Pub Date : 2022-04-04DOI: 10.1177/1321103X211058277
Koji Matsunobu
In this article, based on a longitudinal study that the author conducted in a primary school in Japan, a methodology for assessing the long-term impact of music education is discussed. With the intention of understanding the meaning of primary music education from the perspectives of the learners, retrospective data were collected from former primary school students who became university students. Methodological possibilities are discussed in the light of nine themes, including the use of retrospective data and video recordings, focus group interviews, the involvement of teachers, subjectivity, and the view of narrative understanding. While most impact case studies pay little attention to how student learning actually takes place, the proposed methodology in this article emphasizes the importance of qualitative understanding in the initial stages as well as underscoring learners’ retrospective valuations of their own learning experiences.
{"title":"Discussing a methodology for researching the long-term impact of music education: Drawing on learners’ memories and self-accounts","authors":"Koji Matsunobu","doi":"10.1177/1321103X211058277","DOIUrl":"https://doi.org/10.1177/1321103X211058277","url":null,"abstract":"In this article, based on a longitudinal study that the author conducted in a primary school in Japan, a methodology for assessing the long-term impact of music education is discussed. With the intention of understanding the meaning of primary music education from the perspectives of the learners, retrospective data were collected from former primary school students who became university students. Methodological possibilities are discussed in the light of nine themes, including the use of retrospective data and video recordings, focus group interviews, the involvement of teachers, subjectivity, and the view of narrative understanding. While most impact case studies pay little attention to how student learning actually takes place, the proposed methodology in this article emphasizes the importance of qualitative understanding in the initial stages as well as underscoring learners’ retrospective valuations of their own learning experiences.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"45 1","pages":"229 - 244"},"PeriodicalIF":1.6,"publicationDate":"2022-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41752867","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 : 2022-04-02DOI: 10.1177/1321103X211066844
Jason P. Cumberledge, Matthew L. Williams
Culturally responsive pedagogy in music education is becoming increasingly crucial for all students, in all types of music programs, and at all levels of education as demographic shifts occur in schools. In music ensembles, the selection of repertoire is a critical component of culturally responsive pedagogy. The purpose of this study was to investigate student perceptions of repertoire in college music ensembles. This study was guided by the following research questions: (a) Do students perceive current ensemble repertoire as representative and supportive of their self-identities? (b) What are these perceptions according to students’ race or ethnicity, gender, and ensemble type? (c) What factors do students consider important in directors’ selection of repertoire? (d) How are directors’ current repertoire selection practices, as experienced by the respondents, informed by or responsive to gender and racial diversity in the ensembles? Respondents (N = 278) were graduate and undergraduate college students enrolled in band, choir, or orchestra. Data were collected through an online questionnaire. Overall, respondents felt that current repertoire practices were representative and supportive, although male respondents rated composer gender as lower in importance in repertoire selection than both females and those not identifying as male or female. White students indicated that they felt repertoire selection was more representative of their gender than Black, Indigenous, and other students of color. Respondents also indicated a desire for more underrepresented composers in ensemble repertoire. Numerous implications are provided, including the need for an increased focus on culturally responsive repertoire selection processes in teacher preparation programs.
