Using a shared research practices paradigm with adult choral singers for the teaching and learning of musical literacy skills

Abstract

This paper discusses the development of music lessons for adults in a non-professional choir. Based on the Kodály Concept, the lessons took place from April 2019 until March 2020. The singers and conductor engaged in shared research practices, tracking teaching and learning experiences through journaling and sharing our writings. Through this sharing, we have discussed the activities that are most enjoyable, difficulties we have encountered, and ways to overcome these difficulties. The data has important implications for my own practice as a music teacher and conductor, in addition to resonating with topics such as critical geragogy and life-long learning in non-academic contexts. Furthermore, shared research practices give adult learners an opportunity to actively engage in teaching and learning processes, with implications for future projects that include adult music education in nonacademic contexts.

Introduction

This article discusses the development of shared research practices with a group of adult learners from the choir Voz Pop, which I conduct, while engaging in optional weekly music lessons based on the Kodály Concept of Music Education.

Voz Pop was founded in Aveiro, Portugal in October 2017. Our repertoire focuses on a cappella choral arrangements of pop and musical theatre songs. Voz Pop welcomes anyone that would like to try choral singing. There is no audition policy, and members are not required to have any previous musical education or vocal training. At present, approximately 30 singers participate in Voz Pop. Although a number of singers are in their twenties and thirties, the majority are over 50 and many are retired. We rehearse for approximately 1 hour, once per week, from September to July, with longer weekend rehearsals approaching performances.

For many of the singers, Voz Pop is their first experience of choral singing. Repertoire is transmitted via rote-learning. ¹ I have discussed the problems associated with a complete dependence on rote-learning in the context of Western art music, principally due to the fact that it is a slow, time-consuming process, but also because teaching by rote can deny the singers musical independence and may limit their engagement with music (Hiney, 2017). This view is shared by Hill (2009), describing rote-learning as limiting choir members ‘from being more engaged musicians’ (p. 13). Similarly, Gordon (1994) compares rote learning (which he terms ‘imitation’) to learning to imitate sentences in a foreign language, without understanding the meaning of sounds. While I continue to disregard rote-learning as a long-term solution for teaching and learning Western art music, in the particular context of Voz Pop, with our relatively short rehearsals, I initially felt that it was a viable option for transmitting repertoire.

Teaching and learning Western art pop music

Over time, I became increasingly uncomfortable with the idea of perpetually depending on rote-learning with Voz Pop. I felt it was unfair to indefinitely confine the singers to the ‘oral area’ (Williams, 1981). This confinement to the ‘oral area’ is based on the premise that writing can be described as a ‘separable material system of signification, devised for cultural significance’ (Williams, 1981, p. 90). Therefore, applying the same logic to musical literacy, musical notation may be considered a separable material system of signification. According to Williams, access to systems of signification requires specific training, and problems arise when the ability to read develops more slowly than the growing importance of writing. In the specific context of Voz Pop, we perform traditionally notated arrangements of pop and musical theatre songs, which I term ‘Western art pop music’. The choir is divided into the standard sections (soprano, alto, tenor, bass), and we perform the music according to the information notated in the score. This Western art pop music that we perform is frequently greatly distanced from the original performance context of these songs, as apart from the different sonority achieved by substituting a four or five piece pop or rock band with unaccompanied voices, the performance preparation process is very different. Although we generally perform from memory, there is a certain irony in our use of scores during the teaching and learning process, as most of the songs we sing were not necessarily notated in traditional staff notation in their original performance context. Furthermore, although we can frequently sing along to the melody when we hear these songs, very often the notated versions feature very complex patterns. Following a review of 40 pop choral arrangements, Ward-Steinman (2017) also reported on the rhythmic challenges present in these scores, due in part ‘to the common problem of attempting to notate the rhythm of recorded pop melodies’ (p. 41). Similarly, sections that were once ‘instrumental breaks’, for example, can result in difficult melodic lines in an a cappella context. Therefore, although the style of repertoire we usually perform does not form part of the Western art music canon, our style of performance and hence our rehearsal process is very much akin to the performance of choral music within the Western art music tradition. However, although everyone is given a score, the singers have not had the specific training required to develop the skills to decode and access all the information contained in the score. Thus, this material system of signification, namely musical notation, may not hold cultural significance for these singers. This situation leads to a certain ‘asymmetry’ (Williams, 1989), as ‘the point is soon reached when there is a qualitative difference between the oral area, which all share but to which most are confined, and the literate area, which is of increasing cultural importance but is at once minor and dominant’ (Williams, 1981, p. 108). The minor, but dominant, musically literate area may be reduced to only the conductor, as is the case of Voz Pop. Meanwhile, a long-term dependence on rote-learning means that the singers are confined to the oral area, learning the music through oral transmission as they lack the specific training to access this separable material system of signification. Furthermore, previous research (Hiney, 2017) shows that dependence on rote-learning is common in the case of non-professional choral singing practices. A nationwide survey conducted in Portugal in 2015 found that among the 101 conductors surveyed, almost 80% use traditionally notated scores with their choirs. However, fewer than 17% of the singers in these choirs are described as having developed the skills necessary to autonomously read music. ² Similarly, in their study of five choirs based in Australia, Joseph and Southcott (2018) found that ‘hardly any choir members identified prior musical learning’ (p. 184).

