Pub Date : 2023-10-01Epub Date: 2023-01-06DOI: 10.1177/1321103X221140988
Anita Prest
In this theoretical article, I examine various conceptions of focused listening-including those held by specific First Nations communities-to determine how each conception might offer insights for listening while conducting cross-cultural music education research. First, I discuss the notion of "Big Ears," as it is understood by the jazz community. Then, I turn to scholars from various First Nations in British Columbia to learn about their conceptions of listening. I outline decolonial listening strategies as proposed by Indigenous Arts scholar Dylan Robinson, before learning about the role of listening from a settler-Canadian who formally Witnessed the testimonies of Indigenous residential school survivors over a period of years while working for the Truth and Reconciliation Commission of Canada. I examine the writings of music education researchers who have proposed listening as an important strategy in cross-cultural/intercultural pedagogy and research, albeit in different circumstances and for different reasons. Finally, I describe/reflect on my process of learning to listen cross-culturally as a settler-Canadian music education researcher engaged in community-based participatory research (CBPR) over the course of three studies, and list some of the ongoing questions I have. I conclude by proposing a revised understanding of Listening with "Big Ears" as one possible way for non-Indigenous researchers using a CBPR approach to enhance their application of Indigenist research methodology, especially in demonstrating their accountability to Indigenous co-researchers, participants, and communities, as they engage collaboratively in music education research.
{"title":"Listening with 'Big Ears': Accountability in cross-cultural music education research with Indigenous partners.","authors":"Anita Prest","doi":"10.1177/1321103X221140988","DOIUrl":"10.1177/1321103X221140988","url":null,"abstract":"<p><p>In this theoretical article, I examine various conceptions of focused listening-including those held by specific First Nations communities-to determine how each conception might offer insights for listening while conducting cross-cultural music education research. First, I discuss the notion of \"Big Ears,\" as it is understood by the jazz community. Then, I turn to scholars from various First Nations in British Columbia to learn about their conceptions of listening. I outline decolonial listening strategies as proposed by Indigenous Arts scholar Dylan Robinson, before learning about the role of listening from a settler-Canadian who formally Witnessed the testimonies of Indigenous residential school survivors over a period of years while working for the Truth and Reconciliation Commission of Canada. I examine the writings of music education researchers who have proposed listening as an important strategy in cross-cultural/intercultural pedagogy and research, albeit in different circumstances and for different reasons. Finally, I describe/reflect on my process of learning to listen cross-culturally as a settler-Canadian music education researcher engaged in community-based participatory research (CBPR) over the course of three studies, and list some of the ongoing questions I have. I conclude by proposing a revised understanding of Listening with \"Big Ears\" as one possible way for non-Indigenous researchers using a CBPR approach to enhance their application of Indigenist research methodology, especially in demonstrating their accountability to Indigenous co-researchers, participants, and communities, as they engage collaboratively in music education research.</p>","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"1 1","pages":"431-443"},"PeriodicalIF":1.3,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://ftp.ncbi.nlm.nih.gov/pub/pmc/oa_pdf/98/c1/10.1177_1321103X221140988.PMC10584657.pdf","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41862334","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-30DOI: 10.1177/1321103x231200426
Diana Tolmie
Over the last decade, vocation preparation formal and informal education has been included in higher music education programs with the purpose to responsibly supplement students’ technical performance skills and graduate sustainable musicians. Such curriculum reform is continually met with mixed responses by students and faculty despite the increased precarity of the music profession within the current global context. This study evolved from one music vocational preparation educator’s observation that student resistance is potentially based in one’s passion for music, capacity for resilience and self-discipline, and perceived calling to pursue a music profession. From 2018 to 2022, first-year music students of an Australian metropolitan conservatoire enrolled in a vocation preparation unit were invited to participate in an online survey answering open and closed questions related to their professional activity and outlook, and personal perceptions of calling, passion, resilience, and discipline. Statistical and thematic analysis of the results were compared with a similarly designed prior study of professional Australian musicians and found that more than two-thirds of first-year student musicians were professionally active. All yearly cohorts consistently strongly agreed they were passionate about music, and agreed they possessed high and calling resilience. The year 2020 demonstrated insight to pandemic impact with more students viewing their professional future with trepidation, yet demonstrated the highest results for passion and resilience. Calling, passion, and resilience literature further served to interpret the data and subsequently suggested higher music education reform their curriculum and pedagogies by adopting a whole-of-program approach enabled by the contagion effect of calling, and alignment with students’ passion, values, and music identities.
