Pub Date : 2022-06-03DOI: 10.1177/1321103X221099852
Yang Yang
Alignment between curriculum standards and teachers’ classroom instructional practices is critical in assessing curriculum implementation effectiveness and students’ learning. Using a modified version of the Surveys of Enacted Curriculum (SEC) for music, this study explored the alignment between the enacted curriculum and the national curriculum standards in the Chinese school system. Curriculum standards and classroom instructional practices were represented using sets of two-dimensional matrices that comprised content themes and five learning domains: Cognitive, Affective, Psychomotor, Social, and Cultural (the CAPSCt model). The results showed an overall high level of alignment (0.81–0.90). It was also suggested that the degree of alignment gradually decreased from the low grade to high grade band. Individual variations were evident in both the learning content and learning objectives, in which more emphasis was put on cognitive, affective, and psychomotor development than on social and cultural aspects. Methodological challenges and implications of the CAPSCt model for assessing curriculum enactment are also discussed.
{"title":"Assessing alignment between curriculum standards and teachers’ instructional practices in China’s school music education","authors":"Yang Yang","doi":"10.1177/1321103X221099852","DOIUrl":"https://doi.org/10.1177/1321103X221099852","url":null,"abstract":"Alignment between curriculum standards and teachers’ classroom instructional practices is critical in assessing curriculum implementation effectiveness and students’ learning. Using a modified version of the Surveys of Enacted Curriculum (SEC) for music, this study explored the alignment between the enacted curriculum and the national curriculum standards in the Chinese school system. Curriculum standards and classroom instructional practices were represented using sets of two-dimensional matrices that comprised content themes and five learning domains: Cognitive, Affective, Psychomotor, Social, and Cultural (the CAPSCt model). The results showed an overall high level of alignment (0.81–0.90). It was also suggested that the degree of alignment gradually decreased from the low grade to high grade band. Individual variations were evident in both the learning content and learning objectives, in which more emphasis was put on cognitive, affective, and psychomotor development than on social and cultural aspects. Methodological challenges and implications of the CAPSCt model for assessing curriculum enactment are also discussed.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43197585","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 : 2022-06-01DOI: 10.1177/1321103X221096553
Josef Hanson
The purpose of this study was to explore and synthesize the perspectives of primary-level students regarding their experiences in general music by analyzing their drawings. A research protocol was developed using an adaptation of the Kinetic School Drawing approach established by Prout and Phillips. A total of 180 primary students from four school contexts participated by creating pictorial depictions of both actual and ideal activities in general music class, which were then analyzed by an outside panel of expert assessors for apparent and implied features. The reactions and reflections of the general music specialists (n = 4) who taught the student participants were also documented and analyzed. Findings centered on students’ (a) preferences for agency and active, volitional learning activities, (b) desire for achievement, individualization, and feedback, and (c) tendencies to highlight compliant, institutionally appropriate behaviors over musical ones. The findings of this study suggest several implications for practice and the need for more intentional efforts to honor the perspectives of students when designing and facilitating music learning experiences, even at the primary level.
{"title":"Examining student depictions of actual and ideal learning experiences in elementary general music","authors":"Josef Hanson","doi":"10.1177/1321103X221096553","DOIUrl":"https://doi.org/10.1177/1321103X221096553","url":null,"abstract":"The purpose of this study was to explore and synthesize the perspectives of primary-level students regarding their experiences in general music by analyzing their drawings. A research protocol was developed using an adaptation of the Kinetic School Drawing approach established by Prout and Phillips. A total of 180 primary students from four school contexts participated by creating pictorial depictions of both actual and ideal activities in general music class, which were then analyzed by an outside panel of expert assessors for apparent and implied features. The reactions and reflections of the general music specialists (n = 4) who taught the student participants were also documented and analyzed. Findings centered on students’ (a) preferences for agency and active, volitional learning activities, (b) desire for achievement, individualization, and feedback, and (c) tendencies to highlight compliant, institutionally appropriate behaviors over musical ones. The findings of this study suggest several implications for practice and the need for more intentional efforts to honor the perspectives of students when designing and facilitating music learning experiences, even at the primary level.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47602833","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 : 2022-06-01DOI: 10.1177/1321103X221099436
S. Nielsen, Anne Jordhus-Lier, S. Karlsen
In 1997, Norway became the first country to make statutory provision for schools of music and arts requiring every municipality to run such a school. Based on an explicit vision of “schools of music and arts for everyone,” the aim is to provide music education for all children, regardless of social and economic background. Despite their statutory status, there are no official documents regulating the teaching content. The schools have an advisory curriculum framework, but as this framework barely mentions musical genres, teachers are free to choose content and modes of instruction. In this article, we address the following research questions: What kinds of music are used as teaching content in the schools of music and arts? Who, and what, decide which music is used? We report the findings from a survey of music teachers (N = 151) working in schools of music and arts that were selected using a quota sampling strategy. The survey questionnaire comprised both structured and open-ended questions. We found that while the teaching content encompasses a wide range of musical genres and styles, various styles of popular music predominate. Moreover, the teachers’ own choice of music was altogether the most prominent option, along with other categories involving teacher-led decisions. Our findings also suggest that the teachers’ own preferences and taste in music had a certain impact on the content used. However, the students’ and teachers’ influence on the teaching content seems to vary with the musical style/genre being taught. Students’ preferences were emphasized to a higher degree when teaching popular music, while the teachers decided what music to play more often when teaching art music/classical music. The findings are discussed against Kallio’s ideas of the school censorship frame, and the authors argue that the wider cultural-musical heritage seems to be a strong force when making decisions about teaching content.
