Illustrations of Practice

Higgins, Lee

doi:10.1093/acprof:oso/9780199777839.003.0006

Cited by 15 publications

(16 citation statements)

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“…Such experiences could necessitate deepening collaboration and understanding, highlighting strengths of different members, and making their contributions known and valued within the community. In line with recent community music research (Elliott & Silverman, 2015; Higgins, 2012a; Higgins & Willingham, 2017; Veblen et al, 2013), our findings support that a nonhierarchical and collaborative approach to musical and personal development can indeed lead to valuable musical and nonmusical outcomes.…”

Section: Discussionsupporting

confidence: 91%

Reflective writing in a community music project with students in higher music education

Kruse-Weber

Schiavio

Kirchgäßner

et al. 2022

Research Studies in Music Education

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Meet4Music (M4M) is a low-threshold community music program based at the University of Music and Performing Arts Graz, Austria, offering free participatory sessions to people from all social and cultural backgrounds, including students. The program allows attendees to experience an emerging field of music pedagogy and approach current challenges of migration and cultural diversity from an artistic perspective. The purpose of this study was to explore how students considered and reflected on their M4M experiences. Research questions included the following: (1) How did students consider the experience of making music in a heterogeneous ensemble, and what meanings might they have made from it? And, (2) What aspects of M4M may have contributed to artistic and interpersonal enrichment, and in what ways? We examined meanings developed across the various practices involved in this artistic initiative, with a specific focus on the students’ experiences. To do so, qualitative data based on their written reflections are presented, analyzed, and discussed. Findings include attributions for M4M and personal impact. Themes center on a holistic understanding of the musical community of the program and students’ reflexive and responsive attitudes. Implications include refining notions of artistic citizenship and recommendations for higher music education.

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Section: Discussionsupporting

confidence: 91%

Reflective writing in a community music project with students in higher music education

Kruse-Weber

Schiavio

Kirchgäßner

et al. 2022

Research Studies in Music Education

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“…Out of the 39 reviewed studies, 29 have focused on formal music learning, with instrumental music education (especially Western "art" music) receiving the most attention (e.g., Habibi et al, 2017). Yet, in the field of music education, informal learning has recently gained momentum (Wright, 2016), with much emphasis now being placed on the study of neglected practices like popular music (Green, 2006), community music (Higgins, 2012), and world music pedagogy (Campbell, 2016). Only one study in the critical review was found to center on instruments cultural traditions other than Western "art" music (e.g., the ukulele, see Schellenberg et al, 2015), along with two early childhood studies on play-based curricula (Brown et al, 2010;Linnavalli et al, 2018), and one program focused on songwriting (Van de Vyer et al, 2019).…”

Section: Challenges Aheadmentioning

confidence: 99%

Longitudinal Research on Music Education and Child Development: Contributions and Challenges

Ilari

2020

Music & Science

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Based on a comprehensive analysis of 39 studies published in academic journals in the past decade (2010–2020), this article discusses the strengths of current research and the challenges that lie ahead for researchers interested in conducting longitudinal research on music education and child development. Among the strengths of the reviewed studies are multi-year projects, diverse study samples and programs, and a wide range of areas of interest—cognitive and neural to socioemotional and musical development. Challenges for future research are described in relation to three main perspectives. The methodological, the first perspective, tackles future challenges in terms of research approaches, population sampling, randomization, replication, and the lack of cross-cultural longitudinal research. The second perspective, the conceptual-philosophical, focuses on how children, music, and music education have been defined—in deliberate or tacit ways—in longitudinal works, and their implications for both research and practice. The third perspective, the political, focuses on the extent to which research on the effects of music education may be interpreted by some as promoting a neoliberal educational agenda. I conclude the article with suggestions for future research.

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“…Indigenous music practices were/are demonized by the schools, churches, and educated leadership of society who were/are educated in the colonial school systems (Nguyen et al, 2006). Therefore, music making in its broader meaning, as a participatory activity that people engage in "and for whose nature and quality, success or failure, everyone present bears some responsibility" (Small, 1998, p. 10), and as a collective activity of the community (Higgins, 2012), is neglected. It is replaced by a contextually inappropriate predominantly Western okusoma, okughandiika, and okubala culture (Schweisfurth, 2013) of music education.…”

Section: Resultsmentioning

confidence: 99%

Can indigenous music learning processes inform contemporary schooling?

Isabirye

2021

International Journal of Music Education

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This autoethnographic study investigated possibility of incorporating indigenous pedagogies into Ugandan school music and, possibly, general education. School music education in Uganda currently occurs within a colonial-influenced system that does not connect with learners’ indigenous cultures. The colonial system fosters belief that “western” is modernity and “indigenous” is backwardness that should be erased. School music learning is currently experienced in a teacher-dominated, “banking” (Freire, 1970) school system that disempowers learners and produces graduates who cannot address the musical needs of their worlds. Ugandan government measures to improve music and general education have not improved the situation. Literature on the role that indigenous pedagogies could play in a contemporary music education is limited. Through this study, I sought to understand what might happen when indigenous education pedagogies are incorporated in a contemporary, formal school setting. Informed by relevant literature, I interrogated and analyzed my own learning and teaching experiences in Ugandan communities and schools and found that embedding indigenous learning and teaching processes in music classrooms fostered growth in learner leadership, ownership, agency, and identity in the context of mutually shared participatory experiences that learners found relevant and meaningful—experiences that engendered joyful, passionate, collaborative learning, and reification of reflective practice among learners.

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Illustrations of Practice

Cited by 15 publications

References 0 publications

Reflective writing in a community music project with students in higher music education

Reflective writing in a community music project with students in higher music education

Longitudinal Research on Music Education and Child Development: Contributions and Challenges

Can indigenous music learning processes inform contemporary schooling?

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