{"title":"Quantifying first-year student musicians’ ‘calling’: Initial implications for professional preparation curriculum design","authors":"Diana Tolmie","doi":"10.1177/1321103x231200426","DOIUrl":"https://doi.org/10.1177/1321103x231200426","url":null,"abstract":"Over the last decade, vocation preparation formal and informal education has been included in higher music education programs with the purpose to responsibly supplement students’ technical performance skills and graduate sustainable musicians. Such curriculum reform is continually met with mixed responses by students and faculty despite the increased precarity of the music profession within the current global context. This study evolved from one music vocational preparation educator’s observation that student resistance is potentially based in one’s passion for music, capacity for resilience and self-discipline, and perceived calling to pursue a music profession. From 2018 to 2022, first-year music students of an Australian metropolitan conservatoire enrolled in a vocation preparation unit were invited to participate in an online survey answering open and closed questions related to their professional activity and outlook, and personal perceptions of calling, passion, resilience, and discipline. Statistical and thematic analysis of the results were compared with a similarly designed prior study of professional Australian musicians and found that more than two-thirds of first-year student musicians were professionally active. All yearly cohorts consistently strongly agreed they were passionate about music, and agreed they possessed high and calling resilience. The year 2020 demonstrated insight to pandemic impact with more students viewing their professional future with trepidation, yet demonstrated the highest results for passion and resilience. Calling, passion, and resilience literature further served to interpret the data and subsequently suggested higher music education reform their curriculum and pedagogies by adopting a whole-of-program approach enabled by the contagion effect of calling, and alignment with students’ passion, values, and music identities.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136280126","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 : 2023-09-30DOI: 10.1177/1321103x231200195
Ryo Takamizawa, Leanne Kenway
Playing-related musculoskeletal disorders (PRMDs) are highly prevalent among concert pianists due to the unique sociological and historical predispositions of the instrument. Although current literature explores PRMD risk factors in isolation, few studies have explored the complex interdependencies that exist between the procedural and postural practices of pianists. This study aims to reframe this discussion by holistically exploring how common educational principles in phalangeal curvature, wrist flexion range of motion, and technical exercises interact to precipitate in PRMDs. The practices of the Lhevinne and Taubman schools were comparatively evaluated through kinematic studies to discern potential biomechanical stresses, and the findings were compared with current empirical evidence to ascertain links to PRMDs. The findings from this review indicate pedagogical susceptibility patterns may be more nuanced than the claims of stakeholders. However, studies suggest that practitioners of the Lhevinne school should incorporate phalangeal postures with active flexion to reduce susceptibility to tendinitis, osteoarthritis, and carpal tunnel syndrome. Practitioners of the Taubman school should further apply low-intensity technical exercises for warm-ups to increase muscle flexibility and facilitate temperature-related benefits to performance. However, high-intensity exercises at the Lhevinne school such as consecutive intervals and flexibility studies are contrary to current biomechanical observations.
