CORE Metadata, citation and similar papers at core.ac.uk Provided by YorkSpace “CHANGING OUR TUNE: A MUSIC-BASED APPROACH TO TEACHING, LEARNING, AND RESOLVING CONFLICT” LINDA M. IPPOLITO A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN LAW YORK UNIVERSITY TORONTO, ONTARIO March, 2015 © Linda M. Ippolito, 2015 ii ABSTRACT The need for change within the legal profession and legal education is critical. To remain relevant and responsive to twenty-first century challenges and complexities the next generation of professionals must be creative, imaginative, and innovative thinkers. Emotional and social intelligence, the ability to collaboratively problem-solve, negotiate, and mediate complex conflict are essential skills needed for success particularly in increasingly settlement-oriented environments. Studies and reports have noted, however, that practitioners are lacking these key skills. How can these new perspectives and essential skills be taught and developed? This mixed methods research study involved five professional musicians and thirty-eight first year law school students. Data from musicians regarding effective collaborative music-making and most valued capacities for achieving optimal outcomes informed the design of a comparative teaching study that explored the effects of introducing a music-based metaphor and pedagogical approach to teaching, learning, and resolving conflict. The study provided insights into whether and how the musical ensemble metaphor might assist in shifting adversarial combative and competitive frames toward more collaborative, settlement-oriented mindsets and whether and how music-infused pedagogy might assist in developing enhanced skills and practice behaviours that lead to more desirable outcomes. Results from this initial study suggest that non-musicians in non-musical environments are able to learn from musical metaphors and concepts related to ensemble music-making and that such learning – cognitive, affective, and behavioural – translates into changed and more effective behaviour in practice. In simulated scenarios students exposed to the musical metaphor and other music-based learning appeared to outperform their colleagues not exposed to similar music-based learning. Engagement with music appears to reconnect people to their creative potential and lead them to see the efficacy of employing creative thinking in professional environments where analytical and critical thinking have generally been over-emphasized. There are indications that experiences with collaborative approaches to conflict have the potential to shift traditional norms and behaviours. This study and its results are of interest to those in the field of law, conflict resolution, those exploring arts- based teaching and learning in other professions, such as leadership and organizational behaviour, to music educators, and educators at all levels generally. iii DEDICATION This work is dedicated to the human ensemble, wherein lies our collective creativity, our ability to meet our greatest challenges and achieve our highest potential – together. iv ACKNOWLEDGMENTS This dissertation is, among other things, about ensemble collaboration and the power in the efforts of many to achieve the beauty of a singular one. As with all ensemble efforts, the goal cannot be reached without the contributions and participation of every member. It is those contributions I wish to acknowledge, without which this work could not have been done. First and foremost I thank my mentor and friend, Dr. Nancy J. Adler, who gave me her tireless ear, wisdom, encouragement, and support every step of the way. To the wonderful musicians – Adi Braun, Ann Hampton Callaway, Barry Shiffman, Steve Wallace, and Dr. Mary-Lou Vetere – who so generously gave of their time to speak with me about their collaborative music-making experiences. These rich insights provided the underpinnings for the teaching study design. To the students who participated in the teaching project – without them there would be no dissertation. To Barry Shiffman who not only shared his own musical experiences with me but facilitated the workshop with the Cecilia String Quartet at the Royal Conservatory of Music so the students could meet, observe, and interact with the new metaphor-in-action. To the members of the Cecilia String Quartet – Min-Jeong Koh, Sarah Nematallah, Caitlin Boyle, and Rachel Desoer – who so generously and enthusiastically gave of their time and talents to provide the students with an unforgettable experience into the world of ensemble music-making. To Judge Harvey Brownstone, Alison McArthur, and Asif Quadir who took the time from their extremely busy schedules to speak with the students and share their personal insights and experiences of negotiation and mediation processes. To Dr. Annette Stevens who spent hours listening across the miles and helped me distill the volume of data and get to the heart of the matter. To Dr. Valerie Alia who shared her own doctoral experiences, her editorial wisdom and gave me much- v needed encouragement during the final writing phase. To my business partner, Joseph Sheridan, who made room so this work could happen, and to the good fairies at my law firm – Sonya Lazzer, Adrianne Yeates and Elena Korotkova – who kept everything in order while I was away and urged me to run to the finish line. To my wonderful friends (often neglected during this time) and to my amazing family – my sister, Laura Marsh, my brother David Ippolito, and especially my parents, Claudette and Ben Ippolito – who listened patiently to countless reports on the ups and down of the process and offered, as always, their love, support, and encouragement from start to finish. To the Sisters of St. Joseph in Cobourg, Ontario – Joan Driscoll, Alma Laval, Linda Gregg, Mary Rowell, Kathleen O’Keefe, and Helen Russell – who provided the sacred space, stillness, and the spiritual support for real insight to be born. To the Toronto Siddha Yoga sangham who gave their love and encouragement and for the wisdom of Swami Gurumayi Chidvilasanda whose words were a guiding mantra in this project – “Be present in the moment, Bring out the best in others, and Sing and Play with One Voice.” To my doctoral committee – Paul Emond for the many hours of conversations, the “So What?” rock, and the ultimate encouragement that things were “all good”, Shelley Gavigan for her care and thoughtful counsel, for believing in the teaching project and making it possible, and Michelle LeBaron for inspiring me to add my voice to the field of arts and conflict resolution and for pushing me to always achieve my personal best. To Fanny and Felix, the Persian cats, for sitting on my papers and on the computer, and distracting me when they knew I needed to take a break. And last but never least, to my beautiful, loving, supportive, and infinitely patient wife, Adreana Braun, who allowed this work to live with us day-in and day-out for the last five years – to her my eternal gratitude and love. vi TABLE OF CONTENTS Abstract……………......................................................................................................................ii Dedication…………......................................................................................................................iii Acknowledgments………….........................................................................................................iv Table of Contents………………………………………………………………………………..vi Chapter One: Introduction…..................................................................................................... 1 Chapter Two: Literature Review................................................................................................9 Preface…………………………………………………………………………………….9 Overview and Summary of the Literature. ……………………………………………….9 Twenty-first Century Learning Science Concepts and Objectives………………………11 Arts-based teaching and learning as part of Interdisciplinary, Experiential learning...….20 Arts-Based Learning in Professional Schools……………………………………………27 The Law School Experience…..…………………………………………………………32 The Significance of Music as an Arts-based Learning Modality………………………..56 Summary of the Chapter…..…………………………………………………………….59 Chapter Three: Methodology....................................................................................................63 Preface…….......................................................................................................................63 The Purpose of the Study..................................................................................................63 Summary of Study Design................................................................................................64 My Role in the Study........................................................................................................64 Research Method..............................................................................................................66 Rationale for Mixed Methods Research Design...............................................................67 Phase One of the Research Study – Musician Interviews…………………………….…69 vii Phase Two of the Research Study – Comparative Teaching Study……………………..85 Ethical Considerations……………………………………………………………....….118 Issues of Trustworthiness……………………………………………………………….118 Limitations of the Study………………………………………………………….……..119 Summary of the Chapter……………………………………………………………......121