{"title":"Representation in music: College students’ perceptions of ensemble repertoire","authors":"Jason P. Cumberledge, Matthew L. Williams","doi":"10.1177/1321103X211066844","DOIUrl":"https://doi.org/10.1177/1321103X211066844","url":null,"abstract":"Culturally responsive pedagogy in music education is becoming increasingly crucial for all students, in all types of music programs, and at all levels of education as demographic shifts occur in schools. In music ensembles, the selection of repertoire is a critical component of culturally responsive pedagogy. The purpose of this study was to investigate student perceptions of repertoire in college music ensembles. This study was guided by the following research questions: (a) Do students perceive current ensemble repertoire as representative and supportive of their self-identities? (b) What are these perceptions according to students’ race or ethnicity, gender, and ensemble type? (c) What factors do students consider important in directors’ selection of repertoire? (d) How are directors’ current repertoire selection practices, as experienced by the respondents, informed by or responsive to gender and racial diversity in the ensembles? Respondents (N = 278) were graduate and undergraduate college students enrolled in band, choir, or orchestra. Data were collected through an online questionnaire. Overall, respondents felt that current repertoire practices were representative and supportive, although male respondents rated composer gender as lower in importance in repertoire selection than both females and those not identifying as male or female. White students indicated that they felt repertoire selection was more representative of their gender than Black, Indigenous, and other students of color. Respondents also indicated a desire for more underrepresented composers in ensemble repertoire. Numerous implications are provided, including the need for an increased focus on culturally responsive repertoire selection processes in teacher preparation programs.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"45 1","pages":"344 - 361"},"PeriodicalIF":1.6,"publicationDate":"2022-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44852867","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 : 2022-04-02DOI: 10.1177/1321103X221078534
J. Palkki
This article conveys data collected in an ethnographic case study exploring monthly participatory community singing events in one city in the American Midwest. I analyze these data through the lens of a “traditional” choral conductor who, prior to undertaking this investigation, had little knowledge about participatory singing traditions; I also utilize scholarship about participatory versus presentational music activities as defined by Turino. Themes that arose during data analysis include: the context of folk music culture of Middletown, the inclusivity of community singing events, the role of the song-leader in facilitating these events, and “wounding stories” from participants who were discouraged by music educators. Perhaps in reflecting on the dichotomy between performative and participatory singing events, the choral community may begin to unlearn strictures that make some singers feel unwelcome.
{"title":"“It just fills you up”: The culture of monthly community singing events in one American city","authors":"J. Palkki","doi":"10.1177/1321103X221078534","DOIUrl":"https://doi.org/10.1177/1321103X221078534","url":null,"abstract":"This article conveys data collected in an ethnographic case study exploring monthly participatory community singing events in one city in the American Midwest. I analyze these data through the lens of a “traditional” choral conductor who, prior to undertaking this investigation, had little knowledge about participatory singing traditions; I also utilize scholarship about participatory versus presentational music activities as defined by Turino. Themes that arose during data analysis include: the context of folk music culture of Middletown, the inclusivity of community singing events, the role of the song-leader in facilitating these events, and “wounding stories” from participants who were discouraged by music educators. Perhaps in reflecting on the dichotomy between performative and participatory singing events, the choral community may begin to unlearn strictures that make some singers feel unwelcome.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"44 1","pages":"475 - 490"},"PeriodicalIF":1.6,"publicationDate":"2022-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47000702","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 : 2022-04-01DOI: 10.1177/1321103x221093027
Julie Ballantyne
{"title":"Editorial","authors":"Julie Ballantyne","doi":"10.1177/1321103x221093027","DOIUrl":"https://doi.org/10.1177/1321103x221093027","url":null,"abstract":"","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"44 1","pages":"3 - 4"},"PeriodicalIF":1.6,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46421080","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 : 2022-03-28DOI: 10.1177/1321103X211053799
J. Carter
The ideas and philosophies of preservice secondary music teachers (PSMTs) are formalized in their tertiary education years. In these years, PSMTs must reconcile the expectations, beliefs, and values espoused by their lecturers, tutors, and other significant people from their past. PSMTs have accumulated various musical experiences through prior interactions with their primary and secondary school teachers and private tutors, which nurture and shape the kind of teachers they anticipate becoming. This research focuses on a group of six PSMTs who face a very different future, teaching in the COVID-19 world of digital delivery amid a time of curriculum change in New South Wales (NSW), Australia. Thirty-minute Zoom interviews with the six participants took place over the two semesters of 2020, beginning before the COVID-19 outbreak in Australia and investigating how prepared PSMTs felt they were for classroom teaching. Their most positive responses regarding online learning provided evidence that their music lecturers had built PSMTs’ understanding of the curriculum, which increased their confidence in their musical ability during practicum. The findings in this article provide an informed NSW perspective about PSMTs’ tertiary education, adding to research about classroom music pedagogy. Finally, the opinions of PSMTs on their current learning and future careers are of importance and interest for both tertiary education institutions and curriculum designers.
