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Margaret S. Barrett and Sandra L. Stauffer We live in a "congenial moment for stories" (Pinnegar & Daynes, 2007, p. 30), a time in which narrative has taken up a place in the "landscape" of inquiry in the social sciences. This renewed interest in storying and stories as both process and product (as eld text and research text) of inquiry may be attributed to various methodological and conceptual "turns," including the linguistic and cultural, that have taken place in the humanities and social sciences over the past decades. The purpose of this book is to explore the "narrative turn" in music education, to - amine the uses of narrative inquiry for music education, and to cultivate ground for narrative inquiry to seed and ourish alongside other methodological approaches in music education. In a discipline whose early research strength was founded on an alignment with thesocialsciences,particularlythepsychometrictradition,oneofthekeychallenges for those embarking on narrative inquiryin music education is to ensure that its use is more than that of a "musical ornament," an elaboration on the established themes of psychometric inquiry, those of measurement and certainty. We suggest that narrative inquiry is more than a "turn" (as noun), "a melodic embellishment that is played around a given note" (Encarta World English Dictionary, 2007, n. p. ); it is more than elaborationon a position, the adding of extra notes to make a melody more beautiful or interesting.
Psychology of Music 2009, 37: 504
Book review by David Baker, Institute of Education, Reading University
M.S. BARRETT and S.L. STAUFFER (eds), Narrative Inquiry in Music Education:
Troubling Certainty. New York: Springer, 2009. ISBN 9781402098611 (hbk)
The editors (Margaret Barrett and Sandra Stauffer) offer Narrative Inquiry in Music
Education: Troubling Certainty as an exploration of a 'turn' or newfound direction
in music education research. This new pathway, they suggest, can exist alongside
other methodologies such as the psychometric tradition that focuses on objective
measurement. As a researcher involved with life histories and postmodernism,
I am heartened by their position and book. It is a standpoint that values the many
different approaches to music education research. The diversity in social science
research has always been something very appealing to me.Too often, perhaps, we
are simply offered an impasse between advocates of contrasting paradigms. Sadly,
this is my experience of some university departments (but not all). By aiming
to 'cultivate ground for narrative inquiry to seed and flourish alongside other
methodological approaches' (p. 1) and 'to "trouble" certainty' (in the most peaceful
manner) (p. 2), Barrett and Stauffer have produced an extremely valuable text.
The book is not a straightforward read, however; it covers complicated theoretical
and philosophical matters. Primarily, its audience will be postgraduate students,
social researchers and staff members within universities. I am a tutor for a course
attended by music teachers, some of whom continue to undertake Master of
Arts degrees under my supervision. I sense that colleagues will enjoy this volume
greatly, yet some students will glean more than others, particularly in respect of
the epistemological dimensions. It is a worthwhile and constructive book, nonetheless,
that draws upon the perspectives of a wealth of very dependable world
authorities. Chapters are by captivating writers such as Graham Welch (Institute of
Education, London), Jean Clandinin (University of Alberta) and Peter Dunbar-Hall
(Sydney Conservatorium of Music).
Narrative Inquiry is divided into three parts. Part I explores the origins of narrative
research, making reference to fields of anthropology, psychology, historical
studies and sociology. Barrett and Stauffer illustrate well how narrative research
is respectful to those involved, beneficent to society, rigorous and resonant for its
audiences. From my experience specifically with biographical research (2005a,
2005b, 2006), narratives can be highly resonant and powerfully catalytic also.
Developing a narrative account can empower a storyteller to interpret, understand
and change his or her own circumstances; the process also provides a 'voice' and
elucidates the insider's perspective for others. I have collaborated with UK Local
Education Authority employees to produce narrative accounts that delivered these
benefits. This form of enquiry deserves its esteemed place in the social sciences and
education.
In exploring origins, though, Part I of this volume might have tracked paradigmatic
shifts across time to the current position whereby narrative investigations
are considered wholly acceptable. I reflect that single cases (Shaw, 1930; Thomas
& Znaniecki, 1927) emanated from the Chicago School so fleetingly in the field of
life histories, disappeared and then reappeared abundantly in 'paradigmatically favourable'
times. That particular narrative technique was distrusted in its infancy.
