Pub Date : 2024-04-18DOI: 10.1177/1321103x241241980
Vivienne John, Gary Beauchamp, Dan Davies, Thomas Breeze
Much has been written on the different learning paths of classical and popular musicians and the view that popular musicians can be marginalized within the musical hegemony. Adopting Lucas, Claxton, and Spencer’s creative dispositions model, this article explores the extent to which this might occur when popular musicians learn to become secondary classroom music teachers. Data were collected through a series of semi-structured interviews from three popular musicians on a Post-Graduate Certificate of Education (PGCE) Secondary Music program. Utilizing a qualitative approach, the findings suggest that popular musicians innately demonstrate imaginative, inquisitive, and collaborative creative musical capacities. However, learning to teach seems to significantly impact their pedagogic identity as they experience underlying performativity cultures and hierarchical relationships in schools. This article considers the risks associated with undervaluing the creative dispositions of popular musician teachers, including minimizing their potential to reconceptualize pedagogic expertise at a time of significant education reform in Wales.
{"title":"Musical identity, pedagogy, and creative dispositions: Exploring the experiences of popular musicians during their postgraduate teacher education in a changing Welsh education landscape","authors":"Vivienne John, Gary Beauchamp, Dan Davies, Thomas Breeze","doi":"10.1177/1321103x241241980","DOIUrl":"https://doi.org/10.1177/1321103x241241980","url":null,"abstract":"Much has been written on the different learning paths of classical and popular musicians and the view that popular musicians can be marginalized within the musical hegemony. Adopting Lucas, Claxton, and Spencer’s creative dispositions model, this article explores the extent to which this might occur when popular musicians learn to become secondary classroom music teachers. Data were collected through a series of semi-structured interviews from three popular musicians on a Post-Graduate Certificate of Education (PGCE) Secondary Music program. Utilizing a qualitative approach, the findings suggest that popular musicians innately demonstrate imaginative, inquisitive, and collaborative creative musical capacities. However, learning to teach seems to significantly impact their pedagogic identity as they experience underlying performativity cultures and hierarchical relationships in schools. This article considers the risks associated with undervaluing the creative dispositions of popular musician teachers, including minimizing their potential to reconceptualize pedagogic expertise at a time of significant education reform in Wales.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2024-04-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140628043","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 : 2024-04-17DOI: 10.1177/1321103x241241192
Marília Nunes-Silva, Gleidiane Salomé, Fernando Lopes Gonçalves, Thenille Braun Janzen, Benjamin Rich Zendel
Music performance is an intensive sensorimotor task that involves the generation of mental representations of musical information that are actively accessed, maintained, and manipulated according to the demands of the performance. Internal representations and external information interact through feedback and feedforward processes that adjust the musician’s motor behavior to optimize a musical performance. This study aimed to examine the relationship between altered sensory feedback and performance errors. Seventeen experienced pianists aged between 33 and 54 years performed Hanon Exercise N°1 from memory under four different conditions: (1) normal (normal sensory feedback); (2) closed fallboard (altered haptic and auditory feedback); (3) blindfolded (altered visual feedback); and (4) combined (blindfolded and closed fallboard; altered haptic, auditory, and visual feedback). Performance errors were quantified based on a video analysis of the performances. Results indicated that compared with normal performance, participants made significantly more note errors in the blindfolded condition and more bar-adding errors per trial in the closed fallboard condition. The comparison between the normal condition and the three altered sensory feedback conditions revealed the impact of altering sensory feedback in musical performance. These findings are discussed in the context of music learning.
