Elizabeth H Macgregor
Biographic Data
| ID | 1462272 |
|---|---|
| NAME | Elizabeth H Macgregor |
| GIVEN NAMES | Elizabeth H |
| FAMILY NAME | Macgregor |
| SIGNATURE | MACGREGOR E H |
| AFFILIATIONS | University of Oxford |
| ORCID | 0000-0002-4026-8816 |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
Forty years of the General Certificate of Secondary Education: Analysing the role of the performing–composing–appraising examination structure in secondary music education in England, Wales, and North…
The introduction of the General Certificate of Secondary Education (GCSE) in 1986 marked a significant shift in music education practice across England, Wales, and Northern Ireland. Unlike previous qualifications, the GCSE emphasised a central triumvirate of accessible, practical skills – performing, composing, and appraising – which, forty years later, remain foundational in secondary music education across the three nations. In this article, we…
Beowulf Opera Scenes: Classroom music pedagogy and knowledge when composing an opera with primary-school children
Composing with children is a complex area that many generalist primary-school teachers in England report finding challenging or intimidating. This article draws on existing literature relating to composing in schools, child-centered learning, cultural capital, and classroom pedagogy to situate and discuss a longitudinal research project exploring composing with primary-aged children. The article focuses on one of eight schools involved in the pro…
Investigating Amateur Choirs in the United Kingdom as Sites of Musical Learning and Ambition
Singing in an amateur choir is widely recognised as a source of enjoyment, social connection, and wellbeing. Choir membership in the United Kingdom, however, is at risk of decline through an ageing demographic and lack of diversity, and also through its relationship to historic music education practices, which encouraged singing and knowledge of choral repertoire in ways that are now less prevalent. In partnership with the Peterborough Sings! mus…
I don’t care who joins my choir: Investigating attitudes to diversity and inclusivity in lower- and upper-voice choirs in the United Kingdom
Recreational choral singing has long been a mainstay of amateur and community music-making in the United Kingdom, and there is much existing evidence for the potential social, physical and psychological benefits of participation. However, involvement in lower- and upper-voice choirs is declining due to low recruitment rates, the ageing of members and the lasting impact of the COVID-19 pandemic. In this article, we draw on the findings of a recent…
Evaluating collaborative action ethnography as a means of co-constructing 'pedagogies of vulnerability' in the post-pandemic music classroom
Following the lengthy period of isolation enforced by the COVID-19 pandemic, the imperative for qualitative researchers to re-engage in personal and participatory modes of inquiry has become increasingly important, especially within educational contexts. In this article, I argue that collaborative action ethnography could be a valuable way forward in post-pandemic research in which researchers seek to partner with teachers and pupils in their eve…
Please mind the gap: Reflecting on gender inequality in music higher education, one year on from Slow Train Coming
In November 2022, the Equality, Diversity and Inclusion in Music Studies (EDIMS) network published the seminal report, Slow Train Coming? Equality, Diversity and Inclusion in UK Music Higher Educat
Characterizing musical vulnerability: Toward a typology of receptivity and susceptibility in the secondary music classroom
Although teachers and researchers frequently acknowledge that music education can benefit pupils’ academic achievement, health and well-being, and social development, classroom music-making can have long-lasting, detrimental impacts. Individuals’ experiences of failure, disappointment, and exclusion in the music classroom highlight an urgent need for music education to be reframed by an understanding of “musical vulnerability”: individuals’ inher…
Relaxed performances: Supporting aural diversity and neurodiversity among classical concert audiences in the United Kingdom
Current discourse at the intersection between sound studies and disability studies has highlighted the phonocentric nature of conventional understandings of listening – especially in relation to engagement with classical music performance. The perpetuation of ableist notions of “normal” and “expert” listening risk overlooking multimodal and embodied listening practices of the kind advocated by aurally-diverse and neurodiverse concert audiences. I…
Participatory performance in the secondary music classroom and the paradox of belonging
Participatory performance, as defined by Thomas Turino, holds the potential to contribute to enhanced social bonding, cooperation, and the realisation of community among participants - despite the conflict or 'paradox' between self-expression and collective affiliation which it often provokes. This study considers how managing this underlying 'paradox of belonging' can positively contribute to the development of participatory performance's social…
