Pub Date : 2022-10-08DOI: 10.1177/1321103x221123234
Anneliese Gill, M. Osborne, G. McPherson
Self-efficacy is a key factor in performance success, yet little is known about how music educators nurture students’ self-belief within studio and class music lessons. This study explored teachers’ perceptions of pedagogical priorities in the development of self-efficacy. The goal was to understand how teachers intuitively nurture students’ performance self-efficacy and determine the optimal means by which positive self-perceptions and subsequent musical achievement could be most effectively fostered within music environments. Australian music educators ( n = 304) responded to a questionnaire asking them to share their strategies for helping students cope with common performance scenarios (exam, first concert, negative experience, and sub-par performance) and key performance issues such as music performance anxiety and confidence. Qualitative analyses coded to the four self-efficacy sources revealed that teachers preferred to focus on mastery experiences and employ verbal persuasion. The development of vicarious experience or the psychological performance skills that would benefit physiological and affective states were given substantially lower priority. There were also some significant between-group findings in the way that studio and school classroom teachers employed verbal persuasion which may be a reflection of the different teaching environments. Efforts to enhance performance self-efficacy could focus on the less-utilized sources. Further recommendations and implications for music pedagogy are outlined.
{"title":"Sources of self-efficacy in class and studio music lessons","authors":"Anneliese Gill, M. Osborne, G. McPherson","doi":"10.1177/1321103x221123234","DOIUrl":"https://doi.org/10.1177/1321103x221123234","url":null,"abstract":"Self-efficacy is a key factor in performance success, yet little is known about how music educators nurture students’ self-belief within studio and class music lessons. This study explored teachers’ perceptions of pedagogical priorities in the development of self-efficacy. The goal was to understand how teachers intuitively nurture students’ performance self-efficacy and determine the optimal means by which positive self-perceptions and subsequent musical achievement could be most effectively fostered within music environments. Australian music educators ( n = 304) responded to a questionnaire asking them to share their strategies for helping students cope with common performance scenarios (exam, first concert, negative experience, and sub-par performance) and key performance issues such as music performance anxiety and confidence. Qualitative analyses coded to the four self-efficacy sources revealed that teachers preferred to focus on mastery experiences and employ verbal persuasion. The development of vicarious experience or the psychological performance skills that would benefit physiological and affective states were given substantially lower priority. There were also some significant between-group findings in the way that studio and school classroom teachers employed verbal persuasion which may be a reflection of the different teaching environments. Efforts to enhance performance self-efficacy could focus on the less-utilized sources. Further recommendations and implications for music pedagogy are outlined.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":" ","pages":""},"PeriodicalIF":1.6,"publicationDate":"2022-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41518705","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 : 2022-10-01DOI: 10.1177/1321103X221109482
Jason Goopy
Music can be a powerful activity and resource in a child’s ongoing identity construction. Rather than something that people have, musical identities are understood to be something people enact and continually work on. The correlation between musical identities and developing music skills raises serious questions regarding the possibilities and responsibilities for school music education and music teachers to positively contribute to children’s emerging identities. This study investigates how daily singing-based music classes at an Australian boys’ school shape and support children’s identity work. Research was conducted using one-on-one semistructured interviews incorporating a “draw and tell” artifact elicitation technique with seven students in Year 3. All students were engaged in their fourth year of Kodály-inspired music education as part of the school curriculum. Findings indicate that singing, singing games, playing the recorder, writing activities, musician models, and thinking musically positively contributed to boys’ identity work. These daily school music practices provided a resource for their identity work; fostered a high value for learning in, about, and through music; developed musical proficiency; ignited interest in learning musical instruments; and facilitated the entanglement of children’s musical worlds. Boys’ future identity work was supported by assisting the construction of musical possible selves and encouraging the continuation of music learning. This case study exemplifies music as a process and resource for children’s ongoing identity construction, the contributions of school music education to identity development, and the potential of singing-based music education to positively shape and support children’s musical identity work.
