Jennie Henley

This chapter explores the way music lends itself to the IPAA framework, focusing on four key areas; working outside of ability groups, using what learners can do as their starting point, engaging in learning at their own level whilst contributing to a collaborative outcome, and developing the whole creative child rather than just a skillset.  After reading this chapter, you should be able to:

 Consider different theoretical and philosophical understandings of musical knowledge and how they manifest in musical learning.  Understand the way that teachers’ conceptualisations of musical ability steer pedagogical decisions.
 Describe what integrated activities are and understand how they enable learners to develop reflective learning.
 Identify areas of your music teaching that can be enhanced by the use of technology.
 Consider how different pedagogies can be interwoven in the classroom to enable children with different learning needs and experiences to engage in classroom music in a meaningful way.

This symposium posed three questions: • What might we see when we think of music making as leisure? • What are possible implications for music making, reframed as leisure, in music education contexts? • How do discourses of avocational music making interact with constructs of professional and career musicianship in music education? In order to respond to these three questions, I raised another question: Who is qualified to teach music?

This chapter explores the relationships between music, emotion and learning. Learning is a process that has content (curriculum) and form (pedagogy) however it is a common assumption that the links between musical development and emotional development lie solely in the content of music learning. Music learning has been differentiated by the assumed outcomes of a learning activity – learning music results in musical outcomes, learning though music results in extra-musical outcomes. Similarly, curriculum and pedagogy are commonly confused resulting in a reification of learning and the elevation of the status of the learning content and separation of content and form. This manifests in both educational practice and research that is based on the assumption that emotional content is universal and inherent in the object of music and is transferred to the learner as a result of engagement with a curriculum that is often confusingly described as a pedagogy. This chapter critiques the notion that emotional development occurs as a result of engagement with emotional content embedded within music, and suggests that it is not the type of music or musical activity that is learnt, rather it is the way that music is learnt that gives rise to emotional development. Furthermore, the chapter asserts that the separation of musical outcomes and extra-musical outcomes through describing music education practices as either learning music or learning through music reinforces the notion that emotion is inherent in music and puts forward the argument that musical and emotional development are symbiotic and rise from the same learning processes.

Learning is a process that has content (curriculum) and form (pedagogy) however it is a common assumption that the links between musical, emotional, and social development lie solely in the content of music learning. Curriculum and pedagogy are commonly confused resulting in the elevation of the status of the learning content and the separation of content and form. This manifests in educational practice and research that is based on the assumption that emotional content is universal and inherent in the object of music, and learners are transformed as a result of musical content alone. This paper critiques the notion that social and emotional development occur as a result of engagement with emotional content embedded within music, and suggests that it is not the type of music or musical activity that is learnt, rather it is the way that music is learnt that gives rise to emotional and social development. Pedagogy is unpicked in light of different learning theories that either engage ...

This research report presents the findings from the evaluation of a government funded Continuing Professional Development programme provided by Trinity Guildhall and The Open University in order to support the implementation of the government initiative to Widen Opportunities to whole class instrumental and vocal teaching (WCIVT).

This chapter explores the relationships between music, emotion and learning. Learning is a process that has content (curriculum) and form (pedagogy) however it is a common assumption that the links between musical development and emotional development lie solely in the content of music learning. Music learning has been differentiated by the assumed outcomes of a learning activity – learning music results in musical outcomes, learning though music results in extra-musical outcomes. Similarly, curriculum and pedagogy are commonly confused resulting in a reification of learning and the elevation of the status of the learning content and separation of content and form. This manifests in both educational practice and research that is based on the assumption that emotional content is universal and inherent in the object of music and is transferred to the learner as a result of engagement with a curriculum that is often confusingly described as a pedagogy. This chapter critiques the notion...

In recent years the UK government has acknowledged that preparing incarcerated people to reenter society is critical in providing them with an alternative to crime” (DfES/PLSU, 2003, p. 3). Crucial to this shift from non-treatment regimes to a desistance paradigm is the recognition of the complexity involved in confronting criminal identities and changing this identity in order to reduce reoffending (Maruna, 2000). Ultimately, through a desistance paradigm, the reentry process can be supported in moving towards successful resocialization into society (McNeill, 2004). The desistance process involves the development of attributes that allow inmates to realign their identity with society. Farrall and Calverley (2005) suggest that the concept of feeling normal and hopeful are important parts of change processes. Burnett and McNeill (2005) demonstrate that personal motivation is further enhanced by inmates’ relationships formed with professionals and personal supporters. The rise to mass...