In order to address long-term dependence on rote-learning, I offered the singers optional weekly music lessons. However, at the same time I was anxious to avoid placing too much emphasis on the importance of musical literacy, as it is only one aspect of choral singing, albeit an aspect to which great value is frequently attributed. I refer to O’Toole’s (2005) statement regarding institutionalised, ‘legitimate’ knowledge, which the author explains tends to be ‘valued and promoted over other types of knowledge such as social skills or love of singing’ (p. 9). Although formal musical knowledge, such as an understanding of harmony, is an important element in the development of a musical interpretation, in many aspects, the question of musical literacy is most pertinent to the early stages of the rehearsal process. When the choir is performing on stage, how each person initially accessed the repertoire in question (whether by autonomously reading the score or by memorising the information contained in the score through rote-learning) is no longer relevant. Furthermore, during previous research on developing literacy skills with a non-professional choir (Hiney, 2017), musical literacy was identified as a divisive and decisive factor in determining an individual singer’s perceived status within the choir. Therefore, I felt it was important to place more emphasis on the myriad of experiences, knowledges, and ideas that each individual could share, to avoid focusing merely on ‘legitimate’ knowledge. This led me to reflect on the following question: how can teaching and learning activities be developed to promote musical literacy skills for a non-professional choir, while avoiding a hierarchialisation of knowledges?

Shared research practices

Shared research practices were considered an appropriate methodological framework for this project due to their focus on democratic approaches to knowledge and knowledge production. According to Sardo (2018), shared research practices ‘lead us to the dilution of all social and knowledge hierarchies as all subjects participating in the research and the knowledges they have must be seen as fundamental to it. They also contribute to the ecology of knowledges by encouraging logic pluralism as a way of interpolating conflict and social asymmetries’ (p. 232). The democratic and dialogic approach to knowledge production associated with shared research practices also correlates with research relating to teaching and learning practices in the context of later adult music education (Laes, 2015). ³ As Creech and Hallam (2015) explain, ‘the value of engagement in later-life learning is related to opportunities for self-directed and self-regulated learning, collaborative dialogue and reflection, and for real and sustained development of knowledge, skills, and wisdom’ (p. 44). Meanwhile, Balsnes (2017) identifies a need to develop theories and practices regarding music-making for older adults. Similarly, Hartogh (2016) states that different didactic approaches are needed for older adults, and recommends projects that value people’s knowledge and experience. Thus, I hoped this approach would help us adopt a reflexive approach to the teaching and learning activities, regularly evaluating our progress and the quality and efficiency of the activities in which we would engage on both an individual and a collective level. Furthermore, shared research practices would allow for a polyvocal account of our activities. This polyvocality promotes the decolonisation of knowledges, in accordance with the ethos of shared research practices, which are ‘based on the articulation of individual knowledges and experiences (. . .) for the construction of common new knowledge’ (Sardo, 2018, p. 219).

