Pub Date : 2023-01-11DOI: 10.1177/1321103X221144583
Nicole Canham
One of the many lessons of the COVID-19 pandemic has been the nature of it: it has been, and still is, an evolving situation in which there are many questions, but not always immediate or easy answers. Some of the pandemic experience has been shared, as almost 1.6 billion learners’ educations have been disrupted and teachers have reported increased work-related stress, anxiety, and burnout. Billions of dollars in music industry income have been lost and patterns of music engagement and consumer spending appear to be significantly altered. Other aspects of the pandemic have highlighted deep inequalities. The vulnerability of creative workers at a policy level, for example, reflects the precarity of a specific group of people, and the enormous complexity and uncertainty that shapes their personal and professional circumstances. Although some musicians have reveled in the opportunity to reinvent themselves through new sites for their work, for many, work in music has gone from challenging to untenable resulting in altered priorities. In this paper, I explore the pandemic experience through the concept of liminality and offer three approaches for framing a paradigm shift in music careers education and research: things to think about, things to leave behind, and things to do differently.
{"title":"Living with liminality: Reconceptualising music careers education and research","authors":"Nicole Canham","doi":"10.1177/1321103X221144583","DOIUrl":"https://doi.org/10.1177/1321103X221144583","url":null,"abstract":"One of the many lessons of the COVID-19 pandemic has been the nature of it: it has been, and still is, an evolving situation in which there are many questions, but not always immediate or easy answers. Some of the pandemic experience has been shared, as almost 1.6 billion learners’ educations have been disrupted and teachers have reported increased work-related stress, anxiety, and burnout. Billions of dollars in music industry income have been lost and patterns of music engagement and consumer spending appear to be significantly altered. Other aspects of the pandemic have highlighted deep inequalities. The vulnerability of creative workers at a policy level, for example, reflects the precarity of a specific group of people, and the enormous complexity and uncertainty that shapes their personal and professional circumstances. Although some musicians have reveled in the opportunity to reinvent themselves through new sites for their work, for many, work in music has gone from challenging to untenable resulting in altered priorities. In this paper, I explore the pandemic experience through the concept of liminality and offer three approaches for framing a paradigm shift in music careers education and research: things to think about, things to leave behind, and things to do differently.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2023-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47833386","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 : 2022-12-29DOI: 10.1177/1321103x221136826
Johanna Lehtinen-Schnabel
The topic of language awareness in intercultural music education has received surprisingly little attention in discussions on meaningful and responsive musical practices, despite language being an ubiquitous issue that every music educator encounters when entering a multilingual learning environment. This study explores a language-aware perspective that is embedded in a dynamic and dialogical choir practice drawing on the direct social needs of adult choir participants with culturally and linguistically diverse backgrounds. The analysis sets the practitioner experiences, planning, and implementation of the choir practice against the theorisation of activity systems and the concepts of boundary object and boundary crossing, in particular. The theoretical exploration considers how a dual meaning choir practice (a) integrates musical and linguistic activity, (b) crosses boundaries between the disciplines of music and language education, and (c) justifies change in music educational thinking. The study suggests that a dual meaning choir practice provides meaningful musical activity for adult immigrants, expanding the understanding of musical practice and the profession of music educator by blurring the dichotomous thinking of music and music education as being either instrumentalized or existing only for purely musical purposes. The study further advocates that a hybrid musical practice can widen professional understanding with novel insights, out-of-the-box perspectives, and new opportunities.
