Basil Bernstein's Theory of the Pedagogic Device and Formal Music Schooling: Putting the Theory Into Practice

Wright, Ruth; Froehlich, Hildegard

doi:10.1080/00405841.2012.690307

Cited by 10 publications

(4 citation statements)

References 4 publications

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“…Implicit aspects are, per their definition, not articulated openly and represent what is taken for granted. What is taken for granted is, however, contestable, in line with Wright and Froehlich (2012). In order to pinpoint the implicit assumptions in the accounts, I have tried to identify what assumptions are taken for granted -and without which the accounts do not make sense.…”

Section: Summary and Analysis Of The Resultsmentioning

confidence: 99%

“…The study also describes how parents with foreign backgrounds had expectations for their children's free time and leisure activities that were incongruent with kulturskola participation (Kleppe, 2013). Wright and Froehlich (2012) highlight how music teachers, through their teaching choices, perpetuate a particular form of musical capital as valued knowledge and thereby function as vehicles for social reproduction. In the micro-interactions that take place between the teacher and the student, a hidden curriculum of cultural reproduction can be transmitted (Bourdieu & Passeron, 2008), but opportunities can also arise to disrupt the discourses that reproduce sociocultural inequality (Wright, 2014).…”

Section: Previous Researchmentioning

confidence: 99%

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Music teachers’ perspectives on their chances to disrupt cultural and social reproduction in the Swedish Community Schools of Music and Arts

Jeppsson

2020

nrme

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This study sheds light on music teachers’ perspectives on their chances to disrupt cultural and social reproduction in music education in the Swedish Community Schools of Music and Arts (kulturskolor, sing. kulturskola). Focus group conversations were carried out involving 18 teachers at five such schools. As a point of departure, the analysis of the conversations applied the theoretical perspective of Bourdieu with an emphasis on the concepts explicit versus implicit pedagogy and Bernstein’s corresponding concepts visible and invisible pedagogy. The analysis discusses explicit versus implicit assumptions interwoven in the teachers’ accounts of their efforts. The teachers describe it as difficult to challenge social structures. Based on marketing efforts vis-á-vis families from immigrant backgrounds, the teachers point to differing understandings of the significance of participation in the programmes. The teachers’ descriptions point to opportunities that stem from efforts to facilitate children taking part in music education in cooperation with compulsory schools, teaching practice habits and more general behaviours, and initiatives to reach parents and children from immigrant backgrounds with information. The descriptions show explicit as well as implicit components, often in terms of implicit assumptions embedded in an explicit framing. Reflection upon implicit assumptions is suggested as a means to develop more radical strategies to disrupt cultural and social reproduction in the Swedish kulturskolor.

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Section: Summary and Analysis Of The Resultsmentioning

confidence: 99%

Section: Previous Researchmentioning

confidence: 99%

Music teachers’ perspectives on their chances to disrupt cultural and social reproduction in the Swedish Community Schools of Music and Arts

Jeppsson

2020

nrme

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“…Together these studies provide important insights into the relation between musical experiences and contexts and spaces of socialization: from studies that distinguish the influence of diverse agents in the configuration of the musical experience (Cremades, 2011;Graziano, 1991;Stålhammar, 2003Stålhammar, , 2004; the acquisition of new repertoires and the development of new ways of learning in different contexts (Cremades & Herrera, 2008;Green, 2001;Karlsen, 2011;Poblete, 2016;Wright, 2008Wright, , 2016, as well as the influences of cultural capital, contexts of practices and the sociocultural configurations of the musical experience (DeNora, 2004;Wright, 2010;Wright & Froehlich, 2012).…”

Section: Perspectives On Musical Experience and Learningmentioning

confidence: 99%

Informal and non formal music experience: power, knowledge and learning in music teacher education in Chile

Poblete

Leguina

Masquiarán

et al. 2019

International Journal of Music Education

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Previous research recognises the importance of musical experiences on music teacher education. However, current efforts do not provide a comprehensive view of the way their students learn music before starting university. The objective of this study is to portray their musical experiences, identifying the distinctive mechanisms underlying the relationship between practices, repertoires and training contexts for music learning. A combination of pedagogical, social and musical dimensions, inspired by sociological theories of P. Bourdieu and B. Bernstein, examine the pre-university musical experiences and the mediating role of students' sociocultural origins. Empirically, multimodal information from four Chilean universities (n=55) was collected through the application of a survey questionnaire and semi-structured interviews, and analysed using a set of mixed techniques, including descriptive statistics, text mining and content analysis. Findings reveal relevant associations between practices, repertoires and learning contexts, especially in terms of the specialized nature of musical training and the habitus and cultural dispositions of practitioners. Particularly relevant is the predominance of informal and non-formal learning contexts and their translation into specific types of learning. These challenge current perspectives and contribute a tool kit for the understanding of the relationship between power and knowledge in future professional teachers.

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“…12 In the international field of music education, it is only recently that Bernstein's theories have started to be influential. Wright's research explores Bernstein's articulation of the underlying power structures in education and how these contribute to social justice, particularly in music education (Wright 2006, 2008, Philpott and Wright 2012, Wright and Davies 2010, Wright and Froehlich 2012. Much of the Bernsteinian research in music education ponders the questions arising from the introduction of popular music into curricula, and in particular the increasingly influential 'Musical Futures' model that is based on Green's research (Green 2001, 2008, McPhail 2013, Moore 2013, Saetre 2014.…”

Section: Bernstein and Maton In South African Curriculum Reform And In Music Educationmentioning

confidence: 99%

Knowledge Transfer: Indigenous African Music in the South African Music Curriculum

Carver¹

2017

Afr. music

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The need for redress in South African education includes calls for the decolonisation of the curriculum. In music education, this could imply a straight forward swap of content, replacing the 'hegemonic' Western classical canon with orally transmitted musical traditions in Africa. However, the picture clouds somewhat when the epistemological framework of the discipline of (Western) music is retained for the 'decolonised' curriculum, as this results in a disjuncture between the practice of African music and the way it is understood on a conceptual level in the curriculum. Drawing on the theories of Basil Bernstein and Karl Maton, this article probes the nature of the knowledge articulated in the South African secondary school, the basis of its specialisation, and its potential to equip students with knowledge that allows boundary crossing.

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Basil Bernstein's Theory of the Pedagogic Device and Formal Music Schooling: Putting the Theory Into Practice

Cited by 10 publications

References 4 publications

Music teachers’ perspectives on their chances to disrupt cultural and social reproduction in the Swedish Community Schools of Music and Arts

Music teachers’ perspectives on their chances to disrupt cultural and social reproduction in the Swedish Community Schools of Music and Arts

Informal and non formal music experience: power, knowledge and learning in music teacher education in Chile

Knowledge Transfer: Indigenous African Music in the South African Music Curriculum

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