A pedagogical tale from the piano studio: autoethnography in early childhood music education research

Gouzouasis, Peter; Ryu, Jee Yeon

doi:10.1080/14613808.2014.972924

Cited by 29 publications

(23 citation statements)

References 103 publications

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“…John's (2006) work on musical meaning in preschool children's music-making and Lee's (2016) examination of the use of music in character education instruction by early childhood teachers. Finally, the importance of a safe and playful environment resonates with Gouzouasis and Ryu's (2015) work on preschool piano pedagogy.…”

Section: Discussionsupporting

(Expert classified)

“…In studies of children’s music-making in early childhood music classes (Koops, 2012a; St. John, 2006), private piano lessons (Gouzouasis & Ryu, 2015), and family vehicles (Koops, 2014), children’s musical enjoyment was commonly expressed and observed during music-making sessions and recognized by researchers as intrinsically valuable as well as connected to factors such as agency and motivation. Green (2008) asserted that enjoyment, motivation, and learning exist in a positive cycle.…”

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confidence: 99%

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The Enjoyment Cycle: A Phenomenology of Musical Enjoyment of 4- to 7-Year-Olds During Musical Play

Koops

2017

Journal of Research in Music Education

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The purpose of this phenomenological study was to describe children’s lived experience of enjoyment during musical play. Data sources included class video from 15 weeks of a 24-week extracurricular music class for 4- to 7-year-olds taught by the researcher, parent-filmed video of child participant music-making in home settings during the same period, and transcripts of exit interviews with parents and children. Participants included 12 children and 4 adults, all of whom had contributed to prior studies on children’s music-making in family settings. Phenomenological data analysis followed Moustakas’s approach. Five elements emerged as hallmarks of children’s musical enjoyment and provided the textural description of “what” occurred during musical enjoyment, including active musical engagement, signs of physical engagement, a balance of familiarity and novelty, inclusion of activities allowing for student control or choice, and a safe and playful environment. Structurally, participants’ enjoyment occurred in four ways: within a balance of structure and freedom, within a balance of community and individual expression, as a cycle between children’s musical enjoyment and participation, and as a springboard to musical risk-taking and musical agency. Implications for practice and research are discussed.

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Section: Discussionsupporting

(Expert classified)

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confidence: 99%

The Enjoyment Cycle: A Phenomenology of Musical Enjoyment of 4- to 7-Year-Olds During Musical Play

Koops

2017

Journal of Research in Music Education

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“…While autoethnography is largely employed in sociological research (Pitard, 2017 ), it is increasing been used in music education research (Barleet, 2009; de Bruin, 2016 ; de Vries, 2010 ; Gouzouasis, 2014 ; Kruse., 2016 ). Rather than employing ‘thick descriptions’ (O’Dea, 2018 ) in the traditional sense, we recollect “events, or series of experiences” (Gouzouasis & Ryu, 2015 , p. 402) to represent what Ellis ( 2004 , p. 116) regards as “essences’ and ‘meanings’ rather than portraying and representing precise ‘facts’”. Autoethnography “brings the readers into the scene—particularly into thoughts, emotions, and actions in order to become actively involved within the narrative” (O’Dea, 2018 , p. 2315).…”

Section: Methodsmentioning

confidence: 99%

‘Staying Apart Yet Keeping Together’: Challenges and Opportunities of Teaching During COVID-19 Across the Tasman

Joseph

Trinick

2021

NZ J Educ Stud

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COVID-19 has had a profound effect on higher education institutions across the world. The rapid shift to blended teaching has meant changes to ways of teaching and learning. Author One (Australia) and Author Two (New Zealand) are tertiary academics in initial teacher education programmes. In this paper, they draw on narrative enquiry as a way to tell their stories of how they had to rapidly move from of face-to-face teaching to an emergency situation of online (cloud) teaching and learning. Through shared reflection, they offer a snapshot of their lived experience teaching music education, managing students and staff. In the findings, they discuss key challenges and opportunities they encountered in relation to student participation and engagement, teaching and learning, and wellbeing. Staying connected with each other across the Tasman Sea, using email and Zoom were important forms of providing mutual support that contributed positively to their sense of wellbeing as academics during this stressful time. They contend that universities need to consider the more human aspect of changes that have impacted staff and students. They question what the future will hold for initial teacher education programs post 2020. They suggest working collaboratively with schools, professional organisations, and industry when designing new programmes as the landscape of higher education changes due to the ongoing pandemic.