{"title":"Preservice music teachers in New South Wales: How prepared do they feel for secondary music teaching in a changing world?","authors":"J. Carter","doi":"10.1177/1321103X211053799","DOIUrl":"https://doi.org/10.1177/1321103X211053799","url":null,"abstract":"The ideas and philosophies of preservice secondary music teachers (PSMTs) are formalized in their tertiary education years. In these years, PSMTs must reconcile the expectations, beliefs, and values espoused by their lecturers, tutors, and other significant people from their past. PSMTs have accumulated various musical experiences through prior interactions with their primary and secondary school teachers and private tutors, which nurture and shape the kind of teachers they anticipate becoming. This research focuses on a group of six PSMTs who face a very different future, teaching in the COVID-19 world of digital delivery amid a time of curriculum change in New South Wales (NSW), Australia. Thirty-minute Zoom interviews with the six participants took place over the two semesters of 2020, beginning before the COVID-19 outbreak in Australia and investigating how prepared PSMTs felt they were for classroom teaching. Their most positive responses regarding online learning provided evidence that their music lecturers had built PSMTs’ understanding of the curriculum, which increased their confidence in their musical ability during practicum. The findings in this article provide an informed NSW perspective about PSMTs’ tertiary education, adding to research about classroom music pedagogy. Finally, the opinions of PSMTs on their current learning and future careers are of importance and interest for both tertiary education institutions and curriculum designers.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"44 1","pages":"399 - 412"},"PeriodicalIF":1.6,"publicationDate":"2022-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43571670","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 : 2022-03-28DOI: 10.1177/1321103X221076997
Anu Sepp, Heikki Ruismäki, L. Hietanen
Reflection is a key component in teachers’ educational programs. As teachers transfer human values through the subject(s) they teach, their pedagogical thinking plays an essential role in decision-making. As part of the Arctic Reformative and Exploratory Teaching Profession (ArkTOP) project (Finland), this case study examines the potential for developing pedagogical thinking in the education of primary school teachers. The aim of this study was to identify the levels of pedagogical thinking in students and educators through studying their reflections on piano courses. The results indicated that student teachers reflected on an action level rather than upon metatheory. Teacher educators shared reflections from both an object theory and metatheory level, while the student teachers’ reflections were focused on their individual skills when making music. Thus, teacher educators should offer student teachers more guidance on how to reflect upon their activities and provide argumentation for their possible pedagogical decisions.
{"title":"Student teachers’ and teacher educators’ pedagogical reflections on piano courses in Finnish primary school teacher education","authors":"Anu Sepp, Heikki Ruismäki, L. Hietanen","doi":"10.1177/1321103X221076997","DOIUrl":"https://doi.org/10.1177/1321103X221076997","url":null,"abstract":"Reflection is a key component in teachers’ educational programs. As teachers transfer human values through the subject(s) they teach, their pedagogical thinking plays an essential role in decision-making. As part of the Arctic Reformative and Exploratory Teaching Profession (ArkTOP) project (Finland), this case study examines the potential for developing pedagogical thinking in the education of primary school teachers. The aim of this study was to identify the levels of pedagogical thinking in students and educators through studying their reflections on piano courses. The results indicated that student teachers reflected on an action level rather than upon metatheory. Teacher educators shared reflections from both an object theory and metatheory level, while the student teachers’ reflections were focused on their individual skills when making music. Thus, teacher educators should offer student teachers more guidance on how to reflect upon their activities and provide argumentation for their possible pedagogical decisions.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"45 1","pages":"20 - 36"},"PeriodicalIF":1.6,"publicationDate":"2022-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48494605","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 : 2022-03-27DOI: 10.1177/1321103X221081787
Guro von Germeten
This article explores taste processes within a group of musical theater students and their voice teacher, the latter also acting as researcher, while working with an aesthetically broad repertoire in a higher education setting in Norway. The study is designed using an action research approach, and the collected data—students’ reflection notes, the researcher’s field notes, and workshop recordings—are analyzed through Antoine Hennion’s theoretical framework of taste as a performance that acts, engages, transforms, and is felt, and which involves skills and sensitizing. In the social sciences, taste is commonly regarded as a matter of cultural consumption. This article argues that tastes are also part of cultural production: musicians, here musical theater performers, are to be seen as music lovers, performing tastes that stabilize or challenge established taste patterns in the form of styles, genres, or traditions. Accounting for situations where tastes are performed, tested, and negotiated, this article argues that tastes have a history but are brought into a negotiating presence, producing implications for the future; in this case, tastes form vocal behaviors and vocal behaviors form tastes. Hence, in musical theater education, taste, taste-making, and taste-testing are part of systematic and formal pedagogics and students’ ongoing vocal training.
