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Power and Hierarchy in the Pursuit of Dialogic Relationship

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Power and Hierarchy in the Pursuit of Dialogic Relationship THE PROBLEMATICS OF PARTNERSHIP BETWEEN THE PRIMARY CLASS TEACHER AND THE VISITING MUSICIAN: POWER AND HIERARCHY IN THE PURSUIT OF DIALOGIC RELATIONSHIP JULIA SUZANNE PARTINGTON A thesis submitted to Newcastle University for the degree of Doctor of Philosophy School of Arts and Cultures Newcastle University March 2017 Abstract Conceived in response to earlier research confirming the consistent and long-standing trend of low musical confidence among primary school teachers in the United Kingdom, this study examines the concept of partnership between class teachers and visiting musicians within the primary music classroom. From the dual perspectives of music educator and ethnographic researcher, I investigate dynamics of power and hierarchy present within the primary class teacher and visiting ‘specialist’ musician relationship, which is a typical aspect of current music education teaching practice. Using Christopher Small’s concept of musicking, issues of expertise, talent or giftedness, musical identity, musical confidence and power within the teacher/musician relationship are closely examined. In turn, through study of a programme of collegial classroom musicking, I seek to trial and propose a specific model of dialogic partnership for music education within the primary school that aims to disrupt the continuing cycle of low musical confidence among primary teachers which, in turn, affects their attitudes to teaching music and to their perceptions of musicality among the children whom they are teaching. ii Dedicated to the memories of my Grandmothers, Ivy Rose Trenholm and Gwendoline Eva Regan. iii Acknowledgements I would like to thank Dr Felicity Laurence for her consistent support, guidance and encouragement as I have worked towards completion of this thesis. She has been endlessly patient, enthusiastic and encouraging and also extremely generous with her time. My learning under her tutelage is immeasurable. I am truly inspired by her as an academic, teacher, music educator, singer and composer and above all, in the way that she supports everyone she works with, adult or child, to achieve their musical and academic best. I would also like to extend sincerest thanks to Dr Nanette De Jong. Her close readings of my work, her advice and insights have been invaluable and her encouraging approach is much appreciated. I am extremely grateful to my supervisors, who have both been wonderful in every respect. My deepest gratitude to my husband Dr Matthew Partington, whose belief in my capabilities never falters. I could not have done this without your love, support and encouragement. Thank you also to my son William, who began to explore his own songs just as I was in the final stages of finishing this thesis. Those lovely melodies sustained me when I needed it most. Thank you to Pepper for her constant companionship as I wrote. I love you all. Love and thanks to my parents, Bernard and Susan Regan whose belief in me has been unconditional throughout my whole life. Your unending emotional, financial, culinary and childcare-related support is much appreciated. Thanks also to my sister Sarah Welbourne and her husband Anton Welbourne, most especially for the loan of their quiet kitchen table. Thank you to my parents-in-law William and Maria Partington for their continued interest in my work and encouraging words over the years as I studied. Thank you to Katherine Zeserson and Steph Brandon for all you have taught me about teaching music and for giving me so many opportunities to develop my skills as a music educator. I am so grateful to have been mentored by you both. Finally, whole-hearted thanks to the children and staff at Morningside Infants School and to Kirsten and Sally who were all so giving of themselves, their time and their ideas. Working with you was an absolute joy. iv Table of Contents Abstract ii Acknowledgements iv Table of Contents v List of Figures x Prologue 1 Chapter One: The ‘Music Potential’ project - a recent historical account of 4 a primary school based music education research project 1.1 Introduction – The Music Potential project 4 1.1.1 Impetus for the Music Potential project 6 1.1.2 Implementation of the Music Potential project 7 1.1.3 A community of practice 8 1.1.4 Extending the Music Potential project: building a research study 18 1.2 Research aim 20 1.3 Research questions 20 Chapter Two: Review of the Literature - Overview, context and 22 introduction to key concepts 2.1 Introduction 22 2.2 Part One - On being and not being ‘musical’ 24 2.2.1 The nature of musical ability 24 2.2.2 Musical development in childhood 32 2.2.3 Musical confidence and