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“…Metaphor, which according to Barone (2001) is an aesthetic design element in the broader category of "expressive rhetorical strategies and devices" (25), was indeed a device which permeated my writing in specific instances but also at a more holistic level at which an express train stands in as a metaphor for Guitar Express, 2 and a song stands for an oasis in the desert of memories. Finally, my recent introduction to autoethnographic and duo/multi ethnographic inquiry (Ellis, Adams, and Bochner 2010;Gouzouasis, Irwin, Miles, and Gordon 2013;Gouzouasis and Regier 2015;Gouzouasis and Ryu 2014;Gouzouasis and Yanko 2018;Gagné, Bakbak, Chahroor, and Wattar 2018;Lund, Holmes, Hanson, Sitter, Scott, and Grain 2017) and ethnodrama (Saldaña 2008;Gouzouasis, Henrey, and Belliveau 2008), inspired me to attempt the short introduction of the 'adult' who decides to try out the GE. During my foray into ABER and a/r/tography, I gathered some specific tools, but more importantly I developed a sense of freedom to use metaphor and apply parts of song lyrics as poetic organizers of the research findings.…”

Section: Experimental Journey On the Tracks Of The Aber Trainmentioning

confidence: 99%

Guitar Express: Accompanied “Songs of Deserts”1 as Oases in Life-long Memory Journeys

Etmektsoglou¹,

Kerzeli²,

Vlachoutsou³

2019

ACT

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Being able to play the guitar and sing one's favorite songs is often an unrealized adolescent dream. Guitar Express is a group music making approach that aims to enable people to realize this dream and develop an identity of amateur musician regardless of age. This is achieved through the use of an alternate tuning of the guitar and a variety of 'tricks' that are being constantly developed to address individual and group needs. The following paper is informed by arts-based research and attempts to provide a general impression of the Guitar Express group approach. Based on the expressions of adults and senior aged adults who have participated in one or more of its groups-as well as the verbal contributions and interpretations of two teachers, a collaborating psychologist, and myself as initiator and supervisor of the program-the major benefits for the Guitar Express participants are, that a) it functions as a means for them to express and regulate their emotions, b) it counteracts feelings of isolation, c) it allows them to experience deeply personal and shared group moments, d) it provides opportunities for dealing and preparing for various kinds of losses, e) it helps people accept personal limitations while searching for alternative solutions, f) it improves the quality of everyday life through its infusion with collective musicking, and g) acts as motivator for involvement in a social music activity. At a more general level, the Guitar Express group experience may be seen as a musically driven journey into the linearity and circularity of time; it may revitalize the participants' memories of their 'songs of deserts', transforming them to oases in personal life-stories, re-enabling connections with the past and augmenting meaningfulness in the present.

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A pedagogical tale from the piano studio: autoethnography in early childhood music education research

Cited by 29 publications

References 103 publications

The Enjoyment Cycle: A Phenomenology of Musical Enjoyment of 4- to 7-Year-Olds During Musical Play

The Enjoyment Cycle: A Phenomenology of Musical Enjoyment of 4- to 7-Year-Olds During Musical Play

‘Staying Apart Yet Keeping Together’: Challenges and Opportunities of Teaching During COVID-19 Across the Tasman

Guitar Express: Accompanied “Songs of Deserts”1 as Oases in Life-long Memory Journeys

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