Pub Date : 2021-09-17DOI: 10.1177/1321103X211033473
Yuan Zheng, B. Leung
Although creativity in music is a topic widely considered and studied among global music educators, it has received limited attention in China while quite a number of Chinese pianists have been recognized on the international stage. How do Chinese pianists and professors perceive creativity in piano performance? How would they nurture creativity in the performances of their own and/or their students? Employing the Grounded Theory approach, this study investigated the perceptions of creativity in piano performance of 13 eminent pianists and professors from Beijing, Shanghai and Guangzhou through a series of semi-structured interviews. The interviewees identified several factors related to the development of musical creativity in piano performance, including pianists’ relevant knowledge, their musical and life experiences, imagination and association, reflection and musical judgment, performing environments, and the Chinese cultural elements of holism and dynamism. Implications for teaching include the encouragement of a balance between Western and Chinese epistemologies in both analytical and abstract thinking. In nurturing students’ creativity in piano performances, students should live in culture-related contexts, and understand the world in a holistic epistemology with an abstract imagination. This study has further provided a more holistic understanding of how to nurture musical creativity with an alternative perspective.
{"title":"Perceptions of developing creativity in piano performance and pedagogy: An interview study from the Chinese perspective","authors":"Yuan Zheng, B. Leung","doi":"10.1177/1321103X211033473","DOIUrl":"https://doi.org/10.1177/1321103X211033473","url":null,"abstract":"Although creativity in music is a topic widely considered and studied among global music educators, it has received limited attention in China while quite a number of Chinese pianists have been recognized on the international stage. How do Chinese pianists and professors perceive creativity in piano performance? How would they nurture creativity in the performances of their own and/or their students? Employing the Grounded Theory approach, this study investigated the perceptions of creativity in piano performance of 13 eminent pianists and professors from Beijing, Shanghai and Guangzhou through a series of semi-structured interviews. The interviewees identified several factors related to the development of musical creativity in piano performance, including pianists’ relevant knowledge, their musical and life experiences, imagination and association, reflection and musical judgment, performing environments, and the Chinese cultural elements of holism and dynamism. Implications for teaching include the encouragement of a balance between Western and Chinese epistemologies in both analytical and abstract thinking. In nurturing students’ creativity in piano performances, students should live in culture-related contexts, and understand the world in a holistic epistemology with an abstract imagination. This study has further provided a more holistic understanding of how to nurture musical creativity with an alternative perspective.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"45 1","pages":"141 - 156"},"PeriodicalIF":1.6,"publicationDate":"2021-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48404112","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-17DOI: 10.1177/1321103X211032490
Heidi Westerlund, S. Karlsen, A. Kallio, D. Treacy, Laura Miettinen, Vilma Timonen, Claudia Gluschankof, A. Ehrlich, I. Shah
This article presents a synthesis of findings from a large-scale research project, the Global Visions Through Mobilizing Networks—Co-developing Intercultural Music Teacher Education in Finland, Israel and Nepal (https://sites.uniarts.fi/web/globalvisions/home), and conveys its theoretical and practical explorations and insights. By envisioning 21st-century music teacher education from the perspective of interculturality and through transnational collaboration, Global Visions has engaged with international societal changes and struggles related to the rising tides of xenophobia, populism, and social disharmony, by focusing on what happens at the boundaries, in dialogue, and in conflict when difference is encountered, experienced, and reflected upon. While the dominant culturalist view presents music as neutral and diversity as tied mainly to ethnicity, Global Visions has recognized, analyzed, exemplified, and increased understanding of the complex politics of diversity. Resulting in envisioned music teacher education programs as innovative game changers, the project has enhanced professional reflexivity through considering the responsibility and moral aspects of music teacher education. Six main focus areas of the project are presented with recommendations for future research and practice in music teacher education: (a) research education and research as intervention; (b) reflexivity and professional learning in intercultural encounters; (c) the capacity to aspire in music teacher education; (d) the development of intersectional praxis; (e) intercultural music education as a political engagement; and (f) transcultural professional development and international professionalization.