Within the context of shared research practices, both Sardo (2018) and Miguel (2016) have written about their experiences of the Skopeofonia project. Skopeofonia took place in the neighbourhood of Cova de Moura in Lisbon from 2013 to 2015, and involved a transdisciplinary team, comprised of academic researchers from the University of Aveiro and local musicians from the neighbourhood. In relation to the research activities in which the team participated, Miguel (2016) mentions training, bibliographic research, music-making, writing, audio-visual productions and fieldwork (interviews, participant-observation and audio-visual recordings). Both authors also refer to the importance of regular meetings. Inspired by her experiences with the Musicultura group in the favelas of Maré in Rio de Janeiro, Miguel (2016) highlights the importance of regular meetings, as spaces for discussion, reflection, and collective planning of future actions, through horizontal, democratic dialogue. Therefore, creating a regular space for meetings and discussion was considered crucial for this project.

The Kodály Concept

With regard to the selection of a teaching and learning philosophy, my previous research (Hiney, 2017) involved the development of a functional musical literacy programme for choirs based on the Kodály Concept of Music Education. Focus group interviews showed that collaborating in the programme helped develop aural skills and subsequently the ability to look at a score and hear the sounds, a process described by Gordon (1994) as audiation and by Kodály (1964) as inner-hearing. The participants also referred to being able to learn new repertoire more quickly after participating in the programme. Furthermore, the participants maintained that using a relative solfa system together with a fixed system, in accordance with the Kodály Concept, is better for beginners than traditional fixed solfa teaching, which is frequently the only pitch system taught in Portugal. Based on these results, I felt that the Kodály Concept would be an appropriate teaching and learning philosophy for the members of Voz Pop.

Although it is not possible to give a comprehensive account of the Kodály Concept in the scope of this article, the Kodály Concept, with its focus on practice before theory, and on actively experiencing musical phenomena through singing and movement, was considered an interesting premise for this project. I was anxious to avoid a logocentric approach to the teaching of music theory as this could potentially give more weight to that which O’Toole (2005) calls ‘legitimate’ knowledge. Also, as our approach to repertoire transmission had been almost entirely based on aural and memory skills through rote-learning, and the teaching and learning activities associated with Kodály pedagogy would also require these skills, I hoped that the experience would be positive and productive for all participants.

Research design and methods

Therefore, in April 2019, I offered weekly group lessons to any members of Voz Pop that would like to learn how to decode the score. The reaction was extremely positive, with almost everyone saying they would like to learn how to read music. ⁴ I explained that the lessons would be free of charge, but that I would appreciate if those participating would track their experiences through keeping journals and contributing to weekly discussions. However, I made it very clear that everyone was welcome to come and learn, regardless of whether or not they were planning to engage in the writing or sharing activities.

With regard to journal writing, this form of data production has been found conducive to promoting both deeper levels of reflection (Conway & Christensen, 2006) and reflexive practice (Barry & O’Callaghan, 2008). Similarly, the practice of ethnography in the field of educational research has become increasingly frequent (Beach et al., 2018), but practices that involve both the facilitator and the students have received considerably less attention. Meanwhile, in the context of the Skopeofonia project, Miguel (2016) states that the project’s theoretical contribution was possible due to the dialogue between multiple ethnographies within a framework that views ethnography as an ‘argument for the discussion of theory’ (p. 231).

Therefore, the shared research practices for this teaching and learning project with Voz Pop were based on the collective sharing and discussion of our individual journals, bringing together our individual knowledges and experiences for the collective construction of new knowledge.

In the first lesson, I began by speaking about Kodály, from his work as a composer to his educational philosophy, introducing some of the key tenets of the concept, such as sound before sight/practice before theory. I also spoke about journaling and provided prompts including what we did and did not enjoy, what we learned, suggestions for future lessons and activities, and overall evaluations of the teaching and learning activities. I then invited the singers to write about their experiences during the teaching and learning process and to share these writings with the group at the beginning of each lesson.