{"title":"Novel opportunities for intercultural music education: Integrating singing and a language-aware approach in Learn-Finnish-by-Singing choirs","authors":"Johanna Lehtinen-Schnabel","doi":"10.1177/1321103x221136826","DOIUrl":"https://doi.org/10.1177/1321103x221136826","url":null,"abstract":"The topic of language awareness in intercultural music education has received surprisingly little attention in discussions on meaningful and responsive musical practices, despite language being an ubiquitous issue that every music educator encounters when entering a multilingual learning environment. This study explores a language-aware perspective that is embedded in a dynamic and dialogical choir practice drawing on the direct social needs of adult choir participants with culturally and linguistically diverse backgrounds. The analysis sets the practitioner experiences, planning, and implementation of the choir practice against the theorisation of activity systems and the concepts of boundary object and boundary crossing, in particular. The theoretical exploration considers how a dual meaning choir practice (a) integrates musical and linguistic activity, (b) crosses boundaries between the disciplines of music and language education, and (c) justifies change in music educational thinking. The study suggests that a dual meaning choir practice provides meaningful musical activity for adult immigrants, expanding the understanding of musical practice and the profession of music educator by blurring the dichotomous thinking of music and music education as being either instrumentalized or existing only for purely musical purposes. The study further advocates that a hybrid musical practice can widen professional understanding with novel insights, out-of-the-box perspectives, and new opportunities.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43385825","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 : 2022-12-26DOI: 10.1177/1321103X221140283
A. Asztalos
One of the most important issues in music education is the development of children’s musical abilities, which are in turn impacted by teachers’ beliefs. The purpose of this study was to investigate the beliefs of general classroom and music specialist teachers in Hungary about the development of the musical abilities of children. A total of 176 general classroom teachers and 272 music specialist teachers participated in the research process. Data were collected using an online questionnaire method. SPSS was used to process data using quantitative methods. The researcher used descriptive statistical methods (frequencies, means, standard deviations) for data analysis, and inferential statistics—independent samples t test, Pearson’s correlation, and factor analysis (Maximum Likelihood method, Oblimin rotation)—to examine differences and correlations between variables. The results indicated that teachers cognitively organize musical abilities differently from the Hungarian National Core Curriculum content. Moreover, the study observed several differences among the beliefs of general classroom and music specialist teachers regarding the level of development of musical abilities of primary school children. A significant correlation was noted between the teachers’ qualifications, practice, and length of instrumental learning, and their beliefs about developing musical abilities in children. One main educational implication emerged from the results was the importance of modification of beliefs for educating teachers in university courses, which poses a major problem because changing teachers’ beliefs is a complex process.
{"title":"Beliefs of general classroom and music specialist teachers in Hungarian primary schools regarding the development of musical abilities in children","authors":"A. Asztalos","doi":"10.1177/1321103X221140283","DOIUrl":"https://doi.org/10.1177/1321103X221140283","url":null,"abstract":"One of the most important issues in music education is the development of children’s musical abilities, which are in turn impacted by teachers’ beliefs. The purpose of this study was to investigate the beliefs of general classroom and music specialist teachers in Hungary about the development of the musical abilities of children. A total of 176 general classroom teachers and 272 music specialist teachers participated in the research process. Data were collected using an online questionnaire method. SPSS was used to process data using quantitative methods. The researcher used descriptive statistical methods (frequencies, means, standard deviations) for data analysis, and inferential statistics—independent samples t test, Pearson’s correlation, and factor analysis (Maximum Likelihood method, Oblimin rotation)—to examine differences and correlations between variables. The results indicated that teachers cognitively organize musical abilities differently from the Hungarian National Core Curriculum content. Moreover, the study observed several differences among the beliefs of general classroom and music specialist teachers regarding the level of development of musical abilities of primary school children. A significant correlation was noted between the teachers’ qualifications, practice, and length of instrumental learning, and their beliefs about developing musical abilities in children. One main educational implication emerged from the results was the importance of modification of beliefs for educating teachers in university courses, which poses a major problem because changing teachers’ beliefs is a complex process.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46549510","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 : 2022-11-14DOI: 10.1177/1321103x221131210
Emilia Campayo-Muñoz, Laura Cuervo-Calvo, Alberto Cabedo-Mas
Group music making has the potential to develop socio-emotional competences. This study describes how responsibility and respect—both of which are socio-emotional competences—were developed through a socio-musical program, called Musiquem, in a Spanish primary school. The research consisted of a case study with students from Grades 3 to 5 (aged from 9 to 11) carried out over 1 school year (2018–2019). The program was developed as a specific music project to create a string orchestra and was implemented by two specialists in the violin and cello working in collaboration with the teachers in the primary school. The study describes the characteristics of the activities carried out to develop respect and responsibility and the results suggest they have a positive impact on students’ development of these socio-emotional competences.