It appeared 'to provide no widerlink to theoretical understanding [and] have little
power of generalizability' (Faraday & Plummer, 2003, p. 34). Indeed 'the need to
understand the nuances of ... experience at the level of the contextualised individual
or group' has been overlooked in the past; as Graham Welch asserts in Narrative
Inquiry (p. 57), though there is now a long tradition of this in mainstream education
research (although less so in music education). Through framing Narrative Inquiry
in terms of the wider history and diversification of qualitative research at the onset
of the book (see Denzin & Lincoln's 'moments' (2000)), key differences would have
been underscored between this 'turn' and other modes of investigation with regard
to theory, quality criteria and intentions. In doing so, this excellent text would have
become more accessible to less experienced audiences.
Part II, the largest part of Narrative Inquiry, offers seven examples of studies by
early-career researchers in music education; each study is accompanied by a
reflective commentary written by a notable scholar. These contemplative chapters
will, undoubtedly, enrich readers' understanding and stimulate further questions.
The multidimensional approach of this part of the volume is particularly engaging
and thought-provoking. The editors' promise is fulfilled, therefore, as readers are
presented with extremely fertile ground for cogitation. Narrative research in music
education will, no doubt, grow admirably under such rich circumstances.
David Cleaver's piece (Chapter 3) is a good illustration of the tenor of Part II.
Cleaver (University of Southern Queensland) provides the story of 'Jan Peterson'
(a pseudonym). 'Jan' is a musically dedicated school student. We learn of a family
script and trans-generational plot concerning participation in music (p. 41). Cleaver
mentions hearing of these familial plots when working as a teacher (p. 42). He also
discusses his wife's memories of music in the home in County Cork, Ireland. Graham
Welch (Chapter 4) notes the challenge presented to readers:
The sectionalisation of the text delineates different foci in the researcher's exploration of the topic.
At one moment, there is sharing of insights into details of the participant's
musical life, drawing on established qualitative methodologies ... This is contrasted with
a more reflective view of himself and his own biography in relation to the participant
[Jan], such as ... reflecting on the experience afterwards in conversation with his wife.
This duality in the text challenges us to understand what each might be contributing to
the other. (p. 59)
Cleaver's chapter will resonate with readers' experiences. I identified traits of myself,
both as a music student and teacher within the narratives in this book. David
Cleaver's story of 'Jan' reminded me of childhood. The stories of Kaye Ferguson's
student teachers, 'Anne' and 'Josh', reverberated for me as they struggled 'between
performer and teacher self-views' (p. 99). Readers' own understandings will arise
through marrying the constituent threads of presented research, evaluating their
own biographies, and considering the accompanying appraisals. An injection of
critique is a desirable quality in Narrative Inquiry; Welch, for instance, is not disposed
to full acceptance of Cleaver's thoughts. He remarks:
the portrayal of the mother harks back to a Durkhiemian functionalist viewpoint in
which society is viewed as a system of social institutions and in which the child might
be socialised ... into the dominant views of the value of music that are held by the
family. Not all families are as supportive as in this particular case. Borthwick's doctoral
thesis [cited in Davidson & Borthwick, 2002], for example, suggests that different
children within a 'musical' family have diverse experiences and that these are not
always positive. (p. 60)
Jean Clandinin and Wayne Bowman (Brandon University, Manitoba) consider
the subtitle 'troubling certainty' in their final chapters. People experience what
might appear the same circumstances in diverse ways; accounts are unique and
constructed. Narratives communicate the personal, the insider's viewpoint, rather
than general and generic; they are useful for capturing lived experience. A political
dimension is evident with narrative research as storytellers are afforded a 'voice'
that might challenge dominant conceptions. Troubling certainty means using these
unique voices to make music education 'more inclusive of the lives of all people,
regardless of ... how they are positioned on the landscape. [The editors] ... imagine
troubling as a way to give pause for thought' (p. 208). Certainly, this volume is
successful in that respect.
Part III consists of two superb chapters by Jean Clandinin and Wayne Bowman.