At the beginning of the second lesson, I began by reading my journal excerpt, following the conclusions reached by Conway et al. (2012), which suggested that a guide to reflexive writing could be helpful. I then asked if anyone else would like to share their text. Some people read their texts, others explained that they did not write anything, but that they would like to share their thoughts, and others did not feel comfortable sharing their texts with the group, but later shared their writings with me. This pattern largely continued, with varying degrees of participation. Sometimes no-one felt like reading, sometimes we just had a quick chat about our activities, sometimes we began with a warm-up and in the middle of the lesson reverted to discussing our progress, and at times a certain teaching and learning activity or a musical phenomenon that we encountered sparked a spontaneous discussion. Weekly data gathering comprised copies of the singers’ written texts in addition to my own ethnographic writings, which recorded the main points of our discussions.

Adapting the Kodály Concept for different contexts

Based on my previous work regarding the development of musical literacy skills with the choir Voz Nua, I revisited the teaching and learning objectives that I had developed at that time and decided to maintain a similar approach to the sequencing of materials. ⁵ For the project with Voz Nua, I had the luxury of specially commissioned, correlated repertoire to demonstrate specific musical phenomena. However, this correlated repertoire is stylistically opposed to the kind of repertoire that Voz Pop generally performs, and was hence considered inappropriate for this project. As the Kodály Concept advocates going from the known to the unknown, I began to study our existing repertoire in order to identify pieces or excerpts that I could use in the first lesson. The teaching and learning objectives for the first lesson included crotchets and quavers, and I had a certain flexibility with regard to the first tone set to be formally introduced, either do, re, mi or mi, so, la, according to the material, with the intention of building up to a pentatonic tone-set as advocated by Kodály (1964). However, I quickly discovered that none of our existing repertoire was suitable for the early stages of this project. The rhythmic patterns were too complex, with frequent syncopation and dotted patterns, to the extent that I could not find even one bar within our repertoire that corresponded to my previously defined objectives, or that presented a level analogous to Kodály’s exercises for beginners, such as the 333 Reading Exercises, for example. Similarly, I was unable to find an excerpt of a piece that corresponded to either of the tone sets with which I wanted to begin. I considered using Portuguese folk songs in lieu of pentatonic music, but due to the multicultural nature of the group and the broad age-range of the participants, there was no guarantee that this repertoire would be familiar.

Therefore, in the absence of existing repertoire we had already prepared that could meet our pedagogical needs, I decided to use short children’s songs that corresponded to the initial teaching and learning objectives. These included ‘Hot Cross Buns’, and ‘Bounce High, Bounce Low’. ⁶ This first ‘pentatonic phase’ would simultaneously feature crotchets, quavers, minims and their corresponding rests in simple and compound time signatures. This decision had both positive and negative aspects. On one hand, the children’s songs were short and very easy to ‘pick up’ by ear, meaning that we learned them very quickly, and were soon able to focus our attention on deconstructing the various elements of the music – the pulse, the melodic contour, and later the specific rhythmic patterns and discrete tones that comprise the melody. On the other hand, I felt extremely uncomfortable introducing children’s songs to a group of adult beginners, as though I was infantilising them, or tacitly suggesting that beginners are usually children. However, on sharing this dilemma and explaining the need to find songs that could serve as vehicles for the teaching and learning process, the singers did not appear to share my concerns but rather agreed that it made more sense to learn short pieces instead of ‘wasting time’ learning songs that would not be suitable for public performance.

Voz Pop’s teaching and learning activities

The classes take place 30 minutes before our regular rehearsal. The teaching and learning activities vary from week to week, but each lesson features work on rhythmic and melodic patterns. In the initial stages, we walked to the pulse and drew the melodic contours in the air. We then progressed to distinguishing between crotchet and quaver sounds, and assigned actions to them (we clap our hands together for a crochet, and slap our thighs for quavers). At the same time, we worked on identifying melodic patterns, singing with relative solfa and hand-signs.

As we progress, our activities include engaging in improvisation, using rhythm snakes and appointing ‘teachers’ who will improvise by ‘signing’ us a melodic pattern for us to sing back, or showing a melodic pattern on the tone ladder while we sing along. We also practice rhythmic and melodic dictations, which we call ‘translating’ – when I sing a melodic pattern to a neutral syllable, the singers will ‘translate’ it by singing it back in relative solfa or rhythmic time-names. When the singers reached a level whereby they could quickly and accurately ‘translate’ longer and more complex pentatonic melodies, such as Auld Lang Syne, into relative solfa and rhythmic time names, we progressed to diatonic melodies. The fact that we are now working on diatonic melodies has meant that we can incorporate excerpts from our existing repertoire in exploring ‘new’ musical concepts, in addition to choosing well-known melodies for our ‘translation’ work.

