Resonant Researcher

Introduction

Thomas Turino’s Music as Social Life: The Politics of Participation (2008) provides a deeply insightful framework for understanding music not merely as an art form but as a fundamental human practice rooted in identity, belonging, and community life. His work challenges us as music educators to expand our understanding of music beyond performance and product, and instead, to see it as participatory, relational, and identity-shaping.

Turino’s concepts of “presentational” versus “participatory” music-making, as well as his exploration of music as a tool for identity formation, provide important perspectives for how we approach teaching, learning, and music-making within educational contexts.

Participatory vs. Presentational Music

Turino differentiates between two primary types of music-making: participatory and presentational. Participatory music is centered around community involvement, with no clear distinction between performer and audience. Everyone contributes, and the goal is social connection, not polished performance.

Examples of participatory music include folk singing, drum circles, or community dances. These musical moments emphasize inclusion, belonging, and social cohesion.

In contrast, presentational music is what we often associate with concerts, recitals, or recorded music. It separates performers from the audience, focuses on a polished product, and is built for consumption rather than direct involvement.

As a future music educator, this distinction challenges me to rethink classroom practices. Music education in schools often prioritizes presentational music — concerts, competitions, juried performances — sometimes at the expense of participatory experiences. Yet many students crave musical moments that are about connection rather than perfection.

Music and Identity Formation

Turino also writes extensively about music as a key element in identity construction. Musical participation helps shape who we are — socially, culturally, and emotionally. Music becomes a site of belonging, a way to feel connected to specific communities or cultures.

This is particularly evident in popular music scenes where genres like hip-hop, punk, K-pop, or EDM become central to youth identities. Students come into our classrooms already shaped by musical affiliations that inform their language, dress, social groups, and worldview.

Turino’s work reminds me that as educators, we should recognize and honor the musical identities that students bring with them. Instead of seeing their musical tastes as separate from “serious” music education, we should view them as valuable starting points for connection and creativity.

Implications for Music Education

Turino’s framework invites us to create learning spaces that are participatory and inclusive. Some practical applications might include:

• Circle singing or improvisation sessions that blur the lines between performer and audience.
• Songwriting projects where students explore their own musical identities.
• Collaborative music-making with no emphasis on polished performance.
• Exploring world music traditions through participation rather than passive listening.
• Connecting students’ musical cultures to classroom repertoire.

Ultimately, Turino’s work pushes us to ask: Who gets to make music, and why? Are we creating spaces where all students feel they belong? Are we allowing music to be a site of joy, connection, and identity formation?

As music educators, we have the unique privilege of creating not just skilled performers, but thriving musical communities. Turino’s vision is a call to re-center music education around participation, belonging, and identity.