Contexts for Music Learning and Participation: Developing and Sustaining Musical Possible Selves

284 Pages·2020·3.376 MB·English

by  Andrea Creech, Maria Varvarigou, Susan Hallam

Contexts for
Music Learning
and Participation
Developing and Sustaining
Musical Possible Selves
Andrea Creech · Maria Varvarigou
Susan Hallam
Contexts for Music Learning and Participation
Andrea Creech • Maria Varvarigou
Susan Hallam
Contexts for Music
Learning and
Participation
Developing and Sustaining Musical
Possible Selves
Andrea Creech Maria Varvarigou
Schulich School of Music Mary Immaculate College
McGill University University of Limerick
Montreal, Canada Limerick, Republic of Ireland
Susan Hallam
UCL Institute of Education
London, UK
ISBN 978-3-030-48261-9 ISBN 978-3-030-48262-6 (eBook)
https://doi.org/10.1007/978-3-030-48262-6
© The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer Nature
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Contents
1 Introduction 1
2 S haping Musical Possible Selves in the Early Years 23
3 E mergent Musical Possible Selves in Primary School 43
4 S econdary Schools and Their Role to Play in Musical
Possible Selves 61
5 The Role of Further and Higher Education in Shaping
Musical Possible Selves 81
6 M usical Possible Selves in Extra- Curricular Ensembles
and Instrumental and Vocal Tuition 103
7 L ifelong Musical Possible Selves: Adult Music Learning
and Participation 123
8 S upporting Musical Possible Selves in Programmes
With Social Aims 143
v
vi Contents
9 The Emergence of Musical Possible Selves Through
Musical Learning in the Home 163
10 Peer Learning and the Construction of Musical
Possible Selves 181
11 Musical Possible Selves and Self- directed Music
Learning Across the Lifespan 203
12 Developing Musical Possible Selves Through
Learning with Technology and Social Media 223
Postscript 239
References 243
Index 275
List of Figures
Fig. 1.1 Dimensions, modes and levels of learning and facilitation
(derived from Heron, 1999, 2009). (Created by John
Martzoukos—graphic designer) 10
Fig. 1.2 Developing and sustaining ‘manifold musical possible selves’.
(Created by John Martzoukos—graphic designer) 17
Fig. 9.1 Parental support woven in to a positive musical possible self 169
Fig. 9.2 Limited parental support woven in to a negative musical
possible self 170
vii
List of Boxes
Box 2.1 Creativity for Wellbeing—The Haringey Nursery Schools
Consortium Lullaby Project 33
Box 2.2 Music Early Learning Programmes (MELPs) 35
Box 3.1 Bam Bam Drumming Circle (Mackinlay, 2014, p. 223) 48
Box 3.2 Developing Rich Narratives of a Possible Self as Musician
Through Participation in LSO Discovery 56
Box 4.1 A Teachers’ Perspective on Promoting Student Agency 67
Box 4.2 Technology as a Medium for Exploring Musical Possible Selves 72
Box 4.3 Assessment Within a UK Musical Futures Champion School 75
Box 5.1 Shaping Musical Possible Selves with Experiential Learning
within Further Education 84
Box 5.2 A Cooperative Approach in Conservatoire Education 90
Box 5.3 An Autonomous Orientation to Curriculum within a Popular
Music Programme 93
Box 6.1 Musical Opportunities Framed by PYD 109
Box 6.2 Creative Youth Development in Extra-Curricular Music
Learning 112
Box 6.3 Confronting Resistance to Unfamiliar Ways of Learning in an
Extra-Curricular Context 114
Box 6.4 One-to-One Instrumental Lessons in an Extra-Curricular
Residential Music Course 115
ix
x List of Boxes
Box 7.1 Selection, Optimisation and Compensation in Developing
Musical Possible Selves among Adults 128
Box 7.2 The Conductor as Facilitator of Learning (Kruse, 2007, p. 6) 129
Box 7.3 Rediscovering Lost Musical Possible Selves 134
Box 7.4 James’ Narrative of Musical Possible Self as a Mature-Aged
Adult 136
Box 8.1 In Harmony Liverpool: Bringing Music into Community
and Family Life 149
Box 8.2 Musical Possible Selves Through a Music Programme in a
Juvenile Detention Centre 153
Box 8.3 Keys of Change 155
Box 9.1 An Autonomous Orientation to Promoting Invented
Singing with Young Children at Home 166
Box 9.2 Different Modes of Facilitating Practising at Home 170
Box 9.3 Bedroom (Professional) Musician Billie Eilish 173
Box 9.4 The Home as a Foundation for Musical Possible Selves 177
Box 10.1 Asymmetrical Peer-to-Peer Learning with Assistive Music
Technologies 183
Box 10.2 The Challenges and Affordances of Peer Learning in
Ensemble-based Music Education 185
Box 10.3 Musical Peer Learning in Friendship Groups, Mapped to
Dimensions of Learning and Phases of the Development of
Possible Selves 188
Box 11.1 Contextualised Musical Meaning-Making 209
Box 11.2 Shaping and Changing Musical Possible Selves Through a
Self-directed Learning Opportunity 218
Box 12.1 Experiential Musical Learning and Participation with iPads 225
Box 12.2 Exploring Music with the Soundbeam 227
Box 12.3 Learning the Guitar Online 230
Box 12.4 A YouTube Creator 232
Box 12.5 Experiments with Musical Possible Selves 235
1
Introduction
This book sets out a contemporary perspective on music learning and
participation, highlighting complex intersections between learner experi-
ences and dreams, and the informal, non-formal and formal practices and
contexts that they encounter. The role that these practices and contexts
play in supporting the development of musical possible selves is a central
theme of the book. At a moment when the boundaries between commu-
nity music, music in school curricula, lifelong learning and self-directed
musical learning and participation are increasingly blurred, we challenge
a ‘silo’ approach to understanding the diverse music education landscape
and its influence in shaping our musical possible selves. We propose
instead a multi-layered, ‘manifold’ model of musical learning, participa-
tion and facilitation that has relevance across a range of informal, non-
formal or formal contexts. We argue that responsive, multifaceted music
leadership is key in supporting learners across the life-course as they
explore and experience new musical possible selves and rediscover lost
musical possible selves.
This introductory chapter sets out the origins of formal, non-formal
and informal learning designations. We discuss how these terms were
defined by the Organisation for Economic Cooperation and Development
© The Author(s) 2020 1
A. Creech et al., Contexts for Music Learning and Participation,
https://doi.org/10.1007/978-3-030-48262-6_1