Clandinin (Chapter 17) is concerned with the ways in which educators are prepared
for 'wide awakeness' in their theory and practice. Prompting 'wide awakeness'
means persuading educators '... to look beyond the familiar, to attend to ... alternative
accounts of the ways in which lives are lived and storied in and through
music and education' (p. 2).1 Bowman's chapter (Chapter 18) is a highlight, I feel.
In his chapter, Bowman takes a step back from naïve advocacy and asks probing
questions of the possibilities of narratives. We are encouraged to determine whether
or not mere resonance for audiences is enough. Is there a potential for mischief as
well as affirmation? Furthermore, is it possible to embrace the particular without
renouncing generality? These are absorbing and provocative questions.
Narrative Inquiry in Music Education is a tremendous book that contributes
splendidly to the field of qualitative research. It benefits from well-presented and
conducted research alongside critique and stimulating reflection. The commentaries
do 'provide us with a view, a window into the narrative accounts' (p. 3), with
discussions that are both authoritative and revealing. Moreover, the substantive
issues addressed by the early-career researchers are of great interest to music
educators. I bid readers of this journal to consider the volume.
N O T E
1. The term 'wide awake' comes from Maxine Greene (1995).
R E F E R E N C E S
Baker, D. (2005a). Music service teachers' life histories in the United Kingdom with
implications for practice. International Journal of Music Education, 23(2), 251-266.
Baker, D. (2005b). Peripatetic music teachers approaching mid-career: A cause for concern?
British Journal of Music Education, 22(2), 141-153.
Baker, D. (2006). Life histories from a music service: The past in inductees' present. British
Journal of Music Education, 23(1), 39-50.
Davidson, J. W., & Borthwick, S. J. (2002). Family dynamics and family scripts: A case study
of musical development. Psychology of Music, 30(1), 121-136.
Denzin, N. K., & Lincoln, Y. S. (2000). Introduction: The discipline and practice of qualitative
research. In N. K. Denzin & Y. S. Lincoln (Eds.), Handbook of qualitative research (2nd ed.;
pp. 1-28). Thousand Oaks, CA: Sage.
Faraday, A., & Plummer, K. (2003). Doing life histories. In N. Fielding (Ed.), Sage benchmarks
in social research methods, Vol. 2: Interviewing (pp.33-54). London: Sage.
Greene, M. (1995) Releasing the imagination: Essays on education, the arts, and social change. San
Francisco, CA: Jossey-Bass.
Shaw, C. (1930) The jack-roller. Chicago: University of Chicago Press.
Thomas, W. I., & Znaniecki, F. (1927). The Polish peasant in Europe and America. Chicago:
University of Chicago Press.
David Baker
Institute of Education, Reading University
[email: david.baker01@btinternet.com]
Book review by David Baker, Institute of Education, Reading University
M.S. BARRETT and S.L. STAUFFER (eds), Narrative Inquiry in Music Education:
Troubling Certainty. New York: Springer, 2009. ISBN 9781402098611 (hbk)
The editors (Margaret Barrett and Sandra Stauffer) offer Narrative Inquiry in Music
Education: Troubling Certainty as an exploration of a 'turn' or newfound direction
in music education research. This new pathway, they suggest, can exist alongside
other methodologies such as the psychometric tradition that focuses on objective
measurement. As a researcher involved with life histories and postmodernism,
I am heartened by their position and book. It is a standpoint that values the many
different approaches to music education research. The diversity in social science
research has always been something very appealing to me.Too often, perhaps, we
are simply offered an impasse between advocates of contrasting paradigms. Sadly,
this is my experience of some university departments (but not all). By aiming
to 'cultivate ground for narrative inquiry to seed and flourish alongside other
methodological approaches' (p. 1) and 'to "trouble" certainty' (in the most peaceful
manner) (p. 2), Barrett and Stauffer have produced an extremely valuable text.
