Drawing on three research projects undertaken in the UK, the US and Portugal, this chapter presen... more 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 relation to developing personal attributes and individual agency. We explore how preparing and performing contributes to the development of social skills. Finally, we suggest that there is a case to be made for providing musical activities within criminal justice settings that foster musical development as well as support positive identity change.
This chapter explores the way music lends itself to the IPAA framework, focusing on four key area... more 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.
Musical creativity has been scrutinised from a variety of perspectives (See Burnard, 2012), howev... more Musical creativity has been scrutinised from a variety of perspectives (See Burnard, 2012), however, research into the creation of the song itself remains limited (Bennett, 2013). This chapter presents research that explores the creative process of songwriting. Two contrasting perspectives are considered; a professional songwriting team and a student songwriting team, both working to the same real-world brief. Key findings reveal that both teams worked in a similar way in terms of the procedure of songwriting, however, there were great differences in the way that each team searched for and selected ideas, and evaluated the emerging song. We question why these differences occurred, offering a discussion of the context and role of songwriting in the curriculum in relation to the growing trend placing entrepreneurialism and creativity at the centre of Higher Education (HE) agendas (Odena & Welch, 2013).
This symposium posed three questions: • What might we see when we think of music making as leisur... more 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 proces... more 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 as... more 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 ... more 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).
The Routledge Companion to Music, Mind and Well-Being, 2018
This chapter explores the relationships between music, emotion and learning. Learning is a proces... more 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 ... more 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 pla... more 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... more 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 ed... more 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 i... more 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 ...
Jennie Henley explores her learning processes through learning Javanese Gamelan and considers the... more Jennie Henley explores her learning processes through learning Javanese Gamelan and considers the impact that this has had on her own instrumental teaching
This research report presents the findings of the evaluation of a large music partnership project... more 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.
Drawing on three research projects undertaken in the UK, the US and Portugal, this chapter presen... more 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 relation to developing personal attributes and individual agency. We explore how preparing and performing contributes to the development of social skills. Finally, we suggest that there is a case to be made for providing musical activities within criminal justice settings that foster musical development as well as support positive identity change.
This chapter explores the way music lends itself to the IPAA framework, focusing on four key area... more 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.
Musical creativity has been scrutinised from a variety of perspectives (See Burnard, 2012), howev... more Musical creativity has been scrutinised from a variety of perspectives (See Burnard, 2012), however, research into the creation of the song itself remains limited (Bennett, 2013). This chapter presents research that explores the creative process of songwriting. Two contrasting perspectives are considered; a professional songwriting team and a student songwriting team, both working to the same real-world brief. Key findings reveal that both teams worked in a similar way in terms of the procedure of songwriting, however, there were great differences in the way that each team searched for and selected ideas, and evaluated the emerging song. We question why these differences occurred, offering a discussion of the context and role of songwriting in the curriculum in relation to the growing trend placing entrepreneurialism and creativity at the centre of Higher Education (HE) agendas (Odena & Welch, 2013).
This symposium posed three questions: • What might we see when we think of music making as leisur... more 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 proces... more 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 as... more 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 ... more 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).
The Routledge Companion to Music, Mind and Well-Being, 2018
This chapter explores the relationships between music, emotion and learning. Learning is a proces... more 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 ... more 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 pla... more 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... more 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 ed... more 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 i... more 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 ...
Jennie Henley explores her learning processes through learning Javanese Gamelan and considers the... more Jennie Henley explores her learning processes through learning Javanese Gamelan and considers the impact that this has had on her own instrumental teaching
This research report presents the findings of the evaluation of a large music partnership project... more 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 i... more 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 Corme... more 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.
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Books by Jennie Henley
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.
Papers by Jennie Henley
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.