstract review to remove irrelevant studies.Stage 2 : Full-text review to assess relevance to pedagogy, Lied, and national context.Stage 3 : Final inclusion based on specific criteria.
Focus on
vocal pedagogy and/orLied in music education .Located in
Germany and/orSouth Africa .Engagement with
curriculum, language, postcolonial critique , orteaching practices Peer-reviewed articles, theses, institutional reports, or curriculum policy documents
Non-academic texts or opinion pieces
Mentions of Lied without pedagogical engagement
Irrelevant geographical or genre focus
A
3.3 Data extraction and summary
Each selected study was analysed for:
Author(s), year, and location
Institutional or curricular context
Role and positioning of German Art Song
Pedagogical approaches and student responses
Cultural and linguistic adaptation efforts
A summary of selected studies is presented in Table 1, providing a comparative overview of themes, methodologies, and regional insights.
3.4 Analytical framework and thematic synthesis
The analysis followed a thematic coding approach, grouping literature into five conceptual domains:
Curriculum design and ideology
Linguistic and interpretive challenges
Cultural contextualisation of Lied
Pedagogical practices and strategies
Institutional and policy frameworks
Interpretation was guided by comparative education theory [35], postcolonial curriculum critique [36], and critical vocal pedagogy [37]. Rather than a descriptive overview, the review aimed to expose pedagogical contradictions, surface cultural tensions, and identify transformative possibilities in teaching Lied.
3.5 Limitations
This review relied exclusively on secondary sources, excluding empirical classroom data. While this limits observational insights, the method’s strength lies in its structured comparative scope, cross-disciplinary integration, and alignment with curriculum transformation goals in music education.
4. Findings
The comparative literature review revealed distinct patterns in how German Art Song (Lied) is implemented in vocal pedagogy in Germany and South Africa. In Germany, Lied is embedded within a well-established pedagogical framework supporting technical vocal development and cultural immersion. The repertoire is systematically integrated into curricula, reinforced by diction training, historical interpretation, and performance practice modules [31]. These conditions enable students to engage with Lied in a contextually informed and artistically authentic manner, fostering linguistic precision and expressive depth [32]. By contrast, incorporating Lied into South African vocal curricula often lacks comparable pedagogical infrastructure. Although the repertoire is present in music programmes across several universities, it is frequently taught without sufficient support in German diction, cultural context, or poetic analysis [33]. This results in significant challenges for students, particularly those from non-Western linguistic backgrounds, who may struggle to interpret the repertoire technically and expressively [34].
A key finding across the literature is the persistent disconnect between South African students’ repertoire and socio-cultural realities. Lied is often considered a prestigious but culturally distant component of vocal training, with minimal adaptation to local educational needs. This reflects broader concerns in postcolonial curriculum studies about the uncritical transmission of Eurocentric content into formerly colonised education systems [38]. While African musical traditions have been incorporated into some university curricula, they are generally treated as supplementary rather than central to vocal instruction, reinforcing a pedagogical hierarchy that privileges Western art music [39].
Nonetheless, the review identified a growing body of scholarship advocating for more inclusive and responsive teaching practices. Innovative approaches include phonetic scaffolding, multilingual interpretation exercises, and student-led discussions on cultural translation and musical meaning-making [40]. These methods align with inclusive and critical pedagogies that seek to reframe Lied as a flexible, dialogic resource rather than a fixed cultural standard [24]. Overall, the findings suggest that the effectiveness of Lied as a pedagogical tool is contingent on the broader institutional and cultural frameworks in which it is taught. In Germany, the alignment between repertoire and context enhances pedagogical outcomes. In South Africa, however, successful integration depends on how educators adapt the repertoire to meet students’ linguistic, cultural, and educational needs; without such adaptation, Lied risks functioning as a barrier rather than a bridge to vocal and artistic growth.
