Verneert etAl (2024) - The pedagogical–artistic strategies of community music facilitators as an inspiration for formal music education- A single case study.pdf
collective free improvisation; community music facilitators; community music pedagogy; music education; musical improvisation; participatory music activities; teaching strategies; Music; community music; facilitators
Abstract :
[en] In this article, we elaborate on the pedagogical–artistic strategies of a community music project and how they may inspire formal music educational practices. To do so, we draw on findings from a study on the pedagogical–artistic strategies of the musicians–coaches of The Ostend Street Orchestra (TOSO), a community music project that started as an artistic response towards the commotion around a group of homeless people in the coastal town of Ostend, Belgium. The pedagogical–artistic strategies adopted by the TOSO coaches foster the emergence of an educational approach that may have the potential to enrich music educational practices by creating a learning environment that is more democratic and inclusive. Data collection included in-depth semi-structured interviews with the TOSO coaches in 2017 and 2021, as well as video-stimulated recall. The interview data were analysed using thematic analysis. Seven themes emerged from our analysis: embodied interaction, co-coaching, re-thinking musical parameters, personal musical skills, collaboration, collective experiential learning and inclusion. We present the framework and rationale of the study, describe the pedagogical–artistic strategies of the coaches, and discuss the results. In conclusion, we briefly consider possibilities for further research and music teacher education.
Disciplines :
Education & instruction
Author, co-author :
Verneert, Filip ; LUCA School of Arts, KU Leuven, Belgium
DE BISSCHOP, An ; Ghent University, 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
DE BAETS, Thomas ; LUCA School of Arts, KU Leuven, Belgium
External co-authors :
yes
Language :
English
Title :
The pedagogical–artistic strategies of community music facilitators as an inspiration for formal music education: A single case study
Abramo, J. M. and Reynolds, A. (2015), ‘Pedagogical creativity as a framework for music teacher education’, Journal of Music Teacher Education, 25:1, pp. 37–51, http://dx.doi.org/10.1177/1057083714543744.
Adams, J. (2015), ‘Room 13 and the contemporary practice of artist-learners’, Studies in Art Education, 47:1, pp. 23–33, https://doi.org/10.1080/00393541. 2005.11652811.
Ballantyne, J. and Mills, C. (2008), ‘Promoting socially just and inclusive teacher education: Exploring perceptions of early career teachers’, Research Studies in Music Education, 30:1, pp. 77–91, http://dx.doi.org/10.1177/1321 103X08089891.
Bartleet, B.-L. and Higgins, L. (eds) (2018), The Oxford Handbook of Community Music, Oxford: Oxford University Press.
Ben-Tal, O. and Salazar, D. (2014), ‘Rethinking the musical ensemble: A model for collaborative learning in higher education music technology’, Journal of Music, Technology & Education, 7:3, pp. 279–94, https://doi.org/10.1386/jmte.7.3.279_1.
Borgo, D. (2022), Sync or Swarm, Revised Edition: Improvising Music in a Complex Age, 2nd ed., New York: Bloomsbury.
Bremmer, M. and Nijs, L. (2020), ‘The role of the body in instrumental and vocal music pedagogy: A dynamical systems theory perspective on the music teacher’s bodily engagement in teaching and learning’, Frontiers in Education, 5:79, http://dx.doi.org/10.3389/feduc.2020.00079.
Bumbuc, Ş. (2016), ‘About subjectivity in qualitative data interpretation’, International Conference Knowledge-Based Organization, 22:2, pp. 419–24, https://doi.org/10.1515/kbo-2016-0072.
Camlin, D. and Zeserson, K. (2018), ‘Becoming a community musician: A situated approach to curriculum, content, and assessment’, in B. Bartleet and L. Higgins (eds), The Oxford Handbook of Community Music, Oxford: Oxford University Press, pp. 711–33.
Clarke, V. and Braun, V. (2017), ‘Thematic analysis’, The Journal of Positive Psychology, 12:3, pp. 297–98, https://doi.org/10.1080/17439760.2016.1262613.
Cote, M., Day, R. and Peuter, G. (2007), ‘Utopian pedagogy: Creating radical alternatives in the neoliberal age’, Review of Education, Pedagogy, and Cultural Studies, 29:4, pp. 317–36, https://doi.org/10.1080/107144 10701291129.
Croom, A. (2014), ‘Music practice and participation for psychological well-being: A review of how music influences positive emotion, engagement, relationships, meaning, and accomplishment’, Musica Scientae, 19:1, pp. 44–64, https://doi.org/10.1177/1029864914561709.
D’Amore, A. (ed.) (2006), Musical Futures: An Approach to Teaching and Learning, London: Paul Hamlyn Foundation.