{"title":"We are also music lovers: Testing vocal tastes in higher musical theater education","authors":"Guro von Germeten","doi":"10.1177/1321103X221081787","DOIUrl":"https://doi.org/10.1177/1321103X221081787","url":null,"abstract":"This article explores taste processes within a group of musical theater students and their voice teacher, the latter also acting as researcher, while working with an aesthetically broad repertoire in a higher education setting in Norway. The study is designed using an action research approach, and the collected data—students’ reflection notes, the researcher’s field notes, and workshop recordings—are analyzed through Antoine Hennion’s theoretical framework of taste as a performance that acts, engages, transforms, and is felt, and which involves skills and sensitizing. In the social sciences, taste is commonly regarded as a matter of cultural consumption. This article argues that tastes are also part of cultural production: musicians, here musical theater performers, are to be seen as music lovers, performing tastes that stabilize or challenge established taste patterns in the form of styles, genres, or traditions. Accounting for situations where tastes are performed, tested, and negotiated, this article argues that tastes have a history but are brought into a negotiating presence, producing implications for the future; in this case, tastes form vocal behaviors and vocal behaviors form tastes. Hence, in musical theater education, taste, taste-making, and taste-testing are part of systematic and formal pedagogics and students’ ongoing vocal training.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"44 1","pages":"554 - 569"},"PeriodicalIF":1.6,"publicationDate":"2022-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49267405","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 : 2022-03-27DOI: 10.1177/1321103X211054384
Kelsey Nussbaum
The culture of competition in music education is pervasive, reflecting the overall growth in standardization and accountability measures in education. With this study, I addressed the intersection of two underexamined topics in music education: teachers’ experience with competitive ensemble events and the structural challenges of working in a low-income, student of color (SOC) majority campus. In this basic qualitative study, I examined how instrumental music teachers navigate the high-stakes policy of an adjudicated large-ensemble contest within and beyond their classrooms. Research questions include the following: (a) What do teachers perceive to be the unique challenges they face in preparing for and participating in ensemble adjudication as a result of their context in a low-income, SOC-majority campus? (b) How does preparation and participation ensemble adjudication influence teaching and learning in instrumental music classrooms? (c) What do teachers perceive to be the function and justification for compulsory ensemble adjudication? Findings suggest that teachers working in these contexts experience unique challenges in preparing for and succeeding in adjudication events due to the intersection of campus-based challenges and policy. In addition, music teachers experience similar narrowing of content and heightened stress as their general education counterparts within accountability structures.
{"title":"“Failing in spite of wonderfulness”: High-stakes ensemble adjudication in low-income schools","authors":"Kelsey Nussbaum","doi":"10.1177/1321103X211054384","DOIUrl":"https://doi.org/10.1177/1321103X211054384","url":null,"abstract":"The culture of competition in music education is pervasive, reflecting the overall growth in standardization and accountability measures in education. With this study, I addressed the intersection of two underexamined topics in music education: teachers’ experience with competitive ensemble events and the structural challenges of working in a low-income, student of color (SOC) majority campus. In this basic qualitative study, I examined how instrumental music teachers navigate the high-stakes policy of an adjudicated large-ensemble contest within and beyond their classrooms. Research questions include the following: (a) What do teachers perceive to be the unique challenges they face in preparing for and participating in ensemble adjudication as a result of their context in a low-income, SOC-majority campus? (b) How does preparation and participation ensemble adjudication influence teaching and learning in instrumental music classrooms? (c) What do teachers perceive to be the function and justification for compulsory ensemble adjudication? Findings suggest that teachers working in these contexts experience unique challenges in preparing for and succeeding in adjudication events due to the intersection of campus-based challenges and policy. In addition, music teachers experience similar narrowing of content and heightened stress as their general education counterparts within accountability structures.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"45 1","pages":"315 - 328"},"PeriodicalIF":1.6,"publicationDate":"2022-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46451218","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 : 2022-03-22DOI: 10.1177/1321103X211057457
P. Costes-Onishi, D. Kwek
Many scholars have advocated the addition of more intellectual activities in music classrooms, the most prominent being critical thinking through inquiry. Inquiry-based learning (IBL) has been recognized as necessary for teaching and learning that increases critical thinking skills and dispositions. This study describes an extensive list of indicators that could ascertain the pedagogical practices and intellectual quality of knowledge work indicating the strength of inquiry in music classrooms. It shows the relationships between these indicators that help us understand the enablers and hindrances to critical thinking as an aspect of IBL in music. The article focuses on the Descriptive Statistics results of 114 classroom observations for music at the Primary and Secondary levels, using coding schemes developed in the Singapore Core3-PP project from 2018 to 2020. The results confirm the gap identified in the literature that music classes lack significant inquiry work that would nurture critical thinking skills and dispositions. The findings provide pedagogical insights that can (a) inform educators on how to examine and grow their IBL practice in music lessons; (b) move music education’s objective toward a balanced development of music skills and knowledge construction; (c) develop critical musicality and independent musicianship among students; and (d) provide concrete measures for researchers to design interventions in the areas of teacher learning in IBL.
