Hostname: page-component-cd9895bd7-q99xh Total loading time: 0 Render date: 2024-12-28T00:38:38.611Z Has data issue: false hasContentIssue false
  • English
  • Français

Research education shaped by musical sensibilities

Published online by Cambridge University Press:  01 March 2009

Liora Bresler
Liora Bresler*
Affiliation:
College of Education, 1310 S. 6th Street, Champaign, IL 61820, USAliora@illinois.edu
Get access Rights & Permissions [Opens in a new window]

Abstract

Based on my own research education courses for doctoral students, I examine the ways in which music provides powerful and rich models for perception, conceptualisation and engagement for both listeners and performers, to cultivate the processes and products of qualitative research in the social science in general, and in music education in particular. I discuss temporality and fluidity, listening and improvisation, originally terms associated with music, and their ramifications for qualitative inquiry. I then present some concrete examples from my research course, not as prescriptions to follow but as invitations for readers to generate their own activities and experiences.

Type
Research Article
Information
British Journal of Music Education , Volume 26 , Issue 1 , March 2009 , pp. 7 - 25
Copyright
Copyright © Cambridge University Press 2009

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

ACZEL, A. (1996). Fermat's Last Theorem: Unlocking the Secret of an Ancient Mathematical Problem. New York: Four Walls Eight Windows.Google Scholar
ARMSTRONG, J. (2000). Move Closer: An Intimate Philosophy of Art. New York: Farrar, Straus, & Giroux.Google Scholar
BALSHEM, M. (1993). Cancer in the Community: Class and Medical Authority. Washington, DC: Smithsonian Institution.Google Scholar
BARONE, T. (1990). ‘Using the narrative text as an occasion for conspiracy’, in Eisner, E. and Peshkin, A. (Eds), Qualitative Inquiry in Education: The Continuing Debate (pp. 305–326). New York: Teachers College Press.Google Scholar
BARONE, T. (2001). Touching Eternity: The Enduring Outcomes of Teaching. New York: Teachers College Press.Google Scholar
BARONE, T. & EISNER, E. (2006). ‘Arts-based educational research’, in Green, J., Camilli, G. & Elmore, P. (Eds), Handbook of Complementary Methods in Education Research (pp. 95–111). Mahwah, NJ: Lawrence Erlbaum Associates.Google Scholar
BECKER, H. (2000). ‘Examples and generalization’, Mind, Culture and Activity, 7 (3), 197–200.CrossRefGoogle Scholar
BEHAR, R. (1996). The Vulnerable Observer: Anthropology that Breaks Your Heart. Boston: Beacon Press.Google Scholar
BOGDAN, R. & BIKLEN, S. (2003). Qualitative Research for Education: An Introduction to Theories and Methods. New York: Allyn & Bacon.Google Scholar
BOWMAN, W. (1998). Philosophical Perspectives on Music. New York: Oxford University Press.Google Scholar
BRESLER, L. (1991). ‘Washington and Prairie Schools, Danville, Illinois’, in Stake, R., Bresler, L. & Mabry, L. (Eds), Custom and Cherishing (pp. 55–94). Urbana, IL: Council for Research in Music Education.Google Scholar
BRESLER, L. (1995/2006). ‘Ethnography, phenomenology and action research in music education’, Research in Music Education, 8 (Reprinted in 2006), retrieved from http://www.rider.edu/~vrme/Google Scholar
BRESLER, L. (1997). ‘Towards the creation of a new code of ethics in qualitative research’, Bulletin of Council for Research in Music Education, 130, 17–29.Google Scholar
BRESLER, L. (2005). ‘What musicianship can teach educational research’, Music Education Research, 7 (2), 169–183.CrossRefGoogle Scholar
BRESLER, L. (2006). ‘Embodied narrative inquiry: a methodology of connection’, Research Studies in Music Education, 27, 21–43.CrossRefGoogle Scholar
BRESLER, L. (2007). ‘The music lesson’, in Knowles, J. G. & Cole, A. (Eds), Handbook of the Arts in Qualitative Inquiry: Perspectives, Methodologies, Examples, and Issues (pp. 225–237). Thousand Oaks, CA: Sage.Google Scholar
