Children’s Musical Empowerment in Two Composition Task Designs

The purpose of this study was to investigate elementary students’ creating processes and perspectives through composition. Two fourth-grade classes took part in this action research, which consisted of creating four compositions—two with acoustic instruments and two with computer software. For each of the two sound sources, the first composition was written with specified constraints and the second with freedom. Research questions included: 1) how do students respond to composition tasks with differing levels of freedom and constraint; and 2) how does composing in different group sizes impact composition? Data included field notes, recordings, student interviews, and response forms. Major themes included: students benefit from continuous variations of freedom and constraint in task design; autonomous decisions about grouping and leadership can benefit students’ processes; and teachers must consider facilitation roles with sensitivity. Results of the study suggest that given time to compose, students can improve in ability to facilitate and participate in compositional processes

Digital ethics in practice: implementing ethical principles to guide participatory use of videorecorded instrumental and vocal lessons in higher music education

In this study we reflect sustainable and responsible use of digital content in instrumental and vocal pedagogy. The aim of this contribution is to raise awareness of ethical principles toward responsible use of videography in instrumental and vocal (higher) teacher education and professional teachers’ development. Finally, our aim is to provide pedagogical recommendations for teachers in the ethically justifiable use of videorecorded instrumental and vocal lessons. We take into account the perspective and feelings of all stakeholders, as well as ambiguity, complexity and diversity in data interpretation

Facilitating collaborative professional development among instrumental and vocal teachers: a qualitative study with an Austrian Music School

This case study provides an in-depth investigation in a professional development project about facilitating collaborative reflection. This was led by a research team from the university with 13 instrumental music teachers from one music school in Styria (Austria) during 2019–2021 (including the initial COVID-19 pandemic). Research questions considered (1) the participants’ descriptions of the collaborative professional development, (2) participants’ uses of reflection tools and indications of their identification with workshop interventions, as well as factors responsible for the outcomes from the reflection tools; and (3) ways participants’ thinking and attitudes may have developed through the workshops, how they defined themselves as a group (if they did), and how they might have gained trust in one another. Inspired by the design-based research approach, practitioners and researchers worked closely together to enhance teaching and learning implementing interventions with collaborative reflections tools. While the first phase (11 workshops) was primarily led by the project-team, the second phase (7 workshops) was participant-led. Data included focus groups and discussion transcriptions from 18 workshops. The impetus of the study included the role of the director and the participants dealing with the interventions, and finally the participants’ descriptions of their experiences in the professionalization process. Literature included collaborative professional development, community of practice, learning communities, self-determined learning, reflective practice, and ethical considerations. Data were analyzed based on thematic analysis and gave rise to five following themes: forming group cohesion, inspiring and appreciating collaboration, bridging theory and practice, identifying deeper thinking and teachers as learners, addressing challenges and potentials during the COVID-19 pandemic, and finally finding the music school’s own identity and sense of importance. Findings highlight the importance of establishing meaningful collaborative reflection through appreciative communication and an atmosphere of trust and respect. To be able to make change in and with an institution, leadership members must be engaged as collaborative stakeholders on an eye-level; collaborative professional development can be used as a resource toward rethinking and reworking the identity of one’s music school and of teaching and learning. Institutions should provide space and continuity for such development. Finally, the study highlights that a collaborative reflective approach can contribute to professional and social growth

Rethinking Excellence in Music Education

In this article, I question an educational ideology of musical excellence, particularly as it tends to appeal to large ensembles in secondary school music. Excellence appears to be a widespread idea that often conjures up notions of distinction, success, and superiority, which may foster feelings of competition that run counter to the inclusivity intended by many music educators. I discuss traditions of music education as they relate to large ensembles, and specifically discuss four facets of competitive music education: becoming the best, visibility, preoccupation with the outcome, and resistance to change. I then appeal to responsibility in music teaching, including broad conceptions of musicianship and diverse musical successes toward lifelong musical engagement, as well as an openness to redefine the term excellence and its use

Identity politics and politics of identity : a semiotic approach to the negotiation and contestation of music teacher identity among early career music teachers

Includes abstract and vita. --- Overview of the study -- Review of the literature -- Methodology and research design -- Data analysis and storytelling -- Language ideology -- Identity politics and politics of identity -- Conclusions and implications.In this dissertation, I addressed early career music teacher identity as it relates to d/Discourse in the narratives of three second year teachers. I drew on existing narrative research in the field of music education (Barrett & Stauffer, 2006, 2009; Bresler, 2006; McCarthy, 2007). I used Critical Discourse Analysis (CDA; Gee, 1990; Fairclough, 1992, 2012; Wodak, 1996) to identify the three main themes that emerged from data: (1) Official Expectations, (2) Encountering Music Teaching, and (3) Negotiation and Contestation. I then overlaid the Irving and Gal (2000) model of language ideology onto the three themes drawn from data. This model is comprised of three linguistic processes: Iconicity, Recursivity, and Erasure. Finally, I discussed the process of how music teacher identity co-construction operates within the context of both identity politics and the politics of identity. I used these concepts to propose a possible explanation for how music teacher identify co-construction is affected by how d/Discourse flows through the sociolinguistic domain