family, my story would have been rewritten; missing tertiary education was my destiny. ..... âAnonymity as a Double-Edge Sword: Reflecting on the Implications of.
Motivation and Resilience: A Mother-Daughter Dyad’s Pursuit of Tertiary Music Education, a Longitudinal Study Annabella Fung, Monash University, Australia Abstract: This longitudinal study reports the musical journeys of two Chinese musicians who are a mother-daughter dyad. Hermeneutic phenomenology was used to explore their lived experiences, and the Confucian learning model, music identity, and motivation theories combined to provide conceptual understanding for such exploration. Data consist of multiple semi-structured interviews and online messages taken over twenty-six months and were analysed using Interpretative Phenomenological Analysis. The dataset was member checked and triangulated by an external audit to ensure credibility and trustworthiness. Three overarching themes emerged: identity-based motivation mediates our musical development, life stressors disrupt our learning, and resilience helps us bounce back from adversities. While talent and opportunity can assist learning, individuals’ identity-based motivation and resilience mediate their learning progress and achievement outcomes. This study emphasizes the importance of diversity and equity; it recommends that inclusive educational institutions should tailor for those who return to learning after overcoming learning difficulties, life disruptions, and occupational changes. Keywords: Motivation, Resilience, Music Education, Identity, Talent and Opportunity, Diversity and Equity, Interpretative Phenomenological Analysis
Introduction
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his study draws on an extensive project which explored East-West educational theories on identity and music learning among diasporic Chinese. Forty-nine professional and amateur musicians and music educators (age eighteen through seventy) took part from Australia, US, and Hong Kong. It was found that the collectivist ideology embedded in Confucianism was the common thread that shaped Chinese musicians’ life-worlds. Parental value systems were influential factors determining the participants’ identities and musical attainment although many participants showed various forms of resistance toward their mother culture and parental control. My project not only focused on well-known elite musicians but also incorporated ordinary musicians who represented the majority of the general music population. There is limited research concerning ordinary musicians, especially among Chinese communities. This longitudinal study spanning over twenty-six months with multiple interviews addresses this gap and reports the music learning journeys of two ordinary Chinese musicians who are a mother-daughter dyad. Jill and Sandy (pseudonyms) can be considered as musically gifted individuals who began learning instruments in childhood with many performing opportunities; yet they persistently struggled later in their pursuit of formal music education. This study examines their musical development by exploring the interplay between motivation and resilience in relation to talent, hard work, and opportunity.
Conceptual Frameworks Many research studies documented the effect of parental aspiration on children’s attainment (Pomerantz, Grolnick, and Price 2005; Yamamoto and Holloway 2010; McClellan 2011; Oyserman 2013). Parental goals, beliefs, and practices were influenced by their cultural backgrounds (Chao 1996; Li 2003b; Barrett 2011). According to cultural psychologists, “meanings” are indispensable in examining selves because they exert “directive force” or motivation for behaviour (Cole 1998; Markus and Hamedani 2007). The domain of learning shows configurations and meanings that vary with cultural values and practices, although there are commonalities across cultures (Li and Yue 2004). Individual self-concepts are bound to differ from one context to another, and they are potent in influencing performance outcomes (Bracken
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1996; Helwig et al. 2003). In this study, the Confucian learning model, motivation, and music identity theories combined to provide a conceptual framework for the exploration of the learning journeys of Jill and Sandy.
The Confucian Learning Model: Nurture over Nature The nature-nurture debate has long been active in research (Bronfenbrenner and Ceci 1994). Chinese parents tend to emphasise the importance of hard-work and effort over innate abilities and believe that talent without hard work is wasted (Stevenson and Stigler 1992; Li 2003b). A powerful motivational factor for Chinese learners is the compulsion to excel through constant improvement, which aligns with the Confucian virtue of self-perfection or moral self-cultivation (Kong-Zi 2010). This becomes the cultural guide for Chinese parents to exercise appropriate parenting practices. For example, parents would use their relational networks (guan xi) to ensure their children have optimum learning opportunities with the best coaches so their children’s potential would be fully realised (Li, Holloway, Bempechat and Loh 2008). Learning virtues specified in the Confucian learning model include determination, resolve and diligence, endurance of hardship, perseverance, delayed gratification, concentration, and humility (Chao 1996; Li 2002, 2003a; Li and Yue 2004; Stevenson and Stigler 1992; Watkins and Biggs 2001). Achievement is attributed to these virtues; not learning well is attributed to their absence (Li 2006). The best learner is one who applies himself or herself to study with these virtues (Li 2002). Chinese people also emphasise personal competence, mastery, and achievement through learning (Wink, Gao, Jones, and Chao 1997; Li and Fisher 2004).