{"title":"Visions for intercultural music teacher education in complex societies","authors":"Heidi Westerlund, S. Karlsen, A. Kallio, D. Treacy, Laura Miettinen, Vilma Timonen, Claudia Gluschankof, A. Ehrlich, I. Shah","doi":"10.1177/1321103X211032490","DOIUrl":"https://doi.org/10.1177/1321103X211032490","url":null,"abstract":"This article presents a synthesis of findings from a large-scale research project, the Global Visions Through Mobilizing Networks—Co-developing Intercultural Music Teacher Education in Finland, Israel and Nepal (https://sites.uniarts.fi/web/globalvisions/home), and conveys its theoretical and practical explorations and insights. By envisioning 21st-century music teacher education from the perspective of interculturality and through transnational collaboration, Global Visions has engaged with international societal changes and struggles related to the rising tides of xenophobia, populism, and social disharmony, by focusing on what happens at the boundaries, in dialogue, and in conflict when difference is encountered, experienced, and reflected upon. While the dominant culturalist view presents music as neutral and diversity as tied mainly to ethnicity, Global Visions has recognized, analyzed, exemplified, and increased understanding of the complex politics of diversity. Resulting in envisioned music teacher education programs as innovative game changers, the project has enhanced professional reflexivity through considering the responsibility and moral aspects of music teacher education. Six main focus areas of the project are presented with recommendations for future research and practice in music teacher education: (a) research education and research as intervention; (b) reflexivity and professional learning in intercultural encounters; (c) the capacity to aspire in music teacher education; (d) the development of intersectional praxis; (e) intercultural music education as a political engagement; and (f) transcultural professional development and international professionalization.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"44 1","pages":"293 - 312"},"PeriodicalIF":1.6,"publicationDate":"2021-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47927067","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-26DOI: 10.1177/1321103X211036327
L. Bresler
The evolution of research careers is inherent to academic lives but rarely enters the research literature. In this autoethnographic paper, I reflect on composing, orchestrating, and performing my research journey. Shaped by intellectual and aesthetic pursuits, this journey is both experiential and conceptual, responsive to encounters with people and ideas that shaped my thinking and being. At the intersection of micro, macro, and meso contexts, the journey has been guided by inner compasses. While grounded within my own circumstances, the issues addressed in this article underlie academic trajectories. The article is written as an invitation to reflect on your own journeys and compasses; identify crossroads, blockages, and openings; and note evolving forms, changing rhythms, and nuanced orchestrations in the contrapuntal composition of life.
{"title":"The form, rhythm, and orchestration of an academic career: Cultivating and navigating inner compasses within institutional terrains","authors":"L. Bresler","doi":"10.1177/1321103X211036327","DOIUrl":"https://doi.org/10.1177/1321103X211036327","url":null,"abstract":"The evolution of research careers is inherent to academic lives but rarely enters the research literature. In this autoethnographic paper, I reflect on composing, orchestrating, and performing my research journey. Shaped by intellectual and aesthetic pursuits, this journey is both experiential and conceptual, responsive to encounters with people and ideas that shaped my thinking and being. At the intersection of micro, macro, and meso contexts, the journey has been guided by inner compasses. While grounded within my own circumstances, the issues addressed in this article underlie academic trajectories. The article is written as an invitation to reflect on your own journeys and compasses; identify crossroads, blockages, and openings; and note evolving forms, changing rhythms, and nuanced orchestrations in the contrapuntal composition of life.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"44 1","pages":"5 - 20"},"PeriodicalIF":1.6,"publicationDate":"2021-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44989437","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-10DOI: 10.1177/1321103X211034647
K. Zhukov, J. Rowley
This study investigates the careers of 28 classical pianists in Australia to develop greater understanding of skills needed to build professional music careers and to highlight implications for higher music education training. Semi-structured interviews were analyzed for emerging themes using Subotnik and Jarvin’s scholarly productivity or artistry (SP/A) model, looking for connections between distinct skills developed during education and their role in the building of professional careers. Participants in this study began learning to play the piano at an early age and pursued lessons during primary education, developing their technique, learning numerous works, and participating in competitions. In high school, the pianists learned to play other instruments, studied more complex and demanding piano solo repertoire, and participated in extra-curricular music activities. During performance-focused undergraduate study, all concentrated on improving technique, building solo and collaborative repertoire (including contemporary music), and exploring other music-related areas. Postgraduate study overseas and concertizing broadened their understanding of world-class standards. The participants undertook casual music jobs at the start of their careers, but eventually many achieved permanent full-time employment. Hard work, ability to learn quickly, natural gifts/talent, and passion for music helped these pianists build successful portfolio careers. The findings reveal that today’s tertiary music graduates will require diverse music and entrepreneurial skills, and a positive attitude. The implications highlight the need for the development of wide-ranging playing skills beyond solo performance and entrepreneurial competency as important factors for music careers.