{"title":"Selecting repertoire for music teaching: Findings from Norwegian schools of music and arts","authors":"S. Nielsen, Anne Jordhus-Lier, S. Karlsen","doi":"10.1177/1321103X221099436","DOIUrl":"https://doi.org/10.1177/1321103X221099436","url":null,"abstract":"In 1997, Norway became the first country to make statutory provision for schools of music and arts requiring every municipality to run such a school. Based on an explicit vision of “schools of music and arts for everyone,” the aim is to provide music education for all children, regardless of social and economic background. Despite their statutory status, there are no official documents regulating the teaching content. The schools have an advisory curriculum framework, but as this framework barely mentions musical genres, teachers are free to choose content and modes of instruction. In this article, we address the following research questions: What kinds of music are used as teaching content in the schools of music and arts? Who, and what, decide which music is used? We report the findings from a survey of music teachers (N = 151) working in schools of music and arts that were selected using a quota sampling strategy. The survey questionnaire comprised both structured and open-ended questions. We found that while the teaching content encompasses a wide range of musical genres and styles, various styles of popular music predominate. Moreover, the teachers’ own choice of music was altogether the most prominent option, along with other categories involving teacher-led decisions. Our findings also suggest that the teachers’ own preferences and taste in music had a certain impact on the content used. However, the students’ and teachers’ influence on the teaching content seems to vary with the musical style/genre being taught. Students’ preferences were emphasized to a higher degree when teaching popular music, while the teachers decided what music to play more often when teaching art music/classical music. The findings are discussed against Kallio’s ideas of the school censorship frame, and the authors argue that the wider cultural-musical heritage seems to be a strong force when making decisions about teaching content.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65371411","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 : 2022-05-04DOI: 10.1177/1321103X221089838
Silje Valde Onsrud, Bendik Fredriksen, Hanne Rinholm, Monica Lindgren
This article reports the results of a participatory action research study into Norwegian generalist music teacher education, that intended to develop spaces for preservice music teachers to foster agency and prepare for future teaching. We aimed to challenge the discursive practice of generalist music teacher education through participatory action research conducted from January to April 2020 at two central teacher education institutions in Norway. In this article, we present extracts from transcribed video recordings of the completed participatory action research that identify preservice music teachers’ positioning in interactions as a response to the challenges posed by action research events. Through our analysis, which draws on positioning theory from discourse psychology, we identify three primary positions taken up by preservice music teachers: (a) novices, (b) not yet independent, and (c) resource persons. The study identifies a need to interrupt traditional music teaching as a discursive practice that maintains power relations that obstruct preservice music teachers’ agency in their education. We conclude that more systematic long-term work is needed to change both educator and student habits and mind-sets.
{"title":"The multiplicity of preservice music teachers’ positioning in a participatory action research project","authors":"Silje Valde Onsrud, Bendik Fredriksen, Hanne Rinholm, Monica Lindgren","doi":"10.1177/1321103X221089838","DOIUrl":"https://doi.org/10.1177/1321103X221089838","url":null,"abstract":"This article reports the results of a participatory action research study into Norwegian generalist music teacher education, that intended to develop spaces for preservice music teachers to foster agency and prepare for future teaching. We aimed to challenge the discursive practice of generalist music teacher education through participatory action research conducted from January to April 2020 at two central teacher education institutions in Norway. In this article, we present extracts from transcribed video recordings of the completed participatory action research that identify preservice music teachers’ positioning in interactions as a response to the challenges posed by action research events. Through our analysis, which draws on positioning theory from discourse psychology, we identify three primary positions taken up by preservice music teachers: (a) novices, (b) not yet independent, and (c) resource persons. The study identifies a need to interrupt traditional music teaching as a discursive practice that maintains power relations that obstruct preservice music teachers’ agency in their education. We conclude that more systematic long-term work is needed to change both educator and student habits and mind-sets.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47274088","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 : 2022-05-03DOI: 10.1177/1321103X221087063
Hiromichi Mito, H. Kinjo
This study aimed to examine the association between musical activities and quality of life in older adults using a questionnaire survey. The questionnaire consisted of three parts: background variables, quality of life variables (measured from two aspects: appreciation of life and life-ability of the person), and musical activity variables (frequency of engagement in musical activities, perceived importance of musical activities, motivation for acquiring musical skills and knowledge, and self-efficacy regarding musical skills and knowledge). It was sent to 525 people aged 60 to 98 years who were enrolled in two Silver Human Resource Centers in Tokyo. We found a significant correlation between almost all the musical activity variables and the quality of life measures; the trend was consistent even after controlling for background variables. The results indicated that both the frequency of involvement in musical activities and the mindset toward musical skills and potency were associated with quality of life. The strength of this study is that the association between quality of life and various musical aspects—both frequency of participation and psychological aspects of musical activities—was explored within the same research design, which is the first to be carried out solely with older adults.
