Pub Date : 2024-03-08DOI: 10.1177/02557614241237235
Grace Thompson, Leon de Bruin, Monica Subiantoro, Anthea Skinner
Students undertaking higher education music degrees represent a rich tapestry of experiences, cultures and needs. However, equity and inclusion issues related to music students with disability in higher education are frequently addressed in generic ways, and without consultation or consideration of their unique requirements. With limited research available, this qualitative study within an Australian Conservatorium of Music analysed the experiential and situated reflections of 18 music students with disability. Based on our reflexive thematic analysis, we propose that issues related to equity and inclusion for music students in higher education are multi-faceted and interrelated. By foregrounding the participants’ voice, the qualitative themes suggest that enhancements related to disclosure processes, quality of communication and reliability of resources, would fortify equity and inclusion. The findings span the need for reforms at the institutional level, as well as specific professional development for educators and awareness raising amongst the student cohort. Informed by the participants’ lived experience, the findings call for music educators, professional staff and institutional leaders to effectively apply features of inclusive, caring, professional practices so that music students with disability can thrive in higher education.
{"title":"Hidden diversity in the conservatoire: A qualitative enquiry into the experiences of higher education music students with disability","authors":"Grace Thompson, Leon de Bruin, Monica Subiantoro, Anthea Skinner","doi":"10.1177/02557614241237235","DOIUrl":"https://doi.org/10.1177/02557614241237235","url":null,"abstract":"Students undertaking higher education music degrees represent a rich tapestry of experiences, cultures and needs. However, equity and inclusion issues related to music students with disability in higher education are frequently addressed in generic ways, and without consultation or consideration of their unique requirements. With limited research available, this qualitative study within an Australian Conservatorium of Music analysed the experiential and situated reflections of 18 music students with disability. Based on our reflexive thematic analysis, we propose that issues related to equity and inclusion for music students in higher education are multi-faceted and interrelated. By foregrounding the participants’ voice, the qualitative themes suggest that enhancements related to disclosure processes, quality of communication and reliability of resources, would fortify equity and inclusion. The findings span the need for reforms at the institutional level, as well as specific professional development for educators and awareness raising amongst the student cohort. Informed by the participants’ lived experience, the findings call for music educators, professional staff and institutional leaders to effectively apply features of inclusive, caring, professional practices so that music students with disability can thrive in higher education.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"15 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140069822","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 : 2024-03-06DOI: 10.1177/02557614241234051
Kate Fitzpatrick
Within the field of American secondary school wind band teaching, women have been historically and persistently underrepresented, making it important to consider ways to (1) expand pre-service teachers’ opportunities to engage with successful female band directors, and (2) to explore undergraduate women’s insights into becoming female band directors themselves. The purpose of this survey-based study was to explore the perceptions of American female-identifying collegiate music education majors ( N = 32) regarding the American school-based wind band teaching profession and their experiences within an intensive, one day, community-building event for female band directors. Results of the survey and subsequent analysis revealed a lack of female band director role models under whom participants had studied, a significant positive correlation between participants’ confidence in their ability to succeed in the role and their level of motivation for doing so, and a moderately positive perception of belief in their ability to balance potential future parenthood with their career. Thematic analysis of written responses revealed participants’ gender-specific concerns about entering the band directing profession and their takeaways from the day-long event. Implications are provided, including suggestions for pre-service teacher education, future research, and the development of other such events aimed at developing community for female-identifying band directors.
{"title":"Approaches to developing community: A survey of the perspectives of American female undergraduate prospective band directors","authors":"Kate Fitzpatrick","doi":"10.1177/02557614241234051","DOIUrl":"https://doi.org/10.1177/02557614241234051","url":null,"abstract":"Within the field of American secondary school wind band teaching, women have been historically and persistently underrepresented, making it important to consider ways to (1) expand pre-service teachers’ opportunities to engage with successful female band directors, and (2) to explore undergraduate women’s insights into becoming female band directors themselves. The purpose of this survey-based study was to explore the perceptions of American female-identifying collegiate music education majors ( N = 32) regarding the American school-based wind band teaching profession and their experiences within an intensive, one day, community-building event for female band directors. Results of the survey and subsequent analysis revealed a lack of female band director role models under whom participants had studied, a significant positive correlation between participants’ confidence in their ability to succeed in the role and their level of motivation for doing so, and a moderately positive perception of belief in their ability to balance potential future parenthood with their career. Thematic analysis of written responses revealed participants’ gender-specific concerns about entering the band directing profession and their takeaways from the day-long event. Implications are provided, including suggestions for pre-service teacher education, future research, and the development of other such events aimed at developing community for female-identifying band directors.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"66 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-03-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140057770","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 : 2024-03-04DOI: 10.1177/02557614241237528
Hui Lu, Wee Hoe Tan, Ku Wing Cheong, Yuan Cong
Intonation education plays a crucial role in music education. However, research in this field is relatively scarce. To address this research gap, this review conducts a comprehensive analysis by extensively searching the SCOPUS, WoS, and ERIC databases using the keywords “music,” “education,” and “intonation,” resulting in 326 retrieved articles. After rigorous selection, 13 highly relevant articles were chosen to analyze the trends and developments in intonation education over the past decade. This review focuses on three core themes in intonation education: drone accompaniment, multimodal feedback, and intonation strategies for short-term practice. Our analysis emphasizes the significance of employing diverse teaching methods and feedback strategies in intonation education. Furthermore, it is noteworthy that the current research on intonation education primarily focuses on Western educational contexts. This review also reveals that educational methods for intonation training in non-Western music environments remains an underexplored and underdeveloped area. These findings provide an indepth and comprehensive understanding for the future development of intonation education and offer insightful value to music educators and industry professionals.
