Die Praxis der interkulturellen Musikpädagogik verfolgt Ziele und Absichten auf einer sachbezogenen, einer musikpraktischen., einer reflektierenden und einer kompetenzorientierten Ebene. Die Theorie der interkulturellen Musikpädagogik hinterfragt dazu die relevanten Begriffe und Bedeutungszuweisungen, die mit diesen Zielen verbunden sind und versucht ihre Verwendungsweisen zu klären. Vor allem in der Auseinandersetzung mit einem bedeutungsorientierten Kulturbegriff, den die Autorin bereits in früheren Publikationen als Grundlage für die Inszenierung interkultureller Bildungsprozesse vorgeschlagen hat, wird deutlich, dass kulturelle Zugehörigkeitsgefühle konstruiert sind, dass vor allem in multikulturellen Gesellschaften kulturelle Zuordnungen sowie Abgrenzungen nicht als Folge von Enkulturationsprozessen (also dem Hineinwachsen in eine bestimmte Kultur), sondern im Kontext flexibler Identitätsbildungen zu erklären sind. Auch in den drei auf der Tagung besprochenen Schulstunden finden kulturelle Konstruktionsprozesse und interkulturelle Begegnungen statt, ohne dass sie expliziter Unterrichtsinhalt wären. Die Analyse ausgewählter Unterrichtssequenzen zeigt, wie in diesen didaktisch nicht gestalteten interkulturellen Situationen ungelöste Fragen und Probleme auftreten. Um dies zu vermeiden werden Handlungsalternativen vorgeschlagen, wie durch mehr Aufmerksamkeit und geringfügig veränderten unterrichtlichen Inszenierungen kulturelle Fremdzuschreibungen im Sinne von Ethnisierungen und Stigmatisierungen verhindert und ein differenzierterer Blick auf Inhalte erreicht werden kann. / The praxis of intercultural music education/pedagogy has an agenda and objectives on an issue-related, a reflective and a competence-oriented level as well as on the level of music practice. The theory of intercultural music education/pedagogy questions the relevant terms and allocation of meaning which are associated with these objectives and tries to clarify the manner of applying them. Especially in the examination of a meaning-oriented culture concept, which has already been proposed by the author in previous publications as the basis of an orchestration/organization of intercultural educational processes, it becomes clear that cultural sense of membership is constructed. Cultural attribution as well as demarcation in multicultural societies are to be explained not as a result of enculturation processes (that is the growing into a particular culture), but rather in the context of flexible identity formation. Also in the three lessons discussed at the symposium, cultural construction processes and intercultural encounters take place without being explicitly part of tuition. The analysis of selected class sequences shows how unsolved questions and problems arise in these didactically non-arranged situations. In order to avoid this, action alternatives are suggested; it is proposed how cultural ascription in the sense of ethnicization and stigmatization can be avoided and how a more differentiated view on contents can be achieved by the means of more attention and marginally modified tuition organization.

British Columbia (BC) is becoming increasingly diverse, so I began this research in an effort to understand the practices of other teachers across BC regarding the inclusion of musics that reflect the cultural diversity of their students. With the introduction of a new curriculum in BC beginning in 2015, music educators across the province can now meaningfully include musics that embrace the cultural diversity of their students. Additionally, Indigenous musics, worldviews, and teachings have their own elevated position as part of the new curriculum and are no longer grouped together with other musics as part of musics from a variety of cultural and social contexts. Thus, I surveyed BC music teachers to understand their current practices, experiences, and attitudes using a mixed-methods questionnaire using both open- and closed-ended questions. Decolonization and historical, philosophical, and theoretical supports for non-Western music education are the frameworks for this research. I distributed my questionnaire via the BC Music Educators’ Association listserve and conference, and I received eighty valid responses (N = 80). I discovered that 68% of participants currently utilize non-Western musics (nWM) in their own practices and of the 32% of participants who do not include nWM, 42% have used nWM in the past. Educators reported many benefits that they experienced through the inclusion of nWM, but they also reported some difficulties or barriers. Therefore, I will share the results of this exploration of the current practices, experiences, and attitudes of music educators in BC. / Graduate