Improvising musicians' self-regulation and distributed creativities: A phenomenological investigation

Bruin, Leon de

doi:10.1016/j.tsc.2019.03.004

Cited by 14 publications

(13 citation statements)

References 41 publications

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“…An important and often overlooked aspect of music education is the reciprocal recognition of the teaching and learning process, knowing that a “bond” exists between teacher and learners in intimate ways, especially given’s music’s (emotional, social, and cultural) potencies ( Elliott and Silverman, 2015 ). Interpersonal teacher-student interactions within the music lesson have revealed elements of “personal chemistry” ( Purser, 2005 , p. 292), alignments, affinities, tensions, and communication that positively influences learning ( de Bruin, 2019 ).…”

Section: Introductionmentioning

confidence: 99%

Instrumental Music Educators in a COVID Landscape: A Reassertion of Relationality and Connection in Teaching Practice

Bruin

2021

Front. Psychol.

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For many countries instrumental music tuition in secondary schools is a ubiquitous event that provides situated and personalized instruction in the learning of an instrument. Opportunities and methods through which teachers operate during the COVID-19 outbreak challenged music educators as to how they taught, engaged, and interacted with students across online platforms, with alarm over aerosol dispersement a major factor in maintaining online instrumental music tuition even as students returned to “normal” face to face classes. This qualitative study investigated the practices employed by instrumental music educators in secondary schools in Melbourne, Australia, analyzing teacher perspectives to music tuition amidst the restriction of interaction with students remotely via online means. Thematic analysis of the interview transcripts revealed music educational approaches that fostered connection, empathy and receptiveness to relationship-building, guiding students in slower and deeper learner-centered approaches, asserting pedagogical practices that reinforced and promoted interpersonal connectedness in and through musical experience and discovery. These findings provide a framework for how music educators can facilitate connection, motivation and student autonomy generating personal meaning and commitment to music making and the learning relationship, which can translate to significant student learning and value in the learning music. Exploring teachers’ pedagogical practices and behaviors within this dyadic teacher-student relationship is a significant addition to the literature, enabling the consideration of the type of connective behaviors required to stimulate and develop long-term interest in music.

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Section: Introductionmentioning

confidence: 99%

Instrumental Music Educators in a COVID Landscape: A Reassertion of Relationality and Connection in Teaching Practice

Bruin

2021

Front. Psychol.

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“…Likewise framed with a strong focus on professional development, Brinck ( 2017 ) used ethnographic methods to capture how learning to jam can emerge through situated learning practice. In a similar vein, de Bruin ( 2016 , 2019 ) used a phenomenological approach to explore elite improvisation performers' lived experiences of evolving creative improvisation practices.…”

Section: Resultsmentioning

confidence: 99%

“…Where the phenomenon of interest was conceptualized as creative collaboration , one study was carried out in the context of higher education (van Nort, 2018 ), four studies were located in professional practice contexts (Khodyakov, 2007 ; Hill and Fitzgerald, 2012 ; Morgan et al, 2015 ; Hill et al, 2018 ), and one was undertaken in a community context (Tan et al, 2020 ). Finally, among the papers where collaborative creativity was the core concept, one study was located in higher education (Freeman and Van Troyer, 2011 ), three were concerned with professional development (Biasutti, 2015 , 2018 ; de Bruin, 2019 ), five were concerned with professional practice (MacDonald and Wilson, 2006 ; Wilson and MacDonald, 2012 , 2017 ; Marchini et al, 2014 ) and one study was located in a community context (Kenny, 2014 ) ( Table 9 ).…”

Section: Resultsmentioning

confidence: 99%

“…Papers coded in the collaborative creativity category were primarily focused on creative processes or outcomes, with collaboration positioned as an intersecting process. Within this category, studies drew on sociocultural perspectives (e.g., Biasutti, 2015 , 2018 ), social constructivist perspectives (e.g., Kenny, 2014 ), and discursive psychology (e.g., Wilson and MacDonald, 2012 ), theory of flow (e.g., Marchini et al, 2014 ) and coregulation (e.g., de Bruin, 2019 ). Here, the social dimension was conceptualized as being central within the creative process (MacDonald and Wilson, 2006 ), embedded within “multiple practices and multiple creativities corresponding to music's social and technological mediations” (de Bruin, 2019 , p. 30).…”