Motivation Theory: Goal Regulation and Resilience Music performance is a skill which requires regular practice and constant maintenance (Ericsson, Krampe, and Tesch-Römer 1993; Ericsson and Charness 1994; Ruddock and Leong 2005; Davidson 2011). Talent has been found to contribute to musical success (Manturzewska 1990; Sosniak 1990; Howe, Davidson, and Sloboda 1998), but motivation plays a crucial role in the learning process (McPherson 2001; Austin, Renwick, and McPherson 2006; McPherson and Williamson 2006; Renwick and McPherson 2009b). Highly motivated learners take a mastery goal approach to learning (Ames 1992; Pintrich 2000; O’Neill 2011). They focus on regulating the learning process including positive self-talk and interest enhancement to ensure success (Wolters 2003). When set goals are not reached, resilient learners bounce back from adversities (O’Neill 2011). They manage their emotions and coach themselves with self-talk; they negotiate, compromise, and navigate conflicts, adjust when faced with a serious source of stress, handle challenges, and find alternative pathways (MacNamara, Holmes, and Collins 2006; Moss 2015).
Music Identity Theory: Musician’s Self Perceptions One’s self-esteem is an important outcome of growing up in one’s culture (Li and Yue 2004; Bennett 2010). Self-esteem comprises of several self-concepts; self-images are the different ways in which we see ourselves. Self-concepts may be situation-specific or domain-related (Bracken 1996). Self-identity is the overall view that we have of ourselves in which these different selfconcepts are integrated (Hargreaves, Miell, and McDonald 2002; Tarrant, North, and Hargreaves 2002; McClellan 2014). Music can enable self-discovery (Roberts 2010; Richards 2013; Fung 2016a); it is a tool to reach the social, psychological, and physiological roots of humankind in their search for identity (Denora 2000; Ruud 2006; Campbell, Connell, and Beegle 2007). Selfidentity is a crucial construct in the understanding of musical development, including personal, musical-artistic, and social-cultural outcomes (Creech et al. 2008; Lamont 2002, 2011; Davidson and Burland 2006; Austin, Isbell, and Russell 2010). Most importantly, individuals’ self-concepts
and musical identities can mediate their music learning outcomes (Hargreaves and Marshall 2003; Dabback 2010; Hargreaves, MacDonald and Miell 2012; Russell 2012). This study focuses on the consequences of parental aspiration and individual learning goals on musical attainment in relation to the changing values and identities of the two participants. The research questions are:
How do the participants make sense of the success and failure experienced in their music learning journeys? How do the participants make sense of their acquired musical skills?
Methodology Data Collection This hermeneutic phenomenological study explored the participants’ music learning journeys over twenty-six months. Phenomenology was an appropriate qualitative research method for this project because it explored the understandings of an individual’s lived experience, as seen through his or her reconstructed worlds (Husserl 1977; Smith 2008). Phenomenological research utilises small purposively selected samples allowing in-depth exploration of individual experiences (de Vries 2011; Blair 2013). Participants usually take part in semi-structured interviews (Tellis 1997; Smith, Flower, and Larkins 2009). With ethical approval from my university, I went to Hong Kong to conduct interviews with the participants. The interview questions sought understandings of their music learning experiences including their motivation for musical engagement, successes or failures, and their identity changes. The interviews were transcribed for member checking; the dyad made amendments and approved the revisions. Since Jill and Sandy were going through considerable life transitions, I engaged them in a longitudinal study, and they agreed to participate in the extended research. The second interviews occurred in Hong Kong ten months later. Another nine months later, I interviewed the mother a third time in Hong Kong but communicated with the daughter through messaging because she missed her scheduled interview. Since then, the three of us have been engaged in online messaging at regular intervals to update changes for just over two years. The decision to conclude the research was based on the fact that the dyad had reached their target milestones. Using virtual communication tools such as Skype interviews and online messaging is not uncommon in qualitative research (Bouchard 2016); this complemented with the in-person interviews because it creates space to think and time to reflect for both researcher and participant (James 2016). After I identified the emergent themes, I checked with my participants if the themes accurately reflected their latest states of mind. As a result, I made minor revisions to the overarching themes. The dataset consisted of five interview transcripts, substantial online messages, email correspondence, and researcher journal and were analysed using Interpretative Phenomenological Analysis (IPA) (Smith 2004, 2008; Smith and Osborn 2015). Adhering to the idiographic procedures of an IPA case study, I tried to make sense of how the participants made sense of their own experiences known as double hermeneutics (Smith 2008; Taylor 2015). IPA researchers commonly report and interpret findings simultaneously, linking them to the research literature. I had prolonged engagement with the data, and interim changes were updated. The analysis was inductive, which involved coding, finding emergent themes, then the overarching themes across the cases which are supported by the participants’ narratives (Smith, Flower, and Larkins 2009; Tzanidaki and Reynolds 2011; Shinebourne 2011).
