This paper will focus on the folksongs of people living in Napo, Nanning, and Funin in Guangxi Autonomous Region and Yunnan province. The study was initiated with the experience of working at the new Music Museum of the city of Nanning established within the campus of Guangxi Arts University. Since this is a Music Museum, arrangements were made to exhibit a sample repertoire of folksongs from this region in addition to all the interesting musical instruments. This was a very difficult task as it is a well observable fact that a song does not exist in a single version as it moves from one place to another, and changes all the time. This paper is about the experiences during this particular activity and how these difficulties had to be mastered. There might be others who face the same difficulties. As such, this paper may help find solution for the problems encountered by other music museums. Technically, this is the elaboration about a topic strongly connected to live interviews and personally collected statistics that were found through an intense personal presence in the mentioned area. The reference style had to be adapted to these circumstances. In order to make information traceable, many parts of the references carry translations in square brackets behind the transliteration. Also, Chinese names are left as a whole despite starting with the family name, the middle name and given names are tremendously important for identification. Name characters are presented in square brackets. Material can be obtained upon request made per email to the author.
{"title":"How a Song can be Exhibited in a Music Museum","authors":"Lin Zhi","doi":"10.4038/jrm.v1i1.1","DOIUrl":"https://doi.org/10.4038/jrm.v1i1.1","url":null,"abstract":"This paper will focus on the folksongs of people living in Napo, Nanning, and Funin in Guangxi Autonomous Region and Yunnan province. The study was initiated with the experience of working at the new Music Museum of the city of Nanning established within the campus of Guangxi Arts University. Since this is a Music Museum, arrangements were made to exhibit a sample repertoire of folksongs from this region in addition to all the interesting musical instruments. This was a very difficult task as it is a well observable fact that a song does not exist in a single version as it moves from one place to another, and changes all the time. This paper is about the experiences during this particular activity and how these difficulties had to be mastered. There might be others who face the same difficulties. As such, this paper may help find solution for the problems encountered by other music museums. Technically, this is the elaboration about a topic strongly connected to live interviews and personally collected statistics that were found through an intense personal presence in the mentioned area. The reference style had to be adapted to these circumstances. In order to make information traceable, many parts of the references carry translations in square brackets behind the transliteration. Also, Chinese names are left as a whole despite starting with the family name, the middle name and given names are tremendously important for identification. Name characters are presented in square brackets. Material can be obtained upon request made per email to the author.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"48 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135168753","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Some historical information reveals that the art of ensemble playing in Sri Lanka dates back to the Yaksha, Naga, and tribal eras that existed even before the suggested arrival of King Vijaya. Indigenous ensembles can also be described as an art that evolved with the development of humankind in different periods due to various invasions. A large number of ensemble instruments used by the Sri Lankan village artist from then to now are revealed in bibliographical information such as the Mahavamsa, Thupavamsa, Dambadeniya Asna, Kuveni Asna, and Saddharmalankara. These ensembles are divided into five types, mainly, that which is described as the panchathurya, including aathatha, vithatha, vithathaathatha, ghana and sushira, of which sushira is the calibration of blowing instruments that includes the horanewa as well. The horanewa can be introduced as the only swara/ notes instrument used by the Sinhala folk artist of the day among the instruments of the panchathurya. The main purpose of this research is to investigate the technical methods used in the production of this musical instrument called horanewa and its special techniques adopted in playing. Why does the horanewa instrument used at present not produce its own definite melodic sound? In relation to this question that arose, data were collected, analyzed and interpreted and conclusions were reached. As revealed in this descriptive research, the horanewa is a special musical instrument built with the technology of three traditional manufacturers. This research will be important to introduce and preserve the arts related to this musical instrument which is gradually dying out.