{"title":"Children’s identity work in daily singing-based music classes: A case study of an Australian boys’ school","authors":"Jason Goopy","doi":"10.1177/1321103X221109482","DOIUrl":"https://doi.org/10.1177/1321103X221109482","url":null,"abstract":"Music can be a powerful activity and resource in a child’s ongoing identity construction. Rather than something that people have, musical identities are understood to be something people enact and continually work on. The correlation between musical identities and developing music skills raises serious questions regarding the possibilities and responsibilities for school music education and music teachers to positively contribute to children’s emerging identities. This study investigates how daily singing-based music classes at an Australian boys’ school shape and support children’s identity work. Research was conducted using one-on-one semistructured interviews incorporating a “draw and tell” artifact elicitation technique with seven students in Year 3. All students were engaged in their fourth year of Kodály-inspired music education as part of the school curriculum. Findings indicate that singing, singing games, playing the recorder, writing activities, musician models, and thinking musically positively contributed to boys’ identity work. These daily school music practices provided a resource for their identity work; fostered a high value for learning in, about, and through music; developed musical proficiency; ignited interest in learning musical instruments; and facilitated the entanglement of children’s musical worlds. Boys’ future identity work was supported by assisting the construction of musical possible selves and encouraging the continuation of music learning. This case study exemplifies music as a process and resource for children’s ongoing identity construction, the contributions of school music education to identity development, and the potential of singing-based music education to positively shape and support children’s musical identity work.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"44 1","pages":"570 - 588"},"PeriodicalIF":1.6,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41728692","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 : 2022-09-30DOI: 10.1177/1321103x221128172
Paul Massy, Sabrina F. Sembiante
This systematic literature review seeks to examine the pedagogical practices, professional relationships, and curricular development that impact teachers’ and students’ experiences in the postsecondary music education field as well as the theoretical frameworks and methodological design guiding the inquiry of included studies. A literature search following the Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) guidelines was undertaken, resulting in a sample of 14 studies from across eight countries and conducted between 2010 and 2020. Patterns in the findings across studies were found with regard to (a) critical pedagogical practices, (b) responsive pedagogical practices, (c) student experiential and institutional value mis/matches, and (d) the affordances of music education curricular revision. From this comprehensive review of the literature, research in this area indicates a postcolonial shift aiming to decenter traditional Western music and forefront more culturally relevant, community-based, student-responsive musical constructs and/or practices. This synthesis of results reveals synergy in the direction and research objectives of the music performance and teaching and learning fields, often separated, but mutually benefited when bridged together within an intersecting space.
{"title":"Pedagogical practices, curriculum development, and student experiences within postsecondary music education: A systematic literature review","authors":"Paul Massy, Sabrina F. Sembiante","doi":"10.1177/1321103x221128172","DOIUrl":"https://doi.org/10.1177/1321103x221128172","url":null,"abstract":"This systematic literature review seeks to examine the pedagogical practices, professional relationships, and curricular development that impact teachers’ and students’ experiences in the postsecondary music education field as well as the theoretical frameworks and methodological design guiding the inquiry of included studies. A literature search following the Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) guidelines was undertaken, resulting in a sample of 14 studies from across eight countries and conducted between 2010 and 2020. Patterns in the findings across studies were found with regard to (a) critical pedagogical practices, (b) responsive pedagogical practices, (c) student experiential and institutional value mis/matches, and (d) the affordances of music education curricular revision. From this comprehensive review of the literature, research in this area indicates a postcolonial shift aiming to decenter traditional Western music and forefront more culturally relevant, community-based, student-responsive musical constructs and/or practices. This synthesis of results reveals synergy in the direction and research objectives of the music performance and teaching and learning fields, often separated, but mutually benefited when bridged together within an intersecting space.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":" ","pages":""},"PeriodicalIF":1.6,"publicationDate":"2022-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43935152","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 : 2022-09-03DOI: 10.1177/1321103X221117114
William J. Coppola
The purpose of this phenomenological study was to investigate how egotism was experienced in the lives of 15 musicians and music professionals. Participants representing a broad range of musical backgrounds shared accounts spanning teacher–student, conductor–performer, peer–peer, colleague–colleague, and internalized relations with arrogance. Data collection included one-on-one interviews, collaborative phenomenological texts, and hermeneutic reflections. Through the process of epoché, phenomenological reduction, and imaginative variation, four themes materialized: (a) self-preservation, (b) other-relegation, (c) elitism, and (d) interpersonal harms. The essence of the phenomenon surfaced as the social negotiation of power. Participants identified egotism as stemming from one’s efforts to (re)gain or preserve power as they worked to strip power away from others. Given pervasive feelings of powerlessness, worthlessness, and trauma among participants, I argue that a sense of urgency in addressing egotism within music scholarship is necessary—particularly in the interest of supporting humane and ethical musical relationships.
