EXPLORING APPROACHES TO CREATIVITY AND CO-CREATION IN SOCIALLY ENGAGED MUSIC MAKING by Tuuli Elisa Wallenius

In this research I have explored approaches to creative music-making in a social context through a practical case-study and by analyzing educational approaches to socially engaged music making. I carried out and developed a concept of pedagogical practice for the context of working in a socially engaged intercultural music project. The project took place in a rural area of north-eastern Brazil.  The research shows that the improvisation-based pedagogical method that I introduced is an applicable methodology for the context. Methods of learning by ear and working with improvisation were found to be easily engaging ways to collaborate with the group. Leading the groups by using hand-signals was an applicable way of communicating with the group, which I experienced lead to a more intuitive, focused, and flowing creative process. This research states that a learner-based approach and pedagogical improvisation are key elements in working in the context of socially engaging music making.  In addition, this research clarifies and brings to light theories and methods of practice from the field by introducing current research and scholars.  With this work I hope to inspire other music educators and facilitators of socially engaged music projects to seek for ways to implement artistic work and creativity into educational work, and to be reminded of the potential that education has in combatting the social problems of our society.

METHODOLOGY

QUALITATIVE AUTOETHNOGRAPHIC CASE STUDY

The purpose of this research is to explore approaches to creative music-making in a social context and to understand the educational perspectives connected to socially engaged music making.

Methodologically, this research is framed as a qualitative autoethnographic case study. Characteristically qualitative research methods are descriptive and focused on evidence that opens up meaning of what is happening. It is typical for qualitative case-studies' theoretical framework to develop throughout the process resonating with the evidence that comes up (Gillham, B. (2000), pp.9-11, pp. 18-19). Autoethnographic approaches aim towards deeper understanding on certain phenomena by using the researcher’s personal experiences as primary data (Chang, 2013, pp. 108-109).

The case-study was held in Caico and Jucurutu 4.-9.10.2023 in a project called Projeto Aldo Parisot. There were two target groups, that consisted of 20-30 students aged between 10-15 years old. I was working in the project as a music pedagogue, musician, composer, and researcher.

DATA-COLLECTING

There are multiple possible ways of collecting data in case-studies, and Gillham (2000, pp. 21) suggests collecting evidence from multiple sources and maintaining a case study database for the collected evidence. I collected the data for my research from three sources, including video and photodocumentation and keeping a research diary (Gillham, 2000, pp.21-25). In the end my case study database consisted of 26 videos, 56 photos and 22 pages of research diary (handwritten notebook).

ETHICAL CONSIDERATIONS:

In this research I have done my best to follow principles endorsed by the research community: ‘integrity, meticulousness and accuracy in conducting research, and in recording, presenting and evaluating the research results’ (TENK, 2023).

This research holds respect towards the participants, their culture and their anonymity. To protect the anonymity of the participants I have not mentioned other names of people involved, except Fabio Presgrave with his consent. I also modified the videos and photos used in the outcome in a way that the participants anonymity is secured as well as possible.

According to Chang (2013, pp.111), researcher subjectivity is an important aspect to consider in qualitative research and autoethnography, which hold risk of privileging one perspective over another. In this research I have been aware ofthe limits of my own perspectives. I acknowledge that I am coming from a position of privilege, and I am only ever able to understand things from my perspective. I have tried my best to examine my assumptions and to question my perspectives, through regular reflection and by negotiating with peers (Chang, 2013, pp. 111-112).

Aspects of language and translation have also impacted the reliability of the research. The outcome of this work is in English but in addition, Finnish and Portuguese languages have played an important role in the process of the research. The empirical material was from a portuguese speaking area, my mother tongue is Finnish, and a big part of my reference literature is in Finnish. I have tried my best to avoid mistakes, but I am aware of the possibility of translation errors from Portuguese and Finnish to English in this research. Also concerning my reference literature, finding corresponding terminology from Finnish to English was a challenge at times. I tried my best to compare writings and research in both languages to find the correct words, but I am aware that there is a risk of mistakes aswell.

My research is framed by the following main research questions:

How can creative musicianship and pedagogical improvisation be a catalyst for co-creating meaningful new musical outcomes with socially engaged music projects/groups?

What kinds of skills and ethical considerations facilitating socially engaged music projects requires?

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