PERMA; collaborative creativity; community music; eudaimonia; free improvisation
Abstract :
[en] In this contribution, we draw on findings from a non-formal, community music project to elaborate on the relationship between the concept of eudaimonia, as defined by Seligman, the interactive dimensions of collective free improvisation, and the concept of collaborative creativity. The project revolves around The Ostend Street Orkestra (TOSO), a music ensemble within which homeless adults and individuals with a psychiatric or alcohol/drug related background engage in collective musical improvisation. Between 2017 and 2019 data was collected through open interviews and video recordings of rehearsals and performances. Participant data was analyzed through inductive analysis based on the principles of grounded theory. One interesting finding was the discrepancy in the participant interviews between social relationships indicative of a negative affect about social group interaction versus strong feelings of group coherence and belonging. Video recordings of performances and rehearsals showed clear enjoyment and pleasure while playing music. Alongside verbal reflection through one-on-one interviews video recordings and analysis of moment-to moment observations should be used, in order to capture the complexity of community music projects with homeless people. The initial open coding was aligned with the five elements of the PERMA model. Overall, we observed more focus on Relationship (sense of belonging), Engagement (flow in rehearsals and performances) and Meaning (belonging to something greater than yourself) and less on Positive Emotion and Accomplishment (goal setting).
Disciplines :
Education & instruction
Author, co-author :
Verneert, Filip; Associated Faculty of the Arts, KU Leuven, Leuven, Belgium ; Department of Music, LUCA School of Arts, Campus Lemmens, Leuven, Belgium
NIJS, Luc ; University of Luxembourg > Faculty of Humanities, Education and Social Sciences (FHSE) > Department of Education and Social Work (DESW) > Institute of Musicology and Arts ; IPEM, Department of Musicology, Ghent University, Ghent, Belgium ; CORPoREAL, Royal Conservatoire of Antwerp, Antwerp, Belgium
De Baets, Thomas; Associated Faculty of the Arts, KU Leuven, Leuven, Belgium ; Department of Music, LUCA School of Arts, Campus Lemmens, Leuven, Belgium
External co-authors :
yes
Language :
English
Title :
A Space for Collaborative Creativity. How Collective Improvising Shapes 'a Sense of Belonging'.
The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article. FV is supported by the LUCA School of Arts/KU Leuven.The authors would like to thank the musicians and the coaches of TOSO and vzw KleinVerhaal. Funding. The author(s) disclosed receipt of the following financial support for the research, authorship, and/or publication of this article. FV is supported by the LUCA School of Arts/KU Leuven.
Adrian H., (2012). 25% More Registrations of Homeless in Ostend. De Morgen. Available online at: https://www.demorgen.be/nieuws/kwart-meer-aanmeldingen-daklozen-in-oostende. (accessed March 27, 2012).
Agarwal R., Karahanna E., (2000). Time flies When You’re having fun: cognitive Absorption and beliefs about information technology usage. MIS Q. 24 665–694. 10.2307/3250951
Aragon R., Williams A., (2011). “Collaborative creativity: a complex systems model with distributed affect,” in Proceedings of the SIGCHI Conference on Human Factors in Computing Systems (CHI ’11), (New York, NY: Association for Computing Machinery), 1875–1884. 10.1145/1978942.1979214
Arcidiacono C., Di Martino S., (2016). A critical analysis of happiness and well-being. Where we stand now, where we need to go. Commun. Psychol. Glob. Perspect. 2 6–35. 10.1285/i24212113v2i1p6 33068046
Ascenso S., Perkins R., Williamson A., (2018). Resounding meaning: a PERMA wellbeing profile of classical musicians. Front. Psychol. 9:1895. 10.3389/fpsyg.2018.01895 30459665
Azzara C., (2002). “Improvisation,” in The New Handbook of Research on Music Teaching and Learning, eds Colwell R., Richardson C., (Oxford: Oxford University Press), 171–187.
Bailey D., (1992). Improvisation: Its Nature and Practice in Music. New York, NY: Da Capo Press.
Beegle A. C., (2010). A classroom-based study of small-group planned improvisation with fifth-grade children. J. Res. Music Educ. 58 219–239. 10.1177/0022429410379916
Beresin A. R., (2012). “Double Dutch and double cameras: studying the transmission of culture in an urban school yard,” in Children’s Folklore, eds Smith S., et al. (New York, NY: Routledge), 87–104. 10.4324/9780203056127-12
Berliner P., (1994). Thinking in Jazz: The Infinite Art of Improvisation. Chicago, IL: University of Chicago Press.