Reflexivity and Researcher Position I am a Chinese-Australian music educator who shared similar cultural backgrounds with my participants. Being a reflexive researcher, I was aware my presumptions might enable or hinder the research process (Bradbury-Jones 2007; Stronach, Garrett, Pearce, and Piper 2007; Drake 2010; Creswell 2015). I took a non-exploitative position toward my participants which minimised the power effect (Valentine 2007; Josselson 2007) and kept a journal to bracket my agenda from the research (Smith and Osborn 2015; Fonow and Cook 2005; Lietz, Langer and Furman 2006). The interview questions were empathetically framed, and participants had the right to terminate the interview (Oakland, McDonald, and Flowers 2014). The analysis was triangulated by a senior colleague who examined the data independently (Smith, Flower, and Larkins 2009; Frisina 2006); we had robust discussion on the emergent themes and the pedagogical implications of the findings. This colleague acted as a third-party reader who created another layer of interpretation, known as triple hermeneutics (Smith 2008). These triangulation procedures were performed to ensure my research findings were rigorous, ethical, valid, credible, and trustworthy (Russell and Kelly 2002; Pillow 2003; Gemignani 2011).
Participants’ Demographic Backgrounds and Early Musical Success Jill was born in a Christian family in the former Portuguese colony Macau in the 1960s. Her late father worked as a church administrator; her late mother was a homemaker. In their childhood, Jill’s mother took Jill and her older brother to Hong Kong to attend schools. Jill began learning the piano when she was at primary Grade 5 (age eleven) and passed the Associated Board of Royal Schools of Music (ABRSM) eighth grade piano and theory when she was in Form 5. Jill also had two years of vocal training. Following high school graduation, Jill returned to Macau and began working full-time in banking while teaching part-time piano at music schools for over a decade. She reported that “the opportunity to continue learning advanced piano in Macau was limited due to the shortage of expert piano teachers.” Jill learned from a well-known piano teacher in Macau for two years. She then wanted to pursue a degree course in Hong Kong. Jill shared a flat with other people; there she met and married her husband. Sandy was born in Hong Kong; she has no siblings. Sandy began learning the piano at four and was taught by her mother, Jill. Two years later, after she passed her ABRSM third grade piano exam, she learned from a different teacher. In Grade 1 (age seven), Sandy began violin lessons at her music-focused primary school, which offered an orchestral program. She has been actively performing in her school orchestras for eleven years. Sandy also passed ABRSM eighth grade violin in middle school. In Form 5, Sandy attempted the ABRSM violin performance diploma exam but failed. Although Sandy has since stopped learning the violin for two years, her firmly established musical identity as a violinist remains unchanged.
Results and Discussion Jill: Making Sense of Music Learning and the Skills Acquired In the first interview, Jill (age fifty-three) spoke about her life in a post-colonial discourse, linking her experiences to the religious and socioeconomic environment that she grew up in. Jill had restarted piano teaching, having worked in banking most of her adult life. She recalled: “I was stressed out in my bank job, so I advertised myself as a piano teacher. A Salvation Army General responded and I recommenced piano teaching after a long break in his centre. With the increasing number of students, I quit my job.” For Jill, midlife triggered a new appreciation of life; she reassessed her life, counting her gains and loss (Erikson 1980, 1982; Aldwin, Spiro, Levenson, and Cupertino 2001; Lachman and Firth 2004). Jill decided an occupational identity change in her late adulthood was necessary to
navigate her later years (Dabback 2010), although she was not new to piano teaching. She explained: “To reenter the teaching profession in the current climate, it is best that I enrol in a university-based music education course. This course consists of music subjects including history, analysis and orchestral arrangement, and a Diploma of Piano Pedagogy. It’ll take me eighteen months to complete. I can also sit for an external exam which is the Associate of Trinity College London (ATCL) performance diploma. I want to fulfil my dream before my health and intellect deteriorate. It was an incomplete thing that I didn’t make music my full-time career earlier.” Jill drifted into nostalgia, and was saddened by her missed opportunities: The church choir inspired me and playing piano gave me the key to appreciate classical music. When I finished high school, I auditioned for a music degree course at one of two universities in Hong Kong and passed the piano and singing requirements. I received no offer because of my low scores in other subjects. I returned to Macau and worked. At my late twenties, I was offered a Bachelor of Social Work but never began studies because my husband said we had a huge home loan…If only I was from a rich family, my