{"title":"Exploring the Musical Heritage of the Traditional Sri Lankan Musical Instrument Horanewa","authors":"Mahinda Wimalasiri","doi":"10.4038/jrm.v1i2.8","DOIUrl":"https://doi.org/10.4038/jrm.v1i2.8","url":null,"abstract":"Some historical information reveals that the art of ensemble playing in Sri Lanka dates back to the Yaksha, Naga, and tribal eras that existed even before the suggested arrival of King Vijaya. Indigenous ensembles can also be described as an art that evolved with the development of humankind in different periods due to various invasions. A large number of ensemble instruments used by the Sri Lankan village artist from then to now are revealed in bibliographical information such as the Mahavamsa, Thupavamsa, Dambadeniya Asna, Kuveni Asna, and Saddharmalankara. These ensembles are divided into five types, mainly, that which is described as the panchathurya, including aathatha, vithatha, vithathaathatha, ghana and sushira, of which sushira is the calibration of blowing instruments that includes the horanewa as well. The horanewa can be introduced as the only swara/ notes instrument used by the Sinhala folk artist of the day among the instruments of the panchathurya. The main purpose of this research is to investigate the technical methods used in the production of this musical instrument called horanewa and its special techniques adopted in playing. Why does the horanewa instrument used at present not produce its own definite melodic sound? In relation to this question that arose, data were collected, analyzed and interpreted and conclusions were reached. As revealed in this descriptive research, the horanewa is a special musical instrument built with the technology of three traditional manufacturers. This research will be important to introduce and preserve the arts related to this musical instrument which is gradually dying out.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"101 11","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135169358","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Folk music is the music of the people. People have used folk songs to express different emotions. This research paper argues that the social processes that have shaped Sinhala folk music are multifaceted and have significant cultural and historical implications. By exploring the different categories of Sinhala folk music and their purposes of usage, this study aims to fill the research gap in understanding the characteristics and functions of this musical tradition, highlighting its role in preserving the cultural heritage of the Sinhalese people. Brief explanations of why these songs were used, including how lyrical characteristics and meanings are applied for grouping and naming, are included. Literature on Sri Lankan Sinhala Folk Music that has been published over the years in journals, books, research reports, web articles, and other materials was analysed using qualitative content analysis. It was found that people sing these songs mainly to express their feelings and emotions in addition to a range of other purposes such as communication, passing the time, motivating people, and entertainment. The existing classifications are made mainly considering activities or work-related aspects and meanings of lyrics demonstrating that they are influenced by social interactions. The authors suggest several methods to conserve Sri Lankan Sinhalese traditional music elaborating on the importance of ensuring such preservations.
{"title":"Social Processes that Shaped Sinhala Folk Music and its Characteristics Based on the Purposes of Usage","authors":"Kamani Samarasinghe, Rohan Nethsinghe","doi":"10.4038/jrm.v1i2.12","DOIUrl":"https://doi.org/10.4038/jrm.v1i2.12","url":null,"abstract":"Folk music is the music of the people. People have used folk songs to express different emotions. This research paper argues that the social processes that have shaped Sinhala folk music are multifaceted and have significant cultural and historical implications. By exploring the different categories of Sinhala folk music and their purposes of usage, this study aims to fill the research gap in understanding the characteristics and functions of this musical tradition, highlighting its role in preserving the cultural heritage of the Sinhalese people. Brief explanations of why these songs were used, including how lyrical characteristics and meanings are applied for grouping and naming, are included. Literature on Sri Lankan Sinhala Folk Music that has been published over the years in journals, books, research reports, web articles, and other materials was analysed using qualitative content analysis. It was found that people sing these songs mainly to express their feelings and emotions in addition to a range of other purposes such as communication, passing the time, motivating people, and entertainment. The existing classifications are made mainly considering activities or work-related aspects and meanings of lyrics demonstrating that they are influenced by social interactions. The authors suggest several methods to conserve Sri Lankan Sinhalese traditional music elaborating on the importance of ensuring such preservations.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"23 19","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135166734","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The pianoforte is one of the most popular musical instruments that has attracted by any individuals at any age in any part of the world. Much of the music that had been composed for various keyboard instruments in different periods of history is often performed in the present-day acoustic piano. As a result, many music students who enroll in piano study are regularly at risk of acquiring poor technical approaches at the keyboard, which often leads to physical tension, continuous pain, injuries and a slower rate of progress. Therefore, this pilot study explored relaxed technical concepts which may help pianists to be more efficient technically in their performances. The purpose of this research study was to examine how the application of an appropriate technical concept to a technically challenging extract of a piece of music affects the perceived physical tension of piano students. It also sought to determine whether the implementation of physically relaxed approaches aids in diminishing physical tension and increasing the performance level of piano students. 26 undergraduates studying piano at the University of Visual and Performing Arts, Colombo, Sri Lanka participated in this research study. The technical approach termed ‘the underwave and overwave motion’, a relaxed technical approach of Ortmann and Taubman was applied to minimize physical tension. Participants of this research study were required to perform and record their playing for two days and the music tracks were adjudicated by five judges. The collected data were statistically analyzed by the Shapiro-Wilk test to verify the relationship between the use of piano technique, performance, and perceived tension. The perceived tension difference was computed based on the collected data as ‘performance difference = day one performance minus day two performance; and perceived tension difference = day two perceived tension minus day one perceived tension’. Based on the results, the application of appropriate technical approaches to technically challenging extracts of music minimized the perceived physical tension and also improved the tone quality of the performance.