{"title":"An analysis of musculoskeletal disorder risk factors associated with common pedagogical principles of the Lhevinne and Taubman piano schools: A literature review","authors":"Ryo Takamizawa, Leanne Kenway","doi":"10.1177/1321103x231200195","DOIUrl":"https://doi.org/10.1177/1321103x231200195","url":null,"abstract":"Playing-related musculoskeletal disorders (PRMDs) are highly prevalent among concert pianists due to the unique sociological and historical predispositions of the instrument. Although current literature explores PRMD risk factors in isolation, few studies have explored the complex interdependencies that exist between the procedural and postural practices of pianists. This study aims to reframe this discussion by holistically exploring how common educational principles in phalangeal curvature, wrist flexion range of motion, and technical exercises interact to precipitate in PRMDs. The practices of the Lhevinne and Taubman schools were comparatively evaluated through kinematic studies to discern potential biomechanical stresses, and the findings were compared with current empirical evidence to ascertain links to PRMDs. The findings from this review indicate pedagogical susceptibility patterns may be more nuanced than the claims of stakeholders. However, studies suggest that practitioners of the Lhevinne school should incorporate phalangeal postures with active flexion to reduce susceptibility to tendinitis, osteoarthritis, and carpal tunnel syndrome. Practitioners of the Taubman school should further apply low-intensity technical exercises for warm-ups to increase muscle flexibility and facilitate temperature-related benefits to performance. However, high-intensity exercises at the Lhevinne school such as consecutive intervals and flexibility studies are contrary to current biomechanical observations.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136342369","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 : 2023-09-30DOI: 10.1177/1321103x231187766
Cecilia Ferm Almqvist, Ann Werner
When the need of transforming and remixing music education is illuminated, fields of tensions in relation to the traditional master–apprentice model of teaching often appear. Binaries have been constructed and critiqued in research to describe tensions at various music educational levels. Some studies have also asked for a holistic, “both/and” holding. In higher music education (HME), the need for new approaches in research to understand how teaching and learning is developing are asked for. As a contribution, the overall aim of the article is to illuminate to what extent traditional culture norms and structures are maintained and challenged at three European conservatories. The specific aim is to map possible fields of tension surrounding approaches to teaching and related learning. The analysis in this article partly builds on understandings of culture and institutions, and partly on theories of relational pedagogy. To get access to how leaders, teachers, and students experience participating in the teaching and learning of conservatory cultures, an interview study was planned. The transcriptions were treated by a thematic analysis model. The analysis explored three themes that represent fields of tension: teaching in relation to established cultural structures, to creating or not creating new learning trajectories, and collaboration or competition—the educational culture. The fields of tension found through the analysis concern relations between the traditional conserved conservatory teaching and new open and diverse thoughts about and actions within in HME teaching. It becomes obvious that creating new learning trajectories should be a common issue, involving students and teachers, as well as leaders of conservatories, and that competition should be supported by collaboration. A consequence of such a pedagogical approach would be that differences between programs for diverse instruments could be balanced, and that all involved could learn from each other, which demands flexibility between individual and collaborative learning activities.
{"title":"Maintaining and challenging conservative teaching and learning culture in conservatories: The need for holistic pedagogy in educational fields of tension","authors":"Cecilia Ferm Almqvist, Ann Werner","doi":"10.1177/1321103x231187766","DOIUrl":"https://doi.org/10.1177/1321103x231187766","url":null,"abstract":"When the need of transforming and remixing music education is illuminated, fields of tensions in relation to the traditional master–apprentice model of teaching often appear. Binaries have been constructed and critiqued in research to describe tensions at various music educational levels. Some studies have also asked for a holistic, “both/and” holding. In higher music education (HME), the need for new approaches in research to understand how teaching and learning is developing are asked for. As a contribution, the overall aim of the article is to illuminate to what extent traditional culture norms and structures are maintained and challenged at three European conservatories. The specific aim is to map possible fields of tension surrounding approaches to teaching and related learning. The analysis in this article partly builds on understandings of culture and institutions, and partly on theories of relational pedagogy. To get access to how leaders, teachers, and students experience participating in the teaching and learning of conservatory cultures, an interview study was planned. The transcriptions were treated by a thematic analysis model. The analysis explored three themes that represent fields of tension: teaching in relation to established cultural structures, to creating or not creating new learning trajectories, and collaboration or competition—the educational culture. The fields of tension found through the analysis concern relations between the traditional conserved conservatory teaching and new open and diverse thoughts about and actions within in HME teaching. It becomes obvious that creating new learning trajectories should be a common issue, involving students and teachers, as well as leaders of conservatories, and that competition should be supported by collaboration. A consequence of such a pedagogical approach would be that differences between programs for diverse instruments could be balanced, and that all involved could learn from each other, which demands flexibility between individual and collaborative learning activities.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136337249","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 : 2023-09-30DOI: 10.1177/1321103x231199965
Anna Kuoppamäki, Fanny Vilmilä
This study explores young people’s arts participation through music-making in Finland and the factors that may regulate that participation. It seeks to understand the construction of active modes of arts participation in and through adolescents’ musical life courses. The interview study was conducted with young people ( N = 18) participating in musical activities in formal and nonformal learning spaces, such as music institutions or activities offered by municipal youth programs. By introducing five musical pathways based on young people’s life courses, we explore the ways that adolescents negotiate individual and collective meanings as creative agents in their musical lives. The study shows that access to music education, webs of support, and continuity of musical activities are the key factors regulating young people’s arts participation through cultural authorship.