{"title":"Unlocking sound: New trends and innovations in intonation education over the past decade","authors":"Hui Lu, Wee Hoe Tan, Ku Wing Cheong, Yuan Cong","doi":"10.1177/02557614241237528","DOIUrl":"https://doi.org/10.1177/02557614241237528","url":null,"abstract":"Intonation education plays a crucial role in music education. However, research in this field is relatively scarce. To address this research gap, this review conducts a comprehensive analysis by extensively searching the SCOPUS, WoS, and ERIC databases using the keywords “music,” “education,” and “intonation,” resulting in 326 retrieved articles. After rigorous selection, 13 highly relevant articles were chosen to analyze the trends and developments in intonation education over the past decade. This review focuses on three core themes in intonation education: drone accompaniment, multimodal feedback, and intonation strategies for short-term practice. Our analysis emphasizes the significance of employing diverse teaching methods and feedback strategies in intonation education. Furthermore, it is noteworthy that the current research on intonation education primarily focuses on Western educational contexts. This review also reveals that educational methods for intonation training in non-Western music environments remains an underexplored and underdeveloped area. These findings provide an indepth and comprehensive understanding for the future development of intonation education and offer insightful value to music educators and industry professionals.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"266 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140033165","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 : 2024-03-04DOI: 10.1177/02557614241237231
Silke Schmid
Educational researchers increasingly focus on psychosocial factors, implying the need for an improvement of school settings regarding child wellbeing. However, so far, studies which focus music-related wellbeing of primary school aged children are rare. The paper explores the essential question which empirically based frameworks offer concrete foundations for corresponding educational practices in the music classroom. Hence, the research conducted a critical interpretive review of English-language publications. In a multi-stage process, it sampled publications between 2017 and 2020 targeting children of early primary school age and focussing on a connection between musical practices and well-being. For a full-text analysis, the research selected studies offering theoretical frameworks for synthetic theorisation. Findings show that until now, few studies have focussed on primary school-aged children. However, it also indicates that an integrative model such as the PERMA Well-being Cycle can function as point of reference for the design of educational settings. Departing from ongoing reflections of this research, the paper argues for a differentiated professional perspective on psychosocial processes in the music classroom and music-related wellbeing as an explicit teaching objective instead of following implicit ‘hidden’, yet powerful agendas. The outcome might serve as the clarification of strategies to foster child wellbeing in music education settings.
{"title":"Music-related wellbeing as a teaching objective? A critical interpretive synthesis","authors":"Silke Schmid","doi":"10.1177/02557614241237231","DOIUrl":"https://doi.org/10.1177/02557614241237231","url":null,"abstract":"Educational researchers increasingly focus on psychosocial factors, implying the need for an improvement of school settings regarding child wellbeing. However, so far, studies which focus music-related wellbeing of primary school aged children are rare. The paper explores the essential question which empirically based frameworks offer concrete foundations for corresponding educational practices in the music classroom. Hence, the research conducted a critical interpretive review of English-language publications. In a multi-stage process, it sampled publications between 2017 and 2020 targeting children of early primary school age and focussing on a connection between musical practices and well-being. For a full-text analysis, the research selected studies offering theoretical frameworks for synthetic theorisation. Findings show that until now, few studies have focussed on primary school-aged children. However, it also indicates that an integrative model such as the PERMA Well-being Cycle can function as point of reference for the design of educational settings. Departing from ongoing reflections of this research, the paper argues for a differentiated professional perspective on psychosocial processes in the music classroom and music-related wellbeing as an explicit teaching objective instead of following implicit ‘hidden’, yet powerful agendas. The outcome might serve as the clarification of strategies to foster child wellbeing in music education settings.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"34 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-03-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140033153","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 : 2024-02-17DOI: 10.1177/02557614241232400
Patrick K Freer
The purpose of this study was to gather and explicate the narratives of adolescent males in Bogotá, Colombia about their experiences in school choral music instruction. The data were analyzed to explore the participants’ reasons for continued or discontinued participation in school-based singing activity. There were twelve participants, ages 12 to 17 years, representing four schools with music program funding provided through the Orquesta Filarmónica de Bogotá. Interviews were conducted in-person and on-site, with Spanish-English translation support as needed. Findings reflected themes of culturally relevant pedagogy, and previous research of adolescent male choral singers’ motivations, interests, personal goals, and persistence. Two unique findings emerged, that impoverished living conditions provided insulation from common stereotypes about males, singing, and choral music; and that these same conditions amplified the importance of the music teacher in their students’ lives.