Once the aural development was well underway, and the singers could confidently and accurately aurally decipher rhythmic and melodic patterns, we began work on identifying the corresponding symbols. We spent a considerable amount of time on composing and sight-reading pentatonic melodies in simple and compound time signatures written in stick notation, before beginning work on the stave. Introducing traditional notation on the stave was a slightly more complex issue due to the fixed solfa/relative solfa situation. Although none of the participants had developed the skills to read music autonomously, some had music lessons as children. Hence, although they do not automatically equate the symbols to particular sounds, some people can remember the names of the lines and spaces. We began work on traditional notation by showing the staff positions on our hands (finger stave) to get used to the idea of combining relative and fixed solfa. Now, our ‘translation’ activities have been developed to include four stages: identifying the rhythmic patterns used by singing back in rhythmic time names and using the ‘actions’ we have attributed to each rhythmic element; identifying the melodic patterns by singing back in solfa; singing the solfa while indicating the various positions on our hands, using our ‘finger stave’ from a given do position; writing the music on the stave on the whiteboard, once the do position has been given. The progression to diatonic music has allowed us to prepare new sections of our repertoire, and to include exercises based on songs that are well known to the participants (such as ABBA’s Mamma Mia), initiatives that have been very well received.

Voz Pop’s teaching and learning experiences

Engaging in shared research practices has allowed us to collectively produce a polyvocal account of our activities. For the purposes of this article, I have chosen to focus on the written contributions from two participants, Orquídea and Francisco, due to the consistency of their participation in the lessons and their commitment to their weekly journal writings, supplemented by my own texts which include accounts of the perspectives shared by other participants.

Orquídea sings in the alto section, while Francisco is a bass. Both are retired, and Voz Pop is the only formal music-making activity in which they currently engage. They are both very enthusiastic about choral singing and music in general. Orquídea has explained that before Voz Pop she felt that she had not participated in any musical activity since she was a child, and initially doubted her ability to sing in the choir. Francisco is a frequent concert-goer, and listens to a great deal of classical music at home, with a large record collection of operatic and orchestral works.

A thematic analysis of their writings was conducted, with the aim of focusing on references to teaching and learning experiences, resulting in two broad and interconnected themes, namely evaluation and expectations. The theme of evaluation is extremely important in relation to my practice as a music teacher and conductor. In the context of this analysis, all references that imply a judgement regarding the teaching and learning activities (whether related to the materials used, the approach taken, or the Kodály Concept itself) or evaluation of personal progress, are considered crucial for the development of the programme. The theme of expectations is considered equally important, as it provides an important insight into the participants’ motivation, a fundamental aspect in maintaining a sustainable optional adult education programme in a non-academic context. Therefore, continuous assessment of the literacy programme based on references to evaluation in the light of the references to expectations provides a fertile ground for reflection on the teaching and learning philosophies and activities practiced.

Expectations of the teaching and learning experience

With regard to the theme of expectations, in their initial writings, both Francisco and Orquídea made various references to their age, and to the average age of the participants, correlating with research showing that older adults can feel less confident about their learning capabilities (Fung & Lehmberg, 2016). Francisco felt that participating in the music lessons was a means of keeping his brain active, and explained that as a matter of ‘personal pride’ he would not let his age or ‘clumsiness’ prevent him from participating. Orquídea explained that as she ages, she experiences greater difficulty in memorising new information. Reading through the various texts produced by Orquídea and Francisco over a year shows a certain evolution from focusing on the difficulties they experienced to describing their progress, and making plans for the future.

‘(. . .) our aims: to learn solfege and gain confidence in reading a score. In the meantime, we will laugh at ourselves and at our lack of coordination. As far as I am concerned, I am going to continue with a smile on my face, regardless of how ridiculous I might look to others’ (Francisco).

‘I started (the new academic year) with lots of enthusiasm, determined to overcome my shyness (. . .) I am confident that I will be able to achieve the proposed objectives, to be able to read - even in a very basic manner - a musical score’ (Orquídea).

