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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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.
{"title":"Encountering disability in music: Exploring perceptions on inclusive music education in higher music education","authors":"M. Bremmer","doi":"10.1177/1321103x231165222","DOIUrl":"https://doi.org/10.1177/1321103x231165222","url":null,"abstract":"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.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2023-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48858053","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: 10.1177/1321103x231172065
H. Fletcher, J. Davidson, A. Krause
Empathy enables successful communication and connection between teachers and their students, yet few studies have investigated its specific use in teaching singing. Addressing this gap, we interviewed voice teachers to discover how they articulate their pedagogy in terms of empathic practices and observed one-to-one lessons for evidence of the same. A sample of 27 classical and music theater voice teachers in Australia (70% females, 30% males), aged 35 to 75 years old ( M = 55) were interviewed. Of this cohort, seven teachers were observed in their one-to-one teaching practices. Interviews and observations were analyzed using Interpretative Phenomenological Analysis. Results indicated that voice teachers tailor their practices to the needs of students and demonstrate characteristics of teacher empathy identified in previous literature: effective communication, positive relationships, care, welcoming learning environment, trust, morality, and listening. Empathic teaching facilitates an individualized approach in which singing students are supported and motivated in their own autonomous learning environment. These findings have implications for voice pedagogy that features the use of empathy to benefit future students.
{"title":"Examining the empathic voice teacher","authors":"H. Fletcher, J. Davidson, A. Krause","doi":"10.1177/1321103x231172065","DOIUrl":"https://doi.org/10.1177/1321103x231172065","url":null,"abstract":"Empathy enables successful communication and connection between teachers and their students, yet few studies have investigated its specific use in teaching singing. Addressing this gap, we interviewed voice teachers to discover how they articulate their pedagogy in terms of empathic practices and observed one-to-one lessons for evidence of the same. A sample of 27 classical and music theater voice teachers in Australia (70% females, 30% males), aged 35 to 75 years old ( M = 55) were interviewed. Of this cohort, seven teachers were observed in their one-to-one teaching practices. Interviews and observations were analyzed using Interpretative Phenomenological Analysis. Results indicated that voice teachers tailor their practices to the needs of students and demonstrate characteristics of teacher empathy identified in previous literature: effective communication, positive relationships, care, welcoming learning environment, trust, morality, and listening. Empathic teaching facilitates an individualized approach in which singing students are supported and motivated in their own autonomous learning environment. These findings have implications for voice pedagogy that features the use of empathy to benefit future students.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2023-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49432005","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 : 2023-05-25DOI: 10.1177/1321103x231174341
R. Girdzijauskienė, Natassa Economidou Stavrou, Helmut Schaumberger, R. Frischknecht
Teachers are regularly confronted with paradoxes in their profession: clashes between different sets of values, their roles and their personal authenticity, the desire to be open but also detached, and the willingness to encourage students to have their own opinion but at the same time to obey and adapt. In this article, we investigate paradoxes in the music teaching profession with the aim of identifying those that are inherent to the field of music education and do not depend on a specific place or cultural context. To comprehend these paradoxes, we conducted a narrative study focused on the experiences of music teachers as presented through their own stories. This narrative study of 12 music teachers who worked with 10- to 15-year-old students in comprehensive schools was carried out in four European countries. The study applied a three-stage narrative interview strategy that asked teachers to share cases from their experience that implied paradoxes in their professional work. Based on this study, three umbrella categories of paradoxes were identified: paradoxes on curriculum negotiation and co-negotiation with students, free action in a regulated environment, and the double identity of music teachers. The study results offered insights applicable to music teacher education which can be summarized as a proposal to expose prospective music teachers to the paradoxes in their future profession and to discuss strategies that might help them manage these paradoxes.
{"title":"Investigating paradoxes in the music teaching profession","authors":"R. Girdzijauskienė, Natassa Economidou Stavrou, Helmut Schaumberger, R. Frischknecht","doi":"10.1177/1321103x231174341","DOIUrl":"https://doi.org/10.1177/1321103x231174341","url":null,"abstract":"Teachers are regularly confronted with paradoxes in their profession: clashes between different sets of values, their roles and their personal authenticity, the desire to be open but also detached, and the willingness to encourage students to have their own opinion but at the same time to obey and adapt. In this article, we investigate paradoxes in the music teaching profession with the aim of identifying those that are inherent to the field of music education and do not depend on a specific place or cultural context. To comprehend these paradoxes, we conducted a narrative study focused on the experiences of music teachers as presented through their own stories. This narrative study of 12 music teachers who worked with 10- to 15-year-old students in comprehensive schools was carried out in four European countries. The study applied a three-stage narrative interview strategy that asked teachers to share cases from their experience that implied paradoxes in their professional work. Based on this study, three umbrella categories of paradoxes were identified: paradoxes on curriculum negotiation and co-negotiation with students, free action in a regulated environment, and the double identity of music teachers. The study results offered insights applicable to music teacher education which can be summarized as a proposal to expose prospective music teachers to the paradoxes in their future profession and to discuss strategies that might help them manage these paradoxes.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2023-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42256575","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 : 2023-05-24DOI: 10.1177/1321103x231175389
Lucas Baño, J. Pozo
Despite research indicating the advantages of collaborative learning, most formal music education continues to be in an individual format. However, collaborative strategies have been observed in other musical cultures. Through this research, we wished to study the differences in the management of group practices between three musical cultures (classical, modern, and flamenco), checking whether they originate in the formal/informal nature of their cultural tools or their mode of musical production. For this purpose, we analyzed three musical groups belonging to these three musical cultures. Each group comprised four musicians. Recordings of the rehearsal sessions and three dimensions of learning (outcomes, processes, and conditions) were categorically analyzed using the system for the analysis of instrumental learning developed by our research group. Chi-square and adjusted standardized residuals analyses demonstrated that the learning outcomes in each culture differed according to the cultural tool used (literacy, orality, or mimetic), but that the processes and social interaction differed according to the mode of musical production. The findings suggested that those who approach music from open production structures, such as modern musicians, are more collaborative than those who approach it from closed structures, such as classical and flamenco musicians. We conclude by reflecting on the origin of these production structures, highlighting the need to work from different modes of musical production in educational spaces.
{"title":"The influence of musical production structures in group learning management","authors":"Lucas Baño, J. Pozo","doi":"10.1177/1321103x231175389","DOIUrl":"https://doi.org/10.1177/1321103x231175389","url":null,"abstract":"Despite research indicating the advantages of collaborative learning, most formal music education continues to be in an individual format. However, collaborative strategies have been observed in other musical cultures. Through this research, we wished to study the differences in the management of group practices between three musical cultures (classical, modern, and flamenco), checking whether they originate in the formal/informal nature of their cultural tools or their mode of musical production. For this purpose, we analyzed three musical groups belonging to these three musical cultures. Each group comprised four musicians. Recordings of the rehearsal sessions and three dimensions of learning (outcomes, processes, and conditions) were categorically analyzed using the system for the analysis of instrumental learning developed by our research group. Chi-square and adjusted standardized residuals analyses demonstrated that the learning outcomes in each culture differed according to the cultural tool used (literacy, orality, or mimetic), but that the processes and social interaction differed according to the mode of musical production. The findings suggested that those who approach music from open production structures, such as modern musicians, are more collaborative than those who approach it from closed structures, such as classical and flamenco musicians. We conclude by reflecting on the origin of these production structures, highlighting the need to work from different modes of musical production in educational spaces.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2023-05-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42642459","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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