Bey H., (2003). T.A.Z.: The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism. New York, NY: Autonomedia.
Biasutti M., (2015). Pedagogical applications of the cognitive research on music improvisation. Front. Psychol. 6:614. 10.3389/fpsyg.2015.00614 26029147
Biasutti M., (2017). Teaching improvisation through processes. Applications in music education and implications for general education. Front. Psychol. 8 911. 10.3389/fpsyg.2017.00911 28626441
Biasutti M., Frezza L., (2009). Dimensions of music improvisation. Creat. Res. J. 21 232–242. 10.1080/10400410902861240
Biasutti M., Mangiacotti A., (2018). Assessing a cognitive music training for older participants: a randomized controlled trial. Int. J. Geriatr. Psychiatry 33 271–278. 10.1002/gps.4721 28401595
Biasutti M., Mangiacotti A., (2021). Music training improves depressed mood symptoms in elderly people, a randomized controlled trial. Int. J. Aging Hum. Dev. 92 115–133. 10.1177/0091415019893988 31814419
Bittman B. B., Snyder C., Bruhn K. T., Liebfreid F., Stevens C. K., Westengard J., et al. (2004). Recreational music-making: an integrative group intervention for reducing burnout and improving mood states in first year associate degree nursing students: insights and economic impact. Int. J. Nurs. Educ. Scholarsh. 1:Article12. 10.2202/1548-923x.1044 16646877
Bohnsack R., Pfaff N., Weller W., (eds) (2010). Qualitative Analysis and Documentary Method: In International Educational Research. Farmington Hills, MI: Verlag Barbara Budrich. 10.2307/j.ctvbkjvmn
Borgo D., (2007). Free jazz in the classroom: an ecological approach to music education. Jazz Perspect. 1 61–88. 10.1080/17494060601061030
Brophy T. S., (2001). Developing improvisation in general music classes. Music Educ. J. 88 34–41. 10.2307/3399775
Buren V., Degé F., Schwarzer G., (2019). Active music making facilitates prosocial behaviour in 18-month-old children. Music. Sci. 1–16.
Burnard P., Dragovic T., (2015). Collaborative creativity in instrumental group music learning as a site for enhancing pupil wellbeing. Camb. J. Educ. 45 371–392. 10.1080/0305764x.2014.934204
Butler J., Kern M. L., (2016). The PERMA-Profiler: a brief multidimensional measure of flourishing. Int. J. Wellbeing 6 1–48. 10.5502/ijw.v6i3.526 32285354
Carvalho S., White H., (1997). Combining the Quantitative and Qualitative Approaches to Poverty Measurement and Analysis: The Practice and the Potential. World Bank Technical Paper, no. WTP 366. Washington, DC: World Bank Group.
Charmaz K., (2006). Constructing Grounded Theory. A Practical Guide Through Qualitative Analysis. London: Sage.
Cho E., Docherty S. L., (2020). Beyond Resilience: a concept analysis of human flourishing in adolescents and young adults with cancer. Adv. Nurs. Sci. 43 172–189. 10.1097/ans.0000000000000292 31922987
Christian J., Abrams D., Clapham D., Nayyar D., Cotler J., (2016). Intentions to move from homelessness to social inclusion: the role of participation beliefs, attitudes and prior behaviour. Soc. Incl. 4 16–27. 10.17645/si.v4i4.643
Christian J., Armitage C. J., (2002). Attitudes and intentions of homeless people towards service provision in South Wales. Br. J. Soc. Psychol. 41 219–231. 10.1348/014466602760060101 12133225
Clarke E. F., (2005). Creativity in performance. Music. Sci. 9 157–182.
Croom A. M., (2014). Music practice and participation for psychological well-being: a review of how music influences positive emotion, engagement, relationships, meaning, and accomplishment. Music. Sci. 19 44–64. 10.1177/1029864914561709
Csikszentmihalyi M., (1990). Flow: The Psychology of Optimal Experience. New York, NY: Harper & Row.