{"title":"Crafting successful music careers: Insights from the professional lives of Australian pianists","authors":"K. Zhukov, J. Rowley","doi":"10.1177/1321103X211034647","DOIUrl":"https://doi.org/10.1177/1321103X211034647","url":null,"abstract":"This study investigates the careers of 28 classical pianists in Australia to develop greater understanding of skills needed to build professional music careers and to highlight implications for higher music education training. Semi-structured interviews were analyzed for emerging themes using Subotnik and Jarvin’s scholarly productivity or artistry (SP/A) model, looking for connections between distinct skills developed during education and their role in the building of professional careers. Participants in this study began learning to play the piano at an early age and pursued lessons during primary education, developing their technique, learning numerous works, and participating in competitions. In high school, the pianists learned to play other instruments, studied more complex and demanding piano solo repertoire, and participated in extra-curricular music activities. During performance-focused undergraduate study, all concentrated on improving technique, building solo and collaborative repertoire (including contemporary music), and exploring other music-related areas. Postgraduate study overseas and concertizing broadened their understanding of world-class standards. The participants undertook casual music jobs at the start of their careers, but eventually many achieved permanent full-time employment. Hard work, ability to learn quickly, natural gifts/talent, and passion for music helped these pianists build successful portfolio careers. The findings reveal that today’s tertiary music graduates will require diverse music and entrepreneurial skills, and a positive attitude. The implications highlight the need for the development of wide-ranging playing skills beyond solo performance and entrepreneurial competency as important factors for music careers.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"44 1","pages":"158 - 174"},"PeriodicalIF":1.6,"publicationDate":"2021-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45612378","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-07DOI: 10.1177/1321103X211025850
Guadalupe López-Íñiguez, P. Burnard
Making sense of musicians’ professional learning pathways is of crucial importance to understanding their career progressions, their routes into creative employment, and the relevance of various policies to their professional lives. However, this is a far cry from understanding how critical reflection catalyzes diverse learning routes, especially when considering evidence originating from postgraduate musicians’ own accounts of their journeys into job creation. In this study, we invited five postgraduate classical musicians who were invested in professional learning through performance programs in higher education to contribute these types of personal perspectives. The article explores the value of postgraduate musicians’ own accounts of their journeys and illustrates how a more nuanced understanding of them can be arrived at through the use of visual-based tools, for example, Rivers of Musical Experience and Dixit Cards. This constructivist intervention prompted both group and individual critical reflections, as well as sense-making processes that enabled the participants to become more informed about the (typically overlooked or neglected) critical incidents that differently catalyze professional learning pathways. All of the participants articulated sociocultural influences that were situated along historical, present, and future points of departure and arrival, helping them to create meaning and understanding of themselves and their (at times unsettling) professional learning pathways. From the ensuing thematic analyses, we identified a commonality of themes across life phases with three key influential groups of people (parents, peers, and professionals) that strongly affected their professional learning pathways and learner identity-construction. The results indicate that the relationships between these phases and people are complex. The research illuminates the previously unexplored connection between the meaning-making trajectories that are instantiated through critical reflection, and adds to our understanding of the development of musicians’ professional learning pathways and learner identities.
