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"Well, someone has to do it" – On the Perception of Professional Roles and Behavioral Expectations of Young Female Music Educators Starting Their Careers in Music Schools and How They Navigate Them
Moll, Carla
Hochschule für Musik und Tanz Köln, Germany
This study examines the professional experiences and expectations placed on young female music educators entering municipal music schools in Germany. As Heilmann (2001) describes, women are often confined to stereotypical expectations of gentleness and agreeableness in the workplace – and when they deviate from these norms, they frequently disrupt the preconceived beliefs of those around them. These dynamic shapes the professional actions and self-perception of young female music educators, presenting them with specific challenges. Against this backdrop, the study explores how young women experience the expectations placed on their behavior upon starting their careers and how they navigate these pressures.
The study is based on interviews with three female-perceived music educators in their first three years of employment in music schools, utilizing Grounded Theory, as outlined by Anselm Strauss and Barney Glaser, to systematically capture and analyze their experiences. The theoretical framework draws on Pierre Bourdieu's concepts of habitus and social field, as well as Judith Butler's theories of subjectivation and gender. The concept of "participatory interest" describes the tension between adaptation and resistance within the social field of the "music school."
The findings reveal that the work environment in music schools defines specific realms of action for female music educators, strongly shaped by gender-specific and age-related expectations. This dynamic of adaptation and resistance influences both the educators' self-perception and positioning within the institution. By focusing on gender-specific and age-related constructs, as well as concepts like agency and subjectivation, this study highlights how social expectations can either reinforce or disrupt the performative reproduction of gender roles, impacting the agency and professional identity of female music educators.
This research contributes to music education scholarship by highlighting the previously overlooked perspective of young female music educators and examining the significance of social lines of difference within the music school profession.
Creative Musical Activities in Curriculum Reforms in Relation to the Reflections and Experiences of Music Teachers
Ploskić, Nermin
University of Sarajevo - Academy of Music, Bosnia and Herzegovina
Music education in primary schools plays a key role in the development of children, providing them with fundamental knowledge, experiences, and skills related to music. In the context of contemporary education and a complex, globalized, and increasingly digitalized economy and society, creativity and critical thinking represent key skills that need to be developed (Vincent-Lancrin, S. et al., 2019). Creative musical activities in primary school education, including improvisation, composition, and music creation in both individual and group settings, encourage students to actively engage in making and experiencing music. Through this process, educators can nurture each student's unique interests by focusing on their musical and personal development, empowering them to cultivate musical identities and express their creativity.
This study presents findings from an analysis of curriculum reforms in primary education in Bosnia and Herzegovina, focusing on Sarajevo Canton, the first region to implement a reformed curriculum with innovative teaching methods in the 2022/2023 school year. This curriculum incorporates various musical activities to enhance students' engagement, and for the first time, "Creativity and Performing Music" has been introduced as one of the three main areas in the Music subject across all grades. To evaluate the impact of these changes, research was conducted among music teachers in Sarajevo Canton using a questionnaire that featured both open-ended and closed-ended questions, along with a five-point Likert scale to assess the effect of creative musical activities on students and the teaching process. The findings emphasize the significance of incorporating creative musical activities into the curriculum and their role in promoting educational and curricular reforms. However, improvement is needed in their integration into lessons, especially considering active student participation in this domain. Prioritizing creative musical activities in primary curricula is essential for future music education reforms, acknowledging students' benefits and the challenges music education faces in contemporary society.
