This article begins by exploring the concept of diversity in music and arts education. A survey undertaken maps lesser and greater musico-cultural diversity amongst selected tertiary institutions that offer Music as a degree subject in South Africa and in Uganda. The results indicate that the term diversity is perhaps inadequate for Music and Arts education in Africa. An investigation of terminology that educators have used in recent publications presents an alternative category to diversity, namely creolisation. The author’s playing of a selected solo by Justinian Tamusuza, An African Festivity for Flute, engages with creolisation as a heard and experienced phenomenon. Listeners’ responses are documented as experiences of hearing creolisation instead of hearing diversity. From this exercise, some of the conclusions drawn are found to be applicable to Music and Arts education, so that the notion of ‘creol-ing’ as an analytical tool and as experience might well further an education that helps cultivate a ‘shared humanity.’ The article documents an inquiry into knowledge generation through sound, motivated by artistic research through music. Finally, this project indicates that a search for one or the other ‘category’ is perhaps less satisfactory than the quest for an experientially-sensed, embodied knowledge emanating from sound and music performance.

中文翻译：

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非洲长笛节：通过声音感知多样性、克里奥尔化和知识

本文首先探讨音乐和艺术教育中的多样性概念。一项调查显示，在南非和乌干达，选定的将音乐作为学位课程的高等教育机构中，音乐文化的多样性越来越少。结果表明，多样性一词可能不足以用于非洲的音乐和艺术教育。对教育工作者在最近出版物中使用的术语的调查提出了多样性的替代类别，即克里奥尔化。作者演奏了 Justinian Tamusuza 的精选独奏《非洲长笛节》，将克里奥化作为一种​​听到和体验到的现象。听众的反应被记录为听觉克里奥尔化而不是听觉多样性的体验。从这个练习中，得出的一些结论被发现适用于音乐和艺术教育，因此“creol-ing”作为一种分析工具和经验的概念可能会促进有助于培养“共享人性”的教育。这篇文章记录了在音乐艺术研究的推动下，对通过声音产生知识的调查。最后，该项目表明，寻找一种或另一种“类别”可能不如寻求从声音和音乐表演中产生的经验感知、具体化知识更令人满意。通过音乐进行艺术研究。最后，该项目表明，寻找一种或另一种“类别”可能不如寻求从声音和音乐表演中产生的经验感知、具体化知识更令人满意。通过音乐进行艺术研究。最后，该项目表明，寻找一种或另一种“类别”可能不如寻求从声音和音乐表演中产生的经验感知、具体化知识更令人满意。