{"title":"The essence of arrogance: A phenomenology of musical egotism","authors":"William J. Coppola","doi":"10.1177/1321103X221117114","DOIUrl":"https://doi.org/10.1177/1321103X221117114","url":null,"abstract":"The purpose of this phenomenological study was to investigate how egotism was experienced in the lives of 15 musicians and music professionals. Participants representing a broad range of musical backgrounds shared accounts spanning teacher–student, conductor–performer, peer–peer, colleague–colleague, and internalized relations with arrogance. Data collection included one-on-one interviews, collaborative phenomenological texts, and hermeneutic reflections. Through the process of epoché, phenomenological reduction, and imaginative variation, four themes materialized: (a) self-preservation, (b) other-relegation, (c) elitism, and (d) interpersonal harms. The essence of the phenomenon surfaced as the social negotiation of power. Participants identified egotism as stemming from one’s efforts to (re)gain or preserve power as they worked to strip power away from others. Given pervasive feelings of powerlessness, worthlessness, and trauma among participants, I argue that a sense of urgency in addressing egotism within music scholarship is necessary—particularly in the interest of supporting humane and ethical musical relationships.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"45 1","pages":"298 - 314"},"PeriodicalIF":1.6,"publicationDate":"2022-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45662910","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 : 2022-08-24DOI: 10.1177/1321103x221115978
Kari Holdhus, Catharina Christophersen, Heidi Partti
This article draws on a classroom project to explore the complexities of collaborative teaching within the music classroom, where a professional team collaborated to facilitate digital music-making at a lower secondary school in Norway during a student teacher practicum placement. The collaborative team, including in-service and pre-service teachers, researchers, and a professional musician, facilitated a composing project by means of the digital audio workstation (DAW) Soundtrap. The purpose was to shed light on the complexity and emergence of the collaborative music project; how material, structural, and educational conditions impacted the process; and the pre-service music teachers’ ways of handling a complex situation. The study was theoretically guided by a socio-material perspective, more specifically by complexity theory, and an abductive analysis was performed. In keeping with the nonlinearity and complex causality of socio-materialism and complexity theory, the researchers created three reflexive viewpoints: emergence, enabling constraints, and entanglements. The results show that technological and technical issues permeated the classroom work, making it difficult to separate social and material aspects of the project. Awareness of the entanglement of social, institutional, historical, and material dimensions of education thus can provide a useful framework for emerging music teachers’ professional development. In this way, our findings support the claim that music teacher education should aim at helping pre-service teachers prepare for encounters with complex and versatile educational situations.
