Pub Date : 2025-06-29DOI: 10.1177/02557614251338549
Patrick Olsen
Graded music examinations have been a global enterprise as well as a rite-of-passage for music students since the end of the 19th century. Recently, the exams have expanded from their core of Western classical genre to include newer styles with options for improvisation. This research article investigates the influence of these examinations on the teaching and learning of improvisation within instrumental music lessons. Through a case study approach, the study examines how pedagogical practices surrounding improvisation are shaped by the pressures of assessment. Observations of weekly lessons reveal a significant shift in teaching strategies as exam dates approach, transitioning from open-ended exploration to a narrowed focus on specific skills required for success in examinations. The findings highlight the necessity of clear feedback from examiners to enhance the learning experience. Additionally, teachers are encouraged to reconsider the intended audiences of improvisation, balancing examiner expectations with the creative expressions valued by broader concert audiences.
{"title":"Improvising for the test: Influences of graded music examinations on the teaching and learning of improvisation within studio lessons","authors":"Patrick Olsen","doi":"10.1177/02557614251338549","DOIUrl":"https://doi.org/10.1177/02557614251338549","url":null,"abstract":"Graded music examinations have been a global enterprise as well as a rite-of-passage for music students since the end of the 19th century. Recently, the exams have expanded from their core of Western classical genre to include newer styles with options for improvisation. This research article investigates the influence of these examinations on the teaching and learning of improvisation within instrumental music lessons. Through a case study approach, the study examines how pedagogical practices surrounding improvisation are shaped by the pressures of assessment. Observations of weekly lessons reveal a significant shift in teaching strategies as exam dates approach, transitioning from open-ended exploration to a narrowed focus on specific skills required for success in examinations. The findings highlight the necessity of clear feedback from examiners to enhance the learning experience. Additionally, teachers are encouraged to reconsider the intended audiences of improvisation, balancing examiner expectations with the creative expressions valued by broader concert audiences.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"9 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144515503","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-06-29DOI: 10.1177/02557614251348952
Jesse Rathgeber
This case study explores the means and meanings of participation in a music therapy rock band. The Smooth Criminals is a band composed of five young adult members diagnosed with developmental disabilities and four assistants, comprising three music therapists/interns and a volunteer. Data generation occurred between 2013 and 2016 in a music therapy clinic in the Southwest of the United States and included video recordings of weekly rehearsals and three concerts, field notes, a researcher journal, and interviews with members, their families, and the facilitators/assistants. Analysis entailed a recursive process of axial coding with early themes informing questions and inquiries explored later in the study. Themes in the findings include (1) the band as a space for community and mutual care for all participants, (2) the band as a space to play with and construct personal identity, and (3) adaptations and accommodations used to support the band. Experiences in the band held communal and social meanings for members, facilitated by band members’ self-adaptive strategies and the support roles of the facilitators. The discussion explores possible applications of the themes and what might be adapted and transposed from community music therapy experiences such as this into music education contexts.
{"title":"Let’s rock: The means and meanings of participation in a music therapy rock band","authors":"Jesse Rathgeber","doi":"10.1177/02557614251348952","DOIUrl":"https://doi.org/10.1177/02557614251348952","url":null,"abstract":"This case study explores the means and meanings of participation in a music therapy rock band. The Smooth Criminals is a band composed of five young adult members diagnosed with developmental disabilities and four assistants, comprising three music therapists/interns and a volunteer. Data generation occurred between 2013 and 2016 in a music therapy clinic in the Southwest of the United States and included video recordings of weekly rehearsals and three concerts, field notes, a researcher journal, and interviews with members, their families, and the facilitators/assistants. Analysis entailed a recursive process of axial coding with early themes informing questions and inquiries explored later in the study. Themes in the findings include (1) the band as a space for community and mutual care for all participants, (2) the band as a space to play with and construct personal identity, and (3) adaptations and accommodations used to support the band. Experiences in the band held communal and social meanings for members, facilitated by band members’ self-adaptive strategies and the support roles of the facilitators. The discussion explores possible applications of the themes and what might be adapted and transposed from community music therapy experiences such as this into music education contexts.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"75 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144515502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-06-18DOI: 10.1177/02557614251348950
Faith A Hall, Brian A Silvey
In this phenomenological study, we explored seven undergraduate music education majors’ vocational identity development within the context of the COVID-19 pandemic. Symbolic interactionism was used as a framework for investigating the impact of COVID-19 on the secondary socialization of our participants. Social distancing, online and hybrid learning, and other COVID-19 preventative measures impacted the interactions of undergraduate music education majors that contributed to their identity development. Considering the unique experience of navigating the music education degree during the COVID-19 pandemic, we aimed to provide a profile of these incoming music teachers, including their strengths, difficulties, preparedness, and outlooks on their upcoming careers. The research questions were: (1) What are the lived experiences of undergraduate music education majors pursuing their degree program in the COVID-19 pandemic years? (2) How did undergraduate music education majors develop teacher and musician identities during the COVID-19 pandemic? Participants were seven American undergraduate music education majors who were students during the fall 2020 academic semester and had not yet enrolled in student teaching at the time of the study. Data were collected through semi-structured interviews, participant written reflections, researcher memos, and researcher observational notes. We identified the essence of the phenomena as motivated by empathy and organized our findings into four emergent themes: (a) navigating interactions, (b) influences on teacher identities, (c) (re)developing personal teaching philosophies, and (d) entering the teaching profession.