story would have been rewritten; missing tertiary education was my destiny. In her early years, Jill learned from church choir participation and private piano and vocal lessons. Jill’s post-secondary music education was restricted by limited opportunities in her environment. Nowadays, notions of equity and diversity are certainly relevant for public debate or discussion (David 2007; Archer 2007); unfortunately, it was not addressed then. Also, Hong Kong only had two tertiary institutions offering music degree courses at that time. For those who wanted to pursue a music degree, there were no alternative pathway but to first reach the benchmark in English and Mathematics. In her midlife, Jill still struggled to acquire formal music qualifications. Although there were more opportunities and bridging programs available with inclusive institutions offering courses for people returning to studies after life disruptions, Jill was barred by similar requirements and limited financial resources. Jill chose to enrol in an eighteen-month long diploma with shorter contact hours and lower fees than a degree course because she had to work to support her family. She spoke about her juggling various responsibilities: “Without a regular job; I had to run around teaching sixteen students at different music schools. It was overwhelming to cope with orchestral arrangements, piano practice, and teaching and looking after my family…I am experiencing menopause, lack of sleep, fatigue, and sickness and deaths around me.” By the end of 2016, Jill has passed all music subjects and the piano pedagogy diploma, but her plan to sit for the ATCL diploma exam was postponed. Jill reflected on her journey: “I felt I was too old to study, but I will continue to take lessons to prepare for the performance diploma. I knew my rhythm was disrupted but my passion for music didn’t die. I believe in 30 percent talent and 70 percent hard work, and will do private practice until I am ready. Then I will find a teacher to coach me because I want to save money for Sandy’s needs. I believe if I don’t give up, I will eventually get somewhere.” Jill had a tough time navigating through her diploma preparation while coping with life demands. She adjusted to serious sources of stress and compromised her long-term goal to satisfy immediate needs, which was getting well (MacNamara, Holmes, and Collins 2006). Jill was adaptable and believed that she would find a way out if she persevered (O’Neill 2011). Jill displayed the Confucian virtues of determination, resolve and diligence, endurance of hardship, perseverance, delayed gratification, concentration, humility, personal competence, mastery, and achievement through learning (Li and Fisher 2004; Watkins and Biggs 2001). Jill coached herself with calming self-talk and dealt with disappointment appropriately (Wolters 2003). Through online messaging, three months after the third interview with Jill in Hong Kong, she reported: “…of course I won’t give up. I might have to reduce work to allow time for practice for the ATCL exam. Sandy is learning from an US trained concert pianist who lectures at a university;
he is very demanding. I got her another teacher trained in UK to prepare her for her aural exam. Sandy is very talented; she learns fast and can play a new Bach Prelude and Fugue in a week. She wants to change her major to piano, but I want her to stay with violin.” Jill was motivated by the Confucian virtue of constant improvement (Kong-Zi 2010). Although the ups and downs of life were very weary for Jill, she was determined to become a “qualified piano teacher.” Jill was a resilient learner who managed her emotions, navigated conflicts, and found alternative pathways (Moss 2015). Like a self-sacrificing Chinese parent, Jill was unwilling to spend money on herself to save money for Sandy’s needs. Through social networking, Jill arranged the best teachers to ensure Sandy received optimum learning opportunities (Li et al. 2008). At the end of the research timeline, which was six months after the third interview, Jill had commenced piano lessons with a new teacher trained by the Russian School. Jill explained: “Apart from being an internationally well-known concert pianist, my teacher is a Christian tertiary educator. She has produced many DVDs and won numerous prizes. I recently became a committee member in a choral society and will be going to a three-day choral workshop held in Guangzhou. I am energised by attending weekly choir rehearsals at the Hong Kong Oratorio Society; fortnightly I sing in another mega choir, and we are preparing for a concert in September. These give me much joy and I don’t have a need to do the ACTL diploma anymore.” In her youth, Jill had taught piano part-time for a long time. Jill later thought gaining the ATCL diploma might help her to reenter the instrumental music teaching profession. After Jill had passed her music education course including an internal piano pedagogy diploma and successfully recruited enough students, she enjoyed being involved in Christian church music ministries as well as taking part in regular choral rehearsals and performances. Evidently, enrolling for the ATCL exam was no longer her priority.
