Conference Agenda
| Session | ||
29 SES 06 B: Music education (II)
Paper Session | ||
| Presentations | ||
29. Research on Arts Education
Paper Beyond Elitism: Dialogic Music Gatherings and the Democratization of Classical Music 1: University of Barcelona, Spain; 2: University Rovira i Virgili; 3: University of the Basque Country Presenting Author:Classical music has often been socially constructed as an elite cultural practice, strongly associated with higher social classes, educational attainment, and symbolic distinction. Sociological theories such as Pierre Bourdieu’s concept of distinction have contributed to the idea that musical taste is determined by social class and transmitted through family and educational background (Bourdieu, 1987). This representation has been shown to discourage individuals from socially vulnerable or working-class contexts from engaging with classical music, limiting their access to a significant part of humanity’s cultural heritage (Sarasúa et al., 2016; Vandenberg et al., 2020). While previous research has documented these inequalities, there remains a gap in the literature regarding which concrete actions effectively overcome them (Wang, 2017). This study explores the potential of Dialogic Music Gatherings (DMG) to democratize access to classical music and challenge class-based barriers to musical taste. DMGs are a Successful Educational Action grounded in dialogic learning, where participants from diverse backgrounds gather to listen to and engage in egalitarian dialogue about universally valued classical music compositions. In these gatherings, musical knowledge is not a prerequisite; instead, all contributions are valued based on personal interpretation, emotional response, and argumentation (Chaib, 2006; Vivancos, 2003). The research was conducted in two contrasting adult education contexts: one located in a professional music conservatory with participants holding higher education degrees, and another in an adult school situated in a working-class neighborhood where participants had no university education. Using Communicative Methodology, nine semi-structured interviews were conducted to explore participants’ perceptions of classical music before and after attending DMGs, as well as the broader personal and social impacts of their participation. Results indicate that, prior to attending DMGs, some participants (particularly those from vulnerable contexts) perceived classical music as elitist, inaccessible, or “not for them,” often due to lack of exposure, social barriers, or internalized stigma related to educational background. However, participants from both contexts reported significant changes after engaging in DMGs. These included an increased appreciation for classical music, the discovery of new musical dimensions, and a greater sense of confidence in expressing personal interpretations regardless of formal knowledge. Beyond musical taste, participants reported additional benefits such as empowerment, emotional well-being, friendship, and a sense of belonging. DMGs fostered spaces of egalitarian dialogue that counteracted expert-driven or hierarchical interactions, allowing participants to construct meaning collectively. Musical learning occurred indirectly, as participants autonomously sought information about composers and works, while emotional engagement and shared reflection remained central. Overall, the findings suggest that Dialogic Music Gatherings effectively challenged reproductionist theories of cultural consumption by demonstrating that engagement with classical music is not determined by social class, but by meaningful social interaction and dialogic processes in the studied contexts (Savage & Gayo, 2011; Haynes & Nowak, 2021). DMGs emerged as a powerful tool for reducing cultural inequalities and promoting inclusive access to classical music as part of humanity’s shared cultural patrimony. Methodology, Methods, Research Instruments or Sources Used This study follows the Communicative Methodology (CM), a research approach characterized by egalitarian dialogue between researchers and participants and a focus on actions that have demonstrated effectiveness in overcoming social inequalities (Gómez et al., 2012). CM emphasizes the co-construction of knowledge by integrating scientific evidence with participants’ lived experiences, contributing to social and political impact. The research focused on Dialogic Music Gatherings implemented in two adult education contexts with contrasting socioeconomic characteristics. The first setting (DMG A) took place in a professional music conservatory, where participants—parents, caregivers, and grandparents attending while children received music lessons—had higher education levels. The second setting (DMG B) was located in an adult education school in a working-class neighborhood, where participants had no higher education and reported limited prior access to classical music. Nine semi-structured interviews were conducted with participants from both settings (seven from DMG A and two from DMG B). Interviews followed a communicative approach, in which the researcher contributed scientific knowledge while