Using Interpretative Phenomenological Analysis in music education research: An authentic analysis system for investigating authentic learning and teaching practice

Abstract

Interpretative Phenomenological Analysis (IPA) is an experiential research methodology that aims to rigorously investigate personal meaning and lived experience. Informed by phenomenological philosophy, hermeneutics and idiography, IPA allows researchers to conduct a detailed exploration of how participants construct meaning from their personal and social contexts. The method has been applied further afield in social science disciplines such as education. This article provides insight into the process of conducting IPA in music education research, which is illustrated by material taken from studies conducted by the author who began using the analysis system in 2005. In this context IPA is regarded as an authentic approach situated in constructivism for exploring and interpreting authentic learning and teaching practice. It is proposed that such an approach can be used in music education qualitative research studies to provide an evidence-base for practice.

Beyond the dots on the page: Harnessing transculturation and music education to address intercultural competence and social inclusion

“…This was noted as a key factor in the success of their work coupled with substantive teaching experience ranging from approximately 5 to 10 years in diverse educational contexts. The music programme in each of the three schools is driven by what has been identified as a constructivist framework that uses learning opportunities that are authentic, experiential, practical and creative (Cleaver & Ballantyne, 2013; Crawford, 2019b; Fox, 2001). Another common factor is that students have clear learning goals and performances to aim for throughout each of the four terms of the school year.…”

“…IPA is used in this context to explore how educators make sense of their interactions and engagements with refugee background students in providing opportunities to develop musical skills and knowledge, intercultural competence and social inclusion. The analysis of the data requires a reduction method that consists of identifying emerging patterns to elicit key themes, which provides a means to explore data within and across cases (Crawford, 2019b). In accord with the tenets of IPA, a phenomenological perspective is used in this context to develop a holistic understanding to describe an experience as it is lived by the research participants (Crawford, 2019b; Smith & Osborn, 2008; Southcott & Joseph, 2019).…”

“…The analysis of the data requires a reduction method that consists of identifying emerging patterns to elicit key themes, which provides a means to explore data within and across cases (Crawford, 2019b). In accord with the tenets of IPA, a phenomenological perspective is used in this context to develop a holistic understanding to describe an experience as it is lived by the research participants (Crawford, 2019b; Smith & Osborn, 2008; Southcott & Joseph, 2019). While the results for this study cannot be generalised due to the small sample size of educators ( n = 11), the strength of this research is built on the depth and breadth of data explored and collected within and validated across cases, contributing to the knowledge, understanding and practices associated with increased societal and cultural diversity.…”

“…The learning activities were student-centred, active, practical experiential, authentic, creative and at times discovery/inquiry or project-based. While these ideas have had a long currency in education – Jean Piaget (1896–1980), Lev Vygotsky (1896–1934), Frederic Bartlett (1886–1969), Jerome Bruner (1915–2016) and John Dewey (1859–1952) (Crawford, 2019b) – it is only recently that music and arts-based pedagogy has emerged as an educational paradigm that uses the creative arts as a foundation for engaging students in discovering and understanding both their own knowledge development and that of the world around them. Collaborative learning that is discovery-oriented, process-driven and question-based are central to the musical activities and community of practice approaches to skill acquisition and knowledge formation in the school contexts in this research.…”

“…In this research, music education and arts-based pedagogies are particularly important to contexts where teachers find themselves working with culturally diverse young people from refugee backgrounds as the creative and flexible learning environments engage students in authentic learning through delivering classroom practices that develop intercultural competence and socially inclusive behaviours (Crawford, 2019b; Mardirosian et al., 2009; McGregor, 2012). Opportunities for creative learning are carefully balanced with clear classroom routines and mutually agreed upon expectations.…”