Sandy: Making Sense of Music Learning and the Skills Acquired Sandy (age eighteen) just finished high school and was looking forward to beginning a tertiary music course in the first interview. Sandy recalled: “I had music surrounding me at home, at church, and at school. I have choir and orchestra rehearsals twice a week throughout my school years, besides instrumental music lessons. I was told I am gifted. Although I am a violinist, I prefer to experiment on the piano because of its range and versatility.” Like her mother, Sandy’s early musical achievements relied on total music immersion where she had many learning and performing opportunities (Lamont 2002; Saunders 2010). The dyad’s religious affinities cultivated their love in liturgical and classical music initially. Sandy selfregulated her learning and experienced success. However, her musical identity as an ensemble violinist gradually changed when she developed an interest in solo piano playing. This became her key to unlock the world of pop music. Sandy described how this occurred: I began composing my own music since Form 1 (age thirteen) using Overture and uploaded my work on YouTube; I liked piano, singing, and acting more and grew apart from violin. I failed my ABRSM violin associate diploma in Form 5 because I invested little time on it. But I can improvise on the piano competently. From Forms 4–6, I took part in singing competitions with a band; I played keyboard and drums. We sang Japanese animation songs. In Form 6, I won a trophy for my solo vocal performance. I want to become a performer and work for multimedia. Sandy’s ongoing musical engagement enabled her self-discovery and music identity formation (Roberts 2010; Fung 2016a). Her interest in pop music was influenced by multimedia and team work within a band. In Sandy’s time, learning modes have changed from face-to-face to e-communication in virtual space involving the global community. Interdisciplinary web-based and personalised learning, transferrable skills acquisition, digital literacy, autonomy, creativity,
and collaboration are the characteristics of the twenty-first-century learner (Garrison 2011; Eaton 2014). Sandy enjoyed her leadership and success through peer collaboration and YouTube exposure and desired to become an entertainer. Winning a trophy gave Sandy resolve; she hoped that a bigger break will come later. Resistance at home was strong, Sandy explained: “My parents really object to my new ideas, they prefer me to get a degree first. They said it is difficult to get into the entertainment industry. We had many arguments...they wished I could play violin professionally.” Apparently, Jill’s goal about learning a musical instrument was to gain a skill that leads to a career, but Sandy did not want to become an orchestral violinist. Her self-concept of an “entertainer” and identity-based motivation drove her further away from the set path that Jill wanted her to adopt (Bracken 1996; Oyserman 2013). The discrepancies between parental aspiration, Sandy’s individual goal, and perceived musical/occupational identity caused significant conflicts (Helwig et al. 2003). In the second interview; Sandy reported these changes: I didn’t receive tertiary offers, so I enrolled in a Pre-U diploma and aimed at transferring into the second year of a music degree course later. I took many other non-music subjects, and my results could be better if I studied harder and worked less shifts. I was late in my English oral assessment and not always motivated to study. I found two vacation jobs for some industry experiences: cinema usher and acting as an extra for TV. I watched many movies in the usher role, and my life perspectives shifted. I plan to go to Taiwan for holidays. Instead of focusing on studies, Sandy worked a lot to earn money for travel. Her immediate gratification to see the world took priority over delayed enjoyment. Sandy’s behaviours of being late for assessment combined with her lack of determination and time allocation for study created barriers to progress. Sandy elaborated: “My ultimate goal is to become an actress-singer. My work experience confirmed my interest in acting. My current plan is to pass the ABRSM violin performance diploma that will help me to transfer to a music degree. I began to learn about harmonisation, mixing classical elements with a jazz twist on the piano. I want to compose and do arrangements. I taught my friends to play guitar; my parents wanted me to teach violin…Somehow they stopped resisting my wish and saw no point criticising me anymore.” Like her mother, Sandy was also an adaptable person who adjusted her life to changing circumstances when her goal became unattainable. However, Sandy’s low achievement motivation hindered her learning; she did not regulate her progress to ensure success (Wolters 2003). Sandy was atypical of the Confucian learner who would focus on achievement outcomes (Kong-Zi 2010). To deal with failure, Sandy used positive self-talk to comfort herself and identified new ways to bridge into a degree course (MacNamara, Holmes, and Collins 2006; Moss 2015). Sandy showed resilience to bounce back from disappointments (O’Neill 2011). Nine months after the second interview, Sandy reached an important milestone. Through messaging, she reported: “I changed my Pre-U course to another university that offers a music degree, focusing more on performing. I also passed the ABRSM violin diploma but failed the aural component which was about music history and analysis. I really could have worked harder. I have this desirable diploma but I don’t care about teaching violin.” Although the diploma was something Sandy wanted ultimately, she did not invest time and effort in the process. Jill added these final observations: “Sandy did not know what was best for her. Many teachers told me that she is talented musically; but she is lazy. She relied on her feelings and talent, and only played violin during lessons, but her teacher said she is good…I tried to pull some strings for her to learn from a famous violinist who might take her into Hong Kong Philharmonic.” The dyad had different ideas about instrumental music learning and the fine skills they acquired. The mother observed her daughter’s immaturity showing in Sandy’s lack of direction. Jill tried to use her social networking to get Sandy a teacher of influence with the hope that
