Guided By Voices Living and Learning Music

347 Pages·2017·1.22 MB·English

by  Victoria University

Guided By Voices
Living and Learning Music

Gregory Aronson

Submitted in total fulfilment of the degree of Doctor of Philosophy

September 2016

College of Education
Victoria University
Doctor of Philosophy Declaration

I, Gregory Aronson, declare that the PhD thesis entitled ‘Guided By Voices:
Living and Learning Music’ is no more than 100,000 words in length including
quotes and exclusive of tables, figures, appendices, bibliography, references
and footnotes. This thesis contains no material that has been submitted
previously, in whole or in part, for the award of any other academic degree or
diploma. Except where otherwise indicated, this thesis is my own work.
September 2016

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Abstract
In my role as a music educator I have observed that students experience
significant challenges, and even disengagement and disillusionment, as they
attempt to negotiate tertiary music study. This study aims therefore to explore
the music backgrounds and learning experiences of music students undertaking
tertiary music study at VU in order to evaluate why students might not be
enjoying their time at university as much as they perhaps ought to be.
This study takes place in the context of a ‘University of Opportunity’. Victoria
University (VU) conceptualises itself as an accessible educational provider
offering learning opportunities for students from a range of cultural and
socioeconomic backgrounds. In an age of increasing competition and
complexity in the tertiary education sector, issues of student attraction and
retention dominate the landscape, leading to an increase in wide reaching, data
driven, internal and external quality assurance monitoring. Whilst such
quantitative investigations and evaluations undoubtedly assist in
comprehending the strengths, weaknesses and challenges for the sector, and
individual institutions such as VU, they do not clearly explain the specific and
idiosyncratic experiences of music students at a ‘University of Opportunity’.
There are substantial gaps in qualitative inquiry generally, and more specifically
qualitative inquiry into tertiary music education. There is a need for greater
emphasis on, and elucidation of, story, habitus and voice in tertiary music
teaching and learning. Narratives emanating from a small, personal and local
music education context such as the music department at VU can help to build
understanding of how our students engage with and learn music. This body of
work responds to calls from respected researchers such as Lucy Green for
instances of specific, micro inquiries in the music education field. The approach
taken in this study also contrasts to generalised commentary driven by
quantitative analysis that struggle to explain the idiosyncratic complexities that
arise for students who come from lower SES backgrounds. This is particularly
important given that the majority of this quantitative research has taken place in
first tier/choice universities.

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The thesis aims therefore to listen to, understand and contextualise these
experiences. I employ a multi method inquiry within the qualitative research
framework, involving focus groups and in depth interviews to capture student
experiences growing up and living in a range of music communities and their
perceptions of learning music in a tertiary institution. These narratives are
situated within the author’s own ethnographies drawn from experiences as a
musician, music educator and researcher. The voices that tell these stories
guide the discussion and recommendations within this thesis. Ethnographic and
narrative strategies of inquiry are employed within the context of agency and
powerlessness in community and educational fields. Autoethnographic
investigation occurs within the paradigm of critical self-reflection providing
‘teachable moments’ (Havighurst, 1953) in order to emphasise the complex,
personal and atemporal nature of learning and investigation.
Findings detail stories about the communities that nurtured young musicians
and instigated musical journeys showing a complex interplay between choice,
agency, belonging and learning that young people experience in the negotiation
of community fields. Participant experiences of learning music at university
evince a wide range of challenges. These ‘tensions’ manifest as powerlessness,
anxiety and disconnection with music learning and doing. Challenges are linked
to imbalances between performative music function, or practice, and traditions
of formulaic doxa in tertiary music education. Participants struggle for agency
within confining and passive notions of ‘legitimacy’ within institutional contexts
that often call for reproduction (as opposed to production).In contrast, findings
also elicit a number of positive, or release, aspects. Findings show that
participants are able to question and disrupt social and educational restrictions
and contribute to conditions that allow for their musical and educational
backgrounds and choices to be acknowledged and celebrated. Participants are
able to call for legitimacy and autonomy and build valuable music skills and
knowledge. Findings point to the benefits of building community characteristics
within formal music curricula and pedagogy. Finally, findings articulate how
participants value the opportunity to tell their deeply personal and different
stories and acknowledge the importance of voice in more clearly understanding
the ‘student experience’.
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Discussion draws on literature from the fields of education, music education and
sociology. Analysis utilises cultural theory lenses, most notably drawing on the
concepts of habitus, capital and field to understand participant experiences.
Discussion contextualises challenges and successes in music communities and
tertiary music fields via the fundamental notions of choice, growth,
powerlessness, agency and well-being. Discussion additionally interrogates the
role and emphasis of form, function, production and reproduction in the practice
and learning of music.
The thesis concludes that genuine and substantive conversations between
students and educators can lead to more effective student learning and a
greater sense of inclusion, legitimacy and well-being. There is a paramount
need to seek out, to listen and understand the background, nature and thinking
of music students and to be guided by all of the voices involved in living and
learning music. Teaching and learning that is deliberately and comfortably
participatory leads to greater power and enfranchisement in all involved and can
lead to a more harmonious union between the substantially functional habitus of
musicians and the often formulaic dynamics of formal tertiary music contexts.
This exploration has prompted an important reminder that the fundamental aim
of tertiary music education is to create conditions where individuals flourish,
engage and create, and particularly so within the growing prevalence of
rationalist, neo-liberal cultures that increasingly drive tertiary education policy
and practice. Educators and institutions can, and indeed should, do better for
the students they are tasked with educating. We need to be fair and ethical
practitioners, and strive to make real improvements to what music students do
and how they learn.