{"title":"Young people navigating musical lives: Considering arts participation as agency in cultural authorship","authors":"Anna Kuoppamäki, Fanny Vilmilä","doi":"10.1177/1321103x231199965","DOIUrl":"https://doi.org/10.1177/1321103x231199965","url":null,"abstract":"This study explores young people’s arts participation through music-making in Finland and the factors that may regulate that participation. It seeks to understand the construction of active modes of arts participation in and through adolescents’ musical life courses. The interview study was conducted with young people ( N = 18) participating in musical activities in formal and nonformal learning spaces, such as music institutions or activities offered by municipal youth programs. By introducing five musical pathways based on young people’s life courses, we explore the ways that adolescents negotiate individual and collective meanings as creative agents in their musical lives. The study shows that access to music education, webs of support, and continuity of musical activities are the key factors regulating young people’s arts participation through cultural authorship.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"216 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136280135","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 : 2023-08-17DOI: 10.1177/1321103x231192311
Thomas Fienberg
Inspired by a desire to explore ways in which non-Indigenous Australians can meaningfully connect with Aboriginal and Torres Strait Islander peoples, this article reflects on my doctoral studies and the role educators can have in holding space for First Nations peoples to directly contribute toward the creation of mutually rewarding teaching and learning experiences. It specifically evaluates the processes involved in establishing and implementing a project centered on my senior secondary music class as the students engaged in the collaborative reworking of two songs shared by Ngiyampaa composer and dancer, Peter Williams. The article is intentionally reflexive as it interrogates the journey and motivations behind conducting the study. As a non-Indigenous teacher-researcher, I table three foundational pillars behind my personal growth in understanding Aboriginal and Torres Strait Islander histories and cultures: the music, the academic literature, and most importantly, the local community. The article then discusses the challenges and factors that lead to the success of the musical interactions in the doctoral study—a process understood as co-composition—and critically, the transformative learning experiences gained as reciprocal relationships were forged during various stages of the project. Rather than promoting co-composition as a pedagogical strategy, this article encourages a heuristic approach to increased and effective inclusion of Aboriginal and Torres Strait Islander music in secondary music classes. By setting out in autoethnographic form the experience of implementing a considered, decolonial, and ethical approach to learning from and through Aboriginal and Torres Strait Islander music, I hope to encourage educators to imagine themselves in a narrative of their own, one that includes their students and members of the local First Nations community, leading to rich and rewarding musical collaborations and ongoing fruitful relationships.
{"title":"Music, literature, and community: Reflections on a framework for learning through and from Aboriginal and Torres Strait Islander music","authors":"Thomas Fienberg","doi":"10.1177/1321103x231192311","DOIUrl":"https://doi.org/10.1177/1321103x231192311","url":null,"abstract":"Inspired by a desire to explore ways in which non-Indigenous Australians can meaningfully connect with Aboriginal and Torres Strait Islander peoples, this article reflects on my doctoral studies and the role educators can have in holding space for First Nations peoples to directly contribute toward the creation of mutually rewarding teaching and learning experiences. It specifically evaluates the processes involved in establishing and implementing a project centered on my senior secondary music class as the students engaged in the collaborative reworking of two songs shared by Ngiyampaa composer and dancer, Peter Williams. The article is intentionally reflexive as it interrogates the journey and motivations behind conducting the study. As a non-Indigenous teacher-researcher, I table three foundational pillars behind my personal growth in understanding Aboriginal and Torres Strait Islander histories and cultures: the music, the academic literature, and most importantly, the local community. The article then discusses the challenges and factors that lead to the success of the musical interactions in the doctoral study—a process understood as co-composition—and critically, the transformative learning experiences gained as reciprocal relationships were forged during various stages of the project. Rather than promoting co-composition as a pedagogical strategy, this article encourages a heuristic approach to increased and effective inclusion of Aboriginal and Torres Strait Islander music in secondary music classes. By setting out in autoethnographic form the experience of implementing a considered, decolonial, and ethical approach to learning from and through Aboriginal and Torres Strait Islander music, I hope to encourage educators to imagine themselves in a narrative of their own, one that includes their students and members of the local First Nations community, leading to rich and rewarding musical collaborations and ongoing fruitful relationships.