{"title":"Toward a nuanced understanding of musicians’ professional learning pathways: What does critical reflection contribute?","authors":"Guadalupe López-Íñiguez, P. Burnard","doi":"10.1177/1321103X211025850","DOIUrl":"https://doi.org/10.1177/1321103X211025850","url":null,"abstract":"Making sense of musicians’ professional learning pathways is of crucial importance to understanding their career progressions, their routes into creative employment, and the relevance of various policies to their professional lives. However, this is a far cry from understanding how critical reflection catalyzes diverse learning routes, especially when considering evidence originating from postgraduate musicians’ own accounts of their journeys into job creation. In this study, we invited five postgraduate classical musicians who were invested in professional learning through performance programs in higher education to contribute these types of personal perspectives. The article explores the value of postgraduate musicians’ own accounts of their journeys and illustrates how a more nuanced understanding of them can be arrived at through the use of visual-based tools, for example, Rivers of Musical Experience and Dixit Cards. This constructivist intervention prompted both group and individual critical reflections, as well as sense-making processes that enabled the participants to become more informed about the (typically overlooked or neglected) critical incidents that differently catalyze professional learning pathways. All of the participants articulated sociocultural influences that were situated along historical, present, and future points of departure and arrival, helping them to create meaning and understanding of themselves and their (at times unsettling) professional learning pathways. From the ensuing thematic analyses, we identified a commonality of themes across life phases with three key influential groups of people (parents, peers, and professionals) that strongly affected their professional learning pathways and learner identity-construction. The results indicate that the relationships between these phases and people are complex. The research illuminates the previously unexplored connection between the meaning-making trajectories that are instantiated through critical reflection, and adds to our understanding of the development of musicians’ professional learning pathways and learner identities.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"44 1","pages":"127 - 157"},"PeriodicalIF":1.6,"publicationDate":"2021-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42801882","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-02DOI: 10.1177/1321103X211031778
Dag Jansson, Anne Haugland Balsnes, Colin Durrant
Curious as to why conducting gesture are both acknowledged and ignored by choral singers, this article investigates the enigmatic nature of the act of conducting. Education and research are biased toward gestural aspects of the choral conductor role. At the same time, research shows that gestural skills rank strikingly low compared with other musical skills and interpersonal skills. This study endeavors to unpack this enigma, based on 40 interviews with choral singers and conductors in Norway and Sweden. Taking a phenomenological approach, analysis of the fieldwork reveals that singers are more aware of gesture when something out of the ordinary happens, is unclear, or is even particularly appealing. The enigmatic role of gesture is partly due to conceptual ambiguity—gestures are signals that conductors “do” as well as embody the integral conductor “being.” Moreover, four “enigma busting” contextual dimensions were found: complexity of the music, the irreplaceability of gestures in the specific situation, singers’ receptiveness to gestures, and the gestural proficiency of the conductor. The article points at some implications for education as well as future research.
{"title":"The gesture enigma: Reconciling the prominence and insignificance of choral conductor gestures","authors":"Dag Jansson, Anne Haugland Balsnes, Colin Durrant","doi":"10.1177/1321103X211031778","DOIUrl":"https://doi.org/10.1177/1321103X211031778","url":null,"abstract":"Curious as to why conducting gesture are both acknowledged and ignored by choral singers, this article investigates the enigmatic nature of the act of conducting. Education and research are biased toward gestural aspects of the choral conductor role. At the same time, research shows that gestural skills rank strikingly low compared with other musical skills and interpersonal skills. This study endeavors to unpack this enigma, based on 40 interviews with choral singers and conductors in Norway and Sweden. Taking a phenomenological approach, analysis of the fieldwork reveals that singers are more aware of gesture when something out of the ordinary happens, is unclear, or is even particularly appealing. The enigmatic role of gesture is partly due to conceptual ambiguity—gestures are signals that conductors “do” as well as embody the integral conductor “being.” Moreover, four “enigma busting” contextual dimensions were found: complexity of the music, the irreplaceability of gestures in the specific situation, singers’ receptiveness to gestures, and the gestural proficiency of the conductor. The article points at some implications for education as well as future research.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"44 1","pages":"509 - 526"},"PeriodicalIF":1.6,"publicationDate":"2021-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49106331","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-02DOI: 10.1177/1321103X211028008
R. Kan, Rose Martin
The purpose of this study is to explore interstitial spaces in higher music education. Interstitial spaces are small-scale settings where individuals interact around common activities. Drawing from the learning experiences of three students, the disparate feelings that students have within the interstices are unpacked. Specifically, we lean on Michel Foucault’s notions of power and hierarchy as a way to explore the dynamics in the teaching and learning relationships between students, and how the power that institutional structures might wield could shape the pocket conversations taking place. In the context of higher music education, we explore the ways that such spaces offer special moments where students see themselves in new ways. We explore how Mezirow’s theory of transformative learning might latch on to the potential that these interstitial spaces offer. We argue that potentials for transformative learning encounters described by the three students seem to be situated within interstitial spaces. The article considers what it means to be in the peripheral locations of student learning and contributes to the need to revisit interstices as an important location to understand how knowledge and creative interactions can be made in higher music education.