{"title":"A phenomenological study of music education majors’ vocational identity development during the COVID-19 pandemic","authors":"Faith A Hall, Brian A Silvey","doi":"10.1177/02557614251348950","DOIUrl":"https://doi.org/10.1177/02557614251348950","url":null,"abstract":"In this phenomenological study, we explored seven undergraduate music education majors’ vocational identity development within the context of the COVID-19 pandemic. Symbolic interactionism was used as a framework for investigating the impact of COVID-19 on the secondary socialization of our participants. Social distancing, online and hybrid learning, and other COVID-19 preventative measures impacted the interactions of undergraduate music education majors that contributed to their identity development. Considering the unique experience of navigating the music education degree during the COVID-19 pandemic, we aimed to provide a profile of these incoming music teachers, including their strengths, difficulties, preparedness, and outlooks on their upcoming careers. The research questions were: (1) What are the lived experiences of undergraduate music education majors pursuing their degree program in the COVID-19 pandemic years? (2) How did undergraduate music education majors develop teacher and musician identities during the COVID-19 pandemic? Participants were seven American undergraduate music education majors who were students during the fall 2020 academic semester and had not yet enrolled in student teaching at the time of the study. Data were collected through semi-structured interviews, participant written reflections, researcher memos, and researcher observational notes. We identified the essence of the phenomena as <jats:italic>motivated by empathy</jats:italic> and organized our findings into four emergent themes: (a) navigating interactions, (b) influences on teacher identities, (c) (re)developing personal teaching philosophies, and (d) entering the teaching profession.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"26 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144319320","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-06-18DOI: 10.1177/02557614251348953
Claire D Nicholls
This autoethnography examines my practice of curating didactic orchestral concerts for children with regional community orchestras over 16 years. Bourdieusian concepts are used as a theoretical framework to critique the nuances of my story. The commentaries provided in reflective narratives examine the initial well-meaning yet misguided motivations of a graduate teacher replicating high arts doxa through socialisation; efforts to shape audience behaviours and build cultural capital with a largely non-concert-going public; and later practice informed and reformed through research. Significant reflexive turns are shared with the view to provoke conversation, encourage fellow practitioners and smooth pitfalls for others working in these spaces. With these lessons and learnings in tow, the article critiques my current praxis, values and work in curating concerts for children, and offers guidance when considering the potential curated orchestral concerts as meaningful arts experiences for children. The article ultimately seeks to encourage practitioners and researchers both within this field and beyond to bravely have a go at blue sky projects mindfully, critically and reflexively.
