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}
Pub Date : 2023-11-30DOI: 10.1177/02557614231211351
Miren Pérez-Eizaguirre, E. Vergara-Moragues, Jesús Privado
The objective of this work was to carry out a systematic review and meta-analysis to understand the effect that formal music training has on cognitive development, specifically on executive functions, memory, and intelligence. Of the 84 studies identified in the meta-analysis, 16 met the inclusion criteria. The cognitive processes analyzed were divided into three different cognitive domains: executive function, memory, and intelligence, with two moderating variables, age and professional experience. The results indicated that professional musicians score higher in the three cognitive domains: executive function, memory and intelligence. Taking into account age and musical experience, these differences lessen for executive function and increase for memory and intelligence, but always with higher scores for professional musicians. This data indicates that formal music training might go along with cognitive development, and thus be indicative of the development of cognitive processes, which remains over time.
{"title":"Can the professional study of a musical instrument be associated with the development of cognitive processes? A meta-analytic study","authors":"Miren Pérez-Eizaguirre, E. Vergara-Moragues, Jesús Privado","doi":"10.1177/02557614231211351","DOIUrl":"https://doi.org/10.1177/02557614231211351","url":null,"abstract":"The objective of this work was to carry out a systematic review and meta-analysis to understand the effect that formal music training has on cognitive development, specifically on executive functions, memory, and intelligence. Of the 84 studies identified in the meta-analysis, 16 met the inclusion criteria. The cognitive processes analyzed were divided into three different cognitive domains: executive function, memory, and intelligence, with two moderating variables, age and professional experience. The results indicated that professional musicians score higher in the three cognitive domains: executive function, memory and intelligence. Taking into account age and musical experience, these differences lessen for executive function and increase for memory and intelligence, but always with higher scores for professional musicians. This data indicates that formal music training might go along with cognitive development, and thus be indicative of the development of cognitive processes, which remains over time.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":" 6","pages":""},"PeriodicalIF":1.8,"publicationDate":"2023-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139197153","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 : 2023-11-20DOI: 10.1177/02557614231204895
R. Angel-Alvarado, Olga Belletich, Miguel R. Wilhelmi
Didactic transposition occurs when scholarly knowledge is transformed into knowledge to be taught in order to reach didactical suitability. In this study, we explore didactic transposition implemented in music lessons from the perspective of didactical suitability. Utilising Design-Based Research, the current study collected qualitative and quantitative data from three urban schools in the Chartered Community of Navarre, Spain. Findings reveal that didactic transposition depends on the teacher’s beliefs because, while one-to-one teaching and academicism are preferred by educators who prioritise music theory, collective teaching and creativity are promoted by teachers who favour holistic development. In conclusion, didactic transposition enables the aspiration to didactical suitability, explaining the characteristics of didactic contracts. Lastly, some pedagogical implications are provided.
{"title":"Didactic transposition in music education: Exploring didactical suitability in three Navarrese schools","authors":"R. Angel-Alvarado, Olga Belletich, Miguel R. Wilhelmi","doi":"10.1177/02557614231204895","DOIUrl":"https://doi.org/10.1177/02557614231204895","url":null,"abstract":"Didactic transposition occurs when scholarly knowledge is transformed into knowledge to be taught in order to reach didactical suitability. In this study, we explore didactic transposition implemented in music lessons from the perspective of didactical suitability. Utilising Design-Based Research, the current study collected qualitative and quantitative data from three urban schools in the Chartered Community of Navarre, Spain. Findings reveal that didactic transposition depends on the teacher’s beliefs because, while one-to-one teaching and academicism are preferred by educators who prioritise music theory, collective teaching and creativity are promoted by teachers who favour holistic development. In conclusion, didactic transposition enables the aspiration to didactical suitability, explaining the characteristics of didactic contracts. Lastly, some pedagogical implications are provided.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"1 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2023-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139256430","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 : 2023-11-18DOI: 10.1177/02557614231208236
Yuan Jiang, D. Dumlavwalla
In an increasingly interconnected world, it is crucial that music educators understand pedagogical practices across national boundaries. While China and the United States are representatives of different social norms, they do share common ground in the field of piano teaching practices. The purpose of this study is two-fold: (1) to promote a greater understanding of the current state of pre-college piano teaching practices in China and the United States and (2) to identify the similarities and differences between pre-college piano education in these two countries from the teachers’ perspectives. The researchers examined the research questions through a self-reporting survey. Data was collected in 2021 from piano teachers in China ( n = 40) and the United States ( n = 25), who completed a 22-item questionnaire. A summary of pre-college piano instructors’ demographics, studio settings, pedagogical practices, and their students’ study environments were presented, and comparisons between the two countries were explored. Results indicated that there were statistical differences between the two countries regarding many aspects of pre-college piano teaching practice such as teaching materials, approaches, and student performance activities. Similarities were found in the teachers’ most frequent teaching activity in piano lessons and the students’ study environment.