The Learn As You Play scheme in Gloucestershire provides opportunities for adults to learn to play an instrument within an ensemble. Beginners can join a group and learn together developing both ensemble and instrumental skill whilst enjoying making music in a social environment. But how does it work? Jennie Henley explores the issues of the social context of learning through participation based on her own research into adult learning ensembles.

Approaches to incarceration vary widely across the globe. As described within and throughout this book, approaches to and definitions of community music also differ in intricate ways. This chapter examines music-making in prisons, specifically led by people coming into U.S. and U.K. prison contexts, suggesting new insights into the values, applications, and meanings of community music. Contrasting approaches toward imprisonment exist not only across the globe, but also within particular countries. In the United States, for example, a wide range of practices within the contexts of imprisonment occur such as incarceration rates, lengths of sentences, use of capital punishment, voting rights for incarcerated people, and quality of legal representation, to name a few. Life behind bars restricts inmates’ opportunities for self-expression. Research and practice in music-making in prisons is newly developing and suggests that community music approaches within prisons provides a means towar...

This article reports findings from a study that sought to identify barriers to music and music education in the UK. Emerging from empirical research involving n = 723 participants and clarified by an evidence base of over 10,000 research participants, the key findings presented in this paper relate to pupil and participant voice and involvement, location as a sub-theme of diversity and inclusion, collaboration and transition points. The research is contextualised by twenty years of policy initiatives seeking to address barriers to music learning. The article provides an overview of the research study before presenting the rich data that emerged within each theme reported. Research participant voice is used as much as possible to enable the reader to consider, reflect and interpret the data in a way that is meaningful for their own context. The paper concludes by asking why after 20 years of policy initiatives, research and evaluation the same barriers still exist and, as we emerge f...

Approaches to incarceration and community music vary widely. This chapter examines music-making in US and UK prison contexts, suggesting new insights into the values, applications, and meanings of community music. Contrasting approaches towards imprisonment exist not only across the globe, but also within particular countries. In the United States, a wide range of practices within the contexts of imprisonment occur, such as differences in incarceration rates between whites and people of color, sentence lengths, use of capital punishment, voting rights, and quality of legal representation. Inmates’ opportunities for self-expression are restricted. Research and practice in music-making in prisons suggest that community music approaches within prisons provide a means towards desistance, improved self-esteem, social support and a sense of accomplishment. Music-making within the complex power dynamics of prison contexts emphasizes the importance of the welcome and hospitality within our ...

This research report presents the findings of the evaluation of a large music partnership project funded by the Department for Children, Schools and Families. The project involved partnerships between performers, secondary and primary schools, and instrumental tutors to provide opportunities for children and young people to participate in creative ensembles. The project was headed up by the CBSO and involved four other music organisations. Each organisation led a cluster of one secondary school and three primary schools. CPD was embedded within the project in the form of training days and a practitioners creative ensemble.

This thesis is an examination of the learning processes employed by adults who learn to play an instrument within an ensemble. The alms of the research were threefold. Firstly, to discover how a person learns in a group and what the role of the socio-cultural environment is in learning. Secondly, to investigate the role that identity plays in learning and whether the students regard themselves as musicians. Finally, to explore the role of the performance in the musical learning process. The research has been carried out using case-study research and a four-year autoethnographic study. The theoretical framework is provided by literature from the fields of cultural psychology, music psychology and adult learning. Activity Theory has been used as the main analytical tool. The discussion firstly considers the learning process in order to construct an activity system of musical learning within an ensemble. Then, using this activity system, the motivational factors inherent in the learnin...

This technical report reports the findings of a literature review undertaken as part of the Cormenius funded European Music Portfolio - Maths project. It reviews literature concerned with music learning and maths learning and curricula, identifying synergies between the two fields of learning.

Drawing on three research projects undertaken in the UK, the US and Portugal, this chapter presents evidence that considers the relationships between music-making and development of both musical and positive learning identities, and in turn how music-making contributes to the rehabilitation of people in criminal justice settings. First and foremost, the interventions discussed provide musical experiences and opportunities for people within specific contexts who might not otherwise have access to arts education, so that they can explore their own musicianship. However, in light of recent work in criminology concerning the change processes that lead to desistance from crime (Weaver & McNeill, 2010), we also consider how personal and social development occur within musical learning, and explore the links between musical development and positive identity change. Within this, the role of creative work in inspiring ownership, confidence, and renewed self- perception will be discussed in r...

This chapter explores the way teaching music lends itself to the inclusive pedagogical approach in action framework, focusing on four key areas: working outside of ability groups, using what learners can do as their starting point, engaging in learning at their own level whilst contributing to a collaborative outcome and developing the whole creative child rather than just a skillset.

