Envisioning real Utopias in music education: prospects, possibilities and impediments

Wright, Ruth

doi:10.1080/14613808.2018.1484439

Cited by 46 publications

(25 citation statements)

References 9 publications

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“…Moreover, within the broader community of the city in which TOSO was organized, the group was seen as problematic, dangerous and as outcasts ( De Standaard, 2010 ; 25% more registered cases of homelessness in Ostend , Adrian, 2012 ). An important starting point for TOSO was parrying this negative opinion by engaging in a musical practice and as such create conditions which can help people thrive ( Wright, 2006 , 2019 ). Possibly, the verbal reflection throughout the interview initiates a form of self-protection or a ‘don’t come any nearer’ mindset.…”

Section: Discussionmentioning

confidence: 99%

A Space for Collaborative Creativity. How Collective Improvising Shapes ‘a Sense of Belonging’

2021

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In this contribution, we draw on findings from a non-formal, community music project to elaborate on the relationship between the concept of eudaimonia, as defined by Seligman, the interactive dimensions of collective free improvisation, and the concept of collaborative creativity. The project revolves around The Ostend Street Orkestra (TOSO), a music ensemble within which homeless adults and individuals with a psychiatric or alcohol/drug related background engage in collective musical improvisation. Between 2017 and 2019 data was collected through open interviews and video recordings of rehearsals and performances. Participant data was analyzed through inductive analysis based on the principles of grounded theory. One interesting finding was the discrepancy in the participant interviews between social relationships indicative of a negative affect about social group interaction versus strong feelings of group coherence and belonging. Video recordings of performances and rehearsals showed clear enjoyment and pleasure while playing music. Alongside verbal reflection through one-on-one interviews video recordings and analysis of moment-to moment observations should be used, in order to capture the complexity of community music projects with homeless people. The initial open coding was aligned with the five elements of the PERMA model. Overall, we observed more focus on Relationship (sense of belonging), Engagement (flow in rehearsals and performances) and Meaning (belonging to something greater than yourself) and less on Positive Emotion and Accomplishment (goal setting).

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Section: Discussionmentioning

confidence: 99%

A Space for Collaborative Creativity. How Collective Improvising Shapes ‘a Sense of Belonging’

2021

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“…For example, numerous scholars have identified a gap between progressive educational theory and conservative practice and have pointed the finger at the training of future teachers in higher education (e.g. Carabetta 2017;Waldron et al 2017;Wright 2019). Some issues, such as music education as work, sit somewhere between the two.…”

Section: Discussionmentioning

confidence: 99%

3. The Red through a Social Lens

Baker¹

2021

Rethinking Social Action Through Music

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I gratefully acknowledge support from the Arts and Humanities Research Council, whose Leadership Fellowship (grant reference AH/P011683/1) enabled the fieldwork; Royal Holloway University of London, which assisted throughout the process and provided research leave to allow the drafting of the book manuscript; and Agrigento, whose trustees were patient and understanding during the final stages of writing and publication, permitting me to finish the project calmly. The Music & Letters Trust and Royal Holloway generously contributed towards the publication costs, and the Red kindly provided some of the photos.My thanks to all at Open Book Publishers, particularly Alessandra Tosi, Lucy Barnes, Anna Gatti, and Luca Baffa. I am thrilled to have the opportunity to publish this book in open access so that it can be freely available to readers in Latin America and around the world. Fig. 1. Archive of Red de Escuelas de Música. CC BY. 1All translations by the author. 2The Spanish term convivencia has more positive connotations than the English "coexistence." It suggests more than just tolerating others. There are hints of the English "conviviality."Music education has historically had a tense relationship with social justice. On the one hand, educators concerned with music practices have long preoccupied themselves with ideas of open participation and the potentially transformative capacity that musical interaction fosters. On the other hand, they have often done so while promoting and privileging a particular set of musical practices, traditions, and forms of musical knowledge, which has in turn alienated and even excluded many children from music education opportunities. Self-Critique, Change, and ConflictAfter I made a short reconnaissance trip to Medellín in 2016, the Red went through a change of leadership. When I arrived in 2017 to begin my fieldwork, the program had a new general director, and it was in a slightly tense state of transition and anticipation. At our first meeting, program leaders articulated a self-critique of the Red's history and a vision of change. It immediately became clear that there were interesting This continual dialogue led the Red to offer me a consultancy position in 2018 (one that I was unfortunately unable to take up for contractual reasons). I also dusted off my clarinet and joined in workshops for teachers and students, and I took part in professional development seminars for staff. In short, I became a participant observer. I interviewed the Red's first four general directors, in some cases more than once, and interacted extensively with the fifth, who was in charge during my fieldwork. I also had a conversation with the sixth, appointed in 2020, shortly before I finished this book. I carried out a large number of interviews with managers, staff, and students, but I also witnessed and took part in many discussions as I hung out with staff over lunch and in coffee breaks between meetings, and I had many informal, private conversations. Most interviews were undertaken under conditions o...

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“…Por ejemplo, numerosos académicos han identificado una brecha entre la teoría educativa progresista y la práctica conservadora y han señalado con el dedo la formación de los futuros profesores en la educación superior (p. ej. Carabetta 2017; Waldron et al 2017;Wright 2019). Algunas cuestiones, como la educación musical como trabajo, se sitúan en algún lugar entre ambas.…”

Section: Conclusiónunclassified

Replanteando la acción social por la música: la búsqueda de la convivencia y la ciudadanía en la Red de Escuelas de Música de Medellín

Baker¹

2022

Preprint

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Envisioning real Utopias in music education: prospects, possibilities and impediments

Cited by 46 publications

References 9 publications

A Space for Collaborative Creativity. How Collective Improvising Shapes ‘a Sense of Belonging’

A Space for Collaborative Creativity. How Collective Improvising Shapes ‘a Sense of Belonging’

3. The Red through a Social Lens

Replanteando la acción social por la música: la búsqueda de la convivencia y la ciudadanía en la Red de Escuelas de Música de Medellín

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