{"title":"A cross-sectional study on relationships between musical activities and quality of life in Japanese older adults","authors":"Hiromichi Mito, H. Kinjo","doi":"10.1177/1321103X221087063","DOIUrl":"https://doi.org/10.1177/1321103X221087063","url":null,"abstract":"This study aimed to examine the association between musical activities and quality of life in older adults using a questionnaire survey. The questionnaire consisted of three parts: background variables, quality of life variables (measured from two aspects: appreciation of life and life-ability of the person), and musical activity variables (frequency of engagement in musical activities, perceived importance of musical activities, motivation for acquiring musical skills and knowledge, and self-efficacy regarding musical skills and knowledge). It was sent to 525 people aged 60 to 98 years who were enrolled in two Silver Human Resource Centers in Tokyo. We found a significant correlation between almost all the musical activity variables and the quality of life measures; the trend was consistent even after controlling for background variables. The results indicated that both the frequency of involvement in musical activities and the mindset toward musical skills and potency were associated with quality of life. The strength of this study is that the association between quality of life and various musical aspects—both frequency of participation and psychological aspects of musical activities—was explored within the same research design, which is the first to be carried out solely with older adults.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47550575","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 : 2022-04-22DOI: 10.1177/1321103x221078521
Rachel Grimsby
The purpose of this instrumental case study was to observe music educators and special education paraprofessionals (SEPs) in a learning community that examined their perceptions and necessary practices needed to teach music to students with disabilities. The primary question of this study was: How may a community of practice (CoP) offer collaboration and instructional support for music educators and SEPs? Participants found the collaborative nature of the group to be the most beneficial. While instructional practices were moderately impacted, participants’ perceptions of their colleagues were changed. Participants also discovered similarities between their positions and shared concerns over systemic issues in education which impacted their positions within their school communities.
{"title":"“A meeting of equals”: Music educators and special education paraprofessionals in a community of practice","authors":"Rachel Grimsby","doi":"10.1177/1321103x221078521","DOIUrl":"https://doi.org/10.1177/1321103x221078521","url":null,"abstract":"The purpose of this instrumental case study was to observe music educators and special education paraprofessionals (SEPs) in a learning community that examined their perceptions and necessary practices needed to teach music to students with disabilities. The primary question of this study was: How may a community of practice (CoP) offer collaboration and instructional support for music educators and SEPs? Participants found the collaborative nature of the group to be the most beneficial. While instructional practices were moderately impacted, participants’ perceptions of their colleagues were changed. Participants also discovered similarities between their positions and shared concerns over systemic issues in education which impacted their positions within their school communities.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48057071","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 : 2022-04-19DOI: 10.1177/1321103X221081984
Brianna DeSantis, Sarah L. Deck, C. Hall, S. Roland
Previous sport research has demonstrated that athletes of higher levels employ imagery more than low-level athletes. Because there is currently little research on imagery’s application in singers, the purpose of the present study was to investigate whether this finding is reflected in low-level and high-level singers. A study-specific questionnaire was developed that examined singers’ imagery use. The questionnaire consisted of four subscales that assessed vocal technique, performance anxiety regulation, goals, and characterization. It was found that singers used imagery most for characterization (i.e., portraying a character or feeling), followed by goals, vocal technique, and performance anxiety regulation. No differences existed between professional and student singers’ imagery use. There was a significant difference between males and females on the characterization subscale, suggesting that female singers may use imagery for characterization more so than males. Introducing this approach to imagery to singers and teachers of singing has the potential to influence music education in school settings and impact curriculum development.
{"title":"Why do singers use imagery?","authors":"Brianna DeSantis, Sarah L. Deck, C. Hall, S. Roland","doi":"10.1177/1321103X221081984","DOIUrl":"https://doi.org/10.1177/1321103X221081984","url":null,"abstract":"Previous sport research has demonstrated that athletes of higher levels employ imagery more than low-level athletes. Because there is currently little research on imagery’s application in singers, the purpose of the present study was to investigate whether this finding is reflected in low-level and high-level singers. A study-specific questionnaire was developed that examined singers’ imagery use. The questionnaire consisted of four subscales that assessed vocal technique, performance anxiety regulation, goals, and characterization. It was found that singers used imagery most for characterization (i.e., portraying a character or feeling), followed by goals, vocal technique, and performance anxiety regulation. No differences existed between professional and student singers’ imagery use. There was a significant difference between males and females on the characterization subscale, suggesting that female singers may use imagery for characterization more so than males. Introducing this approach to imagery to singers and teachers of singing has the potential to influence music education in school settings and impact curriculum development.","PeriodicalId":45954,"journal":{"name":"Research Studies in Music Education","volume":null,"pages":null},"PeriodicalIF":1.6,"publicationDate":"2022-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42528710","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 : 2022-04-04DOI: 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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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}
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