Sandy can secure a place in an established orchestra. In the last seven months of the research, Sandy updated her changes through online messaging every three-to-four months, and there were significant changes in her attitudes and actions. After taking lessons from several well-known piano maestros, Sandy decided to make piano her principle instrument. Jill knew that there was no point pushing Sandy to continue with violin, although Sandy’s advanced violin skills might give her advantage in her tertiary music course. By the end of June 2017, Sandy passed all subject requirements in her Pre-U diploma and had been accepted into the second year of her four-year music degree course. Sandy had regretted not investing time in her studies before; she might have regulated her learning process to ensure positive outcomes this time (Wolters 2003). The tension between Jill and Sandy had since subsided, perhaps due to Sandy’s changes showing personal competence and maturity. Sandy had successfully navigated her bridging program and is currently enjoying her summer holidays. Sandy is looking forward to begin her tertiary music course in September. The following table summarises the dyad’s key transitions. Table 1.1: Key Transitional Changes Reported on the Timeline Time
Jill
June 2015
April 2016
Missed opportunity to make music a career due to environmental constraints Quit banking; reconnected with former piano teacher identity Had sixteen piano students, teaching at music schools Enrolled in an eighteen-month long music education diploma at a university, preparing for internal and external (ATCL) piano performance exams Disapproved of daughter’s pop music pathway; wanted her to stay with classical violin
Stopped resisting Sandy’s choice Worked very hard, but juggling between studies, piano practice, and family life
Passed all subjects and the pedagogy diploma including an internal piano exam Overcame by life stressors including illness, work, familial and financial obligations; postponed the ATCL exam Decided to continue to prepare for ATCL diploma exam Believed in never giving up as a strategy and success will come eventually
January 2017
Sandy Established musical identity as a violinist although failed the ABRSM performance diploma in Form 5 Completed high school; began parttime tutoring Restarted learning violin after a twoyear break Missed tertiary offer, enrolled in PreU course, preparing for ABRSM violin performance diploma exam Developed interest in piano, composing, singing; motivated to form a new identity as a singeractress, entertainer Experienced resistance at home for these new identities Began working as an extra and cinema usher; confirmed interests in the pop music and entertainment industry Received average results in the Pre-U course; self-confessed of the lack of effort
Transferred to a different university, still aimed at transition into second year music degree course Passed ABRSM violin diploma; failed the aural component; admitted the lack of effort; had to do supplementary aural exam in August Confirmed disinterest in violin teaching Believed in risk taking, treating failure as a change of route
Table 1.2: Key Transitional Changes Reported on the Timeline Time
Jill
April 2017
July–August 2017 (Summer Holidays)
Reduced work commitment to enable piano practice in preparation for ATCL diploma exam Determined to take risk regardless of barriers identified Wanted daughter to major in violin instead of piano Began learning piano from a new teacher, a Christian concert pianist trained by the Russian School, a tertiary music educator Taking bi/weekly rehearsals in two local choirs for concert performances Became a committee member in a choral society and active in church music ministries
Sandy Began regular piano lessons with a well-known US trained concert pianist, a tertiary music educator Began aural lessons with a teacher trained in UK to prepare for aural exam Considered changing major practical study from violin to piano
Transferred successfully to a music degree course Began learning piano from mum’s new piano teacher Decided to major in piano and looking forward to commence second year music in September
Based on the summary (Table 1) of emergent themes, three overarching themes can be derived for discussion: identity-based motivation mediates our musical development, life stressors disrupt our learning, and resilience helps us bounce back from adversities. Each theme will be discussed with further references to the literature and the dyad’s interactions.
Identity-based Motivation Mediates our Musical Development Parental goals, beliefs, and practices were influenced by their cultural backgrounds (Chao 1996; Barrett 2011). Jill’s mother was a housewife, and Jill and her father never received tertiary education and did clerical work all their lives. At midlife, Jill was determined to fulfil her dream of becoming a piano teacher. She demonstrated she possessed many Confucian learning virtues and tried her best to reach that goal. It was also important for Jill to ensure her only child could acquire the necessary skills to find sustainable and enjoyable employment. Jill invested all her resources on bringing up Sandy to become a self-sufficient person. Sandy was sent to a primary school with a music focus and was known as a talented violinist. At fifteen, Sandy had passed eighth grade violin. Until this time, Sandy did not know life was bigger than violin playing. Sandy later enjoyed playing in a band and wanted to become an entertainer. Music performance is a skill which requires regular practice and constant maintenance (Ruddock and Leong 2005; Davidson 2011). Sandy admitted that her past failure was due to the lack of time and effort devoted for assessment preparation. Chinese parents believe that talent without hard work is wasted (Li 2003b). In this learning model, a student’s non-achievement is attributed by the absence of these virtues (Li 2006). Sandy did not fully utilise her musical talent by working hard. These are uncharacteristic of the Chinese learner who is expected to be achievement oriented (Kong-Zi 