Orquídea’s comment about overcoming her shyness demonstrates a broader potential impact of the classes, while her determination to develop the skills required to autonomously read a score is frequently referred to throughout her writings. Orquídea also described how she surprised herself by offering to play the role of the ‘teacher’ during an activity, and how it was a very positive experience for her.

Evaluations of the teaching and learning experience

The theme of evaluation featured codes involving repertoire and specific activities related to the Kodály Concept. Almost all the writings from each participant included personal evaluations of their individual progress, which frequently correlated with the participants’ expectations and are also linked to motivating factors. These personal evaluations that were shown to be important indicators of success from the participants’ perspectives are of extreme interest to me, and in the vast majority of cases I was not aware of the importance of a particular activity in the individual’s journey until I read the corresponding text. After one particular class, for example, Orquídea wrote:

‘The class began with a review of what has already been introduced. (. . .) I can already match the sounds and their names, recognise the notes – it is fantastic!’

Therefore, from my perspective as a teacher/conductor, this exercise of ‘reviewing’ each musical phenomenon was an opportunity for Orquídea to discover all that she had already learned.

In relation to statements that focused on the evaluation of the Kodály Concept, Orquídea described the process as ‘enchanting, due to the connection between the theory and the practice’. In keeping with the Kodály Concept, there was a kinaesthetic element present in each activity, particularly as a means of internalising and practicing rhythmic phenomena. These exercises require varying levels of coordination, and were met with mixed reviews. On one hand, these exercises were clearly identified as the most difficult, to the extent that at times they provoked feelings of frustration and embarrassment. On the other hand, however, these exercises also generated a great deal of laughter and stimulated interaction between various members of the group, through working in pairs, for example. Another important aspect of the kinaesthetic exercises that require a certain amount of motor coordination is that they appeared to be challenging for everyone involved, putting everyone on the same level regardless of any previous formal or informal musical training. Francisco described the inclusion of kinaesthetic exercises (also referring to the use of handsigns) as a form of therapy to ward off ‘neuronal degeneration’. Orquídea explained that although these activities might be more frequently aimed at captivating children’s attention, ‘this is perfect for an “old child” like me’.

Discussing teaching and learning within shared research practices

Engaging in shared research practices with a group of adult learners engaging in optional weekly music lessons aimed to stimulate a reflexive approach to the teaching and learning programme. The participants’ feedback and my own accounts provided continuous, polyvocal assessments and suggestions for modification, while promoting the decolonisation of knowledges, particularly of the frequently dominant ‘institutionalised knowledge’ (O’Toole, 2005).

The feedback produced through our shared journals and group discussions contributed towards the modification of the teaching and learning activities. I discovered, for example, that the ‘translation’ (aural dictation) activities were only barely tolerated by some members of the group when they comprised improvised melodies. However, the same activity was well-received and considered enjoyable when I used well-known tunes (phrases from ABBA songs, for example). The feedback also allowed me to reconsider the pacing of the introduction of new material, or the review of previous exercises, according to the participants’ opinions. Meanwhile, the sharing of our writings allowed a more egalitarian relationship to develop within the group, as we each exposed our vulnerabilities, such as Orquídea’s response to me sharing my concerns about the quality of the material I had introduced in the previous class.

‘Aoife’s comments, and her perspective (. . .) surprised me and made me aware that at the end of the day, everyone involved in this process will have their doubts’ (Orquídea).

The continuous and regular evaluation of the teaching and learning activities has afforded me an awareness of how the participants feel about the activities. Singing canons and partner songs in pairs was considered extremely useful, both in terms of serving as a personal evaluation of how secure each person was with the material introduced in the classes, but also as a training exercise for singing choral repertoire in different parts. One participant reported that it was a good way of getting people used to singing their part within the texture instead of ‘fleeing to the melody’ and singing the soprano line an octave lower. The participants’ feedback has also been crucial in pacing the lessons and promoting self-regulated learning, an important component of teaching and learning activities, particularly for older adults (Creech et al., 2013; Formosa, 2002). On occasion I found that the writings suggested a faster pace, or a greater diversity of activities within the class. Overwhelming, although the exercises with hand-signs and games to consolidate rhythmic phenomena are described as playful, entertaining and fun, the activities that were received with the greatest enthusiasm are those that involve writing – either in stick or staff notation – and/or those that feature excerpts from our current repertoire.

