Open Journals @ Queen's
Not a member yet
8110 research outputs found
Sort by
Editor’s Introduction: What Does Surveillance Literature Offer Us?
No full textThis article serves as the editor’s introduction to the Surveillance & Society special issue on “Surveillance and Literature.” It offers a synopsis of important developments in the relationship between literary studies and surveillance studies, with an emphasis on the years since surveillance studies’ late-2000s “cultural turn” (Monahan 2011). These developments include the broadening of the category of surveillance art to include literature and other media that are not primarily visual; the deeply-felt influence of scholars of race in general, and Blackness in particular, on both surveillance and literary studies; and a reckoning with “surveillance capitalism” (Zuboff 2019) as an holistic framework for grasping the forces structuring contemporary surveillance. The article surveys recent work in literary surveillance studies and the essays in the issue, highlighting a shared focus on the affordances of literary work. These affordances include: understanding and responding to historical and contemporary surveillance practices, delineating forms of relationship among the watcher, the watched, and the powers that authorize surveillance, exploring the sensorium made available through narratives of surveillance, narrating resistance under surveillance regimes, and examining the various political projects mobilized by surveillance literature. The introduction maps out the issue’s expansive historical and geographic coverage and indicates how the issue’s authors take up some of surveillance studies’ key concepts. It concludes by gesturing to future directions for literary and surveillance scholars, and to the project of excavating modes of futurity imagined by literary surveillance narratives
Narratives, Territories, Objects: New Approaches to Latin American Music Culture and Education
No full textThis paper studies the bases on which culture is constructed and transmitted, proposing new readings of the relationships between subjects, communities, and territories, with special scope for music education. To this end, it proposes a model that articulates substantive and adjective dimensions of culture, relating narratives, processes, and socio-historical contexts. It uses documentary analysis as a methodological basis, incorporating theoretical references from sociology, philosophy, cultural studies, and music education. The model brings new perspectives to the study of conceptions of culture, cultural difference and music education in teaching policies and practices, subjects, and their communities
Philosophy in Music Education: In Search of Clarification
No full textThe purpose of this poster presentation is to promote an exploration of beliefs in music education by comparing the philosophical arguments of two prominent Latin American scholars, Luis Jorge Zanotti (1928–1991) and Paulo Freire (1921–1997). Scholars have commented on the need for music education reforms (Brook & Frega, 2023; Frega, 2022; Gijon-Puera & Harrison, 2022; Regelski, 2006). These reforms, particularly in Latin America, are all the more urgent as educational systems are strained in the post-COVID-19 era, alongside the financial crisis and the currently unstable and changing world shaped by wars and AI expansion. Before we change methodologies, it is important to understand the beliefs that underpin music education. Moreover, as ISME celebrates its 70th anniversary, a philosophical reflection on music education would also allow us to systematically reflect on the values underpinning our task of music education.
Throughout the twentieth century, Freire dominated the thinking of people across all general education domains, not only in his homeland of Brazil, but also in Latin American countries. His term “educación bancaria” (i.e., learning by memory) became a kind of rationale motto. However, his contemporary educationalist Zanotti, who espoused “la ciudad educativa” (the educative city, a holistic teaching/learning approach), has not been taken up in the same way, despite sharing similar ideas. Why are one scholar’s ideas taken up more than those of another scholar who makes similar claims?
One reason could be that the work of educationalists is undervalued. Perhaps we value “being in the trenches” as an ideological position more than objectively examine the values underlying educational proposals. However, at a time when we need to explore why we teach what we do—especially basic/general/compulsory music education—relying on educationalists has merit.
Educational philosophy can address the question of what the craft of music education expects from philosophy. How can we use words and ideas to build and refine practices that inevitably exceed what we can say about them? If talk about music instruction can never fully anticipate the needs of each student in diverse and changing circumstances, then how can philosophical inquiry make things better? The fact that these questions do not have definitive answers does not diminish the importance of asking them.