Cunha R., Lorenzino L., (2012). The secondary aspects of collective music-making. Res. Stud. Music Educ. 34 73–88. 10.1177/1321103x12439134
Custodero L. A., (2002). Seeking challenge, finding skill: flow experience and music education. Arts Educ. Policy Rev. 103 3–9. 10.1080/10632910209600288
Custodero L. A., (2005). Observable indicators of flow experience: a developmental perspective on musical engagement in young children from infancy to school age. Music Educ. Res. 7 185–209. 10.1080/14613800500169431
Custodero L. A., Stamou L., (2006). Engaging classrooms: flow indicators as tools for pedagogical transformation. Paper Presented at the 9th International Conference on Music Perception and Cognition, Bologna.
Davidson J., Broughton M., (2016). “Bodily mediated coordination, collaboration, and communication in music performance,” in The Oxford Handbook of Music Psychology, eds Cross I., I Thaut M., (Oxford: Oxford University Press), 573–595.
De Jaegher H., Di Paolo E., (2007). Participatory sense-making: an enactive approach to social cognition. Phenomenol. Cogn. Sci. 6 485–507. 10.1007/s11097-007-9076-9
De Standaard (2010). Ostend Seeks a Solution for the Homeless. Available online at: https://www.standaard.be
Dylan Smith G., Silverman M., (eds) (2020). Eudaimonia: Perspectives for Music Learning. New York, NY: Routledge. 10.4324/9780429264948
Elliott D. J., Silverman M., (2015). Music Matters: A Philosophy of Music Education. Oxford: Oxford University Press.
Forbes M., Bartlett I., (2020). This circle of joy: meaningful musicians’ work and the benefits of facilitating singing groups. Music Educ. Res. 22 555–568. 10.1080/14613808.2020.1841131
Fritz S., Avsec A., (2007). The experience of flow and subjective well-being of music students. Horiz. Psychol. 16 5–17.
Gabrielsson A., (2011). Strong Experiences with Music: Music is much more than Just Music. Oxford: Oxford University Press. 10.1093/acprof:oso/9780199695225.001.0001
Gaggioli A., Chirico A., Mazzoni E., Milani L., Riva G., (2017). Networked flow in musical bands. Psychol. Music 45 283–297. 10.1177/0305735616665003
Gebauer H., (2011). Es sind Kamera-Themen. Potenziale und Herausforderungen videobasierter Lehr- Lernforschung in der Musikpädagogik. Available online at: https://www.b-em.info/index.php/ojs/article/view/57 (accessed June 10, 2020).
Gloor P. A., Oster D., Fischbach K., (2013). JazzFlow—Analyzing group flow among jazz musicians through honest signals. Künstliche Intell. 27 37–43. 10.1007/s13218-012-0230-3
Habe K., Biasutti M., Kajtna T., (2019). Flow and satisfaction with life in elite musicians and top athletes. Front. Psychol. 10:698. 10.3389/fpsyg.2019.00698 30984086
Hallam S., Creech A., (2016). Can active music making promote health and well-being in older citizens? Findings of the music for life project. Lond. J. Prim. Care 8 21–25. 10.1080/17571472.2016.1152099 28250825
Hargreaves D., Lamont A., (2017). The Psychology of Musical Development. Cambridge: Cambridge University Press.
Harrison J. K., Lee R., (2011). Exploring the use of critical incident analysis and the professional learning conversation in an initial teacher education program. J. Educ. Teach. 37 199–217. 10.1080/02607476.2011.558285
Hickey M., (2009). Can improvisation be taught?: A call for free improvisation in our schools. Int. J. Music Educ. 27 285–299. 10.1177/0255761409345442
Hickey M., (2015). Learning from the experts: a study of free-improvisation pedagogues in university settings. J. Res. Music Educ. 62 425–445. 10.1177/0022429414556319
Higgins L., Mantie R., (2013). Improvisation as ability, culture, and experience. Music Educ. J. 100 38–44. 10.1177/0027432113498097
Higgins L., Willingham L., (2017). Engaging in Community Music: An Introduction. New York, NY: Routledge.
Hove J., Risen L., (2009). It’s all in the timing: interpersonal synchrony increases affiliation. Soc. Cogn. 27 949–960. 10.1521/soco.2009.27.6.949
Huron D., (2006). Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, MA: MIT Press.
Hytönen-Ng E., (2016). Experiencing ‘Flow’ in jazz Performance. (New York, NY: Routledge), 84–287.