{"title":"‘What’s it like?’: An autoethnography of three words that challenged and inspire a pedagogue in the concert hall","authors":"Claire D Nicholls","doi":"10.1177/02557614251348953","DOIUrl":"https://doi.org/10.1177/02557614251348953","url":null,"abstract":"This autoethnography examines my practice of curating didactic orchestral concerts for children with regional community orchestras over 16 years. Bourdieusian concepts are used as a theoretical framework to critique the nuances of my story. The commentaries provided in reflective narratives examine the initial well-meaning yet misguided motivations of a graduate teacher replicating high arts doxa through socialisation; efforts to shape audience behaviours and build cultural capital with a largely non-concert-going public; and later practice informed and reformed through research. Significant reflexive turns are shared with the view to provoke conversation, encourage fellow practitioners and smooth pitfalls for others working in these spaces. With these lessons and learnings in tow, the article critiques my current praxis, values and work in curating concerts for children, and offers guidance when considering the potential curated orchestral concerts as meaningful arts experiences for children. The article ultimately seeks to encourage practitioners and researchers both within this field and beyond to bravely have a go at blue sky projects mindfully, critically and reflexively.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"5 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144319667","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-05-19DOI: 10.1177/02557614251339551
Julie Myung Ok Song
The purpose of the study was to examine music teachers’ philosophical beliefs, and their application of those beliefs to teaching and advocacy in the United States. I also explored the factors that might predict those beliefs and their application to teaching and advocacy. To measure music teachers’ philosophical beliefs, I developed the Philosophical Beliefs (Ph.B.) scale based on the foundational utilitarian, aesthetic, and praxial philosophical perspectives. Using the Ph.B. scale, I conducted a survey through the National Association for Music Education in the United States, and 527 music teachers responded to the survey. The results revealed that music teachers’ philosophical beliefs and their use of beliefs in teaching and advocacy varied among the philosophical perspectives. In particular, the aesthetic perspective was most favored as a philosophical belief by music educators but used the least in advocacy. More experienced music teachers had stronger philosophical beliefs and made more use of these beliefs in practice. I discuss how future work may extend the research in this paper to consider additional philosophical and ethical perspectives of music educators.
{"title":"Music teachers’ philosophical beliefs and the use of those beliefs in teaching and advocacy in the USA","authors":"Julie Myung Ok Song","doi":"10.1177/02557614251339551","DOIUrl":"https://doi.org/10.1177/02557614251339551","url":null,"abstract":"The purpose of the study was to examine music teachers’ philosophical beliefs, and their application of those beliefs to teaching and advocacy in the United States. I also explored the factors that might predict those beliefs and their application to teaching and advocacy. To measure music teachers’ philosophical beliefs, I developed the Philosophical Beliefs (Ph.B.) scale based on the foundational utilitarian, aesthetic, and praxial philosophical perspectives. Using the Ph.B. scale, I conducted a survey through the National Association for Music Education in the United States, and 527 music teachers responded to the survey. The results revealed that music teachers’ philosophical beliefs and their use of beliefs in teaching and advocacy varied among the philosophical perspectives. In particular, the aesthetic perspective was most favored as a philosophical belief by music educators but used the least in advocacy. More experienced music teachers had stronger philosophical beliefs and made more use of these beliefs in practice. I discuss how future work may extend the research in this paper to consider additional philosophical and ethical perspectives of music educators.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"85 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144097087","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-05-19DOI: 10.1177/02557614251339549
Xiangyi Tao
Focussing on the Australian early childhood sector, this study extends advocacy for supporting children’s identity development through music. The Australian Early Years Learning Framework (EYLF) advocates that educators honour children’s right to a fulfilling childhood alongside their capacity to navigate change and transitions. This value is encapsulated in the EYLF’s title, ‘Belonging, Being and Becoming’. Music is primarily discussed in Learning Outcome Five as a means of encouraging children to be confident and communicate effectively. This study utilised a 3-month practitioner enquiry at a long-day care centre. Participatory observations and arts-informed methods were employed to capture children’s voices and learning dispositions. Data analysis referred to the four areas of the identity concept proposed in the EYLF. The results highlight the value of ‘ Musicking ’ in fostering a sense of belonging, self-discovery and cultural appreciation. Music performances and co-creation have emerged as opportunities for children to express agency and celebrate individual identities. Pedagogical sensitivity and multi-modal experiences are proposed for opening up learning opportunities for young children.