To illustrate these contrasts more clearly, Table 2 summarises the core pedagogical and institutional differences in implementing Lied between Germany and South Africa.
| Category | Germany | South Africa |
|---|---|---|
| Curriculum integration | Core, embedded in national training | Peripheral, often part of the broader Western canon |
| Diction and language training | Systematic German diction classes | Often lacking or inconsistent |
| Cultural contextualisation | Strong connection to heritage and language | Limited, sometimes disconnected |
| Instructor expertise | Trained in Lied interpretation and history | Varies; fewer Lied specialists |
| Student engagement | High familiarity and contextual understanding | Mixed; sometimes alienating |
| Institutional philosophy | Preserves cultural and national identity | Undergoing decolonisation and transformation |
| Access to resources | Abundant (scores, recordings, coaching) | Limited |
Table 2.
Comparative pedagogical characteristics of Lied in Germany and South Africa.
5. Discussion
This review examined how German Art Song (Lied) is incorporated into vocal pedagogy in Germany and South Africa, exploring the pedagogical, cultural, and institutional implications of using Western classical repertoire across divergent educational contexts. The discussion situates these findings within broader debates on curriculum transformation, music education equity, and repertoire-based instruction responsibilities in postcolonial settings. In Germany, the integration of Lied is supported by a robust pedagogical ecosystem. Students are immersed in language training, literary analysis, historical context, and stylistic performance practices from the outset of their studies [41]. The repertoire is therefore not experienced in isolation but as part of a holistic framework that reinforces national musical identity, artistic continuity, and expressive authenticity [42]. This context-rich approach facilitates deep learning and reinforces students’ technical and interpretive skills within a culturally coherent model.
In contrast, adopting Lied in South African institutions reveals substantial pedagogical and structural gaps. While the repertoire is valued for its technical complexity and international prestige, its implementation frequently lacks the linguistic and cultural support necessary for meaningful interpretation [43]. This disconnect underscores the ongoing tension between borrowing curriculum from Western models and the imperative to create locally relevant, inclusive, and socially just educational frameworks in postcolonial contexts [44]. Despite these challenges, the literature identifies promising opportunities for pedagogical transformation. Scholars advocate for culturally responsive strategies that retain the technical rigour of Lied while adapting instruction to the lived experiences and backgrounds of South African students. These include contextualised language coaching, student-centred interpretation exercises, and interdisciplinary approaches integrating local cultural references into teaching foreign repertoire [45]. Such methods resonate with Freirean critical pedagogy, emphasising dialogue, co-construction of knowledge, and validating diverse identities in the learning process [20]. Significantly, this study contributes to the discourse by highlighting that Lied can be both a source of artistic excellence and a site of cultural tension. The comparative framework reveals that effective vocal pedagogy concerns the repertoire selected and the pedagogical conditions under which that repertoire is delivered [46]. In Germany, Lied thrives because it aligns with institutional priorities and cultural familiarity. In South Africa, its success depends on the willingness of educators to reframe and adapt the material to students’ contexts, needs, and identities [47].
The broader implication is that Western classical music traditions, while technically rich, must not be treated as culturally neutral. Instead, their use in non-Western settings requires intentional pedagogical reflection. Repertoire should be approached not as immutable artefacts but as dynamic teaching tools whose meanings and value are shaped by how they are taught, to whom, and in what context [48]. A key limitation of this review lies in its reliance on secondary literature. While it synthesises theoretical and institutional perspectives across both countries, the absence of empirical data from students or educators limits insight into classroom dynamics and learner experiences. Future studies should include qualitative interviews, classroom observations, and performance analyses to better understand how Lied is experienced and interpreted in diverse learning environments [49]. Interdisciplinary collaborations with linguists, ethnomusicologists, and curriculum specialists would further enrich this field of inquiry. Ultimately, this discussion affirms Lied’s pedagogical potential but insists on the importance of context. It calls for music educators to critically evaluate inherited curriculum structures and construct frameworks honouring technical artistry and cultural inclusivity. This pedagogically sound approach is essential for building equitable, responsive, transformative music education systems.