This poster proposal intends to promote a comparison of some of the ideas of Freire and Zanotti as an exercise aimed at preventing philosophical thinking from becoming ideology
The Eyes Have It: Instrument Specialization and Teaching Experiences Reflected in Attention Allocation
No full textThe ability to identify important elements in complex environments develops as a result of lived experiences and the refinement of observational patterns over time. Through practice, experts have learned to organize information efficiently, allowing them to make predictions and direct attention to stimuli that are relevant to the accomplishment of goals. Nonexperts allocate attention differently than experts do and are often unable to discriminate among relevant and irrelevant stimulus elements.
Patterns of gaze behavior reflect levels of cognitive processing, and researchers who have analyzed gaze behavior in multiple domains of human activity have identified features of visual and cognitive attention that are not readily accessible through behavioral observation or reflective first-person narratives. For example, experts tend to fixate relevant targets in stimuli that change over time for longer durations than they fixate relevant stimuli in static images. These findings are consistently observed in expert radiologists, chess players, and pilots, all of whom routinely solve domain-specific challenges.
Research in music education has shown that expert music teachers also fixate targets that are directly relevant to the accomplishment of instructional goals (Marcum, 2017). Hicken and Duke (2023) examined the gaze behavior of expert and novice music teachers who watched videos of musicians and performers in other domains and found that attentional differences were related to participants’ experience and expertise. The current study extends the work of Hicken and Duke by examining how musicians with different musical backgrounds (in terms of years of experience and areas of specialization) attend to images of various musicians engaged in performance.
Undergraduate, graduate, and faculty musicians completed the study individually in 20- minute observation sessions. Participants were fitted with Pupil Labs eye-tracking glasses and viewed a pseudo-randomized slideshow containing still imagery of professional musicians playing a variety of instruments. We analyzed participants’ fixation locations and their respective domain significance, fixation durations, and scan paths. We propose that musicians’ gaze behavior is indicative of patterns of perception gained via domain- and instrument-specific experiences that lead to attention allocation that facilitates the accomplishment of instructional and performance goals.
Enhancing what has been learned from behavioral observation and self-report, analyses of gaze behavior in music reveal underlying sensory perceptions that drive decision-making and that characterize expert behavior. Data collection is complete and our analyses are ongoing
Assessment in Chinese General Music Education: Teachers’ Practices and Perceptions
No full textThe purpose of this study is to survey assessment practices currently used by Chinese primary and middle school music teachers working in one of China’s largest municipalities. Three research questions guided the study: (1) What is the current state of music assessment practices? (2) Do music assessment practices vary by the relative experience of teachers? (3) How do music teachers describe the impediments or challenges they face when implementing music classroom practices? A total of 108 music teachers completed an online survey. Quantitative analyses were used for each research question except for the open-ended question, which was analyzed through thematic inductive coding. The findings indicate that music assessment is dominated by oral feedback and written reports, and assessment content is reasonably aligned with national curriculum standards. Taught grade levels and teaching experience are found to seldom impact music assessment practices. Shared challenges reported by music teachers include assessment content, methods, and social resources
The Influence of Music Video Content on Listening Outcomes: An Experience Sampling Method Study
No full textMusic videos (MVs) are a popular form of music engagement that allows music listeners to experience their favorite songs in an audio-visual format. MVs have been made more accessible since the rise of platforms like YouTube, giving individuals the control to select MVs over other forms of music engagement. Previous research has shown that MVs can influence the content of visual imagery experienced during music listening. In addition, visual imagery has been associated with modulating arousal levels for musically trained individuals, suggesting a link between musical training and the effect of visual imagery on music-induced emotions. This paper features the preliminary results from a pilot study that explored how exposure to MV content influenced enjoyment and emotional reactions to music in everyday listening experiences using the experience sampling method (ESM). 