Interpretative phenomenological analysis

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font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <!--StartFragment--> <p class="MsoNormal"><span style="font-family:"Times New Roman";mso-bidi-font-family: "Times New Roman"">Interpretative Phenomenological Analysis (IPA) has developed internationally into a growing qualitative approach to research in the areas of psychology, health sciences, social sciences, education and also specifically in music education. This chapter focuses on IPA as an experiential approach to research which explores the lived experience of the individual’s perception and how <span style="color:#18376A">individuals</span> make sense of it in their given context. As with other forms of phenomenological research, IPA takes <span style="color:#18376A">account of</span> the researcher’s own context and perceptions through a process of interpretation<span style="color:#18376A">,</span> while analyzing the phenomena under study. IPA offers a framework to undertake research based on the traditions of phenomenology, which <span style="color:#18376A">uncover</span> meanings and hermeneutics <span style="color:#18376A">which interpret</span> the meaning; it is idiographic in nature when undertaking data analysis. This chapter provides a narrative on IPA as an appropriate methodology that can be used when undertaking research in education and in particularly music education. As a tertiary researcher of music education I have employed IPA in my research<span style="color:#18376A">. This</span> chapter attempts to address broad questions in relation to: What is IPA? Where does it come from? How is it used? How does one analyze interview data and construct themes? A brief discussion of the strengths and limitations of the method is posed<span style="color:#18376A">,</span> giving examples where IPA has been successfully employed in music research. By balancing the tensions between phenomenology, hermeneutics and idiographic approaches, IPA situates music and music education research within the realm of qualitative experiential research. I argue <span style="color:#18376A">that </span>if more music educators apply IPA to their research, we can look forward to the emergence of new insights from research in music and music education that is rigorous<span style="color:#18376A"> and</span> <span style="color:#18376A">offers</span> both convergent and divergent analysis, beyond description<span style="color:#18376A">,</span> using interpretation to explain insights.<o:p></o:p></span></p> <!--EndFragment-->