MUSICAL IDENTITIES Edited by RAYMOND A.R. MACDONALD Glasgow Caledonian University DAVID J. HARGREAVES University of Surrey Roehampton DOROTHY MIELL Open University This page intentionally left blank MUSICAL IDENTITIES Great Clarendon Street, Oxford OX2 6DP Oxford University Press is a department of the University of Oxford. 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Ltd, Pondicherry, India www.integra-india.com Printed in Great Britain on acid-free paper by Biddles Ltd, Guildford and King’s Lynn PREFACE This book appears at a time when there is unprecedented interest in musical behaviour. Music is not only a pleasurable art form, but also plays an increasingly influential role in many aspects of daily life. This is partly because recent technological advances mean that music is more pervasive than at any other time in history. Indeed, recognition of its ubiquitous presence has been one of the factors motivating a growing body of research on the effects of music listening and participation on a range of psychological and physiological variables. The origins of this book were in 1998, when we made a successful application to The British Psychological Society to host a series of research seminars entitled Psychology of Music: Theoretical Advances and Practical Applications. These seminars brought together many established and new researchers with a number of musicians, teachers and music therapists to present and discuss current issues in music psychology, particularly around the topic of musical communication and its link with developing identities. It quickly became clear that the research and ideas being discussed needed to be brought together in a book which explore the issues more widely than was possible at the seminars. The question of what might constitute musical identity is followed up in some depth in our introductory chapter. Presentations by eminent music therapists Tony Wigram and Leslie Bunt at one of the seminars raised many topical issues regarding the relation- ship between therapy and identity. For example, the role that music therapy may have in developing communication skills, and the status of research within the music therapy profession were discussed in some detail. These and other issues are taken up in the final two chapters of the book. A number of key educational issues were also discussed at the seminars, and several chapters in this book have direct relevance to the way in which children are taught music. These and many other important topics were dis- cussed at our seminars, and we developed the range of issues under consideration by inviting not only several of the presenters, but also other researchers with interests and expertise in this area, to contribute to the present volume. Our aim has been to produce a text which grapples with a set of key issues around the idea of musical identities rather than simply a collection of papers presented at seminars. We were keen that the contributors to this book would in some way continue the dialogue and debates begun at the seminars and enhance the connections between the arguments they were each putting forward in their chapters. To achieve this, we held a further meeting at which the authors offered their thoughts on the first drafts of each of the chapters, and exchanged ideas about potential links and developing arguments across their different theoretical traditions or topic areas. We would like to thank all of our contributors for the time and effort they put into helping to make this process a very productive one. Martin Baum, our commissioning editor at Oxford University Press, has been encouraging, friendly and consistently accommodating throughout the vi PREFACE whole process of completing this book: his input and support have been vital, and are greatly appreciated. Several others have also been very helpful in discussing ideas with us, and we would like to thank Gordon Dougall, Paul Flowers, Göran Folkestad, Linda, Jon and Tom Hargreaves, Tracy Ibbotson, David Miell, Patrick O’Donnell, Victoria O’Donnell, Ann Phoenix, Mark Tarrant, Stig-Magnus Thorsén, Margaret Wetherell and Graeme Wilson for their valuable contributions. Those readers with a broad interest in psychological identities will be aware of the explosion of interest that has occurred in this topic over the past few years, and this is accompanied by a stimulating diversity of theoretical and methodological approaches to the topic. The book reflects this diversity and, whilst our approach is by no means exhaustive, we nevertheless feel that the wide range of theoretical perspectives and dif- ferent research methods represented here will provide several points of departure for those interested in a deeper understanding of musical identities. We hope you enjoy reading the book as much as we enjoyed producing it. R.A.R. MacDonald D.J. Hargreaves D.E. Miell October 2001 CONTENTS List of contributors page viii 1 What are musical identities, and why are they important? page 1 David J. Hargreaves, Dorothy Miell and Raymond A.R. MacDonald 2 Origins of musical identity: evidence from infancy for musical social awareness page 21 Colwyn Trevarthen Developing Musical Identities 3 Musical identities and the school environment page 41 Alexandra Lamont 4Developing a child’s identity as a musician: a family ‘script’ perspective page 60 Sophia J. Borthwick and Jane W. Davidson 5 The self-identity of young musicians page 79 Susan A. O’Neill 6 The solo performer’s identity page 97 Jane W. Davidson Developing Identities through Music 7 Gender identity and music page 117 Nicola Dibben 8 Youth identity and music page 134 Mark Tarrant, Adrian C. North and David J. Hargreaves 9 National identity and music page 151 Göran Folkestad 10 Music for individuals with special needs: a catalyst for developments in identity, communication, and musical ability page 163 Raymond A.R. MacDonald and Dorothy Miell 11 Disability and identity in music therapy page 179 Wendy L. Magee Name index page 199 Subject index page 207 LIST OF CONTRIBUTORS THE EDITORS Raymond MacDonald Department of Psychology, Glasgow Caledonian University, Cowcaddens Road, Glasgow G4 0BA, UK. Lecturer in Psychology at Glasgow Cale- donian University, and has been lecturing and researching in the psychology of music for a number of years. He has also been Artistic Director for a music production com- pany, Sounds of Progress, working with individuals who have special needs, and is an experienced jazz saxophonist. David Hargreaves Centre for International Research in Music Education, Faculty of Education, University of Surrey Roehampton, Southlands College, Roehampton Lane, London SW15 5SL, UK. Professor of Child Development at the University of Surrey Roehampton and Visiting Professor of Research in Music Education at the University of Gothenburg, Sweden. His publications, which have been translated into 13 languages, include Musical Development and Learning: The International Perspective (with Adrian North, Continuum, 2001). Dorothy Miell Department of Psychology, The Open University, Walton Hall, Milton Keynes MK6 7AA, UK. Senior Lecturer in Psychology in the Social Sciences Faculty at The Open University. Her research interests lie in the study of close personal relation- ships, with the focus on two areas—accounts of identity development through relation- ships, and the effects of relationship level and communication patterns on the nature of children’s and young people’s collaborative working, especially in creative tasks such as music making. CONTRIBUTORS Sophia Borthwick Department of Music, The University of Sheffield, Sheffield S10 2TN, UK. Began her career in music as a viola player. She recently completed her PhD exploring children’s musical development and is now working in the field of clinical psychology. Jane Davidson Department of Music, The University of Sheffield, Sheffield S10 2TN, UK. Senior Lecturer in Music at the University of Sheffield. She researches and teaches in areas allied to musical performance and development. As a practitioner, she has per- formed in and directed music theatre works throughout Europe and South East Asia. LIST OF CONTRIBUTORS ix Nicola Dibben Department of Music, The University of Sheffield, Sheffield S10 2TN, UK. Lecturer in Music at the University of Sheffield, where she specializes in music psychology and popular music. Her research on the perception of music, and on repre- sentations of gender in popular music, has been published in a number of books and journals. Göran Folkestad School of Music, Göteborg University, Box 210, S-405 30, Göteborg, Sweden. Professor of Research in Music Education at Göteborg University and Lund University, Sweden.