{"title":"Effects of altered sensory feedback on piano performance errors: An exploratory study","authors":"Marília Nunes-Silva, Gleidiane Salomé, Fernando Lopes Gonçalves, Thenille Braun Janzen, Benjamin Rich Zendel","doi":"10.1177/1321103x241241192","DOIUrl":"https://doi.org/10.1177/1321103x241241192","url":null,"abstract":"Music performance is an intensive sensorimotor task that involves the generation of mental representations of musical information that are actively accessed, maintained, and manipulated according to the demands of the performance. Internal representations and external information interact through feedback and feedforward processes that adjust the musician’s motor behavior to optimize a musical performance. This study aimed to examine the relationship between altered sensory feedback and performance errors. Seventeen experienced pianists aged between 33 and 54 years performed Hanon Exercise N°1 from memory under four different conditions: (1) normal (normal sensory feedback); (2) closed fallboard (altered haptic and auditory feedback); (3) blindfolded (altered visual feedback); and (4) combined (blindfolded and closed fallboard; altered haptic, auditory, and visual feedback). Performance errors were quantified based on a video analysis of the performances. Results indicated that compared with normal performance, participants made significantly more note errors in the blindfolded condition and more bar-adding errors per trial in the closed fallboard condition. The comparison between the normal condition and the three altered sensory feedback conditions revealed the impact of altering sensory feedback in musical performance. These findings are discussed in the context of music learning.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2024-04-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140617227","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 : 2024-04-16DOI: 10.1177/1321103x241235575
Juha Ojala, Ulla Pohjannoro
Relationships with music are at the core of music education. However, they are rarely studied from learners viewpoints—especially those of exceptionally motivated, advanced students—as they are incorporated into the theoretical underpinning or methodological stance of research in instrumental education. In this research project we follow the musical lives of ten advanced, mastery-oriented adolescent instrumentalists. The focus of this first report of our narrative ethnography is on how their relationships with music manifest in written narratives on the role of music and instrument learning in their life. While corroborating findings of previous research, the results demonstrate many idiosyncracies in the trajectories of our participants, including critical events. The results show that studying relationships with music and their development may reveal complex ecological systems in instrument learning and interconnected theoretical concepts, such as self-regulation, self-efficacy, agency, autonomy, identity, and metacognition. These phenomena—which can be challenging to differentiate, adapt, and apply in terms of learning practices—may seem far-removed from everyday musical practices, but can be consolidated when looking at relationships with music as gateways to the learning of musical instruments.
{"title":"Understanding learners’ relationships with music","authors":"Juha Ojala, Ulla Pohjannoro","doi":"10.1177/1321103x241235575","DOIUrl":"https://doi.org/10.1177/1321103x241235575","url":null,"abstract":"Relationships with music are at the core of music education. However, they are rarely studied from learners viewpoints—especially those of exceptionally motivated, advanced students—as they are incorporated into the theoretical underpinning or methodological stance of research in instrumental education. In this research project we follow the musical lives of ten advanced, mastery-oriented adolescent instrumentalists. The focus of this first report of our narrative ethnography is on how their relationships with music manifest in written narratives on the role of music and instrument learning in their life. While corroborating findings of previous research, the results demonstrate many idiosyncracies in the trajectories of our participants, including critical events. The results show that studying relationships with music and their development may reveal complex ecological systems in instrument learning and interconnected theoretical concepts, such as self-regulation, self-efficacy, agency, autonomy, identity, and metacognition. These phenomena—which can be challenging to differentiate, adapt, and apply in terms of learning practices—may seem far-removed from everyday musical practices, but can be consolidated when looking at relationships with music as gateways to the learning of musical instruments.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140617257","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 : 2024-02-12DOI: 10.1177/1321103x231223414
Katri A. Keskinen, Marja-Leena Juntunen, Monika Nerland
This framework synthesis investigates how notions related to expanding professionalism have manifested in recently published literature on popular music voice teaching. The reviewed literature was selected from a systematic mapping review conducted previously by the first two authors. The scope for the publication years was 2014 to 2020, and the included literature incorporated 64 titles of peer-reviewed articles, academic book and handbook chapters, and doctoral dissertations. The initial framework considered scholarship on expanding professionalism, and the directive themes for coding included forms of expertise and knowledge building, social and societal responsibility, and agency related to change. The data were examined from individual, societal, and institutional perspectives. The findings showed that notions related to expanding professionalism are used as means of legitimizing the academically emerging field. However, the professional development work results mostly from the agency of individual practitioners. Thus, support from higher music education institutes and professional organizations is needed to enable the professional sustainability of such practices and further the societal relevance of these institutional actors. This study contributes to the recent scholarship on expanding professionalism in music and music education. The emergent framework resulting from this synthesis can inform further empirical studies.
