Erickson David Allen thesis

255 Pages·2012·3.56 MB·English

by  David Erickson

Curricular and Pedagogical Reform:
Transformative Opportunities for Personalized
Learning in Middle School Music Environments
by
David Allen Erickson
M.A. (Education), Simon Fraser University, 2005
B.Sc., Washington State University, 1982
Thesis Submitted in Partial Fulfillment
of the Requirements for the Degree of

Doctor of Philosophy
in the
Arts Education Program
Faculty of Education
© David Allen Erickson 2012
SIMON FRASER UNIVERSITY
Summer 2012
All rights reserved.
However, in accordance with the Copyright Act of Canada, this work may
be reproduced, without authorization, under the conditions for
“Fair Dealing.” Therefore, limited reproduction of this work for the
purposes of private study, research, criticism, review and news reporting
is likely to be in accordance with the law, particularly if cited appropriately.
Approval
Name: David Allen Erickson
Degree: Doctor of Philosophy (Education)
Title of Thesis: Curricular and Pedagogical Reform:
Transformative Opportunities for Personalized
Learning in Middle School Music Environments
Examining Committee:
Chair: Dr. Celeste Snowber, Associate Professor
Dr. Yaroslav Senyshyn
Senior Supervisor
Professor
Dr. Allan MacKinnon
Supervisor
Associate Professor
Dr. Stephen Campbell
Internal Examiner
Associate Professor
Faculty of Education
Dr. Peter Gouzouasis
External Examiner
Associate Professor, Department of Curriculum and
Pedagogy
University of British Columbia
Date Defended/Approved: August 7, 2012
ii
Partial Copyright Licence

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Ethics Statement

The author, whose name appears on the title page of this work, has obtained, for the
research described in this work, either:
a. human research ethics approval from the Simon Fraser University Office of
Research Ethics,
or
b. advance approval of the animal care protocol from the University Animal Care
Committee of Simon Fraser University;
or has conducted the research
c. as a co-investigator, collaborator or research assistant in a research project
approved in advance,
or
d. as a member of a course approved in advance for minimal risk human research,
by the Office of Research Ethics.
A copy of the approval letter has been filed at the Theses Office of the University Library
at the time of submission of this thesis or project.
The original application for approval and letter of approval are filed with the relevant
offices. Inquiries may be directed to those authorities.
Simon Fraser University Library
Burnaby, British Columbia, Canada
update Spring 2010
Abstract
Paradigmatic shifts in music education, supported by curricular reconceptualization and
the braiding of “outside school” informal learning styles with more traditional formal
learning patterns associated with classroom music, have developed slowly in North
American schools. However, unlike popular music currently incorporated into Swedish,
Finnish and British schools, most North American music programs maintain traditional
band and choir paradigms as a curricular focus in middle and high school settings.
Research in Great Britain, the United States and Canada indicates that these traditional
music programs fail to sustain the interest of our youth. Alternate pedagogies, accessible
through student-directed information and communications technologies, have
transformed music education and displaced sole reliance upon the teacher as musical
authority.
The overwhelming value of popular music for most young people has encouraged many
music educators to bridge these thriving “outside” interests with school music
environments. I argue that while informal learning strategies are vital to assist many of
our students, the persistence of formal learning methods that they engage in outside of
school should not preclude their continued importance inside our schools, including both
traditional and alternative uses of music notation. The notation reform effort of Jean-
Jacques Rousseau parallels contemporary efforts on the Internet to use alternate
notation for learning music. Correspondingly, Rousseau’s child-centred philosophies
have created opportunities for contemporary education reform, witnessed in
personalized music learning environments, which value development of student voice.
This is significant in middle school environments where many students claim to have
fewer decision-making opportunities than in elementary school. A youth participatory
action research project named Music Matters, working in tandem with Simon Fraser
University researchers and the middle school music teacher, provided notable insights
about the value of music and dance to the student researchers.
While I argue that changes in music education curriculum are necessary to demonstrate
that educators are listening to and acting upon the needs of students, inflexible systems
espousing prior practice over possible practice tend to ignore our youth. I also advocate
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for the addition of popular music performance to the middle school curriculum and a
focus upon the individual musical needs and interests of students.
Keywords: Middle school music; personalized learning; youth participatory action
research; curricular and pedagogical reform; popular music; informal and
formal music learning
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Dedication
In loving memory of Bill, Elvina, Jimmy, Mary
and Kathryne.

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Acknowledgements
I give my profound thanks to Dr. Yaroslav Senyshyn, whose music, wisdom,
patience, gentleness, kindness, and encouragement gave me strength throughout all
stages of this paper. I also express my gratitude to Dr. Susan O’Neill for allowing me to
assist in Research for Youth, Music and Education (RYME) at Simon Fraser University.
Her passion and brilliance are a marvel and an inspiration. It is Dr. Allan MacKinnon that
I commend for his philosophical and musical insights, as well as providing spontaneous
help and necessary levity. My thanks also extend to Dr. Stephen Campbell for his many
incisive questions and stirring comments. To Dr. Peter Gouzouasis, I express great
appreciation for his helpful criticism and also for sharing his wide breadth of musical
experience and knowledge of music education.
I reserve the concluding recognitions for the members of my family by allowing
me to pursue my interests in music, education, and philosophy. I especially thank Diane,
Rory, and Tor for their motivation, tolerance, and abiding love during my studies. To my
father Hank and mother Carol, I voice my eternal indebtedness to you both for the
wonderful life with which you have blessed me. I love you all.
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Table of Contents
Approval ............................................................................................................................. ii

Partial Copyright Licence .................................................................................................. iii

Abstract ............................................................................................................................. iv

Dedication ......................................................................................................................... vi

Acknowledgements .......................................................................................................... vii

Table of Contents ............................................................................................................ viii

Preface ............................................................................................................................... x

Introduction .................................................................................................................. 1

Chapter 1.
  Popular Music, Musical Autonomy, and the Music Classroom .......... 6

Chapter 2.
  Student-centred Learning and the Social Construction of
Music in School ..................................................................................... 46

Chapter 3.
  Jean-Jacques Rousseau and Music Reform ...................................... 63

Chapter 4.
  Foucault, Modernism, Early Music Education in British
Columbia, Musical Exemplars, and Ressentiment ............................. 83

Chapter 5.
  Teaching as Control, Conservatory Orthodoxy in Public
School Music Education, and Teacher as Authority Figure ............ 115

Chapter 6.
  Music Listening and Performance Fetish Inside the Music
Classroom ............................................................................................ 131

Chapter 7.
  Youth as Deficit Model, Identity Formation and Personhood,
Youth as Partner Through Participatory Action Research, and
Development of "Student Voice" in Personalized Music
Learning ............................................................................................... 143

The Music Matters YPAR Project ................................................................................. 160

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Chapter 8.
  Holistic Perspectives on Informal and Formal Learning,
Middle School Music Environments, Technology as
Pedagogical Partner, Music Advocacy as Inaction,
Performance as Pedagogy, and Popular Music Performance
in Middle School Curriculum .............................................................. 175

Conclusion .............................................................................................................. 217

References .............................................................................................................. 224

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