{"title":"Poverty, adolescent males, and singing: A profile of schools in Bogotá, Colombia","authors":"Patrick K Freer","doi":"10.1177/02557614241232400","DOIUrl":"https://doi.org/10.1177/02557614241232400","url":null,"abstract":"The purpose of this study was to gather and explicate the narratives of adolescent males in Bogotá, Colombia about their experiences in school choral music instruction. The data were analyzed to explore the participants’ reasons for continued or discontinued participation in school-based singing activity. There were twelve participants, ages 12 to 17 years, representing four schools with music program funding provided through the Orquesta Filarmónica de Bogotá. Interviews were conducted in-person and on-site, with Spanish-English translation support as needed. Findings reflected themes of culturally relevant pedagogy, and previous research of adolescent male choral singers’ motivations, interests, personal goals, and persistence. Two unique findings emerged, that impoverished living conditions provided insulation from common stereotypes about males, singing, and choral music; and that these same conditions amplified the importance of the music teacher in their students’ lives.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"39 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139939054","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 : 2024-01-08DOI: 10.1177/02557614231212579
Una M. MacGlone, Guro Gravem Johansen
In higher music education (HME) contexts, free improvisation is currently a rapidly evolving field across musical genres. Previous research indicates that teaching and learning improvisation can be challenging, depending on students’ experience and how improvised music-making is facilitated, but few studies address free improvisation in HME. Our study has explored this field by utilising qualitative interviews with teachers of free improvisation in European HME institutions. Results provided insight into teachers’ motivation and the educational aims which informed their approaches to teaching improvisation. Some teachers referred to a canon of free improvised or experimental music and well-known improvisers, interpreted as a need amongst the teachers to position and legitimise a potentially marginalised subject within institutions. Teachers in our study used different types of frameworks to develop students’ ability to interact and listen. Focusing on musical parameters, limitations of choices or language metaphors were often used as tools for acquiring such aims. Results further indicate that free improvisation should be a safe space, enhance democratic values and disrupt hierarchies of knowledge. In sum, our study contributes to mapping and understanding contradictions and complexities of this developing area of pedagogy.
{"title":"Teaching free improvisation: European higher music education teachers’ conceptual tools","authors":"Una M. MacGlone, Guro Gravem Johansen","doi":"10.1177/02557614231212579","DOIUrl":"https://doi.org/10.1177/02557614231212579","url":null,"abstract":"In higher music education (HME) contexts, free improvisation is currently a rapidly evolving field across musical genres. Previous research indicates that teaching and learning improvisation can be challenging, depending on students’ experience and how improvised music-making is facilitated, but few studies address free improvisation in HME. Our study has explored this field by utilising qualitative interviews with teachers of free improvisation in European HME institutions. Results provided insight into teachers’ motivation and the educational aims which informed their approaches to teaching improvisation. Some teachers referred to a canon of free improvised or experimental music and well-known improvisers, interpreted as a need amongst the teachers to position and legitimise a potentially marginalised subject within institutions. Teachers in our study used different types of frameworks to develop students’ ability to interact and listen. Focusing on musical parameters, limitations of choices or language metaphors were often used as tools for acquiring such aims. Results further indicate that free improvisation should be a safe space, enhance democratic values and disrupt hierarchies of knowledge. In sum, our study contributes to mapping and understanding contradictions and complexities of this developing area of pedagogy.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"16 7","pages":""},"PeriodicalIF":1.8,"publicationDate":"2024-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139445458","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 : 2023-12-30DOI: 10.1177/02557614231219705
Daniel Mateos-Moreno, Paloma Bravo-Fuentes
The terms ‘Digital competence’ or ‘Professional digital competence’ are frequently used, yet their understanding remains varied and elusive. Moreover, existing research in education heavily focuses on the study of digital competence among students, with comparatively limited attention given to teachers. In this study, we aim to investigate primary music teachers’ perspectives on ‘professional digital competence’ in Spain. This entails understanding their conceptualizations on (1) the term itself, (2) the cultivation of related skills and (3) its practical application with students. Additionally, we seek to compare primary music teachers’ viewpoints with those of teachers from other subjects. Through a qualitative multi-case study involving purposeful sampling of 20 participants, the results suggest that our music teachers, regardless of their self-stated technological skills, possess a limited understanding of the ‘professional digital competence’ and express negative or pessimistic beliefs towards its development and implementation. Furthermore, they feel compelled to use educational technology despite their reservations. Our findings similarly indicate that their beliefs are not meaningfully different from those of non-music teachers in the same context. In discussing the implications, we suggest that these beliefs may lead to stress and anxiety among participants, necessitating support from educational administrators. Additionally, we propose that future research should further investigate both why and how our participants feel/are pressured to use technology, and the particular disadvantages of technology in music education identified in our analysis of their beliefs.
