GWEN MOORE
Gwen Moore is Director of Teaching and Learning and Senior Lecturer in Music Education at Mary Immaculate College, Ireland where she has been lecturing in music education at undergraduate and postgraduate levels for over a decade. She is a member of the international editorial board of the International Journal of Music Education and the book series, Popular Music Matters. Gwen’s doctoral research is the first international study to investigate the experiences of music lecturers and undergraduate students across eleven Irish higher education institutions and she has published these findings in peer reviewed journals such as Irish Educational Studies and Music Education Research. She is an awardee of research funding from the Irish Research Council and served as Chair of the Society for Music Education in Ireland from 2013-2017.
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Cultural Capital, Curriculum, & Neoliberal Education Policy: Reconciling the Structure/Agency Dialectic for Learning and teaching in Higher Music Education
In this provocation, I explore the curriculum in higher music education from a number of
perspectives. First, I critique the interplay between ideology, musical value and the curriculum as structures that both students and lecturers co-construct and negotiate. Second, I examine theories of higher education curricula to contextualise the diversity of curricula within the sector and the ways in which the ‘hidden curriculum’ facilitates the reproduction of musical values. Finally, drawing from Bourdieu (1988) and Bernstein (1971), I present a theoretical model developed by the author that illustrates how curriculum in higher music education operates as a dialectic of structure/agency depending on how it classifies musical boundaries and frames the learning context through pedagogy.
perspectives. First, I critique the interplay between ideology, musical value and the curriculum as structures that both students and lecturers co-construct and negotiate. Second, I examine theories of higher education curricula to contextualise the diversity of curricula within the sector and the ways in which the ‘hidden curriculum’ facilitates the reproduction of musical values. Finally, drawing from Bourdieu (1988) and Bernstein (1971), I present a theoretical model developed by the author that illustrates how curriculum in higher music education operates as a dialectic of structure/agency depending on how it classifies musical boundaries and frames the learning context through pedagogy.