Exploring the Mechanisms of Narrative-Experiential Integrated Pedagogy in Promoting Accordion Performance Skills within Music Education
DOI:
https://doi.org/10.63808/acde.v2i3.371Keywords:
Narrative pedagogy, Experiential learning, Accordion performance, Integrated teaching framework, Music educationAbstract
Traditional accordion pedagogy has relied heavily on technique-decomposition approaches — scale drilling and etude repetition — leaving a persistent gap between technical proficiency and artistic expression, particularly across bellows control, finger articulation, and interpretation. Narrative pedagogy and experiential learning have each proven effective in music education, yet their integration for developing instrumental performance skills remains theoretically underdeveloped, especially for the accordion, whose bellows-driven embodied demands fall outside both frameworks. This paper proposes a Narrative-Experiential Integrated Teaching Framework (NEITF) comprising three components — narrative, experiential, and integrative — and analyzes how each contributes to accordion performance skill development. The analysis suggests a differentiated theoretical role for each component: bellows skills are proposed to benefit primarily from the experiential channel’s sensorimotor feedback loop, finger articulation from narrative reframing of touch selection, and interpretation from the integrative layer’s reflective synthesis. As a conceptual contribution, this study develops testable propositions rather than empirical findings; pilot studies and quasi-experimental designs are identified as priorities for future validation. The framework carries implications for theory development in instrumental music education.
References
[1] Leman, M. (2007). Embodied music cognition and mediation technology. MIT Press.
[2] Barrett, M. S., & Stauffer, S. L. (Eds.). (2009). Narrative inquiry in music education: Troubling certainty. Springer. https://doi.org/10.1007/978-1-4020-9862-8
[3] Barrett, M. S. (2011). Musical narratives: A study of a young child’s identity work in and through music-making. Psychology of Music, 39(4), 403–423. https://doi.org/10.1177/0305735610373054
[4] van der Schyff, D., Schiavio, A., Walton, A., Velardo, V., & Chemero, A. (2018). Musical creativity and the embodied mind: Exploring the possibilities of 4E cognition and dynamical systems theory. Music & Science, 1. https://doi.org/10.1177/2059204318792319
[5] Bremmer, M., & Nijs, L. (2020). The role of the body in instrumental and vocal music pedagogy: A dynamical systems theory perspective on the music teacher’s bodily engagement in teaching and learning. Frontiers in Education, 5, Article 79. https://doi.org/10.3389/feduc.2020.00079
[6] Juntunen, M. L., & Sutela, K. (2023). The effectiveness of music–movement integration for vulnerable groups: A systematic literature review. Frontiers in Psychology, 14, Article 1127654. https://doi.org/10.3389/fpsyg.2023.1127654
[7] Reybrouck, M., & Schiavio, A. (2024). Music performance as knowledge acquisition: A review and preliminary conceptual framework. Frontiers in Psychology, 15, Article 1331806. https://doi.org/10.3389/fpsyg.2024.1331806
[8] Nijs, L., & Bremmer, M. (2026). Towards an embodied instrumental music pedagogy: Creativity through embodied affordance navigation. In E. Pineda & B. Föllmi (Eds.), Musique et transmission à la lumière des sciences cognitives (pp. 151–172). Editions des archives contemporaines.
[9] Bin, M. (2026). Cultivating intercultural and entrepreneurial competencies in undergraduate music education: An advanced framework for future-ready instrumental and vocal pedagogy. European Journal of Education, 61(2). https://doi.org/10.1111/ejed.70590
[10] Goopy, J., & MacArthur, S. L. (2025). Music learning and school-aged children’s and adolescents’ wellbeing: A scoping review. Research Studies in Music Education.
[11] Ho, W. C., & Kong, S. H. (2025). Music, arts, and creativity: Knowledge transfer from teacher education to kindergarten education. In Soundscapes of education: Nurturing creativity through music and the arts (pp. 71–101). Springer Nature Singapore.
[12] Schiavio, A., & van der Schyff, D. (2018). 4E music pedagogy and the principles of self-organization. Behavioral Sciences, 8(8), Article 72. https://doi.org/10.3390/bs8080072
[13] Stijnen, J., Nijs, L., & Van Petegem, P. (2024). Instrument teachers’ practices, beliefs, and barriers regarding musical creativity: Exploring the creative process of interpretation. International Journal of Music Education, 42(3), 425–441.
[14] Alves, A. C., & Nogueira, M. (2024). Embodiment consciousness in music performance pedagogy. Empirical Musicology Review, 19(1), 10–24.
[15] Wang, H. F. (2021). Problems and countermeasures in accordion teaching [手风琴教学中的问题与对策]. New Curriculum Research [新课程研究], (9), 133–134. (in Chinese)
Downloads
Published
Issue
Section
License
Copyright (c) 2026 Bin Liu, Syaza Hazirah Mohd Hashim

This work is licensed under a Creative Commons Attribution 4.0 International License.