De Baets, T. (2022), ‘The music teacher in “on-the-spot” musical interactions: A practitioner research study’, International Journal of Music Education, 40:3, pp. 364–77, https://doi.org/10.1177/02557614211061591.
De bisschop, A., Rutten, K. and Soetaert, R. (2011), ‘A case study in discourse analysis of community arts in cultural policy and the press’, Comparative Literature and Culture, 13:4, https://doi.org/10.7771/1481-4374.1750.
De Jaegher, H. and Di Paolo, E. (2007), ‘Participatory sense-making: An enactive approach to social cognition’, Phenomenology and the Cognitive Sciences, 6:4, pp. 485–507, https://doi.org/10.1007/s11097-007-9076-9.
Després, J.-P. (2022), ‘First-person, video-stimulated recall method for studying musical improvisation strategies’, Research Studies in Music Education, 44:1, pp. 34–51, https://doi.org/10.1177/1321103X20974803.
Dylan Smith, G. and Silverman, M. (eds) (2020), Eudaimonia: Perspectives for Music Learning, New York: Routledge.
Englander, M. and Morley, J. (2023), ‘Phenomenological psychology and qualitative research’, Phenomenology and the Cognitive Sciences, 22:1, pp. 25–53, https://doi.org/10.1007/s11097-021-09781-8.
Folkestad, G. (2006), ‘Formal and informal learning situations or practices vs formal and informal ways of learning’, British Journal of Music Education, 23:2, pp. 135–45, https://doi.org/10.1017/S0265051706006887.
Gande, A. and Kruse-Weber, S. (2017), ‘Addressing new challenges for a community music project in the context of higher music education: A conceptual framework’, London Review of Education, 15:3, pp. 372–87, http://dx.doi.org/10.18546/LRE.15.3.04.
Georgii-Hemming, E. and Westvall, M. (2010), ‘Music education – a personal matter? Examining the current discourses of music education in Sweden’, British Journal of Music Education, 27:1, pp. 21–33, https://doi.org/10.1017/S0265051709990179.
Harrison, J. and Lee, R. (2011), ‘Exploring the use of critical incident analysis and the professional learning conversation in an initial teacher education program’, Journal of Education for Teaching, 37:2, pp. 199–217, https://doi. org/10.1080/02607476.2011.558285.
Hattie, J. and Donoghue, G. (2016), ‘Learning strategies: A synthesis and conceptual model’, Science of Learning, 1:1, pp. 1–13, https://doi.org/10.1038/npjscilearn.2016.13.
Hickey, M. (2009), ‘Can improvisation be taught? A call for free improvisation in our schools’, International Journal of Music Education, 27:4, pp. 285–99, https://doi.org/10.1177/0255761409345442.
Hickey, M. (2015), ‘Learning from the experts: A study of free-improvisation pedagogues in university settings’, Journal of Research in Music Education, 62:4, pp. 425–45, http://dx.doi.org/10.1177/0022429414556319.
Higgins, L. (2007), ‘Acts of hospitality: The community in community music’, Music Education Research, 9:2, pp. 281–92, http://dx.doi. org/10.1080/14613800701384441.
Higgins, L. (2012), Community Music: In Theory and in Practice, Oxford: Oxford University Press.
Higgins, L. and Bartleet, B.-L. (2018), ‘The community music facilitator and school music education’, in B.-L. Bartleet and L. Higgins (eds), The Oxford Handbook of Community Music, Oxford: Oxford University Press, pp. 277–94.
Higgins, L. and Willingham, L. (2017), Engaging in Community Music: An Introduction, New York: Routledge.
Howell, G., Higgins, L. and Bartleet, B.-L. (2017), ‘Community music practice: Intervention through facilitation’, in R. Mantie and G. Dylan Smith (eds), The Oxford Handbook of Music Making and Leisure, Oxford: Oxford University Press, pp. 601–18.
Kvale, S. and Brinkmann, S. (2009), InterViews: Learning the Craft of Qualitative Research Interviewing, 2nd ed., Los Angeles, CA: Sage Publications.
Laes, T. and Westerlund, H. (2018), ‘Performing disability in music teacher education: Moving beyond inclusion through expanded professionalism’, International Journal of Music Education, 36:1, pp. 34–46, http://dx.doi. org/10.1177/0255761417703782.
Lamont, A. and Ranaweera, N. (2020), ‘Knit one, play one: Comparing the effects of amateur knitting and amateur music participation on happiness and wellbeing’, Applied Research in Quality of Life, 15:5, pp. 1353–74, https://doi.org/10.1007/s11482-019-09734-z.
Larsson, C. and Georgii-Hemming, E. (2019), ‘Improvisation in general music education: A literature review’, British Journal of Music Education, 36:1, pp. 49–67, http://dx.doi.org/10.1017/S026505171800013X.