participants shared reflections grounded in their lifeworlds. This dialogic interaction aimed to break traditional hierarchies between researcher and researched (Gómez et al., 2006). Interview questions explored participants’ perceptions of classical music prior to attending DMGs, changes experienced after participation, and perceived benefits beyond musical appreciation. Interviews were audio-recorded, fully transcribed, and analyzed using a thematic and temporal systematization. Analysis considered participants’ initial perceptions, transformative experiences, and outcomes associated with DMG participation. Ethical approval was obtained from the Research Ethics Committee of Aragon (CEICA). Participants received detailed information about the study’s aims, data handling, anonymity, and their right to withdraw at any time. Written informed consent was obtained prior to data collection. Conclusions, Expected Outcomes or Findings The findings of this study challenged deterministic theories that link musical taste exclusively to social class or educational background (Bourdieu, 1987). Across two highly contrasting contexts, participation in Dialogic Music Gatherings led to increased appreciation of classical music, discovery of new musical dimensions, and more positive valuations of this genre among all participants. For individuals from vulnerable backgrounds, DMGs played a key role in dismantling internalized barriers and elitist representations of classical music. Participants who previously perceived this music as inaccessible or “not for them” developed confidence, empowerment, and a strong belief that classical music belongs to everyone. Importantly, these changes occurred without requiring formal musical training, reaffirming the centrality of egalitarian dialogue and shared meaning-making. Musical learning emerged as an indirect yet significant outcome, as participants autonomously sought information about composers and works. However, knowledge accumulation did not function as a mechanism of exclusion; rather, all voices were equally valued regardless of expertise. This dialogic environment fostered enjoyment, emotional engagement, and sustained participation. Beyond music, DMGs contributed to improved well-being, social bonding, friendship, and a sense of belonging, particularly relevant for older adults and individuals from disadvantaged contexts (León-Jiménez, 2020; Idczak-Paceś et al., 2021). These findings align with previous evidence on Successful Educational Actions and extend it to the field of classical music engagement. Despite limitations related to sample size and data collection methods, the study provides robust qualitative evidence that Dialogic Music Gatherings were an effective, transferable practice for democratizing access to classical music and overcoming cultural inequalities in the studied contrasting contexts. DMGs reaffirmed classical music as a shared human heritage, accessible to all who wish to engage with it. References Bourdieu, P. (1987). Distinction: A social critique of the judgement of taste. Harvard University Press. Chaib, D. (2006). El aprendizaje dialógico y una nueva dimensión instrumental: La tertulia musical. Idea Sostenible, 13. Cotter, K. N., Prince, A. N., Christensen, A. P., & Silvia, P. J. (2019). Feeling like crying when listening to music: Exploring musical and contextual features. Empirical Studies of the Arts, 37(2), 119–137. https://doi.org/10.1177/0276237418805692 Egermann, H., Sutherland, M. E., Grewe, O., Nagel, F., Kopiez, R., & Altenmüller, E. (2011). Does music listening in a social context alter experience? A physiological and psychological perspective on emotion. Musicae Scientiae, 15(3), 307–323. https://doi.org/10.1177/1029864911399497 Gómez, A., Siles, G., & Tejedor, M. (2012). Contributing to social transformation through communicative research methodology. Qualitative Research in Education, 1(1), 36–57. https://hipatiapress.com/hpjournals/index.php/qre/article/view/286/282 Gómez, J., Latorre, A., Sánchez, M., & Flecha, R. (2006). Metodología comunicativa crítica. Hipatia Press. Haynes, J., & Nowak, R. (2021). We were never cool: Investigating knowledge production and discourses of cool in the sociology of music. The British Journal of Sociology. https://doi.org/10.1111/1468-4446.12829 Idczak-Paceś, E., Kabat, A., Krzywik, A., & Nowakowska, I. (2021). Depressive symptoms in elderly people participating in University of the Third Age and residents of nursing homes: The role of optimism and acceptance of passing. Research on Ageing and Social Policy. https://hipatiapress.com/hpjournals/index.php/rasp/article/view/5782/3348 León-Jiménez, S. (2020). “This brings you to life”: The impact of friendship on health and well-being in old age: The case of La Verneda Learning Community. Research on Ageing and Social Policy, 8(2), 192–215. https://hipatiapress.com/hpjournals/index.php/rasp/article/view/5538/3162 Sarasúa, Á., Melenhorst, M., Julià, C. F., & Gómez, E. (2016). Becoming the maestro: A game to enhance curiosity for classical music. In Proceedings of the 2016 8th International Conference on Games and Virtual Worlds for Serious Applications (VS-Games). IEEE. Savage, M., & Gayo, M. (2011). Unravelling the omnivore: A field analysis of contemporary musical taste in the United Kingdom. Poetics, 39(5), 337–357. https://doi.org/10.1016/j.poetic.2011.07.001 Vandenberg, F., Berghman, M., & van Eijck, K. (2020). ‘Wear clogs and just act normal’: Defining collectivity in Dutch domestic music concerts. Cultural Sociology. https://doi.org/10.1177/1749975520961618 Vivancos, J. (2003). Les tertúlies musicals dialògiques. Papers d’Educació de Persones Adultes, 42, 15–17. Wang, J. (2017). How classical music is embedded in a cultural public sphere? Revista Música Hodie, 17(2), 112–120. https://doi.org/10.5216/mh.v17i2.46860 29. Research on Arts Education