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":" ","pages":""},"PeriodicalIF":1.6,"publicationDate":"2023-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42543747","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 : 2023-07-21DOI: 10.1177/1321103x231182259
G. Moore, J. O’Flynn, Frances Burgess, Jayne Moore
This article examines challenges for music in initial teacher education (ITE) and in schools from the perspectives of music teacher educators across two jurisdictions of Ireland and Northern Ireland. Spanning primary and secondary music ITE, 17 music teacher educators from across both jurisdictions met to share practice and concerns. Findings from three focus group discussions revealed concerns regarding musical provision within ITE institutions and on a wider systemic level, acknowledging the diminishing status of music in both policy and curricular discourse, and in schools. In terms of identity, a shared concept of the music teacher educator as both advocate and confidence builder emerged. As music teacher educators predominantly work in isolation within ITE institutions in Ireland and Northern Ireland, participants welcomed the opportunity to share knowledge and experience across jurisdictions. As such, we argue that emerging communities of music teacher education practice are of critical importance to combat the multiplicity of challenges that music teacher educators face at a time of turbulence in the status of music in state education systems.
{"title":"Challenges for music in initial teacher education and in schools: Perspectives from music teacher educators in Ireland and Northern Ireland","authors":"G. Moore, J. O’Flynn, Frances Burgess, Jayne Moore","doi":"10.1177/1321103x231182259","DOIUrl":"https://doi.org/10.1177/1321103x231182259","url":null,"abstract":"This article examines challenges for music in initial teacher education (ITE) and in schools from the perspectives of music teacher educators across two jurisdictions of Ireland and Northern Ireland. Spanning primary and secondary music ITE, 17 music teacher educators from across both jurisdictions met to share practice and concerns. Findings from three focus group discussions revealed concerns regarding musical provision within ITE institutions and on a wider systemic level, acknowledging the diminishing status of music in both policy and curricular discourse, and in schools. In terms of identity, a shared concept of the music teacher educator as both advocate and confidence builder emerged. As music teacher educators predominantly work in isolation within ITE institutions in Ireland and Northern Ireland, participants welcomed the opportunity to share knowledge and experience across jurisdictions. As such, we argue that emerging communities of music teacher education practice are of critical importance to combat the multiplicity of challenges that music teacher educators face at a time of turbulence in the status of music in state education systems.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":" ","pages":""},"PeriodicalIF":1.6,"publicationDate":"2023-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45198123","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 : 2023-07-21DOI: 10.1177/1321103X231186952
K. Zhukov, Margaret S. Barrett, A. Creech
The global pandemic has severely disrupted the performing arts sector, with research documenting economic, professional, and health impacts on musicians. The psychological effects of lockdowns have been recognized, but little is known regarding their impact on freelance creative collaborative artists. This qualitative case study uses a resilience lens to report the perspectives of freelance creative collaborative musicians from the city of Melbourne, the Australian city which experienced the greatest period of lockdown in the country. Three main themes were identified: professional impacts (loss of work, loss of artistic identity, professional coping strategies), personal impacts (lockdown stressors, personal coping strategies, relationships), and future professional outlook (developing new professional skills and directions, positive and negative future outlooks). The findings demonstrate these musicians’ resilience in spite of difficult circumstances, resulting in positive adaptations and personal growth.