BRESLER, L. (2008). ‘Music and qualitative research’, in Given, L. (Ed.), The SAGE Encyclopedia of Qualitative Research Methods (pp. 534–537). Thousand Oaks, CA: Sage.Google Scholar
BRESLER, L., WASSER, J., HERTZOG, N. & LEMONS, M. (1996) ‘Beyond the lone ranger researcher: Teamwork in qualitative research’, Research Studies in Music Education, 7, 15–30.CrossRefGoogle Scholar
BROUDY, H. (1972) Enlightened Cherishing: An Essay on Aesthetic Education. Urbana, IL: University of Illinois Press.Google Scholar
BRUNER, J. (1996) The Culture of Education. Cambridge, MA: Harvard University Press.CrossRefGoogle Scholar
BULLOUGH, E. (1953/1912) ‘Psychical distance as a factor in art and an aesthetic principle’, in Vivas, E. & Krieger, M. (Eds), The Problems of Aesthetics (pp. 396–405). New York, NY: Rinehart & Company.Google Scholar
BURROWS, D. (1990) Sound, Speech, and Music. Amherst, MA: University of Massachusetts Press.Google Scholar
BURTON, J., HOROWITZ, R. & ABELES, H. (1999) Learning in and through the arts: Curriculum implications. In Fisk, E. (Ed.), Champions of Change: The Impact of the Arts on Learning (pp. 35–46). Washington, DC: The Arts Education Partnership and the President's Committee on the Arts and the Humanities.Google Scholar
CAHNMANN, M. & SIEGESMUND, R. (2008) Arts-Based Inquiry in Education: Foundations for Practice. Mahwah, NJ: Lawrence Erlbaum Associates.Google Scholar
DENORA, T. (2000) Music in Everyday Life. New York: Cambridge University Press.CrossRefGoogle Scholar
DEWEY, J. (1934) Art as Experience. New York: Perigee Books.Google Scholar
DEWEY, J. (1938) Experience and Education. New York: Touchstone.Google Scholar
GADAMER, H. (1988) Truth and Method (Barden, G. & Trans, J. Cumming. & Eds.). New York, NY: The Crossroad Publishing Company.Google Scholar
GEERTZ, C. (1973) The Interpretation of Cultures. New York, NY: Basic Books.Google Scholar
GELB, M. (1999) The How to Think Like Leonardo daVinci Work book. New York, NY: Dell publishing.Google Scholar
GOODLAD, J. & associate. (1979) Curriculum Inquiry: The Study of Curriculum Practice. New York: McGraw-Hill.Google Scholar
GOUZOUASIS, P. & LAMONDE, A. M. (2005) ‘The use of tetrads in the analysis of arts-based media’, International Journal of Education & the Arts, 6 (4). Retrieved 7/30/06 from http://ijea.asu.edu/v6n4/.Google Scholar
GREEN, L. (2002) How Popular Musicians Learn: A Way Ahead for Music Education. Oxford: Oxford University Press.Google Scholar
HEARNE, B. (2005) ‘The bones of story’, The Horn Book Magazine, 81 (1), 39–47.Google Scholar
HEBERT, D. G. (2005). Music Competition, Cooperation and Community: An Ethnography of a Japanese School Band. Doctoral dissertation, University of Washington. Ann Arbor, MI: Proquest-UMI [viii, 489 p., AAT 3163382, ISBN#0-496- 97588-9].Google Scholar
IRWIN, R. & DE COSSON, A. (2004) A/r/tography: Rendering Self through Arts-based Living Inquiry. Vancouver, Canada: Pacific Educational Press.Google Scholar
KAUFMANN, W. (1971) ‘I and Thou’ A Prologue. In Buber, M. (Ed.), I and Thou (pp. 9–48). New York, NY: Simon and Schuster.Google Scholar
KLEMP, N., MCDERMOTT, R., RALEY, J., THIBEAULT, M., POWELL, K. & LEVITIN, D. J. (2008) ‘Plans, takes mis-takes: sequence and learning in jazz’,Critical Social Studies, 10, 4–21.Google Scholar
KNOWLES, G. & COLE, A. (2007) Handbook of Art Based Inquiry. Thousand Oaks, CA: Sage.Google Scholar
KVALE, S. (1996) InterViews. Thousand Oaks, CA: Sage.Google Scholar
LANGER, S. K. (1957) Problems of Art. New York: Charles Scribner's Sons.Google Scholar
LINCOLN, Y. & GUBA, E. (1985) Naturalistic Inquiry. Thousand Oaks: Sage.CrossRefGoogle Scholar
MALINOWSKI, B. (1922) Argonauts of the Western Pacific. New York: E.P. Dutton & Co.Google Scholar
MILES, M. B. & HUBERMAN, A. (1984) Qualitative Data Analysis. Beverly Hills, CA: Sage.Google Scholar