6. Conclusions
This comparative literature review explored the pedagogical role and contextual integration of German Art Song (Lied) within vocal training programmes in Germany and South Africa. By synthesising perspectives from music education, curriculum studies, and postcolonial theory, the study examined how cultural context, institutional frameworks, and pedagogical practices influence the teaching and reception of Lied across different educational systems. The findings reveal a distinct divergence between the two national contexts. In Germany, Lied is taught within a culturally coherent and institutionally supported environment, allowing students to access the repertoire’s full artistic and linguistic depth. The pedagogical model in this setting is comprehensive, combining diction coaching, poetic analysis, and interpretive instruction rooted in the repertoire’s socio-cultural origins [50].
Conversely, Lied is often introduced in South Africa without sufficient linguistic scaffolding or cultural contextualisation. Although the repertoire holds technical and artistic value, its pedagogical application frequently lacks alignment with student realities. This disconnect underscores broader tensions within postcolonial music education systems, where Western classical traditions may unintentionally marginalise local knowledge systems if not thoughtfully adapted [51]. The review also identified emerging pedagogical strategies that offer promising pathways toward transformation. Context-sensitive teaching approaches such as incorporating local perspectives, offering language support, and encouraging student-led interpretation can help reframe Lied as an inclusive and empowering component of vocal training rather than a culturally alienating artefact [52]. This study contributes to the growing body of scholarship that critiques the uncritical adoption of Eurocentric curricula in postcolonial contexts by presenting a comparative analysis. It advocates for a reimagined vocal pedagogy model that retains the artistic rigour of Western repertoire while embedding it within inclusive, dialogic, and culturally responsive educational frameworks [53].
Future research should incorporate empirical methodologies to document how students and educators engage with Lied in practice. Classroom-based studies, interviews, and performance analyses would deepen our understanding of how repertoire, pedagogy, and identity intersect in music education. Additionally, interdisciplinary collaborations could help develop robust training models that accommodate linguistic diversity and cultural pluralism. Ultimately, this study affirms that German Art Song can remain a powerful pedagogical tool but only when its teaching is critically interrogated and responsively tailored. A truly transformative curriculum does not reject a historically significant repertoire but repositions it in ways that empower students, honour their identities, and promote equitable access to artistic excellence.
7. Recommendations
Considering the findings and the comparative analysis presented, it is recommended that South African music institutions adopt a more culturally responsive approach to integrating German Art Song within vocal pedagogy. To address this study’s linguistic and contextual gaps, curriculum designers should embed structured language instruction modules into vocal training programmes, particularly German phonetics, diction, and poetic meaning. These modules would improve technical precision and enhance the interpretive depth of student performances. In addition, universities should develop interdisciplinary courses that connect music with history, literature, and cultural studies, allowing students to explore the socio-political contexts in which German Lieder were composed. This would foster a deeper understanding of the repertoire’s origins and enable meaningful engagement with the material. Workshops that bring together voice teachers, language coaches, and musicologists can facilitate this interdisciplinary dialogue and strengthen pedagogical practice.
Creating a dialogic curriculum model rather than a hierarchical one is crucial to bridge the divide between the Eurocentric repertoire and African musical traditions. This involves integrating Lieder with indigenous vocal traditions in performance-based modules, where students can critically explore similarities and contrasts in vocal technique, storytelling, and cultural function. Such integration can reposition Lied not as an imposed tradition, but as one of many musical languages that students can master and interpret on their terms.
Furthermore, partnerships between South African universities and German conservatories should be established or expanded to support staff development, student exchanges, and joint recitals. These collaborations would allow South African educators to engage directly with the pedagogical traditions of Lied and adapt best practices to their local contexts. For students, exposure to authentic performance environments and native language use could demystify the repertoire and build confidence in international audition and competition settings. Finally, it is recommended that future research include empirical studies involving voice students, vocal coaches, and curriculum designers to evaluate how Lied is experienced in the classroom and performance settings. Such research should investigate how pedagogical adaptations affect student learning, vocal growth, and artistic identity formation. These findings would be valuable in informing a more inclusive and effective model of vocal education that balances artistic excellence with cultural responsiveness.