{"title":"‘ Belonging, Being and Becoming ’: Supporting preschooler’s identity development through Musicking","authors":"Xiangyi Tao","doi":"10.1177/02557614251339549","DOIUrl":"https://doi.org/10.1177/02557614251339549","url":null,"abstract":"Focussing on the Australian early childhood sector, this study extends advocacy for supporting children’s identity development through music. The Australian Early Years Learning Framework (EYLF) advocates that educators honour children’s right to a fulfilling childhood alongside their capacity to navigate change and transitions. This value is encapsulated in the EYLF’s title, ‘Belonging, Being and Becoming’. Music is primarily discussed in Learning Outcome Five as a means of encouraging children to be confident and communicate effectively. This study utilised a 3-month practitioner enquiry at a long-day care centre. Participatory observations and arts-informed methods were employed to capture children’s voices and learning dispositions. Data analysis referred to the four areas of the identity concept proposed in the EYLF. The results highlight the value of ‘ <jats:italic>Musicking</jats:italic> ’ in fostering a sense of belonging, self-discovery and cultural appreciation. Music performances and co-creation have emerged as opportunities for children to express agency and celebrate individual identities. Pedagogical sensitivity and multi-modal experiences are proposed for opening up learning opportunities for young children.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"31 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144097085","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-05-19DOI: 10.1177/02557614251339548
Anna Détári, Eckart Altenmüller
Musician’s Focal Dystonia is a task-specific neurological movement disorder affecting the fine motor control of 1% to 2% of highly skilled musicians, often disrupting or even terminating professional musical careers. Given that recovery from the condition is time-consuming and not at all guaranteed, prevention is of high importance. The disorder develops as a result of a period of maladaptive learning, prompted and aggravated by a complex set of risk factors. While some of these, such as genetic predisposition, are immutable, others, such as practice organisation and strategies, general performance-related health and psychosocial factors within the learning environment, are malleable and can be positively influenced in educational settings. This implies that music educators can play a significant role in protecting future generations from acquiring Musician’s Focal Dystonia. Therefore, this article aims to provide music educators with clear information about the pathophysiology of the condition, the potential risk factors, and guidelines for practical preventative steps which can be implemented in individual and group instrumental teaching. We hope that this work is the start of collaborative work between clinicians, health professionals, music educators and the musicians themselves to work towards the common goal of reducing the cases of this disorder.
{"title":"Preventing Musician’s Focal Dystonia: A guide for music educators","authors":"Anna Détári, Eckart Altenmüller","doi":"10.1177/02557614251339548","DOIUrl":"https://doi.org/10.1177/02557614251339548","url":null,"abstract":"Musician’s Focal Dystonia is a task-specific neurological movement disorder affecting the fine motor control of 1% to 2% of highly skilled musicians, often disrupting or even terminating professional musical careers. Given that recovery from the condition is time-consuming and not at all guaranteed, prevention is of high importance. The disorder develops as a result of a period of maladaptive learning, prompted and aggravated by a complex set of risk factors. While some of these, such as genetic predisposition, are immutable, others, such as practice organisation and strategies, general performance-related health and psychosocial factors within the learning environment, are malleable and can be positively influenced in educational settings. This implies that music educators can play a significant role in protecting future generations from acquiring Musician’s Focal Dystonia. Therefore, this article aims to provide music educators with clear information about the pathophysiology of the condition, the potential risk factors, and guidelines for practical preventative steps which can be implemented in individual and group instrumental teaching. We hope that this work is the start of collaborative work between clinicians, health professionals, music educators and the musicians themselves to work towards the common goal of reducing the cases of this disorder.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"131 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144097084","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-05-14DOI: 10.1177/02557614251339547
Lauren McCormick
This paper examines the impact that the differing structure of conservatories and schools of music has on the educational experiences of their students by using musical higher education in Australia as a case study. Preprofessional music education at the tertiary level is crucial for the seamless interaction between and integration of musicians operating across multiple regions in an industry that requires international cooperation and collaboration. This paper explores the historical origins of formalized music training (including both performance- and academic-based disciplines), the evolution of this education through conservatories and university schools of music, and the role that tertiary music education plays in preparing musicians for global success. The contrasting origins of conservatories and schools of music as educational institutions begets significant differences between the educational focuses, teaching methodologies, and structure of these institutions. These factors have strong implications on the type of music education a student should expect to receive; both what is taught and how it is taught is determined by these structural differences between conservatories and university schools. This paper also discusses how the unique strengths of conservatories and schools of music can cultivate a vibrant ecosystem where musical performers, writers, teachers, researchers, theorists, and scholars can thrive.
