Titlebook: Narrative Inquiry in Music Education; Troubling Certainty Margaret S. Barrett,Sandra L. Stauffer Book 2009 Springer Science+Business Media

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Narrative Inquiry as Reflection on Pedagogy - A Commentary understanding. Kisliuk’s explanation of her role as a researcher with the BaKa people in the Central African Republic (Kisliuk, 1997) is a good example of this style of writing. A second type of subjective research writing is autoethnography, where the researcher is also the object of research research (Ellis&Bochner, 2000).

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Nora’s Story and the Mirror of Music Teacher Excellence – A Commentaryality, realising that what I have just been reading is only . story, existing alongside a number of different stories, and that I would be in great academic trouble arguing that – on the basis of this story – “I have seen the light” with regard to what music teaching really is like.

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tuates the work in the field.Presents meta-reflective commenMargaret 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 “l(fā)andscape” of inquiry in the social sciences. This renewed inter

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Layering Analytic Lenses: Considerations for Assessing the Narrative Text in Music Education – A Comry, and, in that process, one gains perspective on the meanings of an individual’s lived experiences. Ferguson’s focus on accessing self-views encompasses “all beliefs and feelings a person holds about herself, including identity, the part of self that tends to be defined by society” (p. 2).

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Giving Voice to the Voiceless: Empowerment Through Music – A Commentary (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.