{"title":"Expanding professionalism in popular music voice teaching: A framework synthesis","authors":"Katri A. Keskinen, Marja-Leena Juntunen, Monika Nerland","doi":"10.1177/1321103x231223414","DOIUrl":"https://doi.org/10.1177/1321103x231223414","url":null,"abstract":"This framework synthesis investigates how notions related to expanding professionalism have manifested in recently published literature on popular music voice teaching. The reviewed literature was selected from a systematic mapping review conducted previously by the first two authors. The scope for the publication years was 2014 to 2020, and the included literature incorporated 64 titles of peer-reviewed articles, academic book and handbook chapters, and doctoral dissertations. The initial framework considered scholarship on expanding professionalism, and the directive themes for coding included forms of expertise and knowledge building, social and societal responsibility, and agency related to change. The data were examined from individual, societal, and institutional perspectives. The findings showed that notions related to expanding professionalism are used as means of legitimizing the academically emerging field. However, the professional development work results mostly from the agency of individual practitioners. Thus, support from higher music education institutes and professional organizations is needed to enable the professional sustainability of such practices and further the societal relevance of these institutional actors. This study contributes to the recent scholarship on expanding professionalism in music and music education. The emergent framework resulting from this synthesis can inform further empirical studies.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2024-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139784170","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 : 2024-02-12DOI: 10.1177/1321103x231223414
Katri A. Keskinen, Marja-Leena Juntunen, Monika Nerland
This framework synthesis investigates how notions related to expanding professionalism have manifested in recently published literature on popular music voice teaching. The reviewed literature was selected from a systematic mapping review conducted previously by the first two authors. The scope for the publication years was 2014 to 2020, and the included literature incorporated 64 titles of peer-reviewed articles, academic book and handbook chapters, and doctoral dissertations. The initial framework considered scholarship on expanding professionalism, and the directive themes for coding included forms of expertise and knowledge building, social and societal responsibility, and agency related to change. The data were examined from individual, societal, and institutional perspectives. The findings showed that notions related to expanding professionalism are used as means of legitimizing the academically emerging field. However, the professional development work results mostly from the agency of individual practitioners. Thus, support from higher music education institutes and professional organizations is needed to enable the professional sustainability of such practices and further the societal relevance of these institutional actors. This study contributes to the recent scholarship on expanding professionalism in music and music education. The emergent framework resulting from this synthesis can inform further empirical studies.
{"title":"Expanding professionalism in popular music voice teaching: A framework synthesis","authors":"Katri A. Keskinen, Marja-Leena Juntunen, Monika Nerland","doi":"10.1177/1321103x231223414","DOIUrl":"https://doi.org/10.1177/1321103x231223414","url":null,"abstract":"This framework synthesis investigates how notions related to expanding professionalism have manifested in recently published literature on popular music voice teaching. The reviewed literature was selected from a systematic mapping review conducted previously by the first two authors. The scope for the publication years was 2014 to 2020, and the included literature incorporated 64 titles of peer-reviewed articles, academic book and handbook chapters, and doctoral dissertations. The initial framework considered scholarship on expanding professionalism, and the directive themes for coding included forms of expertise and knowledge building, social and societal responsibility, and agency related to change. The data were examined from individual, societal, and institutional perspectives. The findings showed that notions related to expanding professionalism are used as means of legitimizing the academically emerging field. However, the professional development work results mostly from the agency of individual practitioners. Thus, support from higher music education institutes and professional organizations is needed to enable the professional sustainability of such practices and further the societal relevance of these institutional actors. This study contributes to the recent scholarship on expanding professionalism in music and music education. The emergent framework resulting from this synthesis can inform further empirical studies.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2024-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139844196","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 : 2024-02-12DOI: 10.1177/1321103x231223864
Katja Sutela, Outi Ahonen
In this article, we explore how deafness challenges the hierarchy of senses in music education. As part of a larger three-year research project focusing on memories of Finnish state schools for the d/Deaf, “Voices of a Silent People—Renovated Bodies,” this article concentrates on experiences of music education. The methodological starting point of the research project is sign history, with a focus on d/Deaf people’s signed memories. The interview data for the whole research project (N = 116) were collected by interviewing d/Deaf people in group discussions and individual interviews. There were 61 participants who produced the transcribed interview data related to the third substudy on music education (n = 61). Our critique of the hierarchy of senses in music education is based on Merleau-Ponty’s phenomenological thought and, more specifically, the criticism of the mind–body, self–other, and subject–object dichotomies in the listening process. The results suggest that d/Deaf people can feel sound with their bodies. Sound is experienced holistically through different channels: body, touch, vision, and for some, through hearing or feeling bass frequencies. Sound is not categorized into perceptions of one sense. To conclude, four dimensions that make it possible to formulate more inclusive and multisensory music education are presented.