Jackson S. A., Eklund R. C., (2004). The Flow Scales Manual. Morgantown: Publishers Graphics.
Jarrett C., (2010). Helping the homeless. The Psychologist 23, 284–287.
Kahneman D., Diener E., Schwartz N., (eds) (1999). Well-being: The Foundations of Hedonic Psychology. New York, NY: Russel Sage Foundation.
Kelchtermans G., (2010). “Narratives and biography in teacher education,” in International Encyclopedia of Education, Vol. 7 eds Peterson P., Baker E., McGaw B., (Amsterdam: Elsevier), 610–614. 10.1016/b978-0-08-044894-7.00666-7
Kenny A., (2014). Collaborative creativity within a jazz ensemble as a musical and social practice. Think. Skills Creat. 13 1–8. 10.1016/j.tsc.2014.02.002
Kenny B. J., Gellrich M., (2002). “Improvisation,” in The Science and Psychology of Music Performance: Creative Strategies for Teaching and Learning, eds Parncutt R., McPherson G., (Oxford: Oxford University press).
Kirschner S., Tomasello M., (2010). Joint music making promotes prosocial behavior in 4-year-old children. Evol. Hum. Behav. 31 354–364. 10.1016/j.evolhumbehav.2010.04.004
Kokal I., Engel A., Kirschner S., Keysers C., (2011). Synchronized drumming enhances activity in the caudate and facilitates prosocial commitment-if the rhythm comes easily. PLoS One 6:e27272. 10.1371/journal.pone.0027272 22110623
Kottak C., (2006). Mirror for Humanity. New York, NY: McGraw-Hill.
Koutsoupidou T., Hargreaves D. J., (2009). An experimental study of the effects of improvisation on the development of children’s creative thinking in music. Psychol. Music 37 251–278. 10.1177/0305735608097246
Kratus J., (1995). A developmental approach to teaching music improvisation. Int. J. Music Educ. 26 27–38. 10.1177/025576149502600103
Krause A. E., North A. C., Davidson J. W., (2019). Using self-determination theory to examine musical participation and well-being. Front. Psychol. 10:405. 10.103389/fpsyg.2019.00405
Lamont A., (2012). Emotion, engagement and meaning in strong experiences of music performance. Psychol. Music 40 574–594. 10.1177/0305735612448510
Lamont A., Murray M., Hale R., Wright-Bevans K., (2018). Singing in later life: the anatomy of a community choir. Psychol. Music 46 424–439. 10.1177/0305735617715514
Lamont A., Ranaweera N. A., (2020). Knit one, play one: comparing the effects of amateur knitting and amateur music participation on happiness and wellbeing. Appl. Res. Qual. Life 15 1353–1374. 10.1007/s11482-019-09734-z
Larsson C., Georgii-Hemming E., (2019). Improvisation in general music education - a literature review. Br. J. Music Educ. 36 49–67. 10.1017/s026505171800013x
Laukka P., (2007). Uses of music and psychological wellbeing among elderly. J. Happiness Stud. 8 217–241.
Launay J., Tarr B., Dunbar R. I., (2016). Synchrony as an adaptive mechanism for large-scale human social bonding. Ethology 122 779–789. 10.1111/eth.12528
Lee J., Krause A., Davidson J., (2017). The PERMA well-being model and music facilitation practice: preliminary documentation for well-being through music provision in Australian schools. Res. Stud. Music Educ. 39 73–89. 10.1177/1321103X17703131
Leman M., (2016). The Expressive Moment: How Interaction (with music) Shapes Human Empowerment. Cambridge, MA: MIT Press.
Lin A., Gregor S., Huang J., (2008). “The hedonic experience of enjoyment and its relationship to informal learning: a study of museum websites,” in Proceedings of the 29th International Conference on Information Systems (ICIS 2008), Canberra.
MacDonald R., Kreutz G., Mitchell L., (eds) (2012). Music, Health, and Wellbeing. Oxford: Oxford University Press.
MacDonald R., Wilson G., Miell D., (2011). “Improvisation as a creative process within contemporary music,” in Musical Imaginations: Multidisciplinary Perspectives on Creativity, Performance and Perception, eds Hargreaves D., Miell D., MacDonald R., (Oxford: Oxford University Press), 242–255. 10.1093/acprof:oso/9780199568086.003.0016
Maes P., Moens B., Bressan F., Leman M., Lorenzoni V., Six J., et al. (2018). Embodied, participatory sense-making in digitally-augmented music practices: theoretical principles and the artistic case: SoundBikes. Crit. Arts 32 77–94. 10.1080/02560046.2018.1447594
McNeill W. H., (1995). Keeping Together in Time: Dance and Drill in Human History. Cambridge, MA: Harvard University Press.