{"title":"Shifting lights through the interstices: Extending notions of what it means to learn music in higher education","authors":"R. Kan, Rose Martin","doi":"10.1177/1321103X211028008","DOIUrl":"https://doi.org/10.1177/1321103X211028008","url":null,"abstract":"The purpose of this study is to explore interstitial spaces in higher music education. Interstitial spaces are small-scale settings where individuals interact around common activities. Drawing from the learning experiences of three students, the disparate feelings that students have within the interstices are unpacked. Specifically, we lean on Michel Foucault’s notions of power and hierarchy as a way to explore the dynamics in the teaching and learning relationships between students, and how the power that institutional structures might wield could shape the pocket conversations taking place. In the context of higher music education, we explore the ways that such spaces offer special moments where students see themselves in new ways. We explore how Mezirow’s theory of transformative learning might latch on to the potential that these interstitial spaces offer. We argue that potentials for transformative learning encounters described by the three students seem to be situated within interstitial spaces. The article considers what it means to be in the peripheral locations of student learning and contributes to the need to revisit interstices as an important location to understand how knowledge and creative interactions can be made in higher music education.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"44 1","pages":"331 - 344"},"PeriodicalIF":1.6,"publicationDate":"2021-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1321103X211028008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43520205","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-12DOI: 10.1177/1321103X211020642
Stephen A Paparo
Though methods of somatic education such as the Feldenkrais Method are becoming more widely recognized as complementary approaches in vocal and choral pedagogy, there is little research that examines the experiences of singers who participate in such mind–body approaches. With the intent of exploring pedagogical implications of somatic education in music education, the purpose of this phenomenological study was to examine the experiences of undergraduate vocal music education majors enrolled in an elective, 7-week Feldenkrais course. Specifically, how do singers describe in their participation in Feldenkrais Awareness Through Movement lessons, and how do these experiences inform their understanding of how they sing? Data were gathered from questionnaires, weekly journals, and semi-structured interviews. Phenomenological data analysis following Moustakas’s approach revealed three themes reported as textural and structural descriptions: (a) improved quality of movement, (b) heightened awareness of singing, and (c) enhanced practice. The overall essence of participants’ experience may be summarized as a process of self-discovery that provided individualized benefits for singing. Discussion includes pedagogical implications of somatic teaching and learning in PreK through university contexts as well as suggestions for future research.
{"title":"Singing with awareness: A phenomenology of singers’ experience with the Feldenkrais Method","authors":"Stephen A Paparo","doi":"10.1177/1321103X211020642","DOIUrl":"https://doi.org/10.1177/1321103X211020642","url":null,"abstract":"Though methods of somatic education such as the Feldenkrais Method are becoming more widely recognized as complementary approaches in vocal and choral pedagogy, there is little research that examines the experiences of singers who participate in such mind–body approaches. With the intent of exploring pedagogical implications of somatic education in music education, the purpose of this phenomenological study was to examine the experiences of undergraduate vocal music education majors enrolled in an elective, 7-week Feldenkrais course. Specifically, how do singers describe in their participation in Feldenkrais Awareness Through Movement lessons, and how do these experiences inform their understanding of how they sing? Data were gathered from questionnaires, weekly journals, and semi-structured interviews. Phenomenological data analysis following Moustakas’s approach revealed three themes reported as textural and structural descriptions: (a) improved quality of movement, (b) heightened awareness of singing, and (c) enhanced practice. The overall essence of participants’ experience may be summarized as a process of self-discovery that provided individualized benefits for singing. Discussion includes pedagogical implications of somatic teaching and learning in PreK through university contexts as well as suggestions for future research.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"44 1","pages":"541 - 553"},"PeriodicalIF":1.6,"publicationDate":"2021-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1321103X211020642","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43036115","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-12DOI: 10.1177/1321103X211026007
Heidi Westerlund, A. Kallio, S. Karlsen
Highlighting the need for teacher education programs to respond to rapidly diversifying societies, this article reports a qualitative metasynthesis of intercultural outreach projects in music teacher education, conceptualizing these projects as a “pedagogy of interruption.” Results show that such outreach projects interrupt the individualistic frame of music teacher education, the known difference, the logic of teaching, and the understanding of what intercultural teacher competence is, rather moving toward letting the context teach. The complex relational work involved in intercultural outreach projects can be seen to establish spaces for framing learning within professional self-reflexivity, embracing uncertainty and trusting relational becomings through an investment in the political and moral aspects of teacher education and intercultural theorization. The article argues that intercultural outreach projects and theorization can be taken as a healthy test for contemporary music teacher education to rethink what competence and its own education is for in the 21st Century.