MILLER, B. A. (1995) Integrating Elementary Music Instruction with a Whole Language First Grade Classroom Unpublished doctoral dissertation. University of Illinois at Urbana-Champaign.Google Scholar
MYERHOFF, B. (1978) Number Our Days. New York: Simon & Schuster.Google Scholar
NATHAN, R. (2005) My Freshman Year: What a Professor Learned by Becoming a Student. Ithaca, NY: Cornell University PressGoogle Scholar
NETTL, B. (1974) ‘Thoughts on improvisation: A comparative approach’, Musical Quarterly, 60, 1–19.CrossRefGoogle Scholar
NETTL, B. (1995) Heartland Excursions: Ethnomusicological Reflections on Schools of Music. Urbana, IL: University of Illinois Press.Google Scholar
NETTL, B. (Ed.). (1998) In the Course of Performance: Studies in the World of Musical Improvisation. University of Chicago: Chicago.Google Scholar
OLDFATHER, P. & WEST, J. (1994) ‘Qualitative research as jazz’, Educational Researcher, 23 (8), 22–26.CrossRefGoogle Scholar
ONG, W. (1982). Orality and Literacy. New York, NY: Methuen.CrossRefGoogle Scholar
PATTON, M. Q. (2002). Qualitative Research and Evaluation Methods. Thousand Oaks, CA: Sage.Google Scholar
PESHKIN, A. (1986) God's Choice: The Total World of a Fundamentalist Christian School. Chicago, IL: The University of Chicago Press.Google Scholar
PESHKIN, A. (1994) ‘The presence of self: Subjectivity on the conduct of qualitative research’, Bulletin of the Council for Research in Music Education, 122, 45–56.Google Scholar
POWELL, K. (2006) The apprenticeship of embodied knowledge in a Taiko drumming ensemble. In Bresler, L. (Ed.), Knowing Bodies. Moving Minds: Towards Embodied Teaching and Learning (pp. 183–195). Dordrecht, the Netherlands: Kluwer.Google Scholar
RASMUSSEN, S. (1999) ‘Making better ‘scents’ in anthropology: Aroma in Tuareg sociocultural systems and the shaping of ethnography’, Anthropological Quarterly, 72 (2), 55–73.CrossRefGoogle Scholar
REIMER, B. (2003) A Philosophy of Music Education: Advancing the Vision (3rd edn). New Jersey: Prentice Hall.Google Scholar
SAETHER, E. (2003) The Oral University: Attitudes to Music Teaching and Learning in the Gambia. Lund: Lund University.Google Scholar
SAWYER, R. K. (2003) Group Creativity: Music, Theatre, Collaboration. Mahwah, NJ: Lawrence Erlbaum Associates.Google Scholar
SILVA, W. (2007). Teaching and Learning: A Case Study in Urban Music Styles. Unpublished doctoral dissertation at the University of Illinois, Urbana-Champaign.Google Scholar
SILVEY, P. E. (2004). Ingrid and her music: An adolescent choral singer comes to know musical works. In Aróstegui, J. L. (Ed.), The Social Context of Music Education (pp. 11–45). Urbana, IL: Center for Instructional Research and Curriculum Evaluation, University of Illinois.Google Scholar
SMALL, C. (1997) Voyagers: From Toncan villages to American Suburbs. Ithaca, NY: Cornell University Press.Google Scholar
SPINOSA, C., FLORES, F. & DREYFUS, H. L. (1997) Disclosing New Worlds: Entrepreneurship, Democratic Action, and the Cultivation of Solidarity. Cambridge, MA: MIT Press.Google Scholar
STOLLER, P. (1984) ‘Sound in Songhay cultural experiences’, American Technologist, 559–570.CrossRefGoogle Scholar
SULLIVAN, G. (2005) Art Practice as Research: Inquiry in the Visual Arts. Thousand Oaks, CA: Sage.Google Scholar
VAN MANEN, M. (1990) Researching Lived Experience. New York, NY: The State University of New York.Google Scholar
VAN SCHLKWYK, G. J. (2002) ‘Music as a metaphor for thesis writing’, Qualitative Report, 7 (2), Retrieved from http://www.Nova.edu/ssss/QR/QR7-2/schalkwyk.htm.Google Scholar
VILLENAS, S. (1996) ‘The colonizer/colonized Chicano ethnographer: Identity, marginalization, and co-optation in the field’, Harvard Educational Review, 66 (4), 711–731.CrossRefGoogle Scholar
VON WRIGHT, G. H. (1971) Explanation and Understanding. London: Routledge and Kegan Paul.Google Scholar
WATSON, J. (1968) The Double Helix. New York: New American Library.Google Scholar