{"title":"The ‘professional digital competence’: Exploring the perspective of primary music teachers in Spain","authors":"Daniel Mateos-Moreno, Paloma Bravo-Fuentes","doi":"10.1177/02557614231219705","DOIUrl":"https://doi.org/10.1177/02557614231219705","url":null,"abstract":"The terms ‘Digital competence’ or ‘Professional digital competence’ are frequently used, yet their understanding remains varied and elusive. Moreover, existing research in education heavily focuses on the study of digital competence among students, with comparatively limited attention given to teachers. In this study, we aim to investigate primary music teachers’ perspectives on ‘professional digital competence’ in Spain. This entails understanding their conceptualizations on (1) the term itself, (2) the cultivation of related skills and (3) its practical application with students. Additionally, we seek to compare primary music teachers’ viewpoints with those of teachers from other subjects. Through a qualitative multi-case study involving purposeful sampling of 20 participants, the results suggest that our music teachers, regardless of their self-stated technological skills, possess a limited understanding of the ‘professional digital competence’ and express negative or pessimistic beliefs towards its development and implementation. Furthermore, they feel compelled to use educational technology despite their reservations. Our findings similarly indicate that their beliefs are not meaningfully different from those of non-music teachers in the same context. In discussing the implications, we suggest that these beliefs may lead to stress and anxiety among participants, necessitating support from educational administrators. Additionally, we propose that future research should further investigate both why and how our participants feel/are pressured to use technology, and the particular disadvantages of technology in music education identified in our analysis of their beliefs.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":" 8","pages":""},"PeriodicalIF":1.8,"publicationDate":"2023-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139140174","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 : 2023-12-29DOI: 10.1177/02557614231217793
Jennifer L Gee
The purpose of this study was to examine early childhood and elementary classroom teachers’ music integration practices. The study included 395 California early childhood and elementary educators. Using a survey administered via Qualtrics, I assessed the frequency of music integration in their classrooms. The findings revealed that participants integrated music into language arts (51.9%), math (43.0%), morning carpet time (51.9%), and free time (50.4%). Significant differences occurred between gender and frequency of music integration into physical education; age and other subjects; age and classroom activities; years of teaching experience and classroom activities; and formal training in music and language arts, history-social science, spelling, and classroom activities. The study also addresses potential implications for further research in this area.
{"title":"Exploring music integration: Early childhood and elementary teacher practices","authors":"Jennifer L Gee","doi":"10.1177/02557614231217793","DOIUrl":"https://doi.org/10.1177/02557614231217793","url":null,"abstract":"The purpose of this study was to examine early childhood and elementary classroom teachers’ music integration practices. The study included 395 California early childhood and elementary educators. Using a survey administered via Qualtrics, I assessed the frequency of music integration in their classrooms. The findings revealed that participants integrated music into language arts (51.9%), math (43.0%), morning carpet time (51.9%), and free time (50.4%). Significant differences occurred between gender and frequency of music integration into physical education; age and other subjects; age and classroom activities; years of teaching experience and classroom activities; and formal training in music and language arts, history-social science, spelling, and classroom activities. The study also addresses potential implications for further research in this area.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":" 26","pages":""},"PeriodicalIF":1.8,"publicationDate":"2023-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139143102","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 : 2023-12-04DOI: 10.1177/02557614231212578
Zofia Mazur-Socha, Mariola Laguna
We examined practice-related affect to determine the role it plays in four phases of goal realization in musical practice. Study 1 with a sample of 171 piano students and Study 2 with 235 students playing various instruments allowed for testing the relationships between four types of affect differing in valence and activation level based on the circumplex model and the phases of goal realization: practice intention, practice planning, actional phase of practice, and performance evaluation. In Study 2 we also analyzed longitudinal relationships between affect measured at Time 1 and actional phase of practice and performance evaluation measured 2 weeks later at Time 2. In both studies, highactivation positive affect was related to higher practice intention, while both high- and low-activation negative affect were related to more negative performance evaluation. The results are important for advancing affect and goal theories and for improving theoretical models of musical practice. They are relevant for music educators and music education researchers and can be used in screening and progressmonitoring efforts, shaping interventions to enhance students’ motivation to practice their instruments.
