Music: Naturally Inclusive, Potentially Exclusive?

Henley, Jennie

doi:10.1108/s1479-363620150000007015

Cited by 3 publications

(3 citation statements)

References 38 publications

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“…Pitts (2014) found that such outreach projects involving professional musicians and ensembles can improve teacher confidence and show children that music-making is for everyone. As with the teachers in Pitts' study, Henley (2021) found that there were emotional, social and creative benefits to such engagement.…”

Section: Collaborationmentioning

confidence: 83%

“…Funding structures and the competitive environment that music education operates in, both in and out of school, create an educational landscape that is fragmented and schools and organisations are protective of their own 'patch'. This works against the principle that difference is essential for inclusive practice (Henley, 2015) if we want diversity in music, then we need diversity in music education provision. A fiercely competitive environment leads to a 'survival of the fittest' situation where everyone needs their signature pedagogy to be the one that is the most successful and most widely adopted, but this stifles difference.…”

Section: An Ending With a Starting Pointmentioning

confidence: 99%

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Time for change? Recurrent barriers to music education

Henley

Barton

2022

Brit. J. Music. Ed.

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This article reports findings from a study that sought to identify barriers to music and music education in the UK. Emerging from empirical research involving n = 723 participants and clarified by an evidence base of over 10,000 research participants, the key findings presented in this paper relate to pupil and participant voice and involvement, location as a sub-theme of diversity and inclusion, collaboration and transition points. The research is contextualised by twenty years of policy initiatives seeking to address barriers to music learning. The article provides an overview of the research study before presenting the rich data that emerged within each theme reported. Research participant voice is used as much as possible to enable the reader to consider, reflect and interpret the data in a way that is meaningful for their own context. The paper concludes by asking why after 20 years of policy initiatives, research and evaluation the same barriers still exist and, as we emerge from the pandemic, suggests that this research provides a compelling case that now is the time for change.

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Section: Collaborationmentioning

confidence: 83%

Section: An Ending With a Starting Pointmentioning

confidence: 99%

Time for change? Recurrent barriers to music education

Henley

Barton

2022

Brit. J. Music. Ed.

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“…Este colectivo además del conocimiento musical necesita disponer de la confianza y las habilidades necesarias para enseñar esta disciplina (de Vries 2014). No obstante, existen estudios que demuestran que los adultos tienen capacidad para desarrollarse musicalmente a través de oportunidades que les permitan participar en la creación musical (Henley 2015), en lugar de concebir la habilidad musical como una entidad fija (Biasutti 2010). La autoeficacia docente supone, así, un elemento clave en la mejora de la confianza del docente generalista en su tarea de enseñar música.…”

Section: Formación Inicial De Docentes Desde La Educación Musical En unclassified

Cuando el barrio educa: aprendizaje situado y creación artística colaborativa como herramienta en la formación musical del futuro docente

2020

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Este estudio describe y analiza una acción artístico-pedagógica en el ámbito de la formación inicial de docentes y desarrollada en un barrio desfavorecido de Palma de Mallorca, España. Participaron 65 estudiantes del Grado de Maestro de Educación Primaria en la asignatura de Música y 3 músicos expertos, responsables de diseñar e implementar la acción. A través de una metodología cualitativa de tipo descriptivo-interpretativo, los resultados muestran: 1) algunas características que determinaron el diseño de la acción como son el aprendizaje situado, la colaboración, la creatividad y el compromiso con la realidad social del barrio; y 2) aspectos emergentes a partir de las valoraciones de los participantes relacionados con las dimensiones metodológica, creativa y social. Las conclusiones sugieren que este tipo de acciones son una oportunidad en la formación, tanto disciplinar como pedagógica, de los futuros docentes, sean estos generalistas o especialistas de Música. Es necesario continuar indagando sobre estrategias docentes que les ayude a poner en práctica experiencias artísticas contextualizadas desde un enfoque creativo y colaborativo.

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How musical are primary generalist student teachers?

Henley

2016

Music Education Research

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Music: Naturally Inclusive, Potentially Exclusive?

Cited by 3 publications

References 38 publications

Time for change? Recurrent barriers to music education

Time for change? Recurrent barriers to music education

Cuando el barrio educa: aprendizaje situado y creación artística colaborativa como herramienta en la formación musical del futuro docente

How musical are primary generalist student teachers?

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