{"title":"Interrogating intercultural competence through a “pedagogy of interruption”: A metasynthesis of intercultural outreach projects in music teacher education","authors":"Heidi Westerlund, A. Kallio, S. Karlsen","doi":"10.1177/1321103X211026007","DOIUrl":"https://doi.org/10.1177/1321103X211026007","url":null,"abstract":"Highlighting the need for teacher education programs to respond to rapidly diversifying societies, this article reports a qualitative metasynthesis of intercultural outreach projects in music teacher education, conceptualizing these projects as a “pedagogy of interruption.” Results show that such outreach projects interrupt the individualistic frame of music teacher education, the known difference, the logic of teaching, and the understanding of what intercultural teacher competence is, rather moving toward letting the context teach. The complex relational work involved in intercultural outreach projects can be seen to establish spaces for framing learning within professional self-reflexivity, embracing uncertainty and trusting relational becomings through an investment in the political and moral aspects of teacher education and intercultural theorization. The article argues that intercultural outreach projects and theorization can be taken as a healthy test for contemporary music teacher education to rethink what competence and its own education is for in the 21st Century.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"44 1","pages":"380 - 398"},"PeriodicalIF":1.6,"publicationDate":"2021-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1321103X211026007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46779411","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-08DOI: 10.1177/1321103X211025843
S. Hill
With the intent of informing the practice of music teachers navigating “multi-musicality” in their classrooms, this qualitative study, employing case study and narrative research tools, investigates the experiences of three musical “boundary crossers”—professional musicians whose work traverses the popular–classical divide. Three questions guided the inquiry: (a) How do professional musicians describe the experience of boundary crossing from one musical domain to another? (b) What musical skills do these professionals find valuable for their work in various domains, and what skills have they acquired or adapted in crossing musical boundaries? and (c) How does working in one musical domain influence work in another? Each participant navigates the balance between and the integration of their classical and popular musicianship(s) differently. All acknowledge that classical training, although it may afford some advantages, also can be a hindrance for individuals pursuing the creation and performance of music in a popular domain. Findings point to the need for functional piano skills, practical application of ear training, and development of a musical value set that includes “focused simplicity.” The findings have implications for how preservice teachers develop musical versatility, enabling them to respond to students’ varied interests and needs.
{"title":"An investigation of musical “boundary crossers”","authors":"S. Hill","doi":"10.1177/1321103X211025843","DOIUrl":"https://doi.org/10.1177/1321103X211025843","url":null,"abstract":"With the intent of informing the practice of music teachers navigating “multi-musicality” in their classrooms, this qualitative study, employing case study and narrative research tools, investigates the experiences of three musical “boundary crossers”—professional musicians whose work traverses the popular–classical divide. Three questions guided the inquiry: (a) How do professional musicians describe the experience of boundary crossing from one musical domain to another? (b) What musical skills do these professionals find valuable for their work in various domains, and what skills have they acquired or adapted in crossing musical boundaries? and (c) How does working in one musical domain influence work in another? Each participant navigates the balance between and the integration of their classical and popular musicianship(s) differently. All acknowledge that classical training, although it may afford some advantages, also can be a hindrance for individuals pursuing the creation and performance of music in a popular domain. Findings point to the need for functional piano skills, practical application of ear training, and development of a musical value set that includes “focused simplicity.” The findings have implications for how preservice teachers develop musical versatility, enabling them to respond to students’ varied interests and needs.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"44 1","pages":"219 - 233"},"PeriodicalIF":1.6,"publicationDate":"2021-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1321103X211025843","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49024998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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