‘We advanced to exercises on the stave. This was exciting, and I like it better as I don’t find myself so confronted with my lack of coordination (. . .) And the cherry on top is, without a doubt, the practical application to the repertoire that we are rehearsing’ (Orquídea).

The feedback also provided important insights into the participants’ individual evaluations of their own progress and of the various teaching and learning activities, as discrete activities and also within the framework of the Kodály Concept. Creech and Hallam (2015) identified relaxation and fun (‘collaborative play’), as among some of the key strategies involved for supporting ‘later-life learners in using their musical activities as a vehicle for challenging age-related stereotypes and engaging in truly creative and empowering practice’ (p. 54). Similarly, the participants frequently referred to how appealing the games were to them, and how the ‘fun’ element of the lessons was motivating.

Conclusions

Given the world’s ageing population, and the growing importance of life-long and later-life learning (Withnall, 2010), the development of appropriate teaching and learning methodologies for later adulthood music education in non-academic contexts is increasingly important. There is an identified need to provide learning opportunities for adults that are ‘engaging, empowering, socially satisfying and intellectually challenging’ (Kerchner & Abril, 2018, p. 265). Similarly, Laes (2015) explains the need to value ‘positive and empowering learning experiences that may lead to the awakening of musical agency’ (p. 62), while cautioning against assuming that any kind of educational activity is automatically empowering. Engaging in shared research practices offers a dialogic, democratic approach to teaching and learning, while engaging in a musical activity such as group singing allows adults to engage in a creative, artistic activity. Providing access to the written score to those involved in the performance of Western art music, or Western art pop music in this case, avoids the ‘asymmetry’ to which Williams (1989) refers, whereby some people are confined to the ‘oral area’, thus promoting democracy and musical agency.

While the main limitation of this study is that the findings are only specific to the unique experience of just one choir, there is certainly scope for future research, to explore how shared research practices can contribute to teaching and learning experiences, and avoid the hierarchialisation of knowledges. From my perspective as a music teacher and choral conductor, shared research practices allow for a democratic, dialogic approach to lesson planning and assessment, frequently in real-time. The transparency and flexibility that shared research practices afford allows for the development of meaningful and attractive teaching and learning activities, with participants actively engaging in their teaching and learning processes to ensure their continued motivation and success. This active involvement of people of different ages, nationalities, and backgrounds contributes towards an exciting mix of ideas for refreshing and developing teaching and learning activities. Furthermore, as the Covid-19 pandemic has resulted in significant alterations to the rehearsal and performance practices of many choirs (Daffern et al., 2021) shared research practices could also provide choral conductors and singers with ideas and activities in navigating these changes and ensuring meaningful music-making experiences for all participants. The potential of this approach remains to be explored.

Meanwhile, the Kodály Concept, with its focus on active, experience-based learning and strong emphasis on singing, has proven effective in developing musical literacy among adult learners in the context of non-professional choir.

Finally, O’Toole (2005) poses the following question: ‘I wonder if we could talk about choir as being made up of individuals with diverse interests, needs, experiences, and social histories and how their knowledge could inform and transform our practices?’ (p. 25). It may well be that the answer to this question lies within a shared research practices paradigm. It is within this paradigm that each individual’s knowledge and experiences are considered crucial for the collective construction of new knowledge. As Sardo (2018) explains, ‘sharing our different knowledge and experiences opened the possibility of reaching places of knowledge that we could not achieve if we all had the same background’ (p. 229). It is this understanding and acknowledgement of each individual’s contribution that underpins the ethos of shared research practices. Similarly, actively encouraging and promoting the importance of each individual’s contribution to the collective production of new knowledge is a means of avoiding the hierarchialisation of certain knowledges. The development of teaching and learning activities based on the Kodály Concept within a shared research practice paradigm has thus raised the levels of musical literacy within Voz Pop, while avoiding the hierarchialisation of institutionalised knowledge through actively encouraging and promoting the importance of each individual’s contribution to the collective production of new knowledge.