Motivation for Participation in Civil Wind Bands: Contributions for Non-Formal Educational Contexts

Round 1

Reviewer 1 Report

Comments and Suggestions for Authors

The activity of orchestras and wind bands in relation with community music has been discussed in previous researches, but this study focuses specifically on the motivation to participate in civil wind bands, a very specific music group (but at the same time quite common and widespread in terms of being formed by professional and amateur musicians together). Nevertheless, the conclusions drawn by the authors may be of interest and applicable in other contexts in which amateur and professional musicians participate together, such as choirs, jazz bands, big bands...

The sample is considered adequate for the research carried out.  The research is mainly based on the DCBP questionnaire. The authors state that two open ended questions are included, but it is unclear whether they have taken into account for the analysis and/or ruled out. Some explanation would be appreciated. The results of the fourth section of the questionnaire, which refers to the educational significance that the band may have for the participants, have also been excluded. Perhaps they could be of interest to support and strengthen the educational aspect of these wind bands, since the title of the article itself refers to their contribution to the non-formal educational context. I suggest justifying this exclusion, or reviewing and evaluating this aspect by the authors for the conclusions.

Finally, although the research carried out focuses on a very specific geographical context (Portugal), it is likely to be replicated in other environments. It offers the possibility of further research on the subject, involving both motivation and educational aspects and making clearer the impact that participating in these musical groups may have.

Author Response

Comments 1: The authors state that two open ended questions are included, but it is unclear whether they have taken into account for the analysis and/or ruled out. Some explanation would be appreciated.

Response 1: 

Dear reviewer

We appreciate the insightful comments and your thoughtful engagement with our work. Following your review and to address clarity on open-ended questions, we have made the changes you can find in the new version of the article highlighted in blue colour:

Line 117

These two questions will form the foundation of the in-depth qualitative phase of our doctoral research to explore the participants' lived experiences and the educational significance they attribute to their involvement in wind bands.

Comments 2: The results of the fourth section of the questionnaire, which refers to the educational significance that the band may have for the participants, have also been excluded. Perhaps they could be of interest to support and strengthen the educational aspect of these wind bands, since the title of the article itself refers to their contribution to the non-formal educational context. I suggest justifying this exclusion, or reviewing and evaluating this aspect by the authors for the conclusions.

Response 2: 

Dear reviewer

We appreciate the insightful comments and your thoughtful engagement with our work. Following your review and response 1, we have made the changes you can find in the new version of the article highlighted in blue colour:

Line 370

The in-depth qualitative phase (ongoing) of our doctoral research will strengthen the educational aspects of civil wind bands.

 

Reviewer 2 Report

Comments and Suggestions for Authors

The article is concise and well written with clearly stated aims and methods.

Some questions jump out at this reviewer which, if engaged with, would improve this article:

1. Higgins’ definition of community music woukd have issues with this kind of musical activity sitting alongside the open offer style of community music projects due to its utilisation of existing music and performance practice normalisation as methods and musical materials. Some discussion of the approach to music making of the civil wind bands and whom their working methods might exclude woukd be i eres ring and revealing.

2. it is interesting that only 2 out of 617 participants identified as non-binary but this low number (a significant research outcome it it’s own right) is not discussed.

3. cultural capital acquired through musical participation is not discussed but there are several good studies of this extant - Turino, Jones in IJCM spring to mind.

Author Response

Comments 1:  Higgins’ definition of community music woukd have issues with this kind of musical activity sitting alongside the open offer style of community music projects due to its utilisation of existing music and performance practice normalisation as methods and musical materials. Some discussion of the approach to music making of the civil wind bands and whom their working methods might exclude woukd be i eres ring and revealing.

Response 1: 

Dear reviewer

We appreciate the insightful comments and your thoughtful engagement with our work.

Following your contributions, we have made the changes you can find in the new version of the article highlighted in green colour:

Line 30

Despite the necessity to challenge the notion of community music (Kertz-Welzel, 2016), the Community Music Activity Commission of the International Society for Music Education (ISME, n.d.) characterises community music activities as those that promote and develop music within communities, extending beyond the confines of formal music education settings.

Comments 2: it is interesting that only 2 out of 617 participants identified as non-binary but this low number (a significant research outcome it it’s own right) is not discussed.

and

Comments 3: cultural capital acquired through musical participation is not discussed but there are several good studies of this extant - Turino, Jones in IJCM spring to mind.

Response 2 and 3:

The contributions concerning gender and cultural capital are intrinsically linked to the educational aspects of wind bands, which represent the central dimension of the present research project.  The project is founded upon a sequential explanatory multi-method design and a multi-case study strategy, and it comprises an in-depth qualitative phase, which is in progress. The outcomes of this phase will be discussed in forthcoming articles, facilitating a comprehensive exploration of the raised concerns.