{"title":"Inquiry-based learning in music: Indicators and relationships between key pedagogical practices and the quality of critical thinking","authors":"P. Costes-Onishi, D. Kwek","doi":"10.1177/1321103X211057457","DOIUrl":"https://doi.org/10.1177/1321103X211057457","url":null,"abstract":"Many scholars have advocated the addition of more intellectual activities in music classrooms, the most prominent being critical thinking through inquiry. Inquiry-based learning (IBL) has been recognized as necessary for teaching and learning that increases critical thinking skills and dispositions. This study describes an extensive list of indicators that could ascertain the pedagogical practices and intellectual quality of knowledge work indicating the strength of inquiry in music classrooms. It shows the relationships between these indicators that help us understand the enablers and hindrances to critical thinking as an aspect of IBL in music. The article focuses on the Descriptive Statistics results of 114 classroom observations for music at the Primary and Secondary levels, using coding schemes developed in the Singapore Core3-PP project from 2018 to 2020. The results confirm the gap identified in the literature that music classes lack significant inquiry work that would nurture critical thinking skills and dispositions. The findings provide pedagogical insights that can (a) inform educators on how to examine and grow their IBL practice in music lessons; (b) move music education’s objective toward a balanced development of music skills and knowledge construction; (c) develop critical musicality and independent musicianship among students; and (d) provide concrete measures for researchers to design interventions in the areas of teacher learning in IBL.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"45 1","pages":"362 - 378"},"PeriodicalIF":1.6,"publicationDate":"2022-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42924863","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 : 2022-01-27DOI: 10.1177/1321103X211066807
Sarah H. Watts
Musical play is a vital aspect of children’s musical cultures. As the social and cultural experiences of children change over time, their playful engagements with music may reflect these shifts. The purpose of this oral historical research was to explore girlhood musical play experiences over the course of a span of approximately 80 years (ca. 1920–2009), as well as the influences at work in the transmission, continuity, and content of these musical play behaviors. Semi-structured interviews were implemented to illuminate the musical play experience stories of 20 female individuals spanning four generations of birth as well as the factors impacting the transmission and continuity of musical play over time through family lines and across age cohorts. Findings suggest that influences of family, temporal context and peer groups, popular culture, cultural contexts, and issues of gender identity and gender roles were all present in the transmission of musical play repertoires over time. A lack of interest in musical play was also reported, which additionally impacted transmission.
{"title":"Musical play in girlhood: Transgenerational oral historical accounts","authors":"Sarah H. Watts","doi":"10.1177/1321103X211066807","DOIUrl":"https://doi.org/10.1177/1321103X211066807","url":null,"abstract":"Musical play is a vital aspect of children’s musical cultures. As the social and cultural experiences of children change over time, their playful engagements with music may reflect these shifts. The purpose of this oral historical research was to explore girlhood musical play experiences over the course of a span of approximately 80 years (ca. 1920–2009), as well as the influences at work in the transmission, continuity, and content of these musical play behaviors. Semi-structured interviews were implemented to illuminate the musical play experience stories of 20 female individuals spanning four generations of birth as well as the factors impacting the transmission and continuity of musical play over time through family lines and across age cohorts. Findings suggest that influences of family, temporal context and peer groups, popular culture, cultural contexts, and issues of gender identity and gender roles were all present in the transmission of musical play repertoires over time. A lack of interest in musical play was also reported, which additionally impacted transmission.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":"45 1","pages":"245 - 259"},"PeriodicalIF":1.6,"publicationDate":"2022-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42242037","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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