Moments of meeting: 'Intersubjective encounters' and ‘emancipatory’ experiences of individuals with (intellectual) disabilities in inclusive musical contexts
Notice bibliographique
Résumé
The purpose of this study was to explore an intersubjective framework to better understand the relational aspects of two inclusive musical programs in London, ON. I focused on mutual recognition moments, called moments of meeting (MoM), researching how they are formed and manifested while music is shared, created, or experienced within these two environments. Approaching such programs as potentially intersubjective spaces, this study investigated the impact of MoM and intersubjective experiences on the participation of individuals with Intellectual Disabilities (ID) in music making as well as on their perceptions of themselves as subjects. Equally significant, this study looked at emerging pedagogical practices such a framework affords.\nBy exploring an intersubjective conceptual framework, mainly drawing from the phenomenology of intersubjectivity (Husserl, [1931] 1960; Habermas, 1984, 1987; Merleau-Ponty, 1962), and relational psychoanalysis(Benjamin, 1988, 1995, 2018; Stern, 1999; Storolow & Atwood,1984, 2014), I proposed a relational view to the musical space and to the subject, aiming to understand how relationships and encounters built within inclusive spaces may help us to think of and construe meaningful inclusion and musical experiences with individuals with ID. Furthermore, envisioning polyphonic subjects who can express themselves from diverse subjective positions in the intersubjective space, I hope to provide relevant insights in the sense of addressing the ‘symptomatology’ of individuals with ID, viewing it as a potential subjective position that represents the subject being and interacting in and with the world, rather than mere dysfunction or impediment.\nThis research combined critical ethnography and interpretative phenomenology as qualitative approaches to explore of MoM from the perspective of research participants’ lived experiences and to understand how MoM are formed in the intersubjective musical space in each research scenario (Maggs-Rapport (2000). Over several weeks, I was immersed as a participant-observer in two inclusive musical programs based in London, Ontario – L’Arche Virtual Open Mic (VOM) and Dreams Come True Music Studio (DCT). Besides observations, field notes and research journals, I also conducted focus group meetings with volunteers, family members or caregivers and individual interviews with the program leaders and individuals with ID. In addition, a Collaborative Art-based Video Project (CAV) was designed and adopted here as a research method offering more and diverse opportunities for participation and sharing.\nAmong the findings, this study offers a map of the flow of moments describing the formation of experiences of "being seen and known" and MoM observed in the research sites, engages with participants' subjectivities and presents the impacts of intersubjective encounters in their perceptions of selves, and proposes pedagogical insights modelling a view of the inclusion from the perspective of the subject embracing new ways to exist and make music. Critical here is accounting for and better understanding of the potential impact such processes can have on the constitution of the subject and their subjectivity within musical experiences. I also hope to contribute to existing research creating alternatives to foster inclusive education that could inform in/pre-service music teachers’ education and pedagogical practices and cultivate comprehensive and holistic views of inclusion, music, and disability among the music education community.
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,004 | 0,009 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,001 |
| Méta-épidémiologie (sens large) | 0,001 | 0,001 |
| Bibliométrie | 0,001 | 0,001 |
| Études des sciences et des technologies | 0,013 | 0,020 |
| Communication savante | 0,009 | 0,007 |
| Science ouverte | 0,002 | 0,022 |
| Intégrité de la recherche | 0,002 | 0,004 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,002 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».