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Participatory performance in the secondary music classroom and the paradox of belonging
Participatory performance, as defined by Thomas Turino, holds the potential to contribute to enhanced social bonding, cooperation, and the realisation of community among participants - despite the conflict or 'paradox' between self-expression and collective affiliation which it often provokes. This study considers how managing this underlying 'paradox of belonging' can positively contribute to the development of participatory performance's social…
Please mind the gap: Reflecting on gender inequality in music higher education, one year on from Slow Train Coming
In November 2022, the Equality, Diversity and Inclusion in Music Studies (EDIMS) network published the seminal report, Slow Train Coming? Equality, Diversity and Inclusion in UK Music Higher Educat
Characterizing musical vulnerability: Toward a typology of receptivity and susceptibility in the secondary music classroom
Although teachers and researchers frequently acknowledge that music education can benefit pupils’ academic achievement, health and well-being, and social development, classroom music-making can have long-lasting, detrimental impacts. Individuals’ experiences of failure, disappointment, and exclusion in the music classroom highlight an urgent need for music education to be reframed by an understanding of “musical vulnerability”: individuals’ inher…
Relaxed performances: Supporting aural diversity and neurodiversity among classical concert audiences in the United Kingdom
Current discourse at the intersection between sound studies and disability studies has highlighted the phonocentric nature of conventional understandings of listening – especially in relation to engagement with classical music performance. The perpetuation of ableist notions of “normal” and “expert” listening risk overlooking multimodal and embodied listening practices of the kind advocated by aurally-diverse and neurodiverse concert audiences. I…
Beowulf Opera Scenes: Classroom music pedagogy and knowledge when composing an opera with primary-school children
Composing with children is a complex area that many generalist primary-school teachers in England report finding challenging or intimidating. This article draws on existing literature relating to composing in schools, child-centered learning, cultural capital, and classroom pedagogy to situate and discuss a longitudinal research project exploring composing with primary-aged children. The article focuses on one of eight schools involved in the pro…
Investigating Amateur Choirs in the United Kingdom as Sites of Musical Learning and Ambition
Singing in an amateur choir is widely recognised as a source of enjoyment, social connection, and wellbeing. Choir membership in the United Kingdom, however, is at risk of decline through an ageing demographic and lack of diversity, and also through its relationship to historic music education practices, which encouraged singing and knowledge of choral repertoire in ways that are now less prevalent. In partnership with the Peterborough Sings! mus…
I don’t care who joins my choir: Investigating attitudes to diversity and inclusivity in lower- and upper-voice choirs in the United Kingdom
Recreational choral singing has long been a mainstay of amateur and community music-making in the United Kingdom, and there is much existing evidence for the potential social, physical and psychological benefits of participation. However, involvement in lower- and upper-voice choirs is declining due to low recruitment rates, the ageing of members and the lasting impact of the COVID-19 pandemic. In this article, we draw on the findings of a recent…
Evaluating collaborative action ethnography as a means of co-constructing 'pedagogies of vulnerability' in the post-pandemic music classroom
Following the lengthy period of isolation enforced by the COVID-19 pandemic, the imperative for qualitative researchers to re-engage in personal and participatory modes of inquiry has become increasingly important, especially within educational contexts. In this article, I argue that collaborative action ethnography could be a valuable way forward in post-pandemic research in which researchers seek to partner with teachers and pupils in their eve…
Forty years of the General Certificate of Secondary Education: Analysing the role of the performing–composing–appraising examination structure in secondary music education in England, Wales, and North…
The introduction of the General Certificate of Secondary Education (GCSE) in 1986 marked a significant shift in music education practice across England, Wales, and Northern Ireland. Unlike previous qualifications, the GCSE emphasised a central triumvirate of accessible, practical skills – performing, composing, and appraising – which, forty years later, remain foundational in secondary music education across the three nations. In this article, we…
Diverse Music Education Insights (7 works) · Psychology (6 works) · Sociology (6 works) · Music education (5 works) · Pedagogy (5 works) · Computer Science (3 works) · Music Therapy and Health (3 works) · Musical (3 works) · Anthropology (2 works) · Art (2 works)