Vulnerability and agency in being and becoming a musician

Wiggins, Jackie

doi:10.1080/14613808.2011.632153

Cited by 25 publications

(21 citation statements)

References 28 publications

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“…Last, revealing vulnerability can be particularly helpful in potentially tense conversations with family members. Vulnerability is a favorite trait that I espouse to my undergraduate students, and there are excellent intersections of vulnerability with music education in the literature (see Richerme, 2016; Wiggins, 2011). For example, it is perfectly acceptable for an early career teacher to say to a mother of a student,I do not have children of my own right now, and I’m not sure how parents typically deal with issues like the one “Nancy” faced today, but I want to help her and I’m wondering if you have any suggestions that work at home.…”

Section: Come From a Place Of Service And Reveal Some Vulnerabilitymentioning

confidence: 99%

Improving Classroom Management Issues by Building Connections with Families: Part 1

Robison

2019

General Music Today

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Experienced teachers often know the value of partnering with students’ families to help students gain the most out of their time in school. Elementary general music teachers occupy a unique place in this triangle among students, families, and teachers because, unlike their other elementary school colleagues, they often see hundreds of students each week, year after year. Such circumstances can lead early-career general music teachers to feel overwhelmed about making connections with families. This column, the fifth in a series about classroom management and the first of several about the particular topic of students’ families, contains three techniques for making meaningful connections with students’ families and its benefits toward preventing classroom management issues.

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Section: Come From a Place Of Service And Reveal Some Vulnerabilitymentioning

confidence: 99%

Improving Classroom Management Issues by Building Connections with Families: Part 1

Robison

2019

General Music Today

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“…As part of undertaking interviews with 40 professional musicians in the United Kingdom, Wiggins (2011) identifies the notion of vulnerability as both a positive and negative influence, given it enables both a connection to the core essence and meaning of the music but also exposure to strong criticism from teachers, peers, and audiences. She also cites the frequency of musicians feeling isolated, lonely and even fearful when having to stand independently of their teachers.…”

Section: Literature Reviewmentioning

confidence: 99%

Building Visual Artists’ Resilience Capabilities: Current Educator Strategies and Methods

Siddins

Daniel

Johnstone

2016

JAH

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<p>Enrolments in higher education programs in the creative and performing arts are increasing in many countries. Yet graduates of these degrees, who enter the broad sector known as the creative industries, face particular challenges in terms of securing long-term and sustainable employment. In addition, creative and performing artists face a range of mental challenges, caused by such factors as: the solitary nature of much creative practice, critical feedback by audiences and gatekeepers, or the general pressures associated with maintaining artistic relevance or integrity. The concepts of resilience and professional wellbeing are therefore highly relevant to those who pursue a career in creative industries, and while there has been an emerging body of work in this area, to date it has focussed on the performing arts area (e.g. music, theatre). Hence, in order to expand knowledge relevant to resilience and artists, this paper sets out to explore the extent to which current educators in the Australian context specifically address these issues within higher visual arts curricula; specifically the areas of illustration, design, film and photography. This was achieved via interviews with seventeen current academics working in these areas. The findings propose that higher education providers of programs in the visual arts consider placing a stronger emphasis on the embedded development of resilience and professional wellbeing capacities.</p>

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“…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%

“…The three definitory aspects of flow are intrinsic motivation (practising for the task's intrinsic value), absorption (being immersed and 'forgetting everything else') and enjoyment (enjoying a deep sense of reward) (Rhodes & Kates, 2015;Swann et al, 2018). These aspects reveal the relationships between a musical sense of self, comprising positive attitudes and dispositions towards music, and intrinsic motivation (Lamont, 2011), and between a sense of agency in learning music and absorption (Wiggins, 2011), which is closely related with flow in music making (Amado et al, 2013). Additionally, a robust sense of agency in learning music allows an independent assessment of one's own skills and the selection of tasks with optimal demand levels (Keller & Landhäußer, 2012) thus facilitating concentration, absorption and flow (Bakker, 2005).…”

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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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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Vulnerability and agency in being and becoming a musician

Cited by 25 publications

References 28 publications

Improving Classroom Management Issues by Building Connections with Families: Part 1

Improving Classroom Management Issues by Building Connections with Families: Part 1

Building Visual Artists’ Resilience Capabilities: Current Educator Strategies and Methods

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

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