The book is not a straightforward read, however; it covers complicated theoretical
and philosophical matters. Primarily, its audience will be postgraduate students,
social researchers and staff members within universities. I am a tutor for a course
attended by music teachers, some of whom continue to undertake Master of
Arts degrees under my supervision. I sense that colleagues will enjoy this volume
greatly, yet some students will glean more than others, particularly in respect of
the epistemological dimensions. It is a worthwhile and constructive book, nonetheless,
that draws upon the perspectives of a wealth of very dependable world
authorities. Chapters are by captivating writers such as Graham Welch (Institute of
Education, London), Jean Clandinin (University of Alberta) and Peter Dunbar-Hall
(Sydney Conservatorium of Music).
Narrative Inquiry is divided into three parts. Part I explores the origins of narrative
research, making reference to fields of anthropology, psychology, historical
studies and sociology. Barrett and Stauffer illustrate well how narrative research
is respectful to those involved, beneficent to society, rigorous and resonant for its
audiences. From my experience specifically with biographical research (2005a,
2005b, 2006), narratives can be highly resonant and powerfully catalytic also.
Developing a narrative account can empower a storyteller to interpret, understand
and change his or her own circumstances; the process also provides a 'voice' and
elucidates the insider's perspective for others. I have collaborated with UK Local
Education Authority employees to produce narrative accounts that delivered these
benefits. This form of enquiry deserves its esteemed place in the social sciences and
education.
In exploring origins, though, Part I of this volume might have tracked paradigmatic
shifts across time to the current position whereby narrative investigations
are considered wholly acceptable. I reflect that single cases (Shaw, 1930; Thomas
& Znaniecki, 1927) emanated from the Chicago School so fleetingly in the field of
life histories, disappeared and then reappeared abundantly in 'paradigmatically favourable'
times. That particular narrative technique was distrusted in its infancy.
It appeared 'to provide no widerlink to theoretical understanding [and] have little
power of generalizability' (Faraday & Plummer, 2003, p. 34). Indeed 'the need to
understand the nuances of ... experience at the level of the contextualised individual
or group' has been overlooked in the past; as Graham Welch asserts in Narrative
Inquiry (p. 57), though there is now a long tradition of this in mainstream education
research (although less so in music education). Through framing Narrative Inquiry
in terms of the wider history and diversification of qualitative research at the onset
of the book (see Denzin & Lincoln's 'moments' (2000)), key differences would have
been underscored between this 'turn' and other modes of investigation with regard
to theory, quality criteria and intentions. In doing so, this excellent text would have
become more accessible to less experienced audiences.
Part II, the largest part of Narrative Inquiry, offers seven examples of studies by
early-career researchers in music education; each study is accompanied by a
reflective commentary written by a notable scholar. These contemplative chapters
will, undoubtedly, enrich readers' understanding and stimulate further questions.
The multidimensional approach of this part of the volume is particularly engaging
and thought-provoking. The editors' promise is fulfilled, therefore, as readers are
presented with extremely fertile ground for cogitation. Narrative research in music
education will, no doubt, grow admirably under such rich circumstances.
David Cleaver's piece (Chapter 3) is a good illustration of the tenor of Part II.
Cleaver (University of Southern Queensland) provides the story of 'Jan Peterson'
(a pseudonym). 'Jan' is a musically dedicated school student. We learn of a family
script and trans-generational plot concerning participation in music (p. 41). Cleaver
mentions hearing of these familial plots when working as a teacher (p. 42). He also
discusses his wife's memories of music in the home in County Cork, Ireland. Graham
Welch (Chapter 4) notes the challenge presented to readers:
The sectionalisation of the text delineates different foci in the researcher's exploration of the topic.
At one moment, there is sharing of insights into details of the participant's
musical life, drawing on established qualitative methodologies ... This is contrasted with
a more reflective view of himself and his own biography in relation to the participant
[Jan], such as ... reflecting on the experience afterwards in conversation with his wife.