2010; Li and Fisher 2004; Li and Yue 2004). The discrepancy between parental aspiration and individual choice led to familial disharmony. Sandy’s disappointing results exacerbated her parents’ idea about her being a “lazy person.” For argument’s sake, Sandy can be regarded as a hard-working youngster guided by achievement goals. She took the initiative to find jobs as an extra and usher (Ames 1992; Pintrich 2000; O’Neill 2011); there she had maximum exposure to commercial TV and the pop music industry. Sandy regulated her learning process to ensure future success (Wolters 2003). She was selfmotivated to seek opportunities and was willing to take minimum wages in exchange for some industry experiences. Sandy dealt with her failure, navigated conflicts, and managed her emotions; she handled new challenges and found alternative artistic pathways (MacNamara, Holmes, and Collins 2006; Moss 2015). Jill and Sandy held different views about talent and
personal effort and what they wanted to do with their musical skills. Under the influence of classical music training, Jill’s idea of hard work appears to be practising for a few hours a day for the exam repertoire. With her musical talent, Sandy knew that she could make it by not putting the hours in. It was important for Sandy, a twenty-first-century learner to be self-propelled, take ownership of decisions, and enjoy autonomy while exploring her own life (Garrison 2011; Eaton 2014). Individual self-concepts are bound to differ from one context to another, and they determine the final performance outcomes (Helwig et al. 2003). Sandy’s musical identity formation was mediated by her passion in performing arts, further influenced by new media; whereas Jill’s musical identity was shaped by her religious affinities, classical music training, and the need to establish a music teaching career. I believe identity-based motivation played the most crucial role in the dyad’s musical development (McPherson 2001; McPherson and Williamson 2006). In the second interview, Sandy said that she was not passionate about being a concert violinist even after passing the performance diploma; she also refused to begin teaching the violin which pays very well in Hong Kong. While it was true that she wanted a music degree; her goal was “to become a singer-actress.” Sandy wanted to abandon her “violinist” identity and reestablish herself as a “pop artist.” This self-concept mediated her musical development and behaviours (Hargreaves, MacDonald, and Miell 2012). Sandy might have sabotaged her future as a concert string player by showing a low motivation to succeed in classical violin. This longitudinal study captured Sandy’s transitions, which showed that as Sandy matured toward the end of the research timeline, she decided that it was more important to first obtain a music degree before entering the entertainment industry. Sandy took ownership and acknowledged that this was what she wanted, not a setup by her family. With her growing passion and efficacy in piano while learning from master teachers, Sandy convinced Jill that majoring in piano would be best for her. Jill knew Sandy’s advanced violin performing skill is her big asset, but decided to respect Sandy’s chosen pathway.
Life Stressors Disrupt our Learning As a youngster raised in a middle-class family where her needs were not deprived, it was difficult for Sandy to comprehend Jill’s urge for her to succeed in music, in order to make music a sustainable career. Sandy experienced some failure that delayed her start of tertiary music education. The life stressors that disrupted Sandy’s learning could have been avoided if she “worked harder” as she confessed. By contrast, being raised in colonial Macau and Hong Kong, much of Jill’s disappointments were linked to her missed opportunity to pursue a music degree, and she made piano teaching her career. As a first generation musician, Jill lamented on the lack of opportunities and financial resources to support her studies. Her learning in midlife coincidentally intersected and was distracted by Sandy’s pursuit of music education. This was a love and hate relationship: Sandy knew Jill loved her and wanted the best for her, but resisted parental control; Jill mourned the opportunity that she never had and hated that Sandy did not make the most of her opportunities. These issues were further problematized by the complexities of the diverse cultural-political climates and socioeconomic environments that the two generation of females experienced. Sandy was a risk-taker who perceived mistakes as changes of route in life. As a single young lady, Sandy was free of familial obligations, unlike her mother. Sandy worked to generate income for personal travel. She can experiment with life, including switching from learning violin to piano without any financial burdens. Jill was cautious about how to budget wisely to avoid making mistakes. Both experienced learning disruptions due to circumstantial changes, but they responded to their life stressors differently.
Resilience Helps Us Bounce Back from Adversities Jill reported that “not gaining a music degree left a hole in my heart;” she desired to gain formal music qualifications in midlife. Regardless of the life stressors encountered, Jill passed her music education course with an internal piano pedagogy diploma; she found secure employment as a credible piano teacher (even before passing the external ACTL diploma). Regarding ABRSM violin diploma exams, Sandy failed her practical the first time and the aural component the second time. Like Jill, Sandy also missed tertiary offers but none of these failures crushed Sandy’s spirit and prevented her from moving on. Sandy enjoyed travel and working as an usher and movie extra; she teased out her passion in music by experimenting with piano improvisation, composing through new media, playing with her pop band, and singing contests, and she ended up making piano her principle instrument of study. Through a bridging program, Sandy successfully transitioned into the second year of her target music degree course as a result of “not giving up.” The dyad displayed an incredible amount of resilience, and they bounced back consistently from adversities (Moss 2015).