Section: Resultsmentioning

confidence: 99%

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Creative Collaboration and Collaborative Creativity: A Systematic Literature Review

2021

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Studies of creativity emerging from cultural psychology and social psychology perspectives challenge individualist conceptions of creativity to argue that social interaction, communication, and collaboration are key elements in creativity. In recent work creative collaboration has been proposed to be “distributed” between audiences, materials, embodied actions, and the historico-socio-cultural affordances of the creative activity and environment, thus expanding the potentialities of creative collaboration beyond instances of direct human interaction and engagement. Music performance, improvisation and composition may be viewed as exemplary “laboratories” of creative collaboration through the combined elements of audiences, materials, embodied actions and historico-socio-cultural affordances and constraints. This article reports the findings of a systematic literature review of creative collaboration and collaborative creativity in music. We sought to identify what has been currently investigated in relation to these terms and concepts in music, with what methodologies and in what settings. Findings indicate that studies were undertaken in higher education, professional development and professional practice predominantly, leading to an emergent phenomenon of interest, collaborative creative learning. Musical genres were jazz, popular, western classical, contemporary and world musics across the musical processes of composing, improvising and performing. Studies in higher education and professional development settings focused on identifying those practices that supported learning rather than the nature of collaborative creative approaches or the outcomes of creative collaboration. Participants were primarily male, with small sample sizes. Methodologies were largely qualitative with an emphasis on case study using observation, interview and reflective diary methods. Further areas for research include: the investigation of gendered approaches to creative collaboration, collaborative creativity, and collaborative creative learning; the use of more diverse research methodologies and methods and techniques including large-scale quantitative studies and arts-based and arts-led approaches; and the investigation of more diverse music settings.

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“…An enduring question facing educational researchers who work within sociocultural paradigms is the relationship between individual learning and group-level knowledge; of how each influences the other (Bourdieu, 1986; Bronfenbrenner, 2005; Cairns & Cairns, 1995; Rogoff, 2003), and how learners absorb group experiences and reflect and reflex in the ways to cultivate individual strategies that align with contextual creative demand (de Bruin, 2019). The educational goal orientation in this context is to equip learners with knowledge acquired in the ensemble that can then be transformed into individualized skills that can also be utilized in performance in other groups.…”

Section: Introductionmentioning

confidence: 99%

Apprenticing the jazz performer through ensemble collaboration: A qualitative enquiry

Bruin¹,

Williamson

Wilson

2019

International Journal of Music Education

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The one-to-one teacher–student relationship is a common learning configuration within jazz education. However, opportunities to learn through engagement in ensemble performances and industry-level recording opportunities with esteemed jazz performers are rare classroom environments the tertiary jazz music institutions offer. This qualitative study examines ‘real-world’ jazz performance contexts within an Australian tertiary music course, exploring students’ learning experience spanning three diverse collaborative projects. Bandura’s Social Cognition Theory is utilized to elucidate an ecological system of musical development, where learning occurs in a social context within dynamic, reciprocal interactions between learners, environment and students’ adaptive behaviours that are bounded by context, culture and learner history. Findings from pre- and post-participation interviews reveal student and educator perspectives of engaging in authentic experiential learning situations. A stratum of positive influences impacting students included metacognitive, behavioural, emotional affordances, as well as the cultivation of a wider social, environmental and cultural/creative confidence and an expanding collaborative community influencing individuals’ learning decisions. Students and educator participants expressed professional-level expectations, real-world outcomes, and a deeper musical connection and understanding by students of the guest artist/composers’ intention, musical aesthetic and expert band direction. The authors maintain that inclusion of experience-based education and embedding of authentic professional industry experience and creative music-making contexts within educational settings enhance the learning of students and potentially enculturate richer musicianship in students and their developing creative communities.

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Improvising musicians' self-regulation and distributed creativities: A phenomenological investigation

Cited by 14 publications

References 41 publications

Instrumental Music Educators in a COVID Landscape: A Reassertion of Relationality and Connection in Teaching Practice

Instrumental Music Educators in a COVID Landscape: A Reassertion of Relationality and Connection in Teaching Practice

Creative Collaboration and Collaborative Creativity: A Systematic Literature Review

Apprenticing the jazz performer through ensemble collaboration: A qualitative enquiry

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