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

Moore, Gwen

doi:10.1080/14613808.2012.657164

Cited by 20 publications

(15 citation statements)

References 20 publications

(21 reference statements)

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“…Students from high musical practice families also reported (short flow) 'having sufficient skills' and 'feeling competent enough' to a greater degree. These findings converge with the perspective that the families' socio-cultural context and previous experience in formal and informal music education can significantly condition music learning and practices (Moore, 2012;Wiggins, 2011). Furthermore, beliefs about one's own ability and perceived competence (Deci, 1975;Losier & Vallerand, 1994;Schüler, Sheldon, & Fröhlich, 2010) have been shown to play important roles in the processes that lead to the maintenance of intrinsic motivation over time.…”

Section: Discussionsupporting

confidence: 74%

“…These provisions favour the development of a musical sense of self (Lamont, 2011) and a sense of agency in learning music (Wiggins, 2011), which may be advantageous for children when facing the demands of school musical practicegiven that they may consider success in music making likely and achievable, facilitating feelings of entitlement (Moore, 2012). By contrast, intrinsic motivation deficits are associated with anxietyobserved in many music studentswhich may lead to withdrawing from music studies (Osborne & Kenny, 2005;Wristen, 2013).…”

Section: Introductionmentioning

confidence: 99%

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Enjoying flow in primary school music making: does family musical practice matter?

Valenzuela

Codina

2020

Brit. J. Music. Ed.

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Given the differences in continuing musical after primary school, this study works with the idea that the development of music-making habits requires flow, which, in turn, depends on family musical practice. Flow is the state of mind of immersion in an intrinsically rewarding activity, which represents an optimal challenge fostering persistence and skill growth. Based on 164 students (82 girls) from six schools in Catalonia, we compared flow in primary school musical practice between students with high and low levels of family musical practice, concluding that family context should be considered in adapting musical activities to students’ previous experiences.

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Section: Discussionsupporting

confidence: 74%

Section: Introductionmentioning

confidence: 99%

Enjoying flow in primary school music making: does family musical practice matter?

Valenzuela

Codina

2020

Brit. J. Music. Ed.

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“…While students from White, middle-class groups may be able to afford the private opportunities necessary to gain the formal skills they need, minoritized students may depend solely on their school music education. If that education fails to give them the codes they need to obtain a music degree, their music education may perpetuate the raced and classed dynamics of music education programs that consist of mainly White, middle-class students (Elpus, 2015; Moore, 2012, 2014). 8 Providing a solid education that includes both formal and informal learning opportunities ensures that students who depend solely on school music for their music education will be able to continue in music if they so choose.…”

Section: Implications and Limitations: Balancing Formal And Informal mentioning

confidence: 99%

Finding the “both/and”: Balancing informal and formal music learning

Hess

2020

International Journal of Music Education

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This article explores the informal and formal learning experiences of 20 activist-musicians. Multiple activist-musicians utilized the informal learning strategies Green identifies. More than half of the participants, however, bemoaned the lack of more formal music education. They noted that they valued informal musical learning practices and also wished that they had experienced more of a balance between formal and informal music learning strategies in their music education. Many of the participants identified as being self-taught. In interviews, they shared ideas about teaching themselves and “figuring things out” musically. They discussed both wanting to move away from theory and needing theory. They further preferred a structured approach to education before moving to a more “free” pedagogy. Ultimately, they noted that the human relationships intrinsic to musicking may transcend the need for “training.” This article concludes by exploring implications of implementing a balance between formal and informal learning for K-12 schooling and teacher education.

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“…In contrast to Philpott's assessment of the UK experience, the secondary school music curriculum now in place in New Zealand is so localised (a recontextualising principle) it now runs the risk of short-changing many of those students that the changes aimed to advantage in the first place. Internationally there appears to be a widening gap between the knowledge with which students can now achieve success at school and the knowledge they may need to achieve success out of school particularly if they wish to study further at tertiary level (Slonimsky & Shalem, 2006; Moore, 2012; Luckett & Hunma, 2013).…”

Section: The Changing Classification Of Knowledge In the Music Curricmentioning

confidence: 99%

A ‘fourth moment’ for music education? A response to Chris Philpott's sociological critique of music curriculum change

McPhail¹

2015

Brit. J. Music. Ed.

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The catalyst for this paper is the ongoing debate concerning formal and informal approaches to pedagogy within the music education literature. I utilise a chapter by Philpott (2010) as a means to continue discussion about the apparent dialectic between formal and informal approaches to music learning and the case Philpott raises for radical change in ‘three moments’ of music education history. In engaging with the concerns in Philpott's chapter I also seek to bring to a wider audience the ideas developed by a group of sociologists of education who draw on the work of Basil Bernstein (2000) and critical realism (Moore, 2013) to argue for a realist theory of knowledge. I utilise these social realist ideas as a means to engage with the theme of access to what Michael F.D. Young has recently termed ‘powerful knowledge’ (Young, 2012). As Bernstein (2000) suggests we must have an understanding of the recontextualising principles that come into play whenever the classification of knowledge undergoes change, as ideologies shift and change. I argue for a balance between powerful forms of pedagogy and powerful forms of knowledge based on an awareness of the essentially differentiated nature of knowledge.

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

Cited by 20 publications

References 20 publications

Enjoying flow in primary school music making: does family musical practice matter?

Enjoying flow in primary school music making: does family musical practice matter?

Finding the “both/and”: Balancing informal and formal music learning

A ‘fourth moment’ for music education? A response to Chris Philpott's sociological critique of music curriculum change

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