{"title":"Soundtrapped? Socio-material perspectives on collaborative teaching within the music classroom","authors":"Kari Holdhus, Catharina Christophersen, Heidi Partti","doi":"10.1177/1321103x221115978","DOIUrl":"https://doi.org/10.1177/1321103x221115978","url":null,"abstract":"This article draws on a classroom project to explore the complexities of collaborative teaching within the music classroom, where a professional team collaborated to facilitate digital music-making at a lower secondary school in Norway during a student teacher practicum placement. The collaborative team, including in-service and pre-service teachers, researchers, and a professional musician, facilitated a composing project by means of the digital audio workstation (DAW) Soundtrap. The purpose was to shed light on the complexity and emergence of the collaborative music project; how material, structural, and educational conditions impacted the process; and the pre-service music teachers’ ways of handling a complex situation. The study was theoretically guided by a socio-material perspective, more specifically by complexity theory, and an abductive analysis was performed. In keeping with the nonlinearity and complex causality of socio-materialism and complexity theory, the researchers created three reflexive viewpoints: emergence, enabling constraints, and entanglements. The results show that technological and technical issues permeated the classroom work, making it difficult to separate social and material aspects of the project. Awareness of the entanglement of social, institutional, historical, and material dimensions of education thus can provide a useful framework for emerging music teachers’ professional development. In this way, our findings support the claim that music teacher education should aim at helping pre-service teachers prepare for encounters with complex and versatile educational situations.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":" ","pages":""},"PeriodicalIF":1.6,"publicationDate":"2022-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45984870","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 : 2022-08-09DOI: 10.1177/1321103x221115080
Margaret S. Barrett, K. Zhukov
Over the last decade research has reported a range of positive life and learning outcomes for adult and child choristers through first-person accounts derived through surveys and interviews. Little is known regarding parent and child perspectives on choral learning, particularly regarding the impacts of participating in excellent choirs on musical development, personal benefits, and contributing factors. This study interviewed six parents and their children regarding their perceptions of the impact of singing in a renowned Australian choir on the child’s musical development and personal growth. The PERMA model was utilized to analyze individual interviews. Findings show that Positive Emotions included enjoyment and humor; Engagement consisted of early exposure to singing, motivation, practising, and future plans for involvement in music; Relationships comprised strong friendships, belonging, and acceptance; Meaning encompassed valuing professional opportunities and cultural experiences; and Accomplishment incorporated musical, performance, and personal skills. Implications for choral educators include the need to balance striving for high singing standards with recognition of children’s needs and age limitations.
{"title":"Choral Flourishing: Parent and child perspectives on the benefits of participation in an excellent youth choir","authors":"Margaret S. Barrett, K. Zhukov","doi":"10.1177/1321103x221115080","DOIUrl":"https://doi.org/10.1177/1321103x221115080","url":null,"abstract":"Over the last decade research has reported a range of positive life and learning outcomes for adult and child choristers through first-person accounts derived through surveys and interviews. Little is known regarding parent and child perspectives on choral learning, particularly regarding the impacts of participating in excellent choirs on musical development, personal benefits, and contributing factors. This study interviewed six parents and their children regarding their perceptions of the impact of singing in a renowned Australian choir on the child’s musical development and personal growth. The PERMA model was utilized to analyze individual interviews. Findings show that Positive Emotions included enjoyment and humor; Engagement consisted of early exposure to singing, motivation, practising, and future plans for involvement in music; Relationships comprised strong friendships, belonging, and acceptance; Meaning encompassed valuing professional opportunities and cultural experiences; and Accomplishment incorporated musical, performance, and personal skills. Implications for choral educators include the need to balance striving for high singing standards with recognition of children’s needs and age limitations.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":" ","pages":""},"PeriodicalIF":1.6,"publicationDate":"2022-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44374716","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 : 2022-08-09DOI: 10.1177/1321103X221114613
Susan Mielke, B. Andrews
The purpose of this qualitative study was to investigate the process of composing educational music. As part of a research project titled Sound Connections: Composing Educational Music Canadian composers completed email interviews, responding to semi-structured questions about the process of composing educational music. Using qualitative data analysis, we sought to understand better this process and found that the composers in this study used a variety of compositional techniques at all stages of the compositional process (conceptualizing, writing, and refining) to promote the development of student musicians. Key findings included the importance of balancing skills review and challenge; the use of form, timbre, and harmony for the development of communication and listening skills specific to the ensemble context; the use of elements from various musical styles to support music appreciation; and the encouragement of student collaboration in the creative process of composition. An unexpected finding was the importance of composer collaboration with teachers and students in the composing process. The knowledge gained in this study adds to the literature on this under-researched topic, and may help composers, student composers, and composition teachers develop a better understanding of and appreciation for educational music, thereby encouraging educational music composition. In addition, the findings of this study may assist teachers in the difficult task of choosing educational music for their students.
