Narrative Personae and Visual Signs: Reading Leonard’s intimate photo-memoir. a/b: Auto/Biography Studies.

: In this paper, I look at Joanne Leonard’s Being in Pictures and engage in a critical dialogue with an assemblage of visual and textual narratives that comprise her intimate photo memoir. In doing this I draw on Hannah Arendt’s take on narratives as tangible traces of uniqueness and plurality, political traits par excellence in the cultural histories of the human condition. Being aware of my role as a reader/viewer/interpreter of a woman artist’s auto/biographical narratives, I move beyond dilemmas of representation or questions of unveiling “the real Leonard”. The artist is instead configured as a narrative persona, whose narratives respond to three interrelated themes of inquiry, namely the visualization of spatial technologies, vulnerability and the gendering of memory. Key words: gendered memories, narrative persona, spatial technologies, photo memoir, vulnerability

Music teacher biography and its impact on teaching practice

This paper describes research carried out as part of a wider doctoral study on ‘the biography of music teachers, their understanding of musicality and the implications for secondary music education’. Music teachers will come from a range of diverse backgrounds, though research data would suggest that most seem to have been educated as ‘classical’ music performers which will have an affect on what they perceive to be central competencies in the development of young musicians. In turn, this will determine, to some extent, what is taught and learned in the secondary music classroom. This study explores the impact of the biography of secondary music teachers as they seek to develop the musicianship of their pupils and present the activities in which the young people will be expected to participate. A mixed methods approach has been taken, including surveys, observation and interviews. Surveys amongst a sample of experienced and trainee teachers have produced a range of quantitative data on respondents’ experience of and values related to music education; whilst qualitative data in the form of lesson observation notes and transcription of semi-structured interviews have been the result of working with a small sub-set of participants. The outcomes of study have suggested a clear link between biography and classroom practice but that there are also other potential tensions which arise, such as in the subject knowledge development of practitioners as they move from musician to teacher. Implications for a variety of stakeholders in secondary music education include a consideration of the development of subject knowledge together with potential review of national and local education policy, the nature of undergraduate music study and the ‘shape’ of initial teacher training in England.