This duality in the text challenges us to understand what each might be contributing to
the other. (p. 59)
Cleaver's chapter will resonate with readers' experiences. I identified traits of myself,
both as a music student and teacher within the narratives in this book. David
Cleaver's story of 'Jan' reminded me of childhood. The stories of Kaye Ferguson's
student teachers, 'Anne' and 'Josh', reverberated for me as they struggled 'between
performer and teacher self-views' (p. 99). Readers' own understandings will arise
through marrying the constituent threads of presented research, evaluating their
own biographies, and considering the accompanying appraisals. An injection of
critique is a desirable quality in Narrative Inquiry; Welch, for instance, is not disposed
to full acceptance of Cleaver's thoughts. He remarks:
the portrayal of the mother harks back to a Durkhiemian functionalist viewpoint in
which society is viewed as a system of social institutions and in which the child might
be socialised ... into the dominant views of the value of music that are held by the
family. Not all families are as supportive as in this particular case. Borthwick's doctoral
thesis [cited in Davidson & Borthwick, 2002], for example, suggests that different
children within a 'musical' family have diverse experiences and that these are not
always positive. (p. 60)
Jean Clandinin and Wayne Bowman (Brandon University, Manitoba) consider
the subtitle 'troubling certainty' in their final chapters. People experience what
might appear the same circumstances in diverse ways; accounts are unique and
constructed. Narratives communicate the personal, the insider's viewpoint, rather
than general and generic; they are useful for capturing lived experience. A political
dimension is evident with narrative research as storytellers are afforded a 'voice'
that might challenge dominant conceptions. Troubling certainty means using these
unique voices to make music education 'more inclusive of the lives of all people,
regardless of ... how they are positioned on the landscape. [The editors] ... imagine
troubling as a way to give pause for thought' (p. 208). Certainly, this volume is
successful in that respect.
Part III consists of two superb chapters by Jean Clandinin and Wayne Bowman.
Clandinin (Chapter 17) is concerned with the ways in which educators are prepared
for 'wide awakeness' in their theory and practice. Prompting 'wide awakeness'
means persuading educators '... to look beyond the familiar, to attend to ... alternative
accounts of the ways in which lives are lived and storied in and through
music and education' (p. 2).1 Bowman's chapter (Chapter 18) is a highlight, I feel.
In his chapter, Bowman takes a step back from naïve advocacy and asks probing
questions of the possibilities of narratives. We are encouraged to determine whether
or not mere resonance for audiences is enough. Is there a potential for mischief as
well as affirmation? Furthermore, is it possible to embrace the particular without
renouncing generality? These are absorbing and provocative questions.
Narrative Inquiry in Music Education is a tremendous book that contributes
splendidly to the field of qualitative research. It benefits from well-presented and
conducted research alongside critique and stimulating reflection. The commentaries
do 'provide us with a view, a window into the narrative accounts' (p. 3), with
discussions that are both authoritative and revealing. Moreover, the substantive
issues addressed by the early-career researchers are of great interest to music
educators. I bid readers of this journal to consider the volume.
N O T E
1. The term 'wide awake' comes from Maxine Greene (1995).
R E F E R E N C E S
Baker, D. (2005a). Music service teachers' life histories in the United Kingdom with
implications for practice. International Journal of Music Education, 23(2), 251-266.
Baker, D. (2005b). Peripatetic music teachers approaching mid-career: A cause for concern?
British Journal of Music Education, 22(2), 141-153.
Baker, D. (2006). Life histories from a music service: The past in inductees' present. British
Journal of Music Education, 23(1), 39-50.
Davidson, J. W., & Borthwick, S. J. (2002). Family dynamics and family scripts: A case study
of musical development. Psychology of Music, 30(1), 121-136.
Denzin, N. K., & Lincoln, Y. S. (2000). Introduction: The discipline and practice of qualitative
research. In N. K. Denzin & Y. S. Lincoln (Eds.), Handbook of qualitative research (2nd ed.;
pp. 1-28). Thousand Oaks, CA: Sage.
Faraday, A., & Plummer, K. (2003). Doing life histories. In N. Fielding (Ed.), Sage benchmarks
in social research methods, Vol. 2: Interviewing (pp.33-54). London: Sage.
Greene, M. (1995) Releasing the imagination: Essays on education, the arts, and social change. San
Francisco, CA: Jossey-Bass.
Shaw, C. (1930) The jack-roller. Chicago: University of Chicago Press.
Thomas, W. I., & Znaniecki, F. (1927). The Polish peasant in Europe and America. Chicago:
University of Chicago Press.
David Baker
Institute of Education, Reading University
[email: david.baker01@btinternet.com]