{"title":"“I can feel the rhythm, and it is somehow nice”: Deafness challenging the hierarchy of senses in music education","authors":"Katja Sutela, Outi Ahonen","doi":"10.1177/1321103x231223864","DOIUrl":"https://doi.org/10.1177/1321103x231223864","url":null,"abstract":"In this article, we explore how deafness challenges the hierarchy of senses in music education. As part of a larger three-year research project focusing on memories of Finnish state schools for the d/Deaf, “Voices of a Silent People—Renovated Bodies,” this article concentrates on experiences of music education. The methodological starting point of the research project is sign history, with a focus on d/Deaf people’s signed memories. The interview data for the whole research project (N = 116) were collected by interviewing d/Deaf people in group discussions and individual interviews. There were 61 participants who produced the transcribed interview data related to the third substudy on music education (n = 61). Our critique of the hierarchy of senses in music education is based on Merleau-Ponty’s phenomenological thought and, more specifically, the criticism of the mind–body, self–other, and subject–object dichotomies in the listening process. The results suggest that d/Deaf people can feel sound with their bodies. Sound is experienced holistically through different channels: body, touch, vision, and for some, through hearing or feeling bass frequencies. Sound is not categorized into perceptions of one sense. To conclude, four dimensions that make it possible to formulate more inclusive and multisensory music education are presented.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2024-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139783149","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 : 2024-02-12DOI: 10.1177/1321103x231223864
Katja Sutela, Outi Ahonen
In this article, we explore how deafness challenges the hierarchy of senses in music education. As part of a larger three-year research project focusing on memories of Finnish state schools for the d/Deaf, “Voices of a Silent People—Renovated Bodies,” this article concentrates on experiences of music education. The methodological starting point of the research project is sign history, with a focus on d/Deaf people’s signed memories. The interview data for the whole research project (N = 116) were collected by interviewing d/Deaf people in group discussions and individual interviews. There were 61 participants who produced the transcribed interview data related to the third substudy on music education (n = 61). Our critique of the hierarchy of senses in music education is based on Merleau-Ponty’s phenomenological thought and, more specifically, the criticism of the mind–body, self–other, and subject–object dichotomies in the listening process. The results suggest that d/Deaf people can feel sound with their bodies. Sound is experienced holistically through different channels: body, touch, vision, and for some, through hearing or feeling bass frequencies. Sound is not categorized into perceptions of one sense. To conclude, four dimensions that make it possible to formulate more inclusive and multisensory music education are presented.
{"title":"“I can feel the rhythm, and it is somehow nice”: Deafness challenging the hierarchy of senses in music education","authors":"Katja Sutela, Outi Ahonen","doi":"10.1177/1321103x231223864","DOIUrl":"https://doi.org/10.1177/1321103x231223864","url":null,"abstract":"In this article, we explore how deafness challenges the hierarchy of senses in music education. As part of a larger three-year research project focusing on memories of Finnish state schools for the d/Deaf, “Voices of a Silent People—Renovated Bodies,” this article concentrates on experiences of music education. The methodological starting point of the research project is sign history, with a focus on d/Deaf people’s signed memories. The interview data for the whole research project (N = 116) were collected by interviewing d/Deaf people in group discussions and individual interviews. There were 61 participants who produced the transcribed interview data related to the third substudy on music education (n = 61). Our critique of the hierarchy of senses in music education is based on Merleau-Ponty’s phenomenological thought and, more specifically, the criticism of the mind–body, self–other, and subject–object dichotomies in the listening process. The results suggest that d/Deaf people can feel sound with their bodies. Sound is experienced holistically through different channels: body, touch, vision, and for some, through hearing or feeling bass frequencies. Sound is not categorized into perceptions of one sense. To conclude, four dimensions that make it possible to formulate more inclusive and multisensory music education are presented.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2024-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139842779","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 : 2024-01-31DOI: 10.1177/1321103x231224229
Sandra Trienekens, Juan Carlos Escobar Campos, Lili Schutte, Melissa Bremmer