In this article, we present an overview and summary of the work undertaken by the Music and Social Intervention Network. Exploring the themes of ‘excellence’ and ‘inclusion’, we begin with a consideration of the four articles presented within this special issue and then proceed onto a reflection surrounding wider discussions prevalent at the public events held as part of the project. Following this, we outline five key discourses that emerged through the research process: value, context, measurement, process/product and pedagogy. These fields were then used to identify three underlying issues that affect the way the concepts of excellence and inclusion manifest. After proposing a common understanding of the terms under scrutiny, we suggest that the research points towards a reformation that reads: excellence is the process within community music and inclusion is the product of that process. Reflective questions pertaining to this idea are left open for further discussion.

Using theoretical concepts taken from the field of human geography to analyse the conflictual elements within music programmes, this paper presents new empirical research that unpacks the complex pedagogy employed by community musicians with the aim of beginning to address two recent criticisms of community music scholarship: a) community musicians only report positive outcomes and b) community musicians are not interested in scholarly analyses of their work.We begin with a review of literature presenting positive findings and discuss the methodological challenges of community music research. We introduce the key geographical concepts used to analyse the empirical data. After a presentation and discussion of facilitation pedagogy, we finish by suggesting that understanding the work of the community musician through geographical concepts provides a new way to analyse and theorize how a community music facilitator works, thus acknowledging the conflictual element of such work that is ...

This chapter explores the musical lives of adults who do not class themselves as musicians. A U.K. research study investigating the learning processes within an ensemble found that many adults who learned to play an instrument in an ensemble not only did not class themselves as musicians, but they actively used nonmusical identities to continue and deepen their engagement in adult music making. The chapter looks at the stories of some of the study’s participants. Musical opportunities in adulthood are considered and the socio-cultural environment of an ensemble is discussed through the lens of Cultural Historical Activity Theory (CHAT). The concept of possible selves as a motivator in learning is considered in relation to theoretical perspectives of musical identity. Then, the music lives of different adults are viewed through a framework of being a musician. Finally, ways are considered in which different possible selves and nonmusical identities drive music making.

Current inclusive pedagogical thinking advocates that learning should begin with what the learner can already do. As children bring rich musical experiences with them into school, primary generalist student teachers also bring rich experiences of music and music making into their initial teacher education programmes. Yet debate still continues as to whether primary generalists can teach music.

The research reported in this paper originated from the reflective practice of a primary generalist teacher educator. Through anecdotal evidence in her teaching, she found that the musical profiles of students undertaking a one-year postgraduate primary teacher education programme were changing. Younger students were beginning to discuss experiences of widening participation opportunities when reflecting on their own musical learning journeys. Moreover, the richness of musical experiences reported by the primary generalist student teachers each year was consistent. The current research resulted from a desire to document these experiences, and also to find a way to gather this information prior to the students starting their course in order to improve teaching; by finding out what the students could already do, teaching could be planned so as to practise and model effective inclusive pedagogy and use the allocated time for music in the best possible way.

The paper opens with a review of recent research, raising new research questions as a result of a potentially changing student musical profile. The integration of reflective practice and research to form a research methodology is discussed, and a theoretical framework of what is meant by musical is given. The initial findings of the research are presented and discussed; the paper closes with an overview of the next stages of the research project and the implications for initial teacher education are identified.

This paper discusses new empirical evidence for a positive relationship between musical learning and desistance from crime. On investigating the learning processes occurring within a Javanese gamelan project in a young offender's institution, parallels between musical learning processes and the development of certain attributes linked to desistance from crime emerged. The desistance paradigm centres on changing a criminal identity through the development of social and personal attributes, which resonate with recent research on the transformative effects of music and how musical identity can be changed positively through active and successful music-making. The research was carried out in a UK Young Offender's Institution involving 19 young people between the ages of 18 and 24 over a period of eight weeks. Participant observation was used as the main research tool. This paper presents two participant stories to illustrate the personal development and the social development that can be gained as a result of the project. These are discussed in the context of successful musical learning and the suggestion is made that musical learning and developing the attributes essential for inspiring desistance from crime arise from shared learning processes.

Good Vibrations is a charity that runs gamelan projects with offenders in prison and on probation. A recent Birmingham City University study investigating the short-, medium- and long-term impact of the project found that participation in a Good Vibrations project acted as a catalyst for positive change. The research found that not only did participants feel more able to communicate with other offenders within the project, they found confidence in their own voice so as to continue to develop their communication and coping skills within prison and as ex-offenders in the community. Furthermore, the project contributed to the development of anger management skills and provided an outlet for self-expression leading to a feeling of ‘being normal’. This article presents the findings of the study, and considers why Good Vibrations inspires positive change. Using a three-dimensional model of Activity Theory, the concept of learning through social music-making is explored in terms of how the individual interacts with the social environment in order to develop skills and how participation in a musical learning activity can lead to a positive change of identity.

