Psychology of Music 2009, 37: 504 Book review by David Baker, Institute of Education, Reading University M.S. BARRETT and S.L. STAUFFER (eds), Narrative Inquiry in Music Education:Troubling Certainty. New York: Springer, 2009. ISBN 9781402098611 (hbk)The editors (Margaret Barrett and Sandra Stauffer) offer Narrative Inquiry in MusicEducation: Troubling Certainty as an exploration of a ‘turn’ or newfound directionin music education research. This new pathway, they suggest, can exist alongsideother methodologies such as the psychometric tradition that focuses on objectivemeasurement. As a researcher involved with life histories and postmodernism,I am heartened by their position and book. It is a standpoint that values the manydifferent approaches to music education research. The diversity in social scienceresearch has always been something very appealing to me.Too often, perhaps, weare simply offered an impasse between advocates of contrasting paradigms. Sadly,this is my experience of some university departments (but not all). By aimingto ‘cultivate ground for narrative inquiry to seed and flourish alongside othermethodological approaches’ (p. 1) and ‘to "trouble" certainty’ (in the most peacefulmanner) (p. 2), Barrett and Stauffer have produced an extremely valuable text.The book is not a straightforward read, however; it covers complicated theoreticaland philosophical matters. Primarily, its audience will be postgraduate students,social researchers and staff members within universities. I am a tutor for a courseattended by music teachers, some of whom continue to undertake Master ofArts degrees under my supervision. I sense that colleagues will enjoy this volumegreatly, yet some students will glean more than others, particularly in respect ofthe epistemological dimensions. It is a worthwhile and constructive book, nonetheless,that draws upon the perspectives of a wealth of very dependable worldauthorities. Chapters are by captivating writers such as Graham Welch (Institute ofEducation, London), Jean Clandinin (University of Alberta) and Peter Dunbar-Hall(Sydney Conservatorium of Music).Narrative Inquiry is divided into three parts. Part I explores the origins of narrativeresearch, making reference to fields of anthropology, psychology, historicalstudies and sociology. Barrett and Stauffer illustrate well how narrative researchis respectful to those involved, beneficent to society, rigorous and resonant for itsaudiences. From my experience specifically with biographical research (2005a,2005b, 2006), narratives can be highly resonant and powerfully catalytic also.Developing a narrative account can empower a storyteller to interpret, understandand change his or her own circumstances; the process also provides a ‘voice’ andelucidates the insider’s perspective for others. I have collaborated with UK LocalEducation Authority employees to produce narrative accounts that delivered thesebenefits. This form of enquiry deserves its esteemed place in the social sciences andeducation.In exploring origins, though, Part I of this volume might have tracked paradigmaticshifts across time to the current position whereby narrative investigationsare considered wholly acceptable. I reflect that single cases (Shaw, 1930; Thomas& Znaniecki, 1927) emanated from the Chicago School so fleetingly in the field oflife histories, disappeared and then reappeared abundantly in ‘paradigmatically favourable’times. That particular narrative technique was distrusted in its infancy.It appeared ‘to provide no widerlink to theoretical understanding [and] have littlepower of generalizability’ (Faraday & Plummer, 2003, p. 34). Indeed ‘the need tounderstand the nuances of … experience at the level of the contextualised individualor group’ has been overlooked in the past; as Graham Welch asserts in NarrativeInquiry (p. 57), though there is now a long tradition of this in mainstream educationresearch (although less so in music education). Through framing Narrative Inquiryin terms of the wider history and diversification of qualitative research at the onsetof the book (see Denzin & Lincoln’s ‘moments’ (2000)), key differences would havebeen underscored between this ‘turn’ and other modes of investigation with regardto theory, quality criteria and intentions. In doing so, this excellent text would havebecome more accessible to less experienced audiences.Part II, the largest part of Narrative Inquiry, offers seven examples of studies byearly-career researchers in music education; each study is accompanied by areflective commentary written by a notable scholar. These contemplative chapterswill, undoubtedly, enrich readers’ understanding and stimulate further questions.The multidimensional approach of this part of the volume is particularly engagingand thought-provoking. The editors’ promise is fulfilled, therefore, as readers arepresented with extremely fertile ground for cogitation. Narrative research in musiceducation will, no doubt, grow admirably under such rich circumstances.David Cleaver’s piece (Chapter 3) is a good illustration of the tenor of Part II.Cleaver (University of Southern Queensland) provides the story of ‘Jan Peterson’(a pseudonym). ‘Jan’ is a musically dedicated school student. We learn of a familyscript and trans-generational plot concerning participation in music (p. 41). Cleavermentions hearing of these familial plots when working as a teacher (p. 42). He alsodiscusses his wife’s memories of music in the home in County Cork, Ireland. GrahamWelch (Chapter 