This article reflects on the “Hiddenness Index” we developed, implemented, and evaluated for Concertgebouworkest Young (Young), the youth orchestra of the Dutch Royal Concertgebouw Orchestra (Concertgebouworkest) for musicians with “hidden talents.” “Hiddenness” alludes to various barriers that young musicians aspiring to a career in Western classical music may face, due to their social identity and positioning. These barriers may cause their talent to remain underdeveloped, invisible, or undiscovered; that is, “hidden.” We developed the Index in response to Concertgebouworkest’s request for an “evaluation and learning tool.” Informed by intersectionality theory, it is an alternative to quantitative research into arts and culture, which takes a single-axis approach to the explanation of inequality in access to cultural production and participation. The first phase of our design-based research consisted of a theory- and practice-based mapping of the dimensions of “hiddenness.” The outcome was that Geographical, Socio-economic, Family networks, Ethno-cultural, and Confidence-support dimensions should form the basis of the Hiddenness Index, which was constructed as a composite indicator. In the second phase of research, the Index was applied to the backgrounds of Young participants. The evaluation of the Index’s strengths and weaknesses was central to the third phase. Complementing qualitative research, the Index offered a statistical way to evaluate the extent to which Young participants’ talents were hidden and which dimensions of hiddenness were most prevalent at the group level. The Index affirmed and illustrated intersectionality theory, including the way two or more dimensions can compensate or reinforce one another. Through the use of the Index, the Young team gained a better understanding of intersectionality, which enabled them to fine-tune the selection process for future cohorts. The Index helped the team members to check their preconceptions (unconscious bias) and made them more aware of and able to attend to the different needs of individual participants.
{"title":"Who has access to a career in Western classical music? Building a tool to evaluate intersectionality in barriers to music education and careers","authors":"Sandra Trienekens, Juan Carlos Escobar Campos, Lili Schutte, Melissa Bremmer","doi":"10.1177/1321103x231224229","DOIUrl":"https://doi.org/10.1177/1321103x231224229","url":null,"abstract":"This article reflects on the “Hiddenness Index” we developed, implemented, and evaluated for Concertgebouworkest Young (Young), the youth orchestra of the Dutch Royal Concertgebouw Orchestra (Concertgebouworkest) for musicians with “hidden talents.” “Hiddenness” alludes to various barriers that young musicians aspiring to a career in Western classical music may face, due to their social identity and positioning. These barriers may cause their talent to remain underdeveloped, invisible, or undiscovered; that is, “hidden.” We developed the Index in response to Concertgebouworkest’s request for an “evaluation and learning tool.” Informed by intersectionality theory, it is an alternative to quantitative research into arts and culture, which takes a single-axis approach to the explanation of inequality in access to cultural production and participation. The first phase of our design-based research consisted of a theory- and practice-based mapping of the dimensions of “hiddenness.” The outcome was that Geographical, Socio-economic, Family networks, Ethno-cultural, and Confidence-support dimensions should form the basis of the Hiddenness Index, which was constructed as a composite indicator. In the second phase of research, the Index was applied to the backgrounds of Young participants. The evaluation of the Index’s strengths and weaknesses was central to the third phase. Complementing qualitative research, the Index offered a statistical way to evaluate the extent to which Young participants’ talents were hidden and which dimensions of hiddenness were most prevalent at the group level. The Index affirmed and illustrated intersectionality theory, including the way two or more dimensions can compensate or reinforce one another. Through the use of the Index, the Young team gained a better understanding of intersectionality, which enabled them to fine-tune the selection process for future cohorts. The Index helped the team members to check their preconceptions (unconscious bias) and made them more aware of and able to attend to the different needs of individual participants.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2024-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139947147","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 : 2024-01-21DOI: 10.1177/1321103x231223135
Daniel Mateos-Moreno, Jorge Garcia-Perals
While creativity is a primary focus in music education, its exploration within the realm of music studio teaching is considerably less extensive compared with other educational contexts. Moreover, the related research is predominantly focused on creativity in developing music skills. In the present study, we explore how Spanish instrumental music teachers ( n = 10) perceive creativity and its development among students in the music studio, in the absence of predefined limitations (i.e., with respect to various forms and definitions of creativity inherent in the music studio as perceived from their viewpoint). By means of a case study methodology, we gathered data over a one-year period through a questionnaire, in-depth interviews, participants’ written essays, and researchers’ journal entries following observations of the participants’ teaching practices. Subsequently, qualitative analysis was conducted using thematic analysis. Among our main results, we found tensions between our participants’ theories and their practices, evidence for an underlying individual-centered theory of creativity, both positive and negative attitudes toward the development of creativity among their students, and ignorance of creativity in music listening. Our study implications emphasize the urgency of implementing strategies to enhance teacher self-awareness and underscore the need for further investigation into music studio teaching with a specific focus on creativity.