Paper Place-Based Representation of Local Musical Heritage in Primary School Music Education: A Comparative Multiple Case Study from Rural Regions of Türkiye Yıldız Technical University, Turkey (Türkiye) Presenting Author:
This study examines the representation of local musical cultural elements in primary school music education across rural regions of Türkiye, utilizing the combined perspectives of place-based learning and cultural sustainability. Within the broader field of sustainability education, cultural sustainability has emerged as a critical dimension, complementing environmental and social sustainability. Place-based learning emphasizes leveraging local environments, community knowledge, and regional cultural resources as meaningful contexts for learning, thereby strengthening learners’ connections to their immediate surroundings and lived experiences.
Primary school music education serves as a particularly effective setting for implementing place-based approaches, as musical traditions are deeply rooted in local histories, community practices, and regional identities. However, international research indicates that standardized curricula often marginalize locally situated cultural knowledge, resulting in limited representation of regional artistic traditions in formal education. This challenge is especially pronounced in rural and peripheral educational settings, where rich musical heritage exists alongside constraints such as limited resources, restricted professional development opportunities, and centralized curriculum structures.
The present study seeks to investigate how regional musical cultures are incorporated into music lessons in rural primary schools in Southeastern Anatolia, the Black Sea region, and Central Anatolia. Each region is treated as a distinct case, allowing for in-depth contextual analysis and cross-regional comparison.
The main research question guiding this study is:
How are local musical cultural elements represented in primary school music education within a place-based learning framework in rural regions of Türkiye? The study further addresses the following sub-questions: 1. What types of local musical elements are included in music lessons, and how are they pedagogically framed? 2.How do representation patterns differ across regions and local contexts? 3.What institutional, curricular, and contextual factors facilitate or constrainthe place-based integration of local musical heritage? 4.How do teachers evaluate the pedagogical value of place-based music teaching practices? 5. To what extent do curricula, textbooks, and lesson plans support systematic and sustainable place-based cultural transmission? The theoretical framework combines cultural sustainability, place-based education, and culturally responsive pedagogy. Cultural sustainability regards local musical heritage as intangible cultural resources requiring intergenerational transmission. Place-based education promotes learning rooted in local environments and community knowledge, while culturally responsive pedagogy highlights teachers' role in fostering culturally meaningful learning experiences. By focusing on rural settings and local musical traditions, this study aims to contribute to international discourses on sustainability education by illustrating how place-based pedagogies can support cultural continuity within formal schooling. The findings are expected to offer transferable insights for sustainability-oriented curriculum development and culturally grounded music education practices. Methodology, Methods, Research Instruments or Sources Used This study will employ a qualitative, comparative, multiple case study design (Yin, 2018). Each selected region-Southeastern Anatolia, the Black Sea region, and Central Anatolia-will be treated as a distinct case, representing diverse geographical, cultural, and educational contexts. The aim of the research is analytic rather than statistical generalization, with a focus on generating transferable insights applicable to similar rural and peripheral educational settings. Participants: Participants will consist of primary school teachers responsible for delivering music lessons in rural public schools. Criterion-based purposive sampling will be used. The inclusion criteria are as follows: (a) teaching in a rural or peripheral primary school, and (b) actively conducting music lessons. Both classroom teachers and specialist music teachers will be included to capture