152 observations were collected from 15 (N = 15) participants. Linear mixed models (LMMs) were performed, incorporating the participants as random intercepts. No significant effects were observed for enjoyment; however, results suggest that Image Recall, which reflects the amount of MV content recalled as visual imagery during music listening, influences emotional reactions in everyday listening experiences. Image Recall also moderates the effect of changes in both the amount of personal significance placed on the music by the individual and their interpretation of the music’s meaning on emotional reactions. Interestingly, the influence of interpretation on emotional reactions became weaker as the amount of imagery recalled from the MV increased. These results suggest that not only does MV content have a salient influence on the visual imagery mechanism, but this influence moderates the strength of effects of other perceptual changes on emotional reactions. These findings support the notion that visual content, which is freely accessible online, can influence emotional responses to music in everyday life. These findings are discussed with respect to how music educators can use MV and MV-related media to promote better emotional expression in students’ musical performances, as well as teach them how to recognize multiple emotions in music and promote cognitive abilities related to mental imagery
Implicit Motor Theory Assumptions in Music Pedagogy
No full textMusic performance is a captivating interplay of intricate movements, where successful musicians develop a remarkable ability to embody and express complex and technically challenging musical works with perceived ease. In music education, where these exceptional skills are cultivated, the implicit assumptions about how people acquire and refine these movement abilities become an integral yet unacknowledged part of music training. From early in life, every person develops motor theory assumptions, without which they could not interact predictably in the world, let alone teach specialized movements to others (Allen & Kelly, 2015). These are mostly implicit assumptions and are not solely shaped by personal experiences but also significantly influenced by cultural trends and perspectives of their time (Schöllhorn et al., 2022).
This project delves into the motor learning assumptions that underpin musicians\u27 pedagogy in higher music education. Drawing from multiple focus-group interviews conducted with students and teachers in higher music education (HME), a prevalence of ideas from pop-psychology and outdated motor theory is uncovered. These insights are complemented by examples from relevant literature. Through an interpretative analysis of the focus-group responses and discussions surrounding learning and movement, the musicians are found to mostly align with cognitive information processing ideas of motor theory. However, these cognitive frameworks have been mostly abandoned by motor theorists in favor of fundamentally different principles from dynamic systems’ theory and ecological psychology (Bootsma, 1998). What might the consequences be when musicians unknowingly rely on fundamentally different ideas about movement than those of motor theorists?
This poster presentation examines a study surrounding these questions by explaining the differences of these motor theories, illustrating how impactful these assumptions are on ideas in music pedagogy, and how motor theories are historically situated. A plethora of fundamentally different movement conceptualizations (ideas from antiquity, mechanistic analogies of the Renaissance, computer-analogous ideas of the cognitive tradition, and so on) have influenced the pedagogical practices of their times (Cappozzo, 2018). This opens a possibility of a form of historically informed movement-pedagogy research, in which instrumental études and teaching books are interpreted with the motor theories of their times in mind. Today, popular culture, pop-psychology, and self-help literature continue to spread mostly outdated and misleading ideas about learning movements (Bailey et al., 2018), thereby continuously shaping musicians\u27 self-perception and ideas about how to learn and teach. It is therefore essential to become aware of these assumptions and investigate how they silently shape modern music pedagogy, for better or worse
Computer-Assisted Quantitative Text Analysis in Historical Research: Potentials and Limitations
No full textThe aim of this presentation is to explore the potential of quantitative text analysis methods for historical research in music education, with a special focus on professional discourses.
Computational tools and digital archives have opened up new ways to study historical texts, offering opportunities to extract valuable insights from vast corpora of documents. The presentation will focus on methodological questions, combining techniques from text mining (Ignatow & Rada, 2018) with historical and quantitative approaches to discourse analysis (Landwehr, 2008; Scholz, 2019). It discusses the development of a methodological framework for broader research into ideological subversions of music education in the 20th and 21st centuries. To illustrate the framework, its process, potentials, and limitations, I will present a full-text lexical analysis of music education journals published between 1947 and 1950. This analysis aims to outline how communist ideology infiltrated professional discourses from the end of World War II until the open establishment of a Soviet-type communist regime in an Eastern European country. The infiltration was identified by the presence of communist vocabulary and the subversion of the meaning of commonly used expressions such as "people," "democracy," "liberation," and "revolution."