Monk A., (2013). Symbolic interactionism in music education. Music Educ. J. 99 76–81. 10.1177/0027432112467823
Monson I., (1996). Saying Something: Jazz Improvisation and Interaction. Chicago, IL: University of Chicago Press.
Nachmanovitch S., (1990). Free Play: Improvisation in Life and Art. New York, NY: Penguin Putnam Inc.
Nakahara H., Furuya S., Masuko T., Francis P. R., Kinoshita H., (2011). Performing music can induce greater modulation of emotion-related psychophysiological responses than listening to music. Int. J. Psychophysiol. 81 152–158. 10.1016/j.ijpsycho.2011.06.003 21704661
Nijs L., (2017). “The merging of musician and musical instrument: incorporation, presence and the levels of embodiment,” in The Routledge Companion to Embodied Music Interaction, eds Lesaffre M., Maes P., Leman M., (New York, NY: Routledge), 49–57. 10.4324/9781315621364-6
Noble T., McGrath H., (2008). The positive educational practices framework: a tool for facilitating the work of educational psychologists in promoting pupil wellbeing. Educ. Child Psychol. 25 119–134.
North A. C., Tarrant M., Hargreaves D. J., (2004). The effects of music on helping behavior: a field study. Environ. Behav. 36 266–275. 10.1177/0013916503256263
O’Neill S., (1999). Flow theory and the development of musical performance skills. Bull. Counc. Res. Music Educ. 2 129–134.
Overy K., Molnar-Szakacs I., (2009). Being together in time: musical experience and the mirror neuron system. Music Percept. 26 489–504. 10.1525/mp.2009.26.5.489 33021500
Paolantonio P., Cavalli S., Biasutti M., Pedrazzani C., Williamon A., (2020). Art for ages: the effects of group music making on the wellbeing of nursing home residents. Front. Psychol. Perform. Sci. 11:575161. 10.3389/fpsyg.2020.575161f
Pels F., Kleinert J., Mennigen F., (2018). Group flow: a scoping review of definitions, theoretical approaches, measures and findings. PLoS One 13:e0210117. 10.1371/journal.pone.0210117 30596773
Positive Psychology Center (n.d.). Available online at: https://ppc.sas.upenn.edu/people/martin-ep-seligman (accessed December 10, 2020).
Pulla V., (2014). Grounded theory approach in social research. Space Cult. India 2 14–23. 10.20896/saci.v2i3.93
Rabinowitch T., Knafo-Noam A., (2015). Synchronous rhythmic interaction enhances children’s perceived similarity and closeness towards each other. PLoS One 10:e0120878. 10.1371/journal.pone.0120878 25853859
Sangiorgio A., Mastnak W., (eds) (2020). Creative Interactions: Dynamic Processes in Group Music Activities. Munich: University of Music and Performing Arts.
Sawyer R. K., (2006). Group creativity: musical performance and collaboration. Music Psychol. Res. 34 148–165.
Sawyer R. K., (2008). Learning music from collaboration. Int. J. Educ. Res. 47 50–59. 10.1016/j.ijer.2007.11.004
Schiavio A., Van der Schyff D., Gande A., Kruse-Weber S., (2019). Negotiating individuality and collectivity in community music. A qualitative case study. Psychol. Music 47 706–721. 10.1177/0305735618775806
Seligman M., (2010). “Flourish: positive psychology and positive interventions,” in The Tanner Lectures on Human Values, ed. McMurrin S. M., (Cambridge University Press).
Seligman M., (2011). Flourish: A Visionary New Understanding of Happiness and Well-Being. New York, NY: Free Press.
Seligman M., (2018). PERMA and the building blocks of well-being. J. Posit. Psychol. 13 333–335. 10.1080/17439760.2018.1437466
Seligman M., Csikszentmihalyi M., (2000). Positive psychology, an introduction. Am. Psychol. 55 5–14.