Acknowledgments
The author gratefully acknowledges IntechOpen for the invitation to contribute to the book Comparative Education: A Global Perspective, based on prior research in vocal pedagogy. The chapter “Integrating German Art Song into Vocal Pedagogy: A Comparative Review of Curriculum and Cultural Contexts in Germany and South Africa” was developed to continue that work. Appreciation is also extended to the peer reviewers and editorial team for their insightful feedback and guidance. No external funding was received to prepare this chapter.
Conflict of interest
The authors declare no conflict of interest.
Notes/thanks/other declarations
The author acknowledges IntechOpen for the opportunity to contribute to the volume Comparative Education: A Global Perspective. This chapter builds on earlier investigations into the pedagogical dimensions of vocal training in higher education. Gratitude is extended to the editorial team for their professional support throughout publication.
References
- 1.
Painter K. Symphonic Aspirations. 2008. DOI: 10.4159/9780674033597 - 2.
Yang Y, Carter-Enyi A, Radhakrishnan N, Grimmer S, Nix J. Vocal music and pedagogy of Chinese, African, and Indian genres. In: The Oxford Handbook of Singing, Oxford Library of Psychology. Oxford, UK: Oxford University Press; 2019. DOI: 10.1093/oxfordhb/9780199660773.013.26 - 3.
Schippers H. Global perspectives on learning and teaching music. In: Facing the Music. Oxford University Press; 2009. pp. 61-88. DOI: 10.1093/acprof:oso/9780195379754.003.000 - 4.
Carver A. African music, knowledge, and curriculum: Applying bernsteinian and legitimation code theory to South African music curricula (Doctoral dissertation). Johannesburg: University of the Witwatersrand; 2020 - 5.
Struwig M. Surveying post-apartheid decolonisation of the BMus curriculum at four South African tertiary music departments (Doctoral dissertation). Stellenbosch: Stellenbosch University; 2021 - 6.
Kivijärvi S. Towards Equity in Music Education through Reviewing Policy and Teacher Autonomy. Sibelius Academy: University of the Arts Helsinki; 2021 - 7.
McArthur J. Rethinking Knowledge within Higher Education. London: Bloomsbury Publishing; 2013. 208 p. ISBN: 9781441196330. Permalink: http://digital.casalini.it/9781441196330 - 8.
Horner LK. Co-Constructing Research: A Critical Literature Review. London, UK: Arts and Humanities Research Council (AHRC); 2016. Available from: https://connected-communities.org/wp-content/uploads/2016/04/16019-Co-constructing-Research-Lit-Review-dev-06.pdf - 9.
Holmes B. Comparative Education: Some Considerations of Method. Abingdon, UK: Routledge; 2018. DOI: 10.4324/9781351005067 - 10.
Hughes D. ‘Art’ to artistry: A contemporary approach to vocal pedagogy. In: The Routledge Research Companion to Popular Music Education. Abingdon, UK: Routledge; 2017. pp. 177-189. DOI: 10.4324/9781315613444-15 - 11.
Gramit D. Cultivating Music: The Aspirations, Interests, and Limits of German Musical Culture, 1770-1848. Berkeley, CA, USA: University of California Press; 2002. DOI: 10.1525/9780520927360 - 12.
Nyamnjoh FB. ‘Potted plants in greenhouses’: A critical reflection on the resilience of African colonial education. Journal of Asian and African Studies. 2012; 47 (2):129-154. DOI: 10.1177/0021909611417240 - 13.
Miller R. Historical overview of voice pedagogy. In: McCoy ST, editor. Vocal Health and Pedagogy: Science, Assessment, and Treatment. San Diego, CA: Plural Publishing; 2017. pp. 11-35 - 14.
Silk M, Gildenhard I, Barrow R. The Classical Tradition: Art, Literature, Thought. 2017. DOI: 10.1002/9781118610459 - 15.
AbdAlgane M, Idris SAM. Challenges of pronunciation to EFL learners in spoken English. Multicultural Education. 2020; 6 (5):192-203. Available from:https://ssrn.com/abstract=4563772 - 16.
Barrett M, Vermeulen D. Drop everything and sing the music: Choristers’ perceptions of the value of participating in a multicultural south African university choir. Muziki. 2019; 16 (1):31-60. DOI: 10.1080/18125980.2019.1611384 - 17.