Conclusion Both musicians were gifted and had early successes as they passed the ABRSM eighth grade exams at very early ages. Jill was disappointed that she did not receive advanced piano coaching and missed tertiary music education; this pain fuelled her desire to make a break in midlife. Jill viewed her occupational identity in her remaining years as a piano teacher; she possessed many learning virtues including diligence, endurance of hardship, effort, perseverance, delayed gratification, and humility (Li 2002, 2003a; Li and Yue 2004; Chao 1996). Jill was motivated to try her best to gain credible music qualifications, but life stressors including limited opportunities, family obligations, illness, work, and financial constraints disrupted her rhythm. Regardless of the barriers identified, Jill used “never giving up” or resilience as a mental strategy, demonstrating her self-concept and identity-based motivation that continued to drive her forward (Hargreaves and Marshall 2003; Dabback 2010; Hargreaves, MacDonald, and Miell 2012; Russell 2012). Sandy enjoyed success as a violinist in her childhood and adolescence. During her youth, Sandy wanted to break away from parental control and create her future as an entertainer. Sandy also wanted to gain tertiary music qualification, but was not totally motivated to regulate her learning to ensure success (Wolters 2003), unlike a typical student influenced by the Confucian learning virtues (Kong-Zi 2010; Li 2002). Her passion in performing and desire to pursue a music degree did not contradict with each other; it was important for her to develop a balanced relationship with the performing side of music and establish a sustainable identity (artisteducator) within music (Hargreaves, Miell, and MacDonald 2002; Tarrant et al 2002; McCellen 2014). Sandy’s part-time work hindered her studies, but enabled her to extend her horizons; these were life-changing experiences for her. As she matured, Sandy acknowledged that getting a music degree should precede working as an entertainer. She successfully passed all subjects, integrating passion and personal effort and transitioned from the bridging program to a music degree course, further demonstrating changes of attitudes and behaviours. The current findings add to the existent literature and confirmed that music identities mediate musical development and identity-based motivation is a powerful drive to facilitate one’s pathway and occupational choice (Hargreaves and Marshall 2003; Davidson and Burland 2006; Oyserman 2013; O’Neill 2011; Austin, Renwick, and McPherson 2006; Renwick and McPherson 2009b). Furthermore, resilience was an important attribute the dyad possessed which enabled them to bounce back from failures and determined their achievement outcomes (MacNamara, Holmes, and Collins 2006; Moss 2015; O’Neill 2011). The findings of this longitudinal study are congruent with the overall findings that emerged from my extensive research project. Although the Confucian collectivist ideology focusing on the interplay of
parental aspiration and children’s attainment shaped the dyad’s life-worlds, Sandy was uncharacteristic of a typical Chinese learner inspired by the “compulsion to excel” especially at the beginning stage of the research. Sandy resisted her mother culture and parental control while displaying the characteristics of the twenty-first-century learner, emphasising autonomy, team work, learning for life, and innovation through social media and e-communication.
Implications and Future Research This study highlights the importance of equity and diversity in education. Without equitable access or diverse opportunities to formal/informal music education, Jill and Sandy had experienced many learning disruptions. The participants’ musical identities took a long time to cultivate and mature, while encountering many life stressors at different phases of their lives. Jill’s pursuit of tertiary music education was barred by her low study scores in subjects other than music and limited study opportunities. Sandy received no tertiary music offer, but was able to make use of her time studying something else as an alternative pathway into a desirable music degree course. These options were not available to Jill, and her life story could have been rewritten if issues of diversity and equity were addressed back then. It is also important to acknowledge that instrumental music learning via an informal master-apprentice model is a valid pathway leading to musical mastery and professional musical identity, regardless of formal institutional music education received or deprived (Fung 2016b). This is a crucial theoretical consideration which shapes pedagogical engagements with future learners. While talent and opportunity can accelerate learning (Manturzewska 1990; Sosniak 1990; Howe, Davidson, and Sloboda 1998), they do not necessarily guarantee musical success. Individuals’ motivation to learn via in/formal or non-formal education may vary throughout their life courses and are influenced by the dynamic aspects of their changing circumstances and identities (Creech et al 2008; Dabback 2010; Austin, Isbell, and Russell 2010; Russell 2012; Hargreaves, MacDonald, and Miell 2012). It is not uncommon to find racial-ethnic, disability discriminations, sexism, and ageism among educational programs at schools and music conservatories (Goldin and Rouse 1997; Volk 2004; Rosenbloom and Way 2004; Lena and Peterson 2008, Bull and Scharff 2017). Inclusive tertiary institutions should design diverse programs to suit individuals with different needs, including those who return to formal education after overcoming significant life disruptions and occupational changes. Service providers in the new millennium must consider offering blended learning and online courses with reduced cost to fully cater to students with learning difficulties, with physical/mental disabilities, or who reside in remote regional areas. IPA case studies explore the lived experiences of individuals in depth, but focused on their reimagined life histories. It is for this reason that generalisation of findings is inappropriate. Phenomenological research study exists on its own merit, and it is only through understanding experience that human beings come to understand ourselves and the world around us. This study looked at the shift of value systems across two generations in different sociocultural contexts, each participant viewed personal effort and hard work differently. Talent and opportunity might have also been important, but it was the self-perceived musical identity and the passion behind each person’s life goal that motivated them to continue to overcome hurdles. This family exhibited great resilience, which is an important scholarly attribute, referred to as endurance of hardship and perseverance in Confucian terms. These demonstrated that East-West educational theories are transferrable, and they exist on a continuum. Future studies could look at how family beliefs and parental goals continue to influence their children’s career choices and identity construction over their lifespans among different racial-ethic groups. The cultural backgrounds and symbol systems musicians carry that influence their achievement outcomes would also be of interests to practitioners and researchers in the arts and social sciences.
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