{"title":"Composing for students: Composers’ reflections on the process of creating educational music","authors":"Susan Mielke, B. Andrews","doi":"10.1177/1321103X221114613","DOIUrl":"https://doi.org/10.1177/1321103X221114613","url":null,"abstract":"The purpose of this qualitative study was to investigate the process of composing educational music. As part of a research project titled Sound Connections: Composing Educational Music Canadian composers completed email interviews, responding to semi-structured questions about the process of composing educational music. Using qualitative data analysis, we sought to understand better this process and found that the composers in this study used a variety of compositional techniques at all stages of the compositional process (conceptualizing, writing, and refining) to promote the development of student musicians. Key findings included the importance of balancing skills review and challenge; the use of form, timbre, and harmony for the development of communication and listening skills specific to the ensemble context; the use of elements from various musical styles to support music appreciation; and the encouragement of student collaboration in the creative process of composition. An unexpected finding was the importance of composer collaboration with teachers and students in the composing process. The knowledge gained in this study adds to the literature on this under-researched topic, and may help composers, student composers, and composition teachers develop a better understanding of and appreciation for educational music, thereby encouraging educational music composition. In addition, the findings of this study may assist teachers in the difficult task of choosing educational music for their students.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"45 1","pages":"379 - 396"},"PeriodicalIF":1.6,"publicationDate":"2022-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47790663","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 : 2022-07-06DOI: 10.1177/1321103X221109518
L. Coutts, Julia L. Hill
While tertiary music programs traditionally focus on developing musicians’ craft, there is an increasing emphasis on the need to develop students’ ability to use their craft in socially engaged ways. This has led to an increase in community music, mobility programs, and performance outreach opportunities being embedded into tertiary music programs. There is also, however, potential for students to develop their craft more explicitly in service of social change through activist-musicianship, but little academic exploration into how this might be embedded into tertiary music programs. This article, through interviews and focus groups, investigates tertiary music students’ perspectives on music’s role in activism, their social values and aspirations, and perceived opportunities and challenges for musicians and tertiary music institutions. Music activism was seen to be possible through focusing on the musician as embodying the message or the music communicating the message, with repertoire choice and the degree of explicit messaging deemed important considerations regarding potential impact. Students highlighted a desire to plant seeds for change, to encourage audience members to become aware of and question unconscious biases and values, and to spark ongoing conversations. Within their programs, students expressed a desire for more autonomy in repertoire selection, for training on the inclusion of extra-musical features to support messaging, and for strong integration and alignment of academic and performance courses that could provide opportunities to practice activist-musicianship as part of their programs. Further to this, there are a range of ethical considerations educators need to be mindful of, which are outlined throughout this article. Insights shared highlight a need for further understanding of the activist-musician and how associated skill sets and opportunities might be embedded within existing tertiary music programs.