{"title":"Pre-college piano teaching practice in China and the United States: An international comparative study from the piano teachers’ perspectives","authors":"Yuan Jiang, D. Dumlavwalla","doi":"10.1177/02557614231208236","DOIUrl":"https://doi.org/10.1177/02557614231208236","url":null,"abstract":"In an increasingly interconnected world, it is crucial that music educators understand pedagogical practices across national boundaries. While China and the United States are representatives of different social norms, they do share common ground in the field of piano teaching practices. The purpose of this study is two-fold: (1) to promote a greater understanding of the current state of pre-college piano teaching practices in China and the United States and (2) to identify the similarities and differences between pre-college piano education in these two countries from the teachers’ perspectives. The researchers examined the research questions through a self-reporting survey. Data was collected in 2021 from piano teachers in China ( n = 40) and the United States ( n = 25), who completed a 22-item questionnaire. A summary of pre-college piano instructors’ demographics, studio settings, pedagogical practices, and their students’ study environments were presented, and comparisons between the two countries were explored. Results indicated that there were statistical differences between the two countries regarding many aspects of pre-college piano teaching practice such as teaching materials, approaches, and student performance activities. Similarities were found in the teachers’ most frequent teaching activity in piano lessons and the students’ study environment.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"64 4","pages":""},"PeriodicalIF":1.8,"publicationDate":"2023-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139261937","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 : 2023-11-17DOI: 10.1177/02557614231201918
Olivia Utharntharm, Helen F Mitchell
Applause is ubiquitous in the reception of music performance. Applause magnitude can reveal and sway audience reactions, and it is critical for musicians and educators to understand how audiences and evaluators respond to this extramusical effect in the appraisal of music performance. This study investigated how listeners respond to applause magnitude and prompted discussions about extramusical effects and social influence. Three applause levels (polite, strong and vocal) were added to two identical solo trumpet performances (one Fanfare and one Vocalise). Thirty listeners rated these six performances for overall quality and five performance dimensions (intonation, expression, balance, rhythmic accuracy and dynamic control). Vocal applause significantly impacted ratings of overall quality, expression and dynamic control compared to polite applause. Listeners were aware of varying applause levels and the majority were susceptible to unconscious or conscious bias in their evaluations. Most listeners were unaware of the identical audio and found the experiential learning process ‘enlightening’. Listeners became cognisant of their susceptibility to extramusical effects and reflected on evaluation strategies. Future studies should employ experiential learning to inform emerging music professionals about perceptual vulnerabilities and enhance critical thinking and expert evaluation skills.
{"title":"Rent-a-crowd! Understanding how applause magnitude impacts music performance appraisal","authors":"Olivia Utharntharm, Helen F Mitchell","doi":"10.1177/02557614231201918","DOIUrl":"https://doi.org/10.1177/02557614231201918","url":null,"abstract":"Applause is ubiquitous in the reception of music performance. Applause magnitude can reveal and sway audience reactions, and it is critical for musicians and educators to understand how audiences and evaluators respond to this extramusical effect in the appraisal of music performance. This study investigated how listeners respond to applause magnitude and prompted discussions about extramusical effects and social influence. Three applause levels (polite, strong and vocal) were added to two identical solo trumpet performances (one Fanfare and one Vocalise). Thirty listeners rated these six performances for overall quality and five performance dimensions (intonation, expression, balance, rhythmic accuracy and dynamic control). Vocal applause significantly impacted ratings of overall quality, expression and dynamic control compared to polite applause. Listeners were aware of varying applause levels and the majority were susceptible to unconscious or conscious bias in their evaluations. Most listeners were unaware of the identical audio and found the experiential learning process ‘enlightening’. Listeners became cognisant of their susceptibility to extramusical effects and reflected on evaluation strategies. Future studies should employ experiential learning to inform emerging music professionals about perceptual vulnerabilities and enhance critical thinking and expert evaluation skills.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"97 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2023-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139263166","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 : 2023-11-16DOI: 10.1177/02557614231208235
Shangpeng Li, Yu Sun, Zheng Li
In this study, the researchers examined teachers’ differential expectations for male and female students and the effects on music performance within the higher education context. The participants were 91 teachers and 480 second-year undergraduate students majoring in vocal and instrumental performance from two universities. Data of teacher expectations and students’ prior achievement were collected at the beginning of the 2021–2022 school year as well as students’ later achievement at the end of the school year. Researchers found that teachers held higher expectations for female students learning vocal performance than for males, and higher expectations for male students learning instrumental performance than for females. With students’ prior achievement being controlled, teacher expectations had significant effects on student year-end musical performance. Furthermore, the magnitude of teacher expectations was moderated by student gender. Specifically, males learning vocal performance and females learning instrumental performance were more susceptible to teacher expectations than their counterparts. Implications for addressing gender inequity in music education were also discussed.