Silverman M., (2020). Sense-making, meaningfulness and instrumental music education. Front. Psychol. 11:837. 10.3389/fpsyg.2020.00837 32435220
Sinnamon S., Moran A., O’Connell M., (2012). Flow among musicians: measuring peak experiences of student performers. J. Res. Music Educ. 60 6–25. 10.1177/0022429411434931
Sirgy M. J., (2020). Positive Balance: A Theory of Well-Being and Positive Mental Health. Social Indicators Research Series, Vol. 80. Cham: Springer.
Sirgy M. J., Wu J., (2009). The pleasant life, the engaged life and the meaningful life: What about the balanced life? J. Happiness Stud. 10 183–196. 10.1007/s10902-007-9074-1
Thompson W., Schellenberg E., Husain G., (2001). Arousal, mood, and the mozart effect. Psychol. Sci. 12 248–251. 10.1111/1467-9280.00345 11437309
Timonen V., Foley G., Conlon C., (2018). Challenges when using Grounded Theory: a pragmatic introduction to doing GT. Res. Int. J. Qual. Methods 17 1–10. 10.4135/9781529716658.n1
Tunçgenç B., Cohen E., (2016). Interpersonal movement synchrony facilitates pro-social behavior in childrens peer-play. Dev. Sci. 21 1–10. 10.1111/desc.12505 27990719
Van der Schyff D., Schiavio A., Walton A., Velardo V., Chemero A., (2018). Musical creativity and the embodied mind. Exploring the possibilities of 4E cognition and dynamical systems theory. Music Sci. 1 1–18. 10.1177/2059204318792319
Västfjäll D., Juslin N., Hartig T., (2012). “Music, subjective wellbeing, and health: the role of everyday emotions,” in Music, Health and Wellbeing, eds MacDonald R., Kreutz G., Mitchell L., (Oxford: Oxford University Press). 10.1093/acprof:oso/9780199586974.003.0027
Veblen K., (2007). The many ways of community music. Int. J. Commun. Music 1 5–21. 10.1386/ijcm.1.1.5_1
Verneert F., Nijs L., De Baets T., (2021). Improvisation For All. How a Participatory Music Project can Inspire Formal Music Education [video lecture]. Available online at: https://youtu.be/Tt8ifg4kZbU (accessed January 20, 2021).
Vougioukalou S., Dow R., Bradshaw L., Pallant T., (2019). Wellbeing and integration through community music: the role of improvisation in a music group of refugees, asylum seekers and local community members. Contemp. Music Rev. 38 533–548. 10.1080/07494467.2019.1684075
Webster-Stratton C., Reid M. J., (2004). Strengthening social and emotional competence in young children-The foundation for early school readiness and success: incredible Years classroom social skills and problem-solving curriculum. Infants Young Child. 17 96–113. 10.1097/00001163-200404000-00002
Welch G. F., Biasutti M., MacRitchie J., McPherson G. E., Himonides E., (2020). Editorial: the impact of music on human development and well-being. Front. Psychol. 11:1246. 10.3389/fpsyg.2020.01246 32625147
Werner K., (1996). Effortless Mastery: Liberating the Master Musician Within. New Albany, IN: Jamey Aebersold Jazz.
Wilson G. B., MacDonald R. A. R., (2019). The social impact of musical engagement for young adults with learning difficulties: a qualitative study. Front. Psychol 10:1300. 10.3389/fpsyg.2019.01300 31316411
Wiltermuth S. S., Heath C., (2009). Synchrony and cooperation. Psychol. Sci. 20 1–5. 10.1111/j.1467-9280.2008.02253.x 19152536
Wong P. T. P., (2012). “Toward a dual-systems model of what makes life worth living,” in The Human Quest for Meaning: Theories, Research, and Applications, ed. Wong P. T. P., (New York, NY: Routledge), 3–22.
Wright E., (2006). Compass points. New Left Rev. 41 93–124.
Wright P. R., Pascoe R., (2015). Eudaimonia and creativity: the art of human flourishing. Camb. J. Educ. 45 295–306. 10.1080/0305764x.2013.855172
Wright R., (2019). Envisioning real utopias in music education: prospects, possibilities and impediments. Music Educ. Res. 21 217–227. 10.1080/14613808.2018.1484439
Wright R., Kanellopoulos P., (2010). Informal music learning, improvisation and teacher education. Br. J. Music Educ. 27 71–87. 10.1017/s0265051709990210