{"title":"An historic divide: Understanding conservatories and schools of music and their place in Australian higher education","authors":"Lauren McCormick","doi":"10.1177/02557614251339547","DOIUrl":"https://doi.org/10.1177/02557614251339547","url":null,"abstract":"This paper examines the impact that the differing structure of conservatories and schools of music has on the educational experiences of their students by using musical higher education in Australia as a case study. Preprofessional music education at the tertiary level is crucial for the seamless interaction between and integration of musicians operating across multiple regions in an industry that requires international cooperation and collaboration. This paper explores the historical origins of formalized music training (including both performance- and academic-based disciplines), the evolution of this education through conservatories and university schools of music, and the role that tertiary music education plays in preparing musicians for global success. The contrasting origins of conservatories and schools of music as educational institutions begets significant differences between the educational focuses, teaching methodologies, and structure of these institutions. These factors have strong implications on the type of music education a student should expect to receive; both what is taught and how it is taught is determined by these structural differences between conservatories and university schools. This paper also discusses how the unique strengths of conservatories and schools of music can cultivate a vibrant ecosystem where musical performers, writers, teachers, researchers, theorists, and scholars can thrive.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"232 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143979594","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-05-14DOI: 10.1177/02557614251339552
Kayla Rush
This article reports on a small-scale experimental pilot study examining instrumentalists’ techniques for aural learning of new melodies from various cultural traditions, with the goal of contributing to a contemporary understanding of multimusicality. It examines what strategies musicians employ to learn new melodies and whether these strategies vary when the musicians are asked to learn melodies from unfamiliar music-cultures. The study participants ( n = 12) were recruited from an arts department at a third-level institution in Ireland. Several were multimusical, with a high level of training and/or experience in two or more music-cultures. The article identifies three broad learning strategies deployed by study participants, which at times overlapped or were used simultaneously. These are named ‘segment-by-segment’, ‘joining-in’ and ‘chords-before-melody’. While learning strategies are based on experience and existing knowledge, genre and music-culture background proved to be poor indicators of the strategies deployed in the experimental task. Participants applied the same learning toolkit to both familiar and unfamiliar musics, but individual strategies differed based on a number of parameters. The findings raise interesting questions about multimusicality, and they suggest further research is needed to more fully explore these questions.
{"title":"Learning strategies and multimusicality in ear-learning tasks: An experimental pilot study","authors":"Kayla Rush","doi":"10.1177/02557614251339552","DOIUrl":"https://doi.org/10.1177/02557614251339552","url":null,"abstract":"This article reports on a small-scale experimental pilot study examining instrumentalists’ techniques for aural learning of new melodies from various cultural traditions, with the goal of contributing to a contemporary understanding of multimusicality. It examines what strategies musicians employ to learn new melodies and whether these strategies vary when the musicians are asked to learn melodies from unfamiliar music-cultures. The study participants ( <jats:italic>n</jats:italic> = 12) were recruited from an arts department at a third-level institution in Ireland. Several were multimusical, with a high level of training and/or experience in two or more music-cultures. The article identifies three broad learning strategies deployed by study participants, which at times overlapped or were used simultaneously. These are named ‘segment-by-segment’, ‘joining-in’ and ‘chords-before-melody’. While learning strategies are based on experience and existing knowledge, genre and music-culture background proved to be poor indicators of the strategies deployed in the experimental task. Participants applied the same learning toolkit to both familiar and unfamiliar musics, but individual strategies differed based on a number of parameters. The findings raise interesting questions about multimusicality, and they suggest further research is needed to more fully explore these questions.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"114 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143979595","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2025-04-17DOI: 10.1177/02557614251331675
Gabriela Ocádiz
In this paper, I explore how newcomer youth navigated identity, agency, and adaptation through music education at the Youth Music Program (YMP) in Canada. By analyzing their musical actions, this paper challenges dominant vulnerability narratives and highlights students’ creative and adaptive capacities. Drawing on critical ethnography and sociological perspectives on musical agency, findings suggest that participatory music-making fosters belonging, identity negotiation, and social inclusion. Through improvisation, composition, and collective performance, students demonstrated flexible mobility and cultural integration. I conclude by underscoring the role of music education in shaping social interactions and reimagining belonging in the Canadian context of human mobility.
{"title":"The musical actions of mobile youth","authors":"Gabriela Ocádiz","doi":"10.1177/02557614251331675","DOIUrl":"https://doi.org/10.1177/02557614251331675","url":null,"abstract":"In this paper, I explore how newcomer youth navigated identity, agency, and adaptation through music education at the Youth Music Program (YMP) in Canada. By analyzing their musical actions, this paper challenges dominant vulnerability narratives and highlights students’ creative and adaptive capacities. Drawing on critical ethnography and sociological perspectives on musical agency, findings suggest that participatory music-making fosters belonging, identity negotiation, and social inclusion. Through improvisation, composition, and collective performance, students demonstrated flexible mobility and cultural integration. I conclude by underscoring the role of music education in shaping social interactions and reimagining belonging in the Canadian context of human mobility.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"30 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2025-04-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143847280","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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