{"title":"A Study on how Relaxed Technical Approaches affect Perceived Tension and Performance in Pianists","authors":"Pavithra M. Madapatha, Priyeshni P. Perera","doi":"10.4038/jrm.v1i1.3","DOIUrl":"https://doi.org/10.4038/jrm.v1i1.3","url":null,"abstract":"The pianoforte is one of the most popular musical instruments that has attracted by any individuals at any age in any part of the world. Much of the music that had been composed for various keyboard instruments in different periods of history is often performed in the present-day acoustic piano. As a result, many music students who enroll in piano study are regularly at risk of acquiring poor technical approaches at the keyboard, which often leads to physical tension, continuous pain, injuries and a slower rate of progress. Therefore, this pilot study explored relaxed technical concepts which may help pianists to be more efficient technically in their performances. The purpose of this research study was to examine how the application of an appropriate technical concept to a technically challenging extract of a piece of music affects the perceived physical tension of piano students. It also sought to determine whether the implementation of physically relaxed approaches aids in diminishing physical tension and increasing the performance level of piano students. 26 undergraduates studying piano at the University of Visual and Performing Arts, Colombo, Sri Lanka participated in this research study. The technical approach termed ‘the underwave and overwave motion’, a relaxed technical approach of Ortmann and Taubman was applied to minimize physical tension. Participants of this research study were required to perform and record their playing for two days and the music tracks were adjudicated by five judges. The collected data were statistically analyzed by the Shapiro-Wilk test to verify the relationship between the use of piano technique, performance, and perceived tension. The perceived tension difference was computed based on the collected data as ‘performance difference = day one performance minus day two performance; and perceived tension difference = day two perceived tension minus day one perceived tension’. Based on the results, the application of appropriate technical approaches to technically challenging extracts of music minimized the perceived physical tension and also improved the tone quality of the performance.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"50 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135168384","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
One might think of knowing it all: In Chinese research institutions, people base their admiration on positioning within a professional realm. Is the position powerful and the admiration growing? Might it come with even bigger power in the context of music research, where topics and experiences are still strongly connected to a biologist approach? Is the name of an author or contributor important in this circle? This short study gives some explanations about dealing with gender perspectives in a self-adopted circle of political modesty among Chinese scholars in music research. How do names play a role in addressing research outcomes and their applications? The direct observation span is 2015-2022 in major Chinese cities with larger tertiary educational institutions. Some insights may help understand current issues in the field of music research, used terminology, and priorities in referencing techniques. The gender perspective includes issues that are highly sensitive among those scholars and cannot be simply broken down into straightforward categories. The author is fully aware of the long journey ahead in order to change certain male-centered or -dominated conventions and thinking patterns.
{"title":"Women in the Circle of Political Modesty: Nobodies in Music Research among Chinese Scholars","authors":"Gisa Jähnichen","doi":"10.4038/jrm.v1i2.13","DOIUrl":"https://doi.org/10.4038/jrm.v1i2.13","url":null,"abstract":"One might think of knowing it all: In Chinese research institutions, people base their admiration on positioning within a professional realm. Is the position powerful and the admiration growing? Might it come with even bigger power in the context of music research, where topics and experiences are still strongly connected to a biologist approach? Is the name of an author or contributor important in this circle? This short study gives some explanations about dealing with gender perspectives in a self-adopted circle of political modesty among Chinese scholars in music research. How do names play a role in addressing research outcomes and their applications? The direct observation span is 2015-2022 in major Chinese cities with larger tertiary educational institutions. Some insights may help understand current issues in the field of music research, used terminology, and priorities in referencing techniques. The gender perspective includes issues that are highly sensitive among those scholars and cannot be simply broken down into straightforward categories. The author is fully aware of the long journey ahead in order to change certain male-centered or -dominated conventions and thinking patterns.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"51 7","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135167805","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the subject areas of performing and visual arts, most teaching and learning take place in the traditional classroom, with face-to-face instruction methods but as a result of the COVID-19 pandemic the University of Visual and Performing Arts (UVPA) promptly moved the delivery of all of its undergraduate courses to an online format. During the COVID-19 period, the UVPA, like other Sri Lankan universities, began to use emerging technologies and tools such as Zoom and a Learning Management System (LMS) for pedagogical intent. The goal of this study is to find out what teaching strategies can be applied to improve music teaching and learning in an online environment and how faculty staff experienced teaching music online. This research is designed as a Multiple Case Study. Depending on the purpose of the research, structured interviews were conducted to collect feedback from randomly selected faculty members. The participants were eight faculty members from the Faculty of Music engaged in teaching during the 2018/2019 academic year. Previously, the Faculty of Music has underutilized e-learning and the use of an LMS. However, the recent COVID-19 outbreak has forced them to rely on e-learning/online learning in order to ensure the continuity of educating the students enrolled in the degree programmes offered by the faculty. The results revealed that most of the teaching staff were new to teaching music online; however, they learned how to teach online given the circumstances which had left them with no other feasible solution. According to this study, the online music teaching activities utilized have improved teaching performance and technological skills and abilities, saved time, allowed participants to complete tasks more quickly, enhanced productivity of work, and increased educational values.
