Structure and agency in music education

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

“…It is noteworthy that 22 out of 39 studies reviewed here focused exclusively on far transfer, eight focused on near transfer (e.g., Ilari et al, 2018b; Putkinen et al, 2014b), and nine included measures on both (e.g., Ilari et al, 2018a). In a provocative essay, Philpott (2009) exposed what he termed “soft justifications for music in the curriculum,” and categorized these intro instrumental, therapeutic, civilizing, emotional, rational, symbolic, and liberal justifications. According to Philpott, these justifications “are predicated on the assumption that, at worst, music is seen as servicing other areas of human understanding, and at best as a necessary counterpart to a ‘harder’ and more rational world” (p. 49).…”

“…According to Philpott, these justifications “are predicated on the assumption that, at worst, music is seen as servicing other areas of human understanding, and at best as a necessary counterpart to a ‘harder’ and more rational world” (p. 49). Although not always explicit, in many of the reviewed research reports, an underlying assumption was that music learning is eminently good for children, and thus produces “good effects” (for a discussion see Odendaal et al, 2018; Philpott, 2009).…”

“…To conclude, music education is more than learning notes or developing “extra-musical” skills. Music (and music education by extension) are about ways of being in the world in the past and in the present; in good and in bad ways (Philpott, 2009), in the presence or absence of others, in different educational settings like the school and the home, and across the lifespan (see Pitts, 2012). Future research will benefit from considering these perspectives.…”

Stimulating music educator worldview change through a pedagogy of provocation, critical thinking and peer-review

“…Bull & Scharff, 2021; Cox & Stevens, 2010; Wright & Davies, 2010). School students successful in the school segment of the cycle can become qualified teachers, then transmit this model to the next generation, producing another cohort with similar values and worldviews about what is important in music education (Green, 2012; Philpott, 2010; Temmerman, 2005). The great majority of music teachers identify as performers (Hargreaves & Marshall, 2003) rather than as improvisers (Bernhard, 2013; Wright & Kanellopoulos, 2010) or composers (Randles & Sullivan, 2013; Strand, 2006).…”

“…Specifically, in the field of music, it has changed three key areas: the instruments and techniques that a number of music professionals use -from instrumentalists to DJs to producers to composers (Bell, 2013;Ruthmann & Mantie, 2017;Smith et al, 2017); the educational methodologies that are available for classroom music instruction (Green, 2002(Green, , 2008Waldron, 2013;Waldron et al, 2020;Waldron, 2018); and how, how often, and in what forms students experience music outside of school (Hone, 2017;Lamont et al, 2003;Temmerman, 2005;Youth Music & Ipsos MORI, 2019). But due to the way school music graduates are trained as classroom music educators in university music departments, teachers' experiences and their expectations largely derive from a traditional, Western art music (WAM) approach to music education (Bull, 2019;Bull & Scharff, 2017;Dwyer, 2016;Green, 1988;Philpott, 2010). Following this training, many music teachers have a worldview that treats the instruments, forms, and approaches of WAM as having priority over non-Western music and new technological/digital developments.…”