The interlocking narratives that comprise this chapter immediately enable the reader to enter the complex world of a gifted teacher, whose own, sometimes painful, experiences have enriched her approach to teaching in a specialised learning environment. Clandinin (2006) sees narrative inquiry as having three dimensions: “the personal and social (interaction) along one dimension; past, present and future (continuity) along a second dimension; place (situation) along a third dimension” (p. 47). Kroon describes the teacher and her interactions with the students in some detail, and we hear the voices of the teacher, the principal, and, to a lesser extent, the students and their parents emerge in this account.
Keywords
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.
This is a preview of subscription content, log in via an institution.
Buying options
Tax calculation will be finalised at checkout
Purchases are for personal use only
Learn about institutional subscriptionsPreview
Unable to display preview. Download preview PDF.
References
Barrett, M. S. (2005). Musical communities and children’s communities of musical practice. In D. Miell, R. MacDonald, & D. J. Hargreaves (Eds.), Musical communication (pp. 261–280). Oxford: Oxford University Press.
Burnard, P. (2002). Investigating children’s meaning-making and the emergence of musical interaction in group improvisation. British Journal of Music Education, 19(2), 157–172.
Clandinin, D. J. (2006). Narrative inquiry: A methodology for studying lived experience. Research Studies in Music Education, 27, 44–54.
Ellis, P. (1995). Incidental music: A case study in the development of sound therapy. British Journal of Music Education, 12, 59–70.
Glover, J. (2000). Children composing 4–14. London: RoutledgeFalmer.
Lave, J., & Wenger, E. (1991). Situated learning: Legitimate peripheral participation. Cambridge: Cambridge University Press.
Marsh, K., & Young, S. (2006). Musical Play. In G. McPherson (Ed.), The child as musician: A handbook of musical development (pp. 289–310). New York: Oxford University Press.
Skyllstad, K. (1997). Music in conflict management – a multicultural approach. International Journal of Music Education, 29, 73–80.
Wiggins, J. (2003). A frame for understanding children’s compositional processes. In M. Hickey, (Ed.) Why and how to teach music composition: A new horizon for music education (pp. 141–165). Reston, VA: MENC.
Wiggins, J., & Bodoin, K. (1998). Painting a big soup: Teaching and learning in a second-grade general music classroom. Journal of Research in Music Education, 46(2), 281–302.
Author information
Authors and Affiliations
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2009 Springer Science+Business Media B.V.
About this chapter
Cite this chapter
Marsh, K. (2009). Giving Voice to the Voiceless: Empowerment Through Music – A Commentary. In: Barrett, M.S., Stauffer, S.L. (eds) Narrative Inquiry in Music Education. Springer, Dordrecht. https://doi.org/10.1007/978-1-4020-9862-8_14
Download citation
DOI: https://doi.org/10.1007/978-1-4020-9862-8_14
Publisher Name: Springer, Dordrecht
Print ISBN: 978-1-4020-9861-1
Online ISBN: 978-1-4020-9862-8
eBook Packages: Humanities, Social Sciences and LawEducation (R0)