{"title":"An opportunity to develop respect and responsibility through a socio-musical program in a primary school: A case study","authors":"Emilia Campayo-Muñoz, Laura Cuervo-Calvo, Alberto Cabedo-Mas","doi":"10.1177/1321103x221131210","DOIUrl":"https://doi.org/10.1177/1321103x221131210","url":null,"abstract":"Group music making has the potential to develop socio-emotional competences. This study describes how responsibility and respect—both of which are socio-emotional competences—were developed through a socio-musical program, called Musiquem, in a Spanish primary school. The research consisted of a case study with students from Grades 3 to 5 (aged from 9 to 11) carried out over 1 school year (2018–2019). The program was developed as a specific music project to create a string orchestra and was implemented by two specialists in the violin and cello working in collaboration with the teachers in the primary school. The study describes the characteristics of the activities carried out to develop respect and responsibility and the results suggest they have a positive impact on students’ development of these socio-emotional competences.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48958805","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 : 2022-10-20DOI: 10.1177/1321103x221131444
Heidi Westerlund, Guadalupe López-Íñiguez
Contemporary professional landscapes in classical music fields are rapidly changing and younger generations of musicians are confronting their creative careers, more often than not in connection to self-employment and freelancing. This narrative inquiry investigates the pathways and livelihoods of composers in a changing professional ecosystem through interviews with 10 bigenerational composers in Finland. The analysis is presented in three “factional stories,” in which the empirical material is crafted into “fictional form” by an anonymous first-person narrator. The stories depict how the secure, traditional careers of the older generation are found to be bound to traditional orchestras and ensembles, whereas the protean careers of the younger generation of composers involve passionate pathfinding amid pluralizing ecosystems, within but also beyond traditional contexts and through various collaborations. The younger composers are expanding significantly, or consciously distancing themselves from, the traditional model and values of a contemporary composer. Competition is found to be increasing and professional education described as too short and insufficient in its concentration on technique—this does not provide new understandings and skills beyond traditional composing craft needed for navigating the profession and securing livelihoods. Although similarities are found in the pathways of both composers’ generations, such as strong career callings and experiences of luck, the “struggle” for a composer to find a place in society is more strongly experienced by the younger generation, for which the development of an ongoing “learner identity” is required to embrace—and not resist—such a challenge. As a whole, the study provides a new understanding of composers’ pathfinding through changing ecosystems and suggests that traditional and protean music careers co-exist—even within a single person—while they can also be clearly separated from each other. The study informs higher music education programs in Western countries.
{"title":"Professional education toward protean careers in music? Bigenerational Finnish composers’ pathways and livelihoods in changing ecosystems","authors":"Heidi Westerlund, Guadalupe López-Íñiguez","doi":"10.1177/1321103x221131444","DOIUrl":"https://doi.org/10.1177/1321103x221131444","url":null,"abstract":"Contemporary professional landscapes in classical music fields are rapidly changing and younger generations of musicians are confronting their creative careers, more often than not in connection to self-employment and freelancing. This narrative inquiry investigates the pathways and livelihoods of composers in a changing professional ecosystem through interviews with 10 bigenerational composers in Finland. The analysis is presented in three “factional stories,” in which the empirical material is crafted into “fictional form” by an anonymous first-person narrator. The stories depict how the secure, traditional careers of the older generation are found to be bound to traditional orchestras and ensembles, whereas the protean careers of the younger generation of composers involve passionate pathfinding amid pluralizing ecosystems, within but also beyond traditional contexts and through various collaborations. The younger composers are expanding significantly, or consciously distancing themselves from, the traditional model and values of a contemporary composer. Competition is found to be increasing and professional education described as too short and insufficient in its concentration on technique—this does not provide new understandings and skills beyond traditional composing craft needed for navigating the profession and securing livelihoods. Although similarities are found in the pathways of both composers’ generations, such as strong career callings and experiences of luck, the “struggle” for a composer to find a place in society is more strongly experienced by the younger generation, for which the development of an ongoing “learner identity” is required to embrace—and not resist—such a challenge. As a whole, the study provides a new understanding of composers’ pathfinding through changing ecosystems and suggests that traditional and protean music careers co-exist—even within a single person—while they can also be clearly separated from each other. The study informs higher music education programs in Western countries.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49052879","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 : 2022-10-18DOI: 10.1177/1321103x221128733