the primary school teacher 39 2.3 Part Two – Partnership 44 2.3.1 An initial ‘Smallian’ perspective 51 2.4 Conclusion 53 Chapter Three: Methodology and Methods 55 3.1 Introduction 55 3.1.1 Qualitative research 56 v 3.2 Part One - The research 59 3.2.1 Brief outline of the study 59 3.2.2 The qualitative researcher 61 3.2.3 Case Study 63 3.3 Part Two - Ethics, validity and generalizability 66 3.3.1 Ethics – a reflective preamble 66 3.3.2 Being researched 67 3.3.3 Becoming a researcher 71 3.3.4 Validity and generalizability 73 3.4 Part Three - The methods 79 3.4.1 Observation 79 3.4.2 Interviews 82 3.5 Part Four - Narrative inquiry 84 3.6 Conclusive points 87 3.6.1 The role of the bricoleur: paving the way for an emergent, dialogic 87 methodology 3.6.2 Analysis of data 90 3.6.3 Conclusion 96 Chapter Four: The Field Study 97 4. 1 Introduction 97 4.1.1 Dramatis Personae 97 4.1.2 The study setting – ‘Morningside’ Infant School 98 4.2 Presentation of the study and the use of ‘thick description’ 99 4.3 Selection of the study school 101 4.4 The baseline study 102 4.4.1 Initial meeting with the Year One teachers 102 4.4.2 Baseline observations 107 4.4.3 Baseline study conclusions 116 4.4.4 Concluding reflections 118 4.5 The Field Study 119 4.5.1 Stage one - the first four weeks 119 4.5.2 Justification of selection and presentation of session depictions 121 vi 4.5.3 Stage two – second half of spring term 133 4.5.4 Stage three – summer term 141 4.6 Conclusion 147 Chapter Five: Teacher Case Studies 150 5.1 Introduction 150 5.2 Case Study One: Leanne 151 5.2.1 Pedagogical style 151 5.2.2 Leanne’s musical self-perception prior to, and during the study 151 5.2.3 Classroom musicking prior to the study 154 5.2.4 The development of our relationship through classroom musicking 155 5.2.5 Impact of the study on Leanne’s classroom music teaching 158 5.2.6 Impact of the study on Leanne’s musical self-perception 160 5.3 Case Study Two: Ruth 162 5.3.1 Pedagogical style 162 5.3.2 Ruth’s musical self-perception prior to, and during the study 162 5.3.3 Classroom musicking prior to the study 164 5.3.4 The development of our relationship through classroom musicking 165 5.3.5 Impact of the study on Ruth’s classroom music teaching 167 5.3.6 Impact of the study on Ruth’s musical self-perception 169 5.4 Case Study Three: Patricia 170 5.4.1 Pedagogical style 170 5.4.2 Patricia’s musical self-preception prior to, and during the study 170 5.4.3 Classroom musicking prior to the study 172 5.4.4 The development of our relationship through classroom musicking 174 5.4.5 Impact of the study on Patricia’s classroom music teaching 176 5.4.6 Impact of the study on Patricia’s musical self-perception 178 5.5 Conclusions 179 Chapter Six: Discussion of Findings 181 6.1 Introduction 181 6.2 Part One - Theoretical and philosophical underpinning of my study: 182 Smallian perspectives reconsidered vii 6.2.1 Children as consumers versus children as artists 187 6.2.2 An autobiographical narrative view 192 6.2.3 Musicking 194 6.2.4 Musicking, relationship, and ‘ideal’ relationships 196 6.2.5 The classroom as a musicking space 199 6.3 Part Two - Musicking and a dialogic model of teacher/musician 202 relationship 6.3.1 Roles and titles- Deconstructing ‘Teachers’, ‘Musicians’ and what it 204 means to be ‘musical’ 6.3.2 Relationships 213 6.3.3 Teachers as artists - transcending titles through legitimate peripheral 227 participation 6.3.4 Dialogic interaction - The pursuit of real partnership 235 6.3.5 The model of dialogic relationship - real partnership identified 244 6.3.6 The potential effect of the model on teacher musical-self perception 247 Chapter Seven: Conclusion 250 7.1 Answering the research questions 250 7.2 New insights 251 7.2.1 ‘Hearing’ one another: towards dialogue 251 7.2.2 Relocating power 252 7.2.3 Contributing factors to the successful realization of dialogic 254 relationships in this study 7.3 Outstanding tensions relating to the research 256 7.3.1 Shared experience 256 7.3.2 Small’s call for music to be removed from school 257 7.4 Legacy 258 7.5 Future research 260 7.6 A Final Comment 260 Epilogue 262 Bibliography 263 viii Appendices 276 Appendix 1. ‘Dialectical musical experience’ – Green (1988) 276 ix List of Figures Figure 1: ‘The Swanwick/Tillman model of musical development’ 33 Figure 2: ‘Power sharing continuum of cooperating music teachers’ 49 Figure 3: ‘A dialogic methodology using a bricolage approach’ 88 Figure 4: ‘Trajectory of main points of Smallian thought 1977-2010’ 183 Figure 5: ‘A model of teacher/musician dialogic relationship through 203 musicking’ Figure 6: ‘Teacher musical self-perception power sharing continuum’ 248 x Prologue Mid-July 1996, Fiji The conductor raises his arms to gain the undivided attention of the one hundred and fifty young choristers.
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