The research design combined historical and text analytical phases using a sequential explanatory mixed methods design (Creswell, 2014). The structure of the process included the following steps:
1. Selection and digitization of journals
2. Subdivision into articles by type
3. Deductive dictionary construction
4. Computer-assisted text analysis
5. Analyses of frequency of occurrence, co-occurrence, and time series
6. Comparison of journals and authors based on the frequency of ideologically charged vocabulary (identifying outliers)
Subsequent discussion of results in the context of the professional background of the authors identified in Step 6 was included. Qualitative analysis of articles to observe the context and meaning in which words like “people,” “democracy,” “revolution,” and “freedom/liberation” are used.
The benefits of this approach include the fact that computer-assisted quantitative text analysis allows historical researchers to uncover patterns, trace discursive changes, identify relevant texts and authors, and analyze a broad spectrum of primary sources efficiently. Historical research into the authors\u27 professional backgrounds and the contemporary socio-political circumstances is necessary to establish the proper context for interpretation. The limitations of this approach should also be noted. Quantitative lexicometry cannot differentiate between various uses of words, nor can it identify the authors’ intentions in using them. Therefore, it must be complemented by qualitative analysis to ensure a comprehensive understanding and the creation of historical narratives
Contributors to Musicians\u27 Well-being: Accomplishment, Personality, and Community
No full textAims: We explored relationships among variables that contribute to musicians’ well-being, including self-perceptions of accomplishment in typical performance activities, personality traits, feelings about comments from music community members, and perceptions of musicianship overall.
Background: The accomplishment of goals in all domains of human activity is known to be associated with positive emotional states (Kaplan & Maehr, 1999; Pekrun, 2017; Pekrun et al., 2019). Recently, our group examined components of music practice that may contribute to perceptions of increased well-being, determining that the accomplishment of proximal goals in practice was associated with musicians’ satisfaction with their own musicianship, which in turn was related to increased positive feelings about life in general. In the current study, we expand our work to explore whether performance accomplishment, personality traits, feelings about community members’ comments, and perceptions of overall musicianship may contribute to musicians’ sense of well-being.
Method: Our participants were music majors (N = 104) at four US universities (age: M = 22.5, SD = 4.4), comprising instrumentalists and vocalists from six areas of study. We developed a survey instrument that included items from the Big Five Inventory-10 (Rammstedt & John, 2007), items adapted from the Satisfaction with Life Scale (Diener et al., 1985), and items we developed that address feelings about personal musicianship, self-perceptions of typical performance activities (how lessons, rehearsals, and auditions went), and feelings about comments received from important members of the music community (e.g., applied teachers, conductors, music peers).
Findings: Personality traits of conscientiousness and openness were associated with more positive feelings about musicianship overall, whereas neuroticism was associated with more negative feelings. We found a significant weak positive relationship between feelings about musicianship overall and satisfaction with life, r(104) = .29, p = .0034, R2 = .084, and a significant moderate positive correlation between perceptions of goal accomplishment in practice and feelings about musicianship overall, r(104) = .47, p < .0001, R2 = .221. Participants reported that comments from teachers/conductors influenced their feelings about overall musicianship most, followed by highstakes performance and how private lessons went.
Implications: Our study suggests that musicians’ well-being is influenced by variables of accomplishment, personality, and community that are important to consider, particularly regarding factors musicians can control. Creating goals for practice that increase the frequency of positive outcomes may, in turn, increase well-being and satisfaction while increasing learning efficiency and enhancing performance in general