variation in instructional practices. Multiple participants from each region will be recruited to ensure comparative depth. Data Collection: Data will be collected from two primary sources. First, semi-structured teacher interviews will be conducted to investigate place-based instructional practices, the use of local musical resources, perceived pedagogical value, and implementation challenges. Interviews will be conducted online, audio-recorded with informed consent, and transcribed verbatim. Second, document analysis will be performed on national music curricula, textbooks, and lesson plans provided by teachers. These materials will be examined to determine how local musical culture is represented and whether place-based learning principles are explicitly supported at the programmatic level. Data Analysis: Data will be analyzed using thematic analysis (Braun & Clarke, 2021). A coding matrix will guide the analysis, encompassing dimensions such as type of musical element, mode of representation, pedagogical function, planning level, continuity, use of local resources, and alignment with place-based learning principles. Within-case analyses will be conducted initially, followed by cross-case comparisons. Data triangulation will be employed to enhance the credibility of the findings. Conclusions, Expected Outcomes or Findings This study is expected to demonstrate that local musical cultural elements are present in primary school music education, yet are often incorporated in fragmented and unsystematic ways. It is anticipated that place-based music teaching practices will largely depend on individual teacher initiative rather than structured curricular guidance. Cross-regional comparisons are likely to reveal both shared challenges and region-specific patterns. Variations in institutional support, access to local cultural resources, and teacher preparation may influence the implementation of place-based approaches across rural contexts. From a sustainability education perspective, the findings are expected to underscore the importance of embedding cultural sustainability within formal education through place-based pedagogies. Strengthening curricular alignment and teacher professional development may be identified as key factors for ensuring the sustainable transmission of local musical heritage. Pedagogically, the study is expected to provide practical implications for teacher education and curriculum design by identifying strategies that support culturally grounded and locally responsive music teaching. More broadly, this research aims to contribute to international discussions on how education systems can integrate local knowledge into standardized curricula without compromising contextual authenticity. References Braun, V., & Clarke, V. (2021). Thematic analysis: A practical guide. Yin, R. K. (2018). Case study research and applications (Vol. 6). Thousand Oaks, CA: Sage. 29. Research on Arts Education
Paper Teachers’ Conceptions of Knowledge in the Changing Educational Landscape in Higher Music Education 1: University of the Arts Helsinki, Finland; 2: Tampere University, Finland; 3: University of Jyväskylä, Finland Presenting Author:This study examines knowledge and knowers, here students, in higher music education. In recent years, the professional landscape of artists has undergone transformation, prompting critical questions for higher education. It has been argued that traditional knowledge in music education is not sufficient for future society (Gaunt & Westerlund, 2021; López-Íñiguez & Bennett, 2020), since the future of classical musicians is uncertain, and employment conditions are changing (Moberg & Georgii-Hemming, 2019). Additionally, the pressure toward academization has increased questions about knowledge and knowledge practices in higher music education, particularly in the European context (Johansson & Georgii-Hemming, 2021). Therefore, higher music education institutions are required to redefine their curriculum to support students in responding to societal changes (Gaunt & Westerlund, 2021). The aim of this study is to explore the question of knowledge and knowers from the perspective of teachers in higher music education, for which a university-wide curriculum reform in a Finnish higher education institution provided an excellent opportunity. Knowledge of music is often differentiated into theory and craft or technique (e.g., McPhail 2022). Futhermore, knowledge in the arts has been claimed to be embodied, encultured, embedded (Orr & Shreeve 2018, 35) and where knowers as individuals count. Knowledge is intertwined with individuals and their bodies (Orr & Shreeve, 2018; Georgii-Hemming, 2013), communities, networks, objects (Orr & Shreeve, 2018) and with tools and materials (Addison, 2014; Sennett, 2008). Knowledge is constructed in artistic processes in which communication with others is often non-verbal (Anttila 2010, 167; Rouhiainen 2010, 78). However, there is scant research on what qualities and knowledge making practices make a student a legitimate knower in the contemporary higher music education. Therefore, in this study we focus on the teachers' perceptions of students as knowers in the context of university education. The research questions are:
The theoretical and methodological framework in the study is based on Karl Maton’s (2014) Legitimation Code Theory (LCT) that offers a multidimensional conceptual toolkit for analysing knowledge claims, knowledge-building practices, and the legitimacy of knowers. This places the study within the framework of social realism. LCT has its foundation on Bernstein’s (2000) theory of knowledge structures, where knowledge is classified as either hierarchical or horizontal. In the arts, knowledge is claimed to be horizontally structured. Even so, Maton (2024) says that knowledge structures oversimplify certain fields, such as the arts, and suggested focusing on knowers. Methodology, Methods, Research Instruments or Sources Used This sub-study is part of larger data collection and is a part of doctoral research concentrating on higher music education, mainly classical music. The data for this qualitative study are drawn from ten (N= 10) semi-structured interviews. The rationale for selecting interview as data collection method relies on the claims that curriculum making is based on process where knowledge practices are negotiated in the academic community (see e.g., Annala, 2022; Bovill & Woolmer, 2019). The criteria for interviewees were a position of professor, lecturer or program leader, and they had to be an active member in the curriculum renewal process. The interviews lasted 57–99 minutes and they were recorded, transcribed, and the data were encoded using the Atlas.ti software. For coding we used translation device (Maton & Chen, 2015) that we designed for the study. In the analysis, we employed social plane of LCT (Maton 2014), which is an analytical tool to explore knower attributes and way of knowing. Social plane provides dimensions to study strengths of two kinds of social relations: subjective relations (SubR±) emphasis on who they are as knowers and interactional relations (IR±) emphasising how they know (Maton 2014). When the dimensions are combined, they form a four quadrant model that generates four types of gazes: born, social, cultivated and trained gaze. In the analysis, the coded data were placed within this quadrant model of gazes, known as the social plane. Conclusions, Expected Outcomes or Findings The analysis of the data is ready but writing the results and conclusions are in progress. Nonetheless, the results reveal the academization of higher music education and the generic working life demands challenge the traditional knowledge structures, way of knowing and conceptions of an ideal knower. Solutions to the situation are sought by focusing on the (new) qualities of potential knowers in entrance examinations or making some small changes in cultivating them into the field. Even though, the notion of an ideal knower is relatively clear. Furthermore, teachers’ perceptions of knowledge and their necessity in higher music education varied revealing different conceptions of what knowledge should be in higher music education curricula. The results of the study are valuable for curriculum reforms and development processes in higher music education in a changing context. Furthermore, the study contributes to the debate on what makes education ‘highest’ within the field of music. References Key references Angelo, E. (2019) Notions of Mandate, Knowledge and Research in Norwegian Classical Music Performance Studies. Journal for Research in Arts and Sports Education, 3(1), 78-100. Annala, J. (2022) Disciplinary knowledge practices and powerful knowledge: a study on knowledge and curriculum structures in regions, Teaching in Higher Education, 27:8, 1084-1102. Bernstein, B. (2000). Pedagogy, Symbolic Control and Identity: Theory, Research, Critique. Revised edition. Roman & Littlefield. Carroll, C. (2019). ‘Illiterate’ musicians: An historic review of curriculum and practice for student popular musicians in Australian senior secondary classrooms. British Journal of Music Education, 36(2), 155–171. Gaunt, H. & Westerlund, H. (2021). Invitation. In H. Westerlund, & H. Gaunt (Eds.), (2021). Expanding Professionalism in Music and Higher Music Education: A Changing Game (pp. xiii-xxxiii Routledge. Georgii-Hemming, E. (2013). Music as Knowledge in an Educational Context. In E. Georgii-Hemming, P. Burnard, & S.-E. Holgersen (Eds.), Professional Knowledge in Music Teacher Education. Routledge. Johansson, K., & Georgii-Hemming, E. (2021). Processes of academisation in higher music education: The case of Sweden. British Journal of Music Education, 38(2), 173–186. Maton, K. (2014). Knowledge and knowers: Towards a realist sociology of education. Routledge. Maton, C. & Chen, R. (2015). LCT in qualitative research. Creating a translation device for studying constructivist pedagogy. In K. Maton, S. Hood, & S. Shay (Eds.), (2015). Knowledge-building: Educational studies in Legitimation Code Theory. Routledge. McPhail, G. (2022). Knowledge and Music Education: A social realist account. Routledge. Orr, S. & Shreeve, A. (2018). Art and Design Pedagogy in Higher Education: Knowledge, Values and Ambiguity in the Creative Curriculum. Routledge. | ||