Music Matters: A New Philosophy of Music Education:

In the authors' own words, the enterprise of this volume is: (1) "to elaborate a theory of human conduct" and (2) "to explain the Who, What, When, and Where of social interaction in terms of this characteristic 'social conflict' in which all a person's acts are 'anticipated, checked, inhibited, or modified by the gestures and intentions of his fellows.' " The scope of the book is further characterized by a description on the cover that reads "an examination of human associations in everyday life." The content of the book is presented in nine chapters and an epilogue. The chapters range from considerations such as "The Philosophy of Conduct" to "The Career of a Relationship," and revolve around the various aspects of assuming roles, perceiving the roles of others, and a person's alteration of his own behavior when interacting with others. The authors are sociologists, and the

https://jamanetwork.com/journals/PSYCH/articlepdf/489317/archpsyc_16_3_024.pdf

Identities and Interactions.

This study was designed to investigate the socialization and occupational identity of undergraduate music education majors enrolled in traditional preservice teacher education programs. Preservice ...

Musicians and Teachers The Socialization and Occupational Identity of Preservice Music Teachers

Deviance and Identity.

We all have very clear images of what teachers look like. After all, we have experienced teachers formally and informally for most of our lives. In addition to the many teachers that we hold in our memories from our schooling, we have accumulated a vast number of fictional teachers—teachers portrayed in art, in film, in theatre, and many other areas of popular culture [Weber & Mitchell (1995) ‘That's Funny, You Don't Look Like a Teacher’ (London, Falmer Press)]. Working from within qualitative frameworks, teacher educators are helping teachers to uncover their images of teaching as a way of understanding their practice, and explicitly seeking a link between image and practice. The application of this body of research to the study of music education has been generally overlooked. As with other teacher education candidates, music education students come to formal teacher education with a wealth of personal practical knowledge about teachers and teaching built up over the many years of study in scho...

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Imagining Ourselves as Teachers: the development of teacher identity in music teacher education

The research from which this report is extracted attempts to build a theory in the grounded tradition (Glaser &: Strauss, 1967) to account for the interaction of music education students in Canadian universities as they come to construct an identity as a 'musician'. The paper is based on a qualitative research initiative with data coming from participant observation and interviews with 108 students into the social world of music education students over a period of 36 months at five Canadian universities (Roberts, 1991a). The assumption taken here is that the meaning of 'musician' is a social construction (Berger &: Luckmann, 1966) for these students and that music education students interact on the basis of the meanings that they come to associate with this social construct. It can be shown that this construct is a pivotal component of the music education students' identity, in fact, an all-engulfing construct (Hargreaves, 1976, p.204) in the formation of their identity. Music education students appear to acquire an identity as a 'musician' which they seem to construct as having a core meaning 'performer', and this process of construction appears largely dependent upon social interaction in the fullest symbolic interactionist's and Meadean sense of both with 'other' and with 'self'. This occurs most particularly through societal reaction <Roberts, 1991b). Within the process of music teacher education in Canadian universities, however, what counts as 'musician' is not as unproblematic as might be assumed, and there is generally Widespread disagreement in the literature as to the nature of the 'musician' who eventually ends up as a teacher in front of our children in the schools. Witkin (1974) suggests that 'one of the problems is that the music teacher is usually himself trained from the point of view of the instrumentalist' (p.l20). There is, he asserts, 'among music teachers, a fear and distrust of experiment, of musical invention, of anything that threatens the disciplined. service to the musical masters that their training has developed in them'. He goes further when he writes 'Of all the arts that we have looked at in schools music is apparently in the greatest difficulty' (p.118). His suggestion is that many of these apparent difficulties in music education stem from the kind of training that music teachers undergo. His conclusions hint strongly that there is conflict between who the teacher is and who he or she wants the pupils to be and what might be perceived as a more legitimate instructional goal for school mus¥: education. As an aside, of course, the question may not be a simple matter of 'goal' and may much more significantly be tied to what counts as music altogether; There are clear signs in the music school of a stratified knowledge where types of music and involvement in these various types of music have an almost precise hierarchy (Roberts, 1991c). One university in this study, for example, claims that its goal for its music teacher preparation programme is to 'make musicians first, teachers second'. This motto is widely known and widely promulgated in the Faculty of Music. One needs to ask, in light of the apparent gulf developing between music education as practised. in the universities and music education as practised in the lower schools, just what meanings are taken into music education students' understanding of 'musician',

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Music Teacher Education as Identity Construction

http://drbrianroberts.com/Publications_files/teachers%20as%20researchers.pdf

Music Teachers as Researchers

The thing is, I’m a musician well a performer well actually a singer and not that really either because, truth be told, I’m a tenor! Now you can imagine my shock when I submitted my first few pieces to my PhD supervisor many years ago because I chose to do this doctorate in sociology. Even though it was a research degree I did not come from a strong undergraduate education in sociology. As a matter of fact, I was totally out of my area except that I knew that what I wanted to investigate must be answered under the umbrella of the social sciences and more particularly ’sociology’. I was writing position papers which ultimately led to the construction of my research proposal. I was reading about a couple of dozen books a week (big

The sociologist's snare: identity construction and socialization in music

next bit of land to see is Ireland and try as I might on even the crystal clearest days, I never seem to manage a glimpse of that far away land. Sometimes I reflect that this is analogous to my search for ’truth’ in school music education. What follows is a discussion of part of that quest from a North American local, but hopefully not parochial, outlook. While I Know that something is out there, it always escapes my view and my search for both truth and understanding of what may be proposed as the best sort of musical education remains distant from my grasp. Both by having taught school music in Canada, England and Germany and as an academic who has studied and argued about school music education, I am decidedly aware of the significant differences that have arisen in the formulation of school music curricula. The opportunity presented by RSME to explore alternative approaches in music

Brian A. Roberts

Papers

Music Teacher Education as Identity Construction

Music Teachers as Researchers

The sociologist's snare: identity construction and socialization in music

Reconsidering the De-schooling of School Music Education