{"title":"The impacts of Covid-19 lockdowns on professional and personal lives of freelance creative collaborative musicians","authors":"K. Zhukov, Margaret S. Barrett, A. Creech","doi":"10.1177/1321103X231186952","DOIUrl":"https://doi.org/10.1177/1321103X231186952","url":null,"abstract":"The global pandemic has severely disrupted the performing arts sector, with research documenting economic, professional, and health impacts on musicians. The psychological effects of lockdowns have been recognized, but little is known regarding their impact on freelance creative collaborative artists. This qualitative case study uses a resilience lens to report the perspectives of freelance creative collaborative musicians from the city of Melbourne, the Australian city which experienced the greatest period of lockdown in the country. Three main themes were identified: professional impacts (loss of work, loss of artistic identity, professional coping strategies), personal impacts (lockdown stressors, personal coping strategies, relationships), and future professional outlook (developing new professional skills and directions, positive and negative future outlooks). The findings demonstrate these musicians’ resilience in spite of difficult circumstances, resulting in positive adaptations and personal growth.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":" ","pages":""},"PeriodicalIF":1.6,"publicationDate":"2023-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42281726","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 : 2023-07-19DOI: 10.1177/1321103x231181559
Carlos Lage-Gómez, Sabine Chatelain, Roberto Cremades-Andreu
Creativity has been described as an indissociable component of music education, complex to conceptualize and often overgeneralized. This article provides an overview of existing research on musical creativities in secondary education between 1990 and 2020. A total of 76 articles published in peer-reviewed journals are reviewed according to PRISMA (Preferred Reporting Items for Systematic reviews and Meta-Analyses) guidelines. To present and discuss the results, several dimensions of creativity research have been clustered into five categories: product, person/group, creative process, context, and domain. The 22.37% of the articles focus on the creative process, 14.47% on the context, 13.16% on the person/group perspective, and 1.32% on the product. The 48.68% of the studies focus on the domain perspective, showing an emphasis on specific activities traditionally associated with musical creativity like composing or improvising. Music listening is not present, and various forms of musical creativities are underrepresented. Over these three decades, an increasing orientation on teaching and learning within a sociocultural framework can be observed. In addition, the pedagogical challenges concern an expanded vision of creativity, albeit based on a specific and precisely defined framework.
{"title":"Toward conceptualizations of musical creativities in secondary education: An integrative literature review between 1990 and 2020","authors":"Carlos Lage-Gómez, Sabine Chatelain, Roberto Cremades-Andreu","doi":"10.1177/1321103x231181559","DOIUrl":"https://doi.org/10.1177/1321103x231181559","url":null,"abstract":"Creativity has been described as an indissociable component of music education, complex to conceptualize and often overgeneralized. This article provides an overview of existing research on musical creativities in secondary education between 1990 and 2020. A total of 76 articles published in peer-reviewed journals are reviewed according to PRISMA (Preferred Reporting Items for Systematic reviews and Meta-Analyses) guidelines. To present and discuss the results, several dimensions of creativity research have been clustered into five categories: product, person/group, creative process, context, and domain. The 22.37% of the articles focus on the creative process, 14.47% on the context, 13.16% on the person/group perspective, and 1.32% on the product. The 48.68% of the studies focus on the domain perspective, showing an emphasis on specific activities traditionally associated with musical creativity like composing or improvising. Music listening is not present, and various forms of musical creativities are underrepresented. Over these three decades, an increasing orientation on teaching and learning within a sociocultural framework can be observed. In addition, the pedagogical challenges concern an expanded vision of creativity, albeit based on a specific and precisely defined framework.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":" ","pages":""},"PeriodicalIF":1.6,"publicationDate":"2023-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48465505","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 : 2023-05-28DOI: 10.1177/1321103x231165222
M. Bremmer
This research study evaluated an Artist-in-Residence-project (AIR-project) at the Conservatory of Amsterdam, focusing on inclusive music education. For this project, the Conservatory invited the organization Drake Music Scotland to work with its students. The project’s aim was to provide students with practical skills regarding music technology, to discuss the social model of disability, and to play in an inclusive music ensemble with a musician with a severe physical disability. The perceived learning experiences of students, the experienced value of the project, and recommendations for its improvement were explored through online questionnaires with the students and online semistructured interviews with the AIR-project leader, the musician with a disability, and the two workshop leaders of Drake Music Scotland. Findings suggest that alongside learning practical skills regarding music technology, students changed or broadened their perceptions about people with disabilities and inclusive music-making in positive ways. Furthermore, participants valued that the project created a space in which “taking enough time” and “belonging” could be experienced; these values are important in inclusive music environments as they can empower musicians with disabilities. The main recommendation for similar projects was that students wanted to gain hands-on experience in inclusive music education.
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