{"title":"Teacher expectation effects on vocal and instrumental performance: A focus on student gender","authors":"Shangpeng Li, Yu Sun, Zheng Li","doi":"10.1177/02557614231208235","DOIUrl":"https://doi.org/10.1177/02557614231208235","url":null,"abstract":"In this study, the researchers examined teachers’ differential expectations for male and female students and the effects on music performance within the higher education context. The participants were 91 teachers and 480 second-year undergraduate students majoring in vocal and instrumental performance from two universities. Data of teacher expectations and students’ prior achievement were collected at the beginning of the 2021–2022 school year as well as students’ later achievement at the end of the school year. Researchers found that teachers held higher expectations for female students learning vocal performance than for males, and higher expectations for male students learning instrumental performance than for females. With students’ prior achievement being controlled, teacher expectations had significant effects on student year-end musical performance. Furthermore, the magnitude of teacher expectations was moderated by student gender. Specifically, males learning vocal performance and females learning instrumental performance were more susceptible to teacher expectations than their counterparts. Implications for addressing gender inequity in music education were also discussed.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"67 10","pages":""},"PeriodicalIF":1.8,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139267327","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 : 2023-11-10DOI: 10.1177/02557614231204440
John Denis
Music teacher education programs are an integral part of preparing novice music teachers for a successful start to their careers. Despite that, many studies show that music educators often feel unprepared by their education. This three-and-a-half year longitudinal case study examined instrumental music educators’ perceptions of the preparation provided by their education as they completed university coursework and entered the profession. Participants were four instrumental music education majors who were in their upper-level courses at the beginning of the study and participants completed five focus group discussions. Participants were four instrumental music education majors who were in their upper-level courses at the beginning and participants completed five focus group discussions starting at the end of their third year, continuing through both semesters of their final year, and at the end of their first 2 years in the classroom. I identified three emergent themes from the data: the importance of authenticity and contextualization; the core practices of classroom management, secondary instrument knowledge/skills, and rehearsing ensembles were central to feelings of preparedness; and a shifting focus over time. Findings indicated various perceptions of preparedness and their connection to music teacher education experiences, including implications for future research.
{"title":"Perceived preparedness to teach over time: A longitudinal case study of instrumental music teachers","authors":"John Denis","doi":"10.1177/02557614231204440","DOIUrl":"https://doi.org/10.1177/02557614231204440","url":null,"abstract":"Music teacher education programs are an integral part of preparing novice music teachers for a successful start to their careers. Despite that, many studies show that music educators often feel unprepared by their education. This three-and-a-half year longitudinal case study examined instrumental music educators’ perceptions of the preparation provided by their education as they completed university coursework and entered the profession. Participants were four instrumental music education majors who were in their upper-level courses at the beginning of the study and participants completed five focus group discussions. Participants were four instrumental music education majors who were in their upper-level courses at the beginning and participants completed five focus group discussions starting at the end of their third year, continuing through both semesters of their final year, and at the end of their first 2 years in the classroom. I identified three emergent themes from the data: the importance of authenticity and contextualization; the core practices of classroom management, secondary instrument knowledge/skills, and rehearsing ensembles were central to feelings of preparedness; and a shifting focus over time. Findings indicated various perceptions of preparedness and their connection to music teacher education experiences, including implications for future research.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"113 52","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135138064","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 : 2023-11-08DOI: 10.1177/02557614231208233
Emily R Green, Helen F Mitchell
Women’s participation in professional orchestras has changed the gender dynamics in the Australian music workplace. Traditional binary gender bias is pervasive in all industries, but little is known about how women in music navigate misogyny to achieve equality and realise career success. Thirteen Australian female principal players took part in semi-structured interviews to explore their experiences of the Australian musical workplace. Female principal players felt they encountered unconscious and conscious bias from tertiary training to their professional lives. The audition process, designed to promote impartiality, left women feeling disempowered with opaque and confusing criteria for job selection. Women believed they were treated differently to men and often felt isolated and unsupported. navigated prejudice and stereotyping within established male cultures and promoted inclusivity and diplomacy to achieve the best musical outcomes. Female principal players balanced family responsibilities with their professional careers and recognised more efficient ways of working. Women overcame self-doubt and fostered equality in the workplace. They were undeterred by the lack of female role models and determined to be strong female role models for the next generation. Future studies will investigate how awareness of bias in music can equip young musicians to demand and promote change in the industry.
