The socio-cultural and learning experiences of music students in a British university

Abstract

eprints@whiterose.ac.uk https://eprints.whiterose.ac.uk/ Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version -refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher's website. TakedownIf you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing eprints@whiterose.ac.uk including the URL of the record and the reason for the withdrawal request. The socio-cultural and learning experiences of music students in a British university Nicola DibbenDepartment of Music, University of Sheffield, 38 Taptonville Road, Sheffield S10 5BR n.j.dibben@sheffield.ac.ukResearch into student experience in Higher Education has largely focused on students' role as learners. However, the student experience encompasses a much wider range of behaviours and beliefs than can be captured through a focus on teaching and learning alone. I report the findings of a research project which explored student experience in the music department of a British red-brick university. Music presents a particularly interesting case study given the presence of extra-curricular musical activities, the opportunity for social interaction between staff and students outside the formal context of the lecture or seminar room, and perceptions of Western art music as a form of 'middle-class' culture. Analysis of survey and interview data reveals the centrality of musical performance activities, and in particular the development of a performer identity, to students' experience of belonging and achievement. The influence of students' socio-economic background is also considered: social class was largely invisible to respondents within the departmental context, possibly because it is an invisible norm, within larger contemporary discourses in which social class is equated with financial difference rather than cultural difference. However, the research revealed an association between socio-economic background, term-time employment and academic achievement. The implications of these findings for teaching and learning in music in Higher Education are considered.

‘Tristan chords and random scores’: exploring undergraduate students' experiences of music in higher education through the lens of Bourdieu

“…Previous research on students' experiences of music in higher education (Burt and Mills 2006;Burland and Pitts 2007;Feichas 2010;Finnegan 1989;Kingsbury 1988;Nettl 2005;Pitts 2003Pitts , 2005 highlights issues of confidence, the hidden curriculum and feelings of inadequacy and isolation amongst students of music. In examining the socio-cultural learning experiences of music students, Dibben (2006) highlights a relationship between social class and issues of access to higher music education. Other studies focus on the influence of genre and gender on musical learning in higher education ); points of similarity and difference in regard to 'classical' and 'non-classical' musicians ; and attitudes to performance .…”

Becoming a Music Student Investigating the skills and attitudes of students beginning a Music degree

“…(Angie) Confident anticipation of new learning opportunities was often associated with being among 'like-minded people' (Suzanne, Maggie) or 'being surrounded by music' (Nick, Amy), suggesting that feeling part of the departmental community was closely aligned with being confident enough to try new things. Previous research (Pitts, 2003;Dibben, 2006) has found similarly that 'belonging' is a central feature of students' success and comfort within the department, and it would be interesting to trace the development of such attitudes longitudinally to see if those students who felt instantly at home were more likely to experience a sense of longer-term involvement.…”

Motivacija Za Učenje Glazbe Kod Studenata Učiteljskih Studija Kroz Perspektivu Teorija Motivacije

“…Istraživane su veze između motivacije, samopoimanja, atribucija uspjeha i neuspjeha, strukture ciljeva i uključenosti u glazbu te odustajanja od učenja glazbe (BERA, 2004: 251). U dosadašnjim studijama istraživane su brojne individualne razlike koje mogu utjecati na motivaciju za učenje glazbe među kojima su glazbene sposobnosti (Asmus i Harrison, 1990;Levitin, 2012), stavovi (Hallam, 2013;Klinedinst, 1991), individualnost (Gaunt & Hallam, 2009), socioekonomski status (Corenblum & Marshall, 1998;Dibben, 2006;McPherson, Osborne, Barrett, Davidson & Faulkner, 2015), strukture ciljeva (Austin, 1991;Marjoribanks & Mboya, 2004) i kurikul (Winter, 2004 ;Weiner, 1986), teorija očekivanja-vrednovanja (engl. expectancy-value theory; Atkinson, 1964;Wigfield & Eccles, 2000), teorija ciljne orijentacije (engl.…”