Shahjahan RA, Estera AL, Surla KL, Edwards KT. “Decolonising” curriculum and pedagogy: A comparative review across disciplines and global higher education contexts. Review of Educational Research. 2021; 92 (1):73-113. DOI: 10.3102/00346543211042423 - 18.
Bithell C. A Different Voice, a Different Song: Reclaiming Community through the Natural Voice and World Song. Oxford, UK: Oxford University Press; 2014 - 19.
Erlmann V. Music, Modernity, and the Global Imagination: South Africa and the West. Oxford, UK: Oxford University Press; 1999. DOI: 10.1093/acprof:oso/9780195123678.001.0001 - 20.
Callaghan J, Emmons S, Popeil L, McPherson GE, Welch GF. Solo voice pedagogy. In: McPherson G, Welch GF, editors. An Oxford Handbook of Music Education. Oxford, UK: Oxford University Press; 2018. p. 10 - 21.
Bremmer M, Nijs L. The role of the body in instrumental and vocal music pedagogy: A dynamical systems theory perspective on the music teacher’s bodily engagement in teaching and learning. Frontiers in Education. 2020; 5 :1-9. DOI: 10.3389/feduc.2020.00079 - 22.
Gould E, Countryman J, Morton C, Rose LS, editors. Exploring Social Justice: How Music Education Might Matter. Vol. 4. Toronto, ON, Canada: Canadian Music Educators’ Association; 2009 - 23.
Kertz-Welzel A. The singing muse? Three centuries of music education in Germany. Journal of Historical Research in Music Education. 2004; 26 (1):8-27. DOI: 10.1177/153660060402600104 - 24.
Buchborn T, Schmauder H, Tralle EM, Völker J. Hegemony in German school music education and music teacher training? An analysis of current curricula. Zeitschrift für kritische Musikpädagogik. 2021 - 25.
Hahn M. Pushing institutional boundaries: An educational governance perspective on music education pathways through music school, Musikgymnasium, and conservatory. In: Music Schools in Changing Societies. Routledge; 2024. pp. 75-91. DOI: 10.4324/9781003365808-8 - 26.
Lamport FJ. ‘Eine Wahrhaft Ossianische Oder Kosegartensche Wirkung…’: Patriotic landscapes of the Goethezeit. Publications of the English Goethe Society. 2000; 70 (1):56-73. DOI: 10.1080/09593683.2000.11716318 - 27.
Lehmann-Wermser A. Music education in Germany: On policies and rhetoric. Arts Education Policy Review. 2013; 114 (3):126-134. DOI: 10.1080/10632913.2013.803420 - 28.
Schilling B. Postcolonial Germany2014. DOI: 10.1093/acprof:oso/9780198703464.001.0001 - 29.
Failoni JW. Music as a means to enhance cultural awareness and literacy in the foreign language classroom. Mid-Atlantic Journal of Foreign Language Pedagogy. 1993; 1 :97-108. Available from:https://eric.ed.gov/?id=ED355796 - 30.
Shizha E. Rethinking contemporary sub-Saharan African school knowledge: Restoring the indigenous African cultures. International Journal for Cross-Disciplinary Subjects in Education. 2014; 4 (Special 1):1870-1878. DOI: 10.20533/ijcdse.2042.6364.2014.0260 - 31.
Yende NE. The quest for decolonisation in higher education in the context of globalisation and internationalisation. African Journal of Development Studies (Formerly AFFRIKA Journal of Politics, Economics and Society). 2020; 10 (3):277-301. DOI: 10.31920/2634-3649/2020/10n3a14 - 32.
Adefila A, Teixeira RV, Morini L, Garcia MLT, Delboni TMZGF, Spolander G, et al. Higher education decolonisation: Whose voices and their geographical locations? Globalisation, Societies and Education. 2022; 20 (3):262-276 - 33.
Hungwe JP, Ndofirepi AP. A critical interrogation of paradigms in discourse on the decolonisation of higher education in Africa. South African Journal of Higher Education. 2022; 36 (3):54-71. DOI: 10.20853/36-3-4587 - 34.