{"title":"Strategies of Online Music Teaching: The Story of Eight Cases during the COVID–19 Lockdown in Sri Lanka","authors":"Kamani Samarasinghe, Rohan Nethsinghe","doi":"10.4038/jrm.v1i1.2","DOIUrl":"https://doi.org/10.4038/jrm.v1i1.2","url":null,"abstract":"In the subject areas of performing and visual arts, most teaching and learning take place in the traditional classroom, with face-to-face instruction methods but as a result of the COVID-19 pandemic the University of Visual and Performing Arts (UVPA) promptly moved the delivery of all of its undergraduate courses to an online format. During the COVID-19 period, the UVPA, like other Sri Lankan universities, began to use emerging technologies and tools such as Zoom and a Learning Management System (LMS) for pedagogical intent. The goal of this study is to find out what teaching strategies can be applied to improve music teaching and learning in an online environment and how faculty staff experienced teaching music online. This research is designed as a Multiple Case Study. Depending on the purpose of the research, structured interviews were conducted to collect feedback from randomly selected faculty members. The participants were eight faculty members from the Faculty of Music engaged in teaching during the 2018/2019 academic year. Previously, the Faculty of Music has underutilized e-learning and the use of an LMS. However, the recent COVID-19 outbreak has forced them to rely on e-learning/online learning in order to ensure the continuity of educating the students enrolled in the degree programmes offered by the faculty. The results revealed that most of the teaching staff were new to teaching music online; however, they learned how to teach online given the circumstances which had left them with no other feasible solution. According to this study, the online music teaching activities utilized have improved teaching performance and technological skills and abilities, saved time, allowed participants to complete tasks more quickly, enhanced productivity of work, and increased educational values.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"199 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135168394","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-13DOI: 10.1177/00224294231202399
Bradley J. Regier
The purpose of this study was to examine relationships between high school concert band directors’ self-efficacy for classroom management, efficacious sources, and classroom management behaviors. Participants ( N = 271) completed the Band Director Self-Efficacy for Classroom Management scale and responded to items about their demographic and school characteristics, formal preparatory experiences, stress from student behavior, support and trust, and satisfaction with recent classroom management. Additionally, participants rated their effectiveness for using classroom management behaviors. Participants’ level of satisfaction with their recent classroom management was the strongest positive predictor of their self-efficacy for classroom management scores, followed by their ratings of parent resource support. When participants indicated higher stress from student behavior or higher administration resource support, they also had lower self-efficacy for classroom management scores. Results indicated that several classroom management behaviors predicted participants’ self-efficacy, including establishing routines and procedures, keeping students on task, and rarely referring to the music score or lesson plan. Implementing and refining effective classroom management behaviors may improve the likelihood of directors gaining positive mastery experiences and lessen the influence of stress from student behavior on their self-efficacy for classroom management.
{"title":"High School Concert Band Directors’ Self-Efficacy for Classroom Management","authors":"Bradley J. Regier","doi":"10.1177/00224294231202399","DOIUrl":"https://doi.org/10.1177/00224294231202399","url":null,"abstract":"The purpose of this study was to examine relationships between high school concert band directors’ self-efficacy for classroom management, efficacious sources, and classroom management behaviors. Participants ( N = 271) completed the Band Director Self-Efficacy for Classroom Management scale and responded to items about their demographic and school characteristics, formal preparatory experiences, stress from student behavior, support and trust, and satisfaction with recent classroom management. Additionally, participants rated their effectiveness for using classroom management behaviors. Participants’ level of satisfaction with their recent classroom management was the strongest positive predictor of their self-efficacy for classroom management scores, followed by their ratings of parent resource support. When participants indicated higher stress from student behavior or higher administration resource support, they also had lower self-efficacy for classroom management scores. Results indicated that several classroom management behaviors predicted participants’ self-efficacy, including establishing routines and procedures, keeping students on task, and rarely referring to the music score or lesson plan. Implementing and refining effective classroom management behaviors may improve the likelihood of directors gaining positive mastery experiences and lessen the influence of stress from student behavior on their self-efficacy for classroom management.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135858919","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-19DOI: 10.1177/00224294231190404
Ryan D. Shaw
When teachers and school staff work together, it inevitably involves issues of power, influence, diplomacy, and cooperation; this has been termed “micropolitics,” and the ability to read situations with micropolitics in mind has been identified as “micropolitical literacy.” The purpose of this year-long case study was to explore one beginning music teacher’s micropolitical literacy development with explicit connections to the framework put forth by Kelchtermans and Ballet. The research questions were (1) How does the participant describe their micropolitical understanding? (2) How does the participant describe their micropolitical strategies? and (3) How does the participant feel about their micropolitical literacy? Qualitative analysis of interview transcripts suggested themes aligned with the theoretical framework’s aspects of know (understanding), do (strategies), and feel (experiential). The participant’s knowledge development focused on power dynamics, structures, and relationships. Strategies included gaining clout and reframing situations. Furthermore, the participant’s experience of micropolitical literacy development was fraught with negative emotions and uncertainty. Overall, literacy development was stymied by systemic challenges in the district.