This paper draws on three different research projects to demonstrate the use of an expanded model of Cultural Historical Activity Theory (CHAT), developed as part of a doctoral research study (Henley, 2009). The first project is an evaluation of the impacts of a Music Partnership Project within Primary and Secondary Schools. The second project is an evaluation of the Good Vibrations Javanese Gamelan project in male and female prisons. The third project is an exploration of the learning processes within a Good Vibrations Javanese Gamelan Project in a young offenders’ institution. CHAT provides a lens for analysing activity, placing the interactions between the individual, individual cognition and the socio-cultural environment at the heart of the analytical framework. Although a useful way of looking at activity in order to understand the individual and social processes occurring in a learning activity, criticisms of CHAT include the rigidity of the unit of analysis, its inability to view progression and transformation and the focus on one individual without taking into account the labour power that a group offers (Daniels and Warmington, 2007). 
This paper focuses on how CHAT has been developed in response to these criticisms and subsequently used in the three different projects. Firstly, the two-dimensional activity system model of CHAT is explored and its application to music education considered. Criticisms of the activity system and how using the twodimensional activity system in a doctoral research project led to the expansion of the model are discussed. The three research projects are introduced and the application of the new model to these projects is demonstrated. Finally, the usefulness of the new model as an analytical tool is considered.

This paper discusses new empirical evidence for a positive relationship between musical learning and desistance from crime. On investigating the learning processes occurring within a Javanese gamelan project in a young offender's institution, parallels between musical learning processes and the development of certain attributes linked to desistance from crime emerged. The desistance paradigm centres on changing a criminal identity through the development of social and personal attributes, which resonate with recent research on the transformative effects of music and how musical identity can be changed positively through active and successful music-making. The research was carried out in a UK Young Offender's Institution involving 19 young people between the ages of 18 and 24 over a period of eight weeks. Participant observation was used as the main research tool. This paper presents two participant stories to illustrate the personal development and the social development that can be gained as a result of the project. These are discussed in the context of successful musical learning and the suggestion is made that musical learning and developing the attributes essential for inspiring desistance from crime arise from shared learning processes.

This paper draws on three different research projects to demonstrate the use of an expanded model of Cultural Historical Activity Theory (CHAT), developed as part of a doctoral research study (Henley, 2009). The first project is an evaluation of the impacts of a Music Partnership Project within Primary and Secondary Schools. The second project is an evaluation of the Good Vibrations Javanese Gamelan project in male and female prisons. The third project is an exploration of the learning processes within a Good Vibrations Javanese Gamelan Project in a young offenders’ institution. CHAT provides a lens for analysing activity, placing the interactions between the individual, individual cognition and the socio-cultural environment at the heart of the analytical framework. Although a useful way of looking at activity in order to understand the individual and social processes occurring in a learning activity, criticisms of CHAT include the rigidity of the unit of analysis, its inability to view progression and transformation and the focus on one individual without taking into account the labour power that a group offers (Daniels and Warmington, 2007). This paper focuses on how CHAT has been developed in response to these criticisms and subsequently used in the three different projects. Firstly, the two-dimensional activity system model of CHAT is explored and its application to music education considered. Criticisms of the activity system and how using the twodimensional activity system in a doctoral research project led to the expansion of the model are discussed. The three research projects are introduced and the application of the new model to these projects is demonstrated. Finally, the usefulness of the new model as an analytical tool is considered.

This paper discusses new empirical evidence for a positive relationship between musical learning and desistance from crime. On investigating the learning processes occurring within a Javanese gamelan project in a young offender's institution, parallels between musical learning processes and the development of certain attributes linked to desistance from crime emerged. The desistance paradigm centres on changing a criminal identity through the development of social and personal attributes, which resonate with recent research on the transformative effects of music and how musical identity can be changed positively through active and successful music-making. The research was carried out in a UK Young Offender's Institution involving 19 young people between the ages of 18 and 24 over a period of eight weeks. Participant observation was used as the main research tool. This paper presents two participant stories to illustrate the personal development and the social development that can be gained as a result of the project. These are discussed in the context of successful musical learning and the suggestion is made that musical learning and developing the attributes essential for inspiring desistance from crime arise from shared learning processes.

Abstract Good Vibrations is a charity that runs gamelan projects with offenders in prison and on probation. A recent Birmingham City University study investigating the short-, medium-and long-term impact of the project found that participation in a Good Vibrations project acted as a catalyst for positive change. The research found that not only did participants feel more able to communicate with other offenders within the project, they found confidence in their own voice so as to continue to develop their communication and coping skills within ...