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Acknowledgements
I would like to thank the 28 Victoria University music and music education
students for so willingly sharing their stories of living and learning music with
me. This thesis would not have been possible without the many candid and
engaging conversations I had with them. These participants have provided a
compelling insight into the vast range of backgrounds and learning experiences
of people engaged in the music realm and are a lasting reminder of the
importance of listening to and understanding the people we teach and learn
with.
The experiences and stories that underpin the content of this thesis took place
in the music programs at Victoria University. I am sincerely grateful for the
opportunity to work with many highly talented, engaging and supportive
musicians and teachers over the last sixteen years. I would like to acknowledge
the many sessional music staff at Victoria University who provided countless
opportunities to discuss emerging ideas and approaches as I conceived and
conducted this research. I would particularly like to mention Kiernan Box,
Jonathan Zion, Catrina Seiffert, Fran Swinn and Darren Reston who have
offered ongoing insight about music education and music students. I am
indebted to Adam Hutterer and Stephen Rando for their collegiality, support and
friendship. And I would particularly like to thank Robert Bell for his sage advice
to me in all matters academic and musical and for his tireless work in, and
dedication to, the music programs at Victoria University, allowing me space and
time to complete this body of work.
I am grateful for the support provided by The College of Education at Victoria
University. Heartfelt thanks must go to my thesis supervisors, Maureen Ryan
and Marcelle Cacciattolo. I am truly fortunate to have had two such kind,
generous, intelligent and patient mentors to guide me through this journey. The
support they provided as I strived to balance work, family, music, life and study
was unwavering, always positive and left me feeling like a valued and valuable
human being. Maureen and Marcelle stand as powerful examples of truly
effective and caring tertiary researchers, teachers and supervisors.
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My dear children Joshua, Rebecca, Eliza and Abigail have all continued to grow
and change as I worked away at this thesis. I have tried to be there with and for
them as far as possible but I’m sure at times I have been grumpy at
interruptions or have missed some small but important landmark. And so I thank
them for putting up with me with their (at times, toothless) grins, playing with
and looking after one another and lastly, for remembering to knock when they
knew I was struggling with a particularly tricky bit of thinking or writing…
Finally, I am truly indebted to my darling wife, Deirdre for her unqualified love
and support in all that I attempt as a musician, teacher and researcher. She has
provided me the perfect reasoned and steady counsel when I have waivered
and has reminded me in deed and word that life is wonderful, even when dark
clouds gather.