{"title":"A Beginning Music Teacher’s Micropolitical Literacy Development","authors":"Ryan D. Shaw","doi":"10.1177/00224294231190404","DOIUrl":"https://doi.org/10.1177/00224294231190404","url":null,"abstract":"When teachers and school staff work together, it inevitably involves issues of power, influence, diplomacy, and cooperation; this has been termed “micropolitics,” and the ability to read situations with micropolitics in mind has been identified as “micropolitical literacy.” The purpose of this year-long case study was to explore one beginning music teacher’s micropolitical literacy development with explicit connections to the framework put forth by Kelchtermans and Ballet. The research questions were (1) How does the participant describe their micropolitical understanding? (2) How does the participant describe their micropolitical strategies? and (3) How does the participant feel about their micropolitical literacy? Qualitative analysis of interview transcripts suggested themes aligned with the theoretical framework’s aspects of know (understanding), do (strategies), and feel (experiential). The participant’s knowledge development focused on power dynamics, structures, and relationships. Strategies included gaining clout and reframing situations. Furthermore, the participant’s experience of micropolitical literacy development was fraught with negative emotions and uncertainty. Overall, literacy development was stymied by systemic challenges in the district.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-08-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46975598","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-04DOI: 10.1177/00224294231187860
C. Gerrard, Rey
This article provides a counterstory to damaging, dominant narratives concerning migrant experiences and border crossings. Through counter-storytelling, I share Rey’s lived experiences as a transfronterizx (transborder) student who crossed the United States–Mexico border daily to attend school and eventually, participate in school music. The overarching question guiding the study was: What are a transfronterizx student’s experiences navigating school and school music in the United States? Based on the findings, Rey encountered literal and metaphorical barriers as he pursued an education in the United States. In particular, navigating language, deficit-based teaching practices, surveillance, and policing were key in his narrative. Currently as a music educator, Rey draws from his personal transfronterizx background to inform his music teaching practices in a predominantly Latine school community. Considerations for working with migrant students and families are discussed in light of ongoing sociopolitical issues, including the need for more culturally and linguistically responsive practices.
{"title":"“A Completely Different World”: A Counterstory of Transfronterizx Experiences","authors":"C. Gerrard, Rey","doi":"10.1177/00224294231187860","DOIUrl":"https://doi.org/10.1177/00224294231187860","url":null,"abstract":"This article provides a counterstory to damaging, dominant narratives concerning migrant experiences and border crossings. Through counter-storytelling, I share Rey’s lived experiences as a transfronterizx (transborder) student who crossed the United States–Mexico border daily to attend school and eventually, participate in school music. The overarching question guiding the study was: What are a transfronterizx student’s experiences navigating school and school music in the United States? Based on the findings, Rey encountered literal and metaphorical barriers as he pursued an education in the United States. In particular, navigating language, deficit-based teaching practices, surveillance, and policing were key in his narrative. Currently as a music educator, Rey draws from his personal transfronterizx background to inform his music teaching practices in a predominantly Latine school community. Considerations for working with migrant students and families are discussed in light of ongoing sociopolitical issues, including the need for more culturally and linguistically responsive practices.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":" ","pages":""},"PeriodicalIF":1.4,"publicationDate":"2023-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41743699","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-31DOI: 10.1177/00224294231189603
Peter Miksza
{"title":"Editor’s Forum","authors":"Peter Miksza","doi":"10.1177/00224294231189603","DOIUrl":"https://doi.org/10.1177/00224294231189603","url":null,"abstract":"","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135209313","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"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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