{"title":"The Way I Feel, the Way I Play? The role of affect in goal realization in musical practice","authors":"Zofia Mazur-Socha, Mariola Laguna","doi":"10.1177/02557614231212578","DOIUrl":"https://doi.org/10.1177/02557614231212578","url":null,"abstract":"We examined practice-related affect to determine the role it plays in four phases of goal realization in musical practice. Study 1 with a sample of 171 piano students and Study 2 with 235 students playing various instruments allowed for testing the relationships between four types of affect differing in valence and activation level based on the circumplex model and the phases of goal realization: practice intention, practice planning, actional phase of practice, and performance evaluation. In Study 2 we also analyzed longitudinal relationships between affect measured at Time 1 and actional phase of practice and performance evaluation measured 2 weeks later at Time 2. In both studies, highactivation positive affect was related to higher practice intention, while both high- and low-activation negative affect were related to more negative performance evaluation. The results are important for advancing affect and goal theories and for improving theoretical models of musical practice. They are relevant for music educators and music education researchers and can be used in screening and progressmonitoring efforts, shaping interventions to enhance students’ motivation to practice their instruments.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"14 5","pages":""},"PeriodicalIF":1.8,"publicationDate":"2023-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138603749","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 : 2023-12-04DOI: 10.1177/02557614231215807
Marjoris Regus, Teresa Satterfield
Musical codeswitching (CS) entails mixing musical ideas and genres. The term CS originated in linguistics, based on language alternations attested in bilinguals. Switches in sociocultural behaviors also now receive scholarly attention as CS. The current multiple case study explores CS domains (music, language, and behavior) in the context of music education programs, where CS remains under-researched. This study also fills a gap by examining historically underrepresented individuals’ (HURIs) participation in music education. Here, a CS-based account provides a deeper understanding of the complex sociocultural capital, linguistic resources and lived experiences that HURIs navigate. As part of an interpretive qualitative study design, semi-structured interviews were carried out with a HURI subpopulation (bilingual, [Afro]Latina/o/x faculty, and students) in music education. Findings show participants perceive CS to be mandatory for accessing dominant U.S. music school culture. Additional findings reveal HURIs must master CS in musical, linguistic, and behavioral domains to avoid negative outcomes, yet sustained multi-CS scenarios may have psychological and even physical costs. Insights from CS are thus critical for pinpointing institutional barriers to greater HURI involvement in music education.
{"title":"Where is Mi Gente? Codeswitching (Afro)Latinidad in the music classroom","authors":"Marjoris Regus, Teresa Satterfield","doi":"10.1177/02557614231215807","DOIUrl":"https://doi.org/10.1177/02557614231215807","url":null,"abstract":"Musical codeswitching (CS) entails mixing musical ideas and genres. The term CS originated in linguistics, based on language alternations attested in bilinguals. Switches in sociocultural behaviors also now receive scholarly attention as CS. The current multiple case study explores CS domains (music, language, and behavior) in the context of music education programs, where CS remains under-researched. This study also fills a gap by examining historically underrepresented individuals’ (HURIs) participation in music education. Here, a CS-based account provides a deeper understanding of the complex sociocultural capital, linguistic resources and lived experiences that HURIs navigate. As part of an interpretive qualitative study design, semi-structured interviews were carried out with a HURI subpopulation (bilingual, [Afro]Latina/o/x faculty, and students) in music education. Findings show participants perceive CS to be mandatory for accessing dominant U.S. music school culture. Additional findings reveal HURIs must master CS in musical, linguistic, and behavioral domains to avoid negative outcomes, yet sustained multi-CS scenarios may have psychological and even physical costs. Insights from CS are thus critical for pinpointing institutional barriers to greater HURI involvement in music education.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"25 23","pages":""},"PeriodicalIF":1.8,"publicationDate":"2023-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138602761","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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