{"title":"Tertiary music students’ perspectives on activist-musicianship: Approaches, challenges, and perceived role of higher music education","authors":"L. Coutts, Julia L. Hill","doi":"10.1177/1321103X221109518","DOIUrl":"https://doi.org/10.1177/1321103X221109518","url":null,"abstract":"While tertiary music programs traditionally focus on developing musicians’ craft, there is an increasing emphasis on the need to develop students’ ability to use their craft in socially engaged ways. This has led to an increase in community music, mobility programs, and performance outreach opportunities being embedded into tertiary music programs. There is also, however, potential for students to develop their craft more explicitly in service of social change through activist-musicianship, but little academic exploration into how this might be embedded into tertiary music programs. This article, through interviews and focus groups, investigates tertiary music students’ perspectives on music’s role in activism, their social values and aspirations, and perceived opportunities and challenges for musicians and tertiary music institutions. Music activism was seen to be possible through focusing on the musician as embodying the message or the music communicating the message, with repertoire choice and the degree of explicit messaging deemed important considerations regarding potential impact. Students highlighted a desire to plant seeds for change, to encourage audience members to become aware of and question unconscious biases and values, and to spark ongoing conversations. Within their programs, students expressed a desire for more autonomy in repertoire selection, for training on the inclusion of extra-musical features to support messaging, and for strong integration and alignment of academic and performance courses that could provide opportunities to practice activist-musicianship as part of their programs. Further to this, there are a range of ethical considerations educators need to be mindful of, which are outlined throughout this article. Insights shared highlight a need for further understanding of the activist-musician and how associated skill sets and opportunities might be embedded within existing tertiary music programs.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"3 1","pages":"616 - 633"},"PeriodicalIF":1.6,"publicationDate":"2022-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65371427","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 : 2022-07-05DOI: 10.1177/1321103x221107513
S. Kruse-Weber, A. Schiavio, Erik M. Kirchgäßner, E. Bucura
Meet4Music (M4M) is a low-threshold community music program based at the University of Music and Performing Arts Graz, Austria, offering free participatory sessions to people from all social and cultural backgrounds, including students. The program allows attendees to experience an emerging field of music pedagogy and approach current challenges of migration and cultural diversity from an artistic perspective. The purpose of this study was to explore how students considered and reflected on their M4M experiences. Research questions included the following: (1) How did students consider the experience of making music in a heterogeneous ensemble, and what meanings might they have made from it? And, (2) What aspects of M4M may have contributed to artistic and interpersonal enrichment, and in what ways? We examined meanings developed across the various practices involved in this artistic initiative, with a specific focus on the students’ experiences. To do so, qualitative data based on their written reflections are presented, analyzed, and discussed. Findings include attributions for M4M and personal impact. Themes center on a holistic understanding of the musical community of the program and students’ reflexive and responsive attitudes. Implications include refining notions of artistic citizenship and recommendations for higher music education.
{"title":"Reflective writing in a community music project with students in higher music education","authors":"S. Kruse-Weber, A. Schiavio, Erik M. Kirchgäßner, E. Bucura","doi":"10.1177/1321103x221107513","DOIUrl":"https://doi.org/10.1177/1321103x221107513","url":null,"abstract":"Meet4Music (M4M) is a low-threshold community music program based at the University of Music and Performing Arts Graz, Austria, offering free participatory sessions to people from all social and cultural backgrounds, including students. The program allows attendees to experience an emerging field of music pedagogy and approach current challenges of migration and cultural diversity from an artistic perspective. The purpose of this study was to explore how students considered and reflected on their M4M experiences. Research questions included the following: (1) How did students consider the experience of making music in a heterogeneous ensemble, and what meanings might they have made from it? And, (2) What aspects of M4M may have contributed to artistic and interpersonal enrichment, and in what ways? We examined meanings developed across the various practices involved in this artistic initiative, with a specific focus on the students’ experiences. To do so, qualitative data based on their written reflections are presented, analyzed, and discussed. Findings include attributions for M4M and personal impact. Themes center on a holistic understanding of the musical community of the program and students’ reflexive and responsive attitudes. Implications include refining notions of artistic citizenship and recommendations for higher music education.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":" ","pages":""},"PeriodicalIF":1.6,"publicationDate":"2022-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43628911","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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