Heleta S. Decolonisation of higher education: Dismantling epistemic violence and eurocentrism in South Africa. Transformation in higher education. 2016; 1 (1):1-8. DOI: 10.4102/the.v1i1.9 - 35.
Green L. Music education, cultural capital, and social group identity. In: The Cultural Study of Music. Abingdon, UK: Routledge; 2012. pp. 206-216 - 36.
Gyamera GO, Burke PJ. Neoliberalism and curriculum in higher education: A post-colonial analysis. Teaching in Higher Education. 2017; 23 (4):450-467. DOI: 10.1080/13562517.2017.1414782 - 37.
Hyter YD, Salas-Provance MB. Culturally Responsive Practices in Speech, Language, and Hearing Sciences. San Diego, CA, USA: Plural Publishing; 2021 - 38.
Carroll C. Illiterate ‘musicians: A historic review of curriculum and practice for student popular musicians in Australian senior secondary classrooms. British Journal of Music Education. 2019; 36 (2):155-171. DOI: 10.1017/s0265051719000196 - 39.
Huang LS. Improving Learner Reflection for TESOL: Pedagogical Strategies to Support Reflective Learning. Abingdon, UK: Routledge; 2021. DOI: 10.4324/9780429352836 - 40.
Holliday A. The Struggle to Teach English as an International Language. Oxford, UK: Oxford University Press; 2013 - 41.
Mycock A. After empire: The politics of history education in a post-colonial world. In: Palgrave Handbook of Research in Historical Culture and Education. 2017. pp. 391-410. DOI: 10.1057/978-1-137-52908-4_21 - 42.
Adeogun AO. Reconceptualising the music teacher education curriculum for the colleges of education in Nigeria. SAGE Open. 2015; 5 (2):1-12. DOI: 10.1177/2158244015585608 - 43.
Minor C. Best Practices in Literacy Instruction. New York, NY, USA: Guilford Publications; 2023 - 44.
Tarlau R. From a language to a theory of resistance: Critical pedagogy, the limits of “framing,” and social change. Educational Theory. 2014; 64 (4):369-392. DOI: 10.1111/edth.12067 - 45.
Machon J, editor. Immersive Theatres: Intimacy and Immediacy in Contemporary Performance. London, UK: Bloomsbury Publishing; 2017. pp. 1-315 - 46.
O’Flynn J. National identity and music in transition. In: Music, national identity and the politics of Location. 2016. pp. 19-38. DOI: 10.4324/9781315596914-2 - 47.
Wei L. Dimensions of bilingualism. In: The Bilingualism Reader. Abingdon, UK: Routledge; 2020. pp. 3-22. DOI: 10.4324/9781003060406-2 - 48.
Samier EA. Critical and postcolonial approaches to educational administration, curriculum, and pedagogy. In: Internationalisation of Educational Administration and Leadership Curriculum. 2021. pp. 47-68. DOI: 10.1108/978-1-83909-864-220211004 - 49.
Dimitrov N, Haque A. Intercultural teaching competence: A multi-disciplinary model for instructor reflection. Intercultural Education. 2016; 27 (5):437-456. DOI: 10.1080/14675986.2016.1240502 - 50.
Luckett K, Shay S. Reframing the curriculum: A transformative approach. Critical Studies in Education. 2017; 61 (1):50-65. DOI: 10.1080/17508487.2017.1356341 - 51.
Freathy R, Doney J, Freathy G, Walshe K, Teece G. Pedagogical bricoleurs and bricolage researchers: The case of religious education. British Journal of Educational Studies. 2017; 65 (4):425-443. DOI: 10.1080/00071005.2017.1343454 - 52.
Hatch JA. Doing Qualitative Research in Education Settings. 2nd ed. 2023. DOI: 10.1515/9781438494623 - 53.
Jaxa NP. Pedagogical stylistics: Teaching isiXhosa poetry at further education training phase using text world theory approach. Journal of Culture and Values in Education. 2024; 7 (1):118-133. DOI: 10.46303/jcve.2024.8