4) notes the challenge presented to readers:The sectionalisation of the text delineates different foci in the researcher’s exploration of the topic. At one moment, there is sharing of insights into details of the participant’smusical life, drawing on established qualitative methodologies … This is contrasted witha more reflective view of himself and his own biography in relation to the participant[Jan], such as … reflecting on the experience afterwards in conversation with his wife.This duality in the text challenges us to understand what each might be contributing tothe other. (p. 59)Cleaver’s chapter will resonate with readers’ experiences. I identified traits of myself,both as a music student and teacher within the narratives in this book. DavidCleaver’s story of ‘Jan’ reminded me of childhood. The stories of Kaye Ferguson’sstudent teachers, ‘Anne’ and ‘Josh’, reverberated for me as they struggled ‘betweenperformer and teacher self-views’ (p. 99). Readers’ own understandings will arisethrough marrying the constituent threads of presented research, evaluating theirown biographies, and considering the accompanying appraisals. An injection ofcritique is a desirable quality in Narrative Inquiry; Welch, for instance, is not disposedto full acceptance of Cleaver’s thoughts. He remarks:the portrayal of the mother harks back to a Durkhiemian functionalist viewpoint inwhich society is viewed as a system of social institutions and in which the child mightbe socialised … into the dominant views of the value of music that are held by thefamily. Not all families are as supportive as in this particular case. Borthwick’s doctoralthesis [cited in Davidson & Borthwick, 2002], for example, suggests that differentchildren within a ‘musical’ family have diverse experiences and that these are notalways positive. (p. 60)Jean Clandinin and Wayne Bowman (Brandon University, Manitoba) considerthe subtitle ‘troubling certainty’ in their final chapters. People experience whatmight appear the same circumstances in diverse ways; accounts are unique andconstructed. Narratives communicate the personal, the insider’s viewpoint, ratherthan general and generic; they are useful for capturing lived experience. A politicaldimension is evident with narrative research as storytellers are afforded a ‘voice’that might challenge dominant conceptions. Troubling certainty means using theseunique voices to make music education ‘more inclusive of the lives of all people,regardless of … how they are positioned on the landscape. [The editors] … imaginetroubling as a way to give pause for thought’ (p. 208). Certainly, this volume issuccessful in that respect.Part III consists of two superb chapters by Jean Clandinin and Wayne Bowman.Clandinin (Chapter 17) is concerned with the ways in which educators are preparedfor ‘wide awakeness’ in their theory and practice. Prompting ‘wide awakeness’means persuading educators ‘… to look beyond the familiar, to attend to … alternativeaccounts of the ways in which lives are lived and storied in and throughmusic and education’ (p. 2).1 Bowman’s chapter (Chapter 18) is a highlight, I feel.In his chapter, Bowman takes a step back from naïve advocacy and asks probingquestions of the possibilities of narratives. We are encouraged to determine whetheror not mere resonance for audiences is enough. Is there a potential for mischief aswell as affirmation? Furthermore, is it possible to embrace the particular withoutrenouncing generality? These are absorbing and provocative questions.Narrative Inquiry in Music Education is a tremendous book that contributessplendidly to the field of qualitative research. It benefits from well-presented andconducted research alongside critique and stimulating reflection. The commentariesdo ‘provide us with a view, a window into the narrative accounts’ (p. 3), withdiscussions that are both authoritative and revealing. Moreover, the substantiveissues addressed by the early-career researchers are of great interest to musiceducators. I bid readers of this journal to consider the volume.N O T E1. The term ‘wide awake’ comes from Maxine Greene (1995).R E F E R E N C E SBaker, D. (2005a). Music service teachers’ life histories in the United Kingdom withimplications for practice. International Journal of Music Education, 23(2), 251–266.Baker, D. (2005b). Peripatetic music teachers approaching mid-career: A cause for concern?British Journal of Music Education, 22(2), 141–153.Baker, D. (2006). Life histories from a music service: The past in inductees’ present. BritishJournal of Music Education, 23(1), 39–50.Davidson, J. W., & Borthwick, S. J. (2002). Family dynamics and family scripts: A case studyof musical development. Psychology of Music, 30(1), 121–136.Denzin, N. K., & Lincoln, Y. S. (2000). Introduction: The discipline and practice of qualitativeresearch. In N. K. Denzin & Y. S. Lincoln (Eds.), Handbook of qualitative research (2nd ed.;pp. 1–28). Thousand Oaks, CA: Sage.Faraday, A., & Plummer, K. (2003). Doing life histories. In N. Fielding (Ed.), Sage benchmarksin social research methods, Vol. 2: Interviewing (pp.33–54). London: Sage.Greene, M. (1995) Releasing the imagination: Essays on education, the arts, and social change. SanFrancisco, CA: Jossey-Bass.Shaw, C. (1930) The jack-roller. Chicago: University of Chicago Press.Thomas, W. I., & Znaniecki, F. (1927). The Polish peasant in Europe and America. Chicago:University of Chicago Press.David BakerInstitute of Education, Reading University[email: david.baker01@btinternet.com]