{"title":"Orchestrating gender equality: How Australian female musicians navigate bias and achieve career success","authors":"Emily R Green, Helen F Mitchell","doi":"10.1177/02557614231208233","DOIUrl":"https://doi.org/10.1177/02557614231208233","url":null,"abstract":"Women’s participation in professional orchestras has changed the gender dynamics in the Australian music workplace. Traditional binary gender bias is pervasive in all industries, but little is known about how women in music navigate misogyny to achieve equality and realise career success. Thirteen Australian female principal players took part in semi-structured interviews to explore their experiences of the Australian musical workplace. Female principal players felt they encountered unconscious and conscious bias from tertiary training to their professional lives. The audition process, designed to promote impartiality, left women feeling disempowered with opaque and confusing criteria for job selection. Women believed they were treated differently to men and often felt isolated and unsupported. navigated prejudice and stereotyping within established male cultures and promoted inclusivity and diplomacy to achieve the best musical outcomes. Female principal players balanced family responsibilities with their professional careers and recognised more efficient ways of working. Women overcame self-doubt and fostered equality in the workplace. They were undeterred by the lack of female role models and determined to be strong female role models for the next generation. Future studies will investigate how awareness of bias in music can equip young musicians to demand and promote change in the industry.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":"30 46","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135390445","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 : 2023-10-31DOI: 10.1177/02557614231205307
Philip Tonner, Oscar Odena, Joshua Dickson, Angela Jaap, Dougie Pincock, Rosalyn Potter
This paper discusses an inquiry-based school-university partnership project conducted by history and music education specialists in Scotland. The project was music-led with history underpinning it, namely the musical migration of Scots and Irish to the Eastern United States. From the 18th century onwards thousands of Scots and Irish moved to Appalachia – ‘the wayfarers’ in our title. Their heritage now features in the Scottish school curriculum. However, the wayfarers encountered a range of challenging factors, including forced migration and segregation, which are not yet fully considered in schools. To address this need we co-developed resources with a specialist school to enhance secondary school practices surrounding music education and pupil engagement with challenging histories. This paper critically considers the project stages, supported by secondary and primary sources, including group interviews. In the conclusions we make suggestions for future policy, research and practice, such as to frame traditional songs in schools in their historical context.
{"title":"‘Wayfarers: Confronting the past through traditional music in schools’","authors":"Philip Tonner, Oscar Odena, Joshua Dickson, Angela Jaap, Dougie Pincock, Rosalyn Potter","doi":"10.1177/02557614231205307","DOIUrl":"https://doi.org/10.1177/02557614231205307","url":null,"abstract":"This paper discusses an inquiry-based school-university partnership project conducted by history and music education specialists in Scotland. The project was music-led with history underpinning it, namely the musical migration of Scots and Irish to the Eastern United States. From the 18th century onwards thousands of Scots and Irish moved to Appalachia – ‘the wayfarers’ in our title. Their heritage now features in the Scottish school curriculum. However, the wayfarers encountered a range of challenging factors, including forced migration and segregation, which are not yet fully considered in schools. To address this need we co-developed resources with a specialist school to enhance secondary school practices surrounding music education and pupil engagement with challenging histories. This paper critically considers the project stages, supported by secondary and primary sources, including group interviews. In the conclusions we make suggestions for future policy, research and practice, such as to frame traditional songs in schools in their historical context.","PeriodicalId":46623,"journal":{"name":"International Journal of Music Education","volume":" 74","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135863912","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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