British Journal of Music Education, 7 1: 67-73. It rests on the principles of respect and responsibility. At one moment, there is sharing of insights into details of the participant's musical life, drawing on established qualitative methodologies. General Music Today, 5 1 , 32-34. The Childhood of a Teacher: Allison? Music appreciation: Exploring similarity and difference.
The use of mythological storytelling conventions might also resonate within educational research circles beyond music education. Research Studies in Music Education, 28 1: 39-50. The role of music in Grenada, West Indies has traditionally been to pass on knowledges, values, and ideals; and to provide a means of connecting to one another through expressing commonality of experience, ancestry, and nationhood. By aiming to 'cultivate ground for narrative inquiry to seed and flourish alongside other methodological approaches' p. Qualitative Health Research, 12 2 , 279—289.
The commentaries provide an interpretive perspective of the narrative accounts, suggest further questions that arise from the inquiry, and provide insight into the potential uses of the narrative account for the theory and practice of music education. It is through the frames we assign to Jan and Henry that we make sense of their stories as researchers, as readers, as music educators, and as fellow music makers. American Educational Research Association 2006 Annual Meeting, San Francisco, California,. Aesthetics, politics and educational inquiry: Essays and examples. Hitting the Trail Running: Roadmaps and Reflections on Informal Faculty Mentorship Experiences by Shelley M.
Inevitably, however, these techniques left some stories untold and some voices unheard. El artículo concluye con una exposición acerca de las consecuencias de todo ello en relación a la práctica coral en el marco de la enseñanza secundaria, así como en el de la investigación. Artful writing draws the reader into the verstehen building among those involved in the inquiry and makes visible the otherwise invisible worlds of participants. In the following we shall explore these issues further. It is also of significance that Barone draws on the work of philosophers of the arts such as John Dewey and Susanne Langer in shaping his approach to the use of narrative in educational inquiry. Articles 2, 3 and 4 are examples of the type of research proposed in the conclusion of article 1.
Resonant work: metaphor and narrative in music learning and life. Adopting a theoretical lens incorporating Deweyan pragmatism, cultural criminological theories of deviance and critical pedagogy, this research discusses the implications of the processes of social censure and censorship for the ideals of inclusion and democracy in schools. Reflexive observations: Seeing, hearing, feeling towards narrative understandings. Phi Delta Kappan, 71 2 , 147—151. Psychology of Music, 35 2: 213-230.
Narrative inquiry: Multiple lenses, approaches, voices. This chapter focuses on these issues within the context of music education research. The project was formulated using a combined narrative and phenomenological focus, and each participant was viewed as an intrinsic case study. Building communities of music education practice: Peer collaboration in music teacher education. Aesthetics, politics, and educational inquiry: Essays and examples.
International Journal of Music Education, 20 1: 27-34. The relationship between the selection of quality repertoire music pedagogical texts selection and rehearsal preparation, planning, implementation and reflection is inextricably linked; it is a cyclic process where one stage informs the next stage. He remarks:the portrayal of the mother harks back to a Durkhiemian functionalist viewpoint inwhich society is viewed as a system of social institutions and in which the child mightbe socialised. It is perhaps no accident that the narrative accounts that feature in this book arise from the work of early career researchers. I identified and analyzed regulatory learning strategies located from practice, training, and experience using interpretative phenomenological analysis. In short, all cognition, whatever its nature, relies upon representation, how we lay down our knowledge in a way to represent our experience of the world.
In the non-singular world that we live in today with its highly interactive and networked inhabitants, one cannot overlook the significance of politics and criticality in conducting research and knowledge creation. Narrative has been used in music education dissertations and other studies. Resonant work: metaphor and narrative in music learning and life. The findings of this research suggest that in selecting popular repertoire for their students, teachers navigate what I term the school censorship frame: broad and specific social narratives that draw associations between particular musics or songs and socially constructed notions of deviance. Certainly, this volume is successful in that respect. This article draws on a three-year longitudinal project that has investigated the role of invented song-making and music engagement in 18 young children's aged approximately 18-48 months identity work and self-making. In doing so, this excellent text would have become more accessible to less experienced audiences.
Connecting narrative thinking and creative thinking in music. This text provides a forum for the presentation and discussion of narrative inquiry approaches to research in music education, and contextualizes this work within the larger conversations of music education research and practice. But troubling is a troubling matter, uncertain and unpredictable, as individual as each participant, researcher, and reader, and inseparable in some ways from positionality and place. In short, good work is excellent, ethical, and engaged. Harvard Educational Review, 71 4 , 734—741. Arizona Music News, 36 2 , 12, 14, 21, 27.
Rigor in qualitative research does not hinge on conventional notions of precision and generalisability, 24 S. Locating narrative inquiry historically: Thematics in the turn to narrative. We are encouraged to determine whetheror not mere resonance for audiences is enough. International Journal of Music Education, 30 3: 244-259. Practices of music education and learning across the lifespan: an exploration of values and purposes. This elicited a reflexive process that helped me to forge a personal, deeper awareness of living inside and seeing through both the narrative and the paradigmatic lens.