Lee, J., Krause, A. and Davidson, J. (2017), ‘The PERMA well-being model and music facilitation practice: Preliminary documentation for well-being through music provision in Australian schools’, Research Studies in Music Education, 39:1, pp. 73–89, https://doi.org/10.1177/1321103X17703131.
Lewis, G. and Piekut, B. (2016), The Oxford Handbook of Critical Improvisation Studies, vol. 1, Oxford: Oxford University Press.
Lines, D. (2018), ‘The ethics of community music’, in B. Bartleet and L. Higgins (eds), The Oxford Handbook of Community Music, Oxford: Oxford University Press, pp. 385–402.
Mak, P. (2006), Learning Music in Formal, Non-Formal and Informal Contexts, Groningen: Hanzehogeschool.
Neirinckx, P. and Carton, B.(1994), Algemeen Verslag over de Armoede, Brussels: Koning Boudewijnstichting and ATD Vierde Wereld.
Ng, H. H. (2020), ‘Towards a synthesis of formal, non-formal and informal pedagogies in popular music learning’, Research Studies in Music Education, 42:1, pp. 56–76, https://doi.org/10.1177/1321103X18774345.
Parkes, K. A. and Daniel, R. (2023), ‘Using stimulated recall and reflection on action with music studio teachers in higher education’, International Journal of Teaching and Learning in Higher Education, 35:1, pp. 67–78.
Sawyer, K. (2008), ‘Learning music from collaboration’, International Journal of Educational Research, 47:1, pp. 50–59, http://dx.doi.org/10.1016/ j.ijer.2007.11.004.
Schiavio, A., van der Schyff, D., Gande, A. and Kruse-Weber, S. (2019), ‘Negotiating individuality and collectivity in community music: A qualitative case study’, Psychology of Music, 47:5, pp. 706–21, https://doi. org/10.1177/0305735618775806.
Silverman, M. (2012), ‘Virtue ethics, care ethics, and the good life of teaching’, Action, Criticism and Theory for Music Education, 11:2, pp. 96–122.
Sloboda, J., Baker, G., De bisschop, A., Karttunen, S., Mazzola, A., Rojas, J. S., Van Zijl, A., Westerlund, H. and Zapata Restrepo, G. (2020), ‘Music for Social Impact’ Finnish Journal of Music Education, 23:1&2 pp. 116–43.
Sloboda, J., Van Zijl, A. and De bisschop, A. (2022), ‘Music for social impact: Practitioners’ contexts, work and beliefs: Research introduction and survey results’, Play Ground: The Social Impact of Music Making, Ghent, Belgium, 7 December.
Small, C. (1998), Musicking: The Meanings of Performing and Listening, Middletown, CT: Wesleyan University Press.
Smart, T. and Green, L. (2017), ‘Informal learning and musical performance’, in J. S. Rink, H. Gaunt and A. Williamon (eds), Musicians in the Making: Pathways to Creative Performance, Oxford: Oxford University Press, pp. 108–25.
Stijnen, J., Nijs, L. and Van Petegem, P. (2023), ‘Instrument teachers’ practices, beliefs, and barriers regarding musical creativity: Exploring the creative process of interpretation’, International Journal of Music Education, article first, https://doi.org/10.1177/02557614231175777.
Stronge, J. (2018), Qualities of Effective Teachers, Alexandria, VA: ASCD.
Van Zijl, A. and De bisschop, A. (2023), ‘Layers and dynamics of social impact: Musicians’ perspectives on participatory music activities’, Musicae Scientiae, 28:2, pp. 348–64, https://doi.org/10.1177/10298649231205553.
Verneert, F., Nijs, L. and De Baets, T. (2021), ‘A space for collaborative creativity: How collective improvising shapes a sense of belonging’, Frontiers in Psychology, 12, p. 648770, https://doi.org/10.3389/fpsyg.2021.648770.
Vougioukalou, S., Dow, R., Bradshaw, L. and 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’, Contemporary Music Review, 38:5, pp. 533–48, https://doi.org/10.1080/0749 4467.2019.1684075.
Willingham, L. and Carruthers, G. (2018), ‘Community music in higher education’, in B. L. Bartleet and L. Higgins (eds), The Oxford Handbook of Community Music, Oxford: Oxford University Press, pp. 595–616, https://doi.org/10.1093/oxfordhb/9780190219505.013.9.
Wright, R. (2019), ‘Envisioning real utopias in music education: Prospects, possibilities and impediments’, Music Education Research, 21:3, pp. 217–27, http://dx.doi.org/10.1080/14613808.2018.1484439.
Zahorik, J., Halbach, A., Ehrle, K. and Molnar, A. (2003), ‘Teaching practices for smaller classes’, Educational Leadership, 61:1, pp. 75–77.