{"title":"Exploring Spanish studio music teachers’ views on topics related to creativity","authors":"Daniel Mateos-Moreno, Jorge Garcia-Perals","doi":"10.1177/1321103x231223135","DOIUrl":"https://doi.org/10.1177/1321103x231223135","url":null,"abstract":"While creativity is a primary focus in music education, its exploration within the realm of music studio teaching is considerably less extensive compared with other educational contexts. Moreover, the related research is predominantly focused on creativity in developing music skills. In the present study, we explore how Spanish instrumental music teachers ( n = 10) perceive creativity and its development among students in the music studio, in the absence of predefined limitations (i.e., with respect to various forms and definitions of creativity inherent in the music studio as perceived from their viewpoint). By means of a case study methodology, we gathered data over a one-year period through a questionnaire, in-depth interviews, participants’ written essays, and researchers’ journal entries following observations of the participants’ teaching practices. Subsequently, qualitative analysis was conducted using thematic analysis. Among our main results, we found tensions between our participants’ theories and their practices, evidence for an underlying individual-centered theory of creativity, both positive and negative attitudes toward the development of creativity among their students, and ignorance of creativity in music listening. Our study implications emphasize the urgency of implementing strategies to enhance teacher self-awareness and underscore the need for further investigation into music studio teaching with a specific focus on creativity.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2024-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139609918","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 : 2023-12-24DOI: 10.1177/1321103x231218564
A. Kallio
Beyond the political interference of authoritarian regimes, the neoliberalisation of the academy has emerged as one of the key threats to academic freedom in the twenty-first century. The demand to produce research outputs of sufficient quantity, quality, and impact for scholars to justify their taxpayer-funded appointments reconceptualises the responsibility of the public scholar from one who challenges the status quo and inequitable power relations, to one who provides a worthwhile return on investment. Accordingly, questions have been raised as to whether academia is a feasible realm in which to further ideals of equity and justice in music education. In this article, I examine the tension between critical imperative and methodological conformity, considering how the policing of method reinforces individualized frames of knowledge-production that fix and limit notions of what knowledge is and what it does. I argue that music education scholars may be well placed to deviate from procedural method in realizing a more creative and relational public scholarship, in working toward a more ethical conceptualisation of academic freedom through the inquiry process itself.
{"title":"Public scholarship in music education: Rethinking academic freedom by unthinking method","authors":"A. Kallio","doi":"10.1177/1321103x231218564","DOIUrl":"https://doi.org/10.1177/1321103x231218564","url":null,"abstract":"Beyond the political interference of authoritarian regimes, the neoliberalisation of the academy has emerged as one of the key threats to academic freedom in the twenty-first century. The demand to produce research outputs of sufficient quantity, quality, and impact for scholars to justify their taxpayer-funded appointments reconceptualises the responsibility of the public scholar from one who challenges the status quo and inequitable power relations, to one who provides a worthwhile return on investment. Accordingly, questions have been raised as to whether academia is a feasible realm in which to further ideals of equity and justice in music education. In this article, I examine the tension between critical imperative and methodological conformity, considering how the policing of method reinforces individualized frames of knowledge-production that fix and limit notions of what knowledge is and what it does. I argue that music education scholars may be well placed to deviate from procedural method in realizing a more creative and relational public scholarship, in working toward a more ethical conceptualisation of academic freedom through the inquiry process itself.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2023-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139160509","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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