Fernando López-Calatayud, Jesús Tejada
Self-regulation strategies and behaviors are important aspects of instrumental music learning because they allow students to set learning goals by testing and controlling their cognition, motivation, behaviors, and emotions. This work investigates the self-regulation processes of four young instrumentalists (aged 10–11 years) in their initial stages of viola and violin learning, during practice with Plectrus, a real-time instrumental intonation training and assessment software. The qualitative-hermeneutical nature of this research employed a multiple case study design to investigate the construct of self-regulation within a software-supported instrumental learning process. Data were collected from the participants’ practice diaries over a 4-week period. The final practice session was also analyzed from audio-visual recordings. The results indicate that, despite their limited experience, the students showed a diversity of strategies and behaviors with which they self-regulated their cognitions, motivations, behaviors, and emotions. However, not all the students employed the same processes, and there was variability in the frequency of their use. One of the students showed more self-regulatory processes than the rest and achieved the best scores, although it has not been possible to establish a relationship between the scores and self-regulation.
{"title":"Self-regulation strategies and behaviors in the initial learning of the viola and violin with the support of software for real-time instrumental intonation assessment","authors":"Fernando López-Calatayud, Jesús Tejada","doi":"10.1177/1321103x221128733","DOIUrl":"https://doi.org/10.1177/1321103x221128733","url":null,"abstract":"Self-regulation strategies and behaviors are important aspects of instrumental music learning because they allow students to set learning goals by testing and controlling their cognition, motivation, behaviors, and emotions. This work investigates the self-regulation processes of four young instrumentalists (aged 10–11 years) in their initial stages of viola and violin learning, during practice with Plectrus, a real-time instrumental intonation training and assessment software. The qualitative-hermeneutical nature of this research employed a multiple case study design to investigate the construct of self-regulation within a software-supported instrumental learning process. Data were collected from the participants’ practice diaries over a 4-week period. The final practice session was also analyzed from audio-visual recordings. The results indicate that, despite their limited experience, the students showed a diversity of strategies and behaviors with which they self-regulated their cognitions, motivations, behaviors, and emotions. However, not all the students employed the same processes, and there was variability in the frequency of their use. One of the students showed more self-regulatory processes than the rest and achieved the best scores, although it has not been possible to establish a relationship between the scores and self-regulation.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41446258","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 : 2022-10-08DOI: 10.1177/1321103X221123272
Koji Matsunobu
Reflecting their dominance within music education, most musical instruments used in schools are of Western origin. In stark contrast, the adoption of folk instruments for the purposes of facilitating students’ music-making and learning in the educational context is rarely encountered. This article reports the empirical data of a study in which a modified, 3D-printed instrument in the form of a shakuhachi was tested based on its usability in a classroom setting and the degree to which students were motivated to learn it. The positive results make a case for child-friendly, affordable, educational instruments that facilitate easy sound production and pitch bending without compromising authenticity and expression. Developing such educational instruments can play a crucial role in invigorating and transmitting traditional music.
{"title":"Reinventing folk instruments as educational tools: The case of the Shakuhachi","authors":"Koji Matsunobu","doi":"10.1177/1321103X221123272","DOIUrl":"https://doi.org/10.1177/1321103X221123272","url":null,"abstract":"Reflecting their dominance within music education, most musical instruments used in schools are of Western origin. In stark contrast, the adoption of folk instruments for the purposes of facilitating students’ music-making and learning in the educational context is rarely encountered. This article reports the empirical data of a study in which a modified, 3D-printed instrument in the form of a shakuhachi was tested based on its usability in a classroom setting and the degree to which students were motivated to learn it. The positive results make a case for child-friendly, affordable, educational instruments that facilitate easy sound production and pitch bending without compromising authenticity and expression. Developing such educational instruments can play a crucial role in invigorating and transmitting traditional music.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46487470","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 : 2022-10-08DOI: 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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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}
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