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Table of contents
Chapter 1. Prelude 1
1.1. Story and voice .......................................................................................................... 1
1.2. The local and global in music education: A contextual overview ................................ 2
1.2.1. A brief chronology of music education at Victoria University ............................... 2
1.2.2. Victoria University and the wider tertiary environment ........................................ 4
1.3. Research questions and outline of chapters .............................................................. 9
Chapter 2. There is method in my madness: An autoethnography of a methodology 14
2.1. Prelude ..................................................................................................................... 14
2.2. Field of Inquiry ......................................................................................................... 15
2.3. The investigative paradigm ...................................................................................... 24
2.4. Strategy of inquiry .................................................................................................... 31
2.5. Methods of collection and analysis .......................................................................... 34
2.6. Ethics ....................................................................................................................... 41
2.7. Interpretation and evaluation .................................................................................... 46
2.8. Coda: Concluding remarks ....................................................................................... 48
Chapter 3. Time remembered: Participant music backgrounds 50
3.1. Prelude ..................................................................................................................... 50
3.2. Music experiences prior to Victoria University .......................................................... 50
3.2.1. Family and the home ........................................................................................ 51
3.2.2. Religious communities and organisations ......................................................... 52
3.2.3. Community music programs ............................................................................. 53
3.2.4. School music activities ...................................................................................... 53
3.2.5. Private music lessons ....................................................................................... 54
3.2.6. Bands and band scenes ................................................................................... 55
3.2.7. Other music exploration .................................................................................... 56
3.3. Definitions and descriptions of music communities .................................................. 57
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3.3.1. Religious communities ...................................................................................... 57
3.3.2. High School music communities ....................................................................... 59
3.3.3. Community music programs ............................................................................. 61
3.3.4. Melbourne’s music communities ....................................................................... 61
3.4. Benefits of belonging to a music community ............................................................ 64
3.4.1. Belonging and identity ....................................................................................... 64
3.4.2. Acceptance ....................................................................................................... 66
3.4.3. Support ............................................................................................................. 66
3.4.4. Confidence, self-worth and achievement .......................................................... 67
3.4.5. Friendship and music ........................................................................................ 68
3.4.6. Interest in music ................................................................................................ 69
3.5. Learning in music communities ................................................................................ 70
3.5.1. Music ................................................................................................................ 70
3.5.2. Music Industry Skills ......................................................................................... 72
3.5.3. The musical self ................................................................................................ 73
3.6. Challenges and disappointments in music communities .......................................... 74
3.6.1. Musical and cultural attitudes ............................................................................ 74
3.6.2. Lifestyle issues in music communities .............................................................. 75
3.6.3. Self-confidence, stress and anxiety .................................................................. 76
3.6.4. Limited learning opportunities in school communities ....................................... 77
3.6.5. Challenged by others’ musical skills or attitudes ............................................... 80
3.6.6. Music challenges .............................................................................................. 82
3.6.7. Leaving music communities .............................................................................. 82
3.7. Pathways to Victoria University ................................................................................ 83
3.7.1. Learning more about music............................................................................... 83
3.7.2. Positive impressions of Victoria University ........................................................ 84
3.7.3. Recommendations for Victoria University ......................................................... 86
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3.7.4. Spiritual guidance ............................................................................................. 87
3.7.5. Music and education ......................................................................................... 88
3.7.6. Career change .................................................................................................. 89
3.8. Coda: Concluding comments ................................................................................... 90
Chapter 4. Studying music at Victoria University 91
4.1. Prelude ..................................................................................................................... 91
4.2. Positives of studying music at Victoria University .................................................... 91
4.2.1. Units of study .................................................................................................... 91
4.2.2. Specific music skills attained............................................................................. 95
4.2.3. Teachers ........................................................................................................... 97
4.2.4. Effective teaching .............................................................................................. 98
4.2.5. Music courses structure and content .............................................................. 102
4.2.6. Friendship and support ................................................................................... 103
4.2.7. Relevance ....................................................................................................... 104
4.2.8. Facilities, resources and locations .................................................................. 106
4.3. Challenges of studying music at Victoria University ............................................... 107
4.3.1. Skills deficits ................................................................................................... 107
4.3.2. Confidence, belonging and self-worth ............................................................. 109
4.3.3. Student attitudes ............................................................................................. 111
4.3.4. Specific units ................................................................................................... 115
4.3.5. Teaching ......................................................................................................... 117
4.3.6. Transition from TAFE to Higher Education music study .................................. 119
4.3.7. Time for learning and the work/life balance .................................................... 122
4.3.8. Meeting music course expectations ................................................................ 123
4.3.9. Student background and interests .................................................................. 126
4.3.10. Facilities .................................................................................................... 127
4.3.11. University decisions affecting study experiences ...................................... 128
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