*3.3. Stage 3—Secondary Analysis*

Once the initial analysis of data had been undertaken using the pre-determined categories identified through the focus group, significant amounts of data remained uncoded. Accordingly, a secondary stage of analysis was undertaken to code and analyse these uncoded data, using an inductive coding approach with Nvivo software in order to allow themes and categories to emerge. This approach yielded four additional main themes with dependent sub-themes, which illustrated more of the complexity under discussion, as represented in the following tree map of the theme density (Figure 2). *3.3. Stage 3—Secondary Analysis*  Once the initial analysis of data had been undertaken using the pre-determined categories identified through the focus group, significant amounts of data remained uncoded. Accordingly, a secondary stage of analysis was undertaken to code and analyse these uncoded data, using an inductive coding approach with Nvivo software in order to allow themes and categories to emerge. This approach yielded four additional main themes with dependent sub-themes, which illustrated more of the complexity under discussion, as represented in the following tree map of the theme density (Figure 2).

**Figure 2.** Emergent themes: coding density. Source: Graphic by author. **Figure 2.** Emergent themes: coding density. Source: Graphic by author.

#### 3.3.1. Epistemological Issues 3.3.1. Epistemological Issues

• Quality

musical quality is revealed:

The most significant of these complexities related to epistemological issues of "thinking differently" about music and what it "means" from the perspective of participation: The most significant of these complexities related to epistemological issues of "thinking differently" about music and what it "means" from the perspective of participation:

*It's given me an awareness of the importance of knowing how others see music, and that everyone experiences music differently; trying to understand that creates a better experience for all involved. (Q-2)*  It's given me an awareness of the importance of knowing how others see music, and that everyone experiences music differently; trying to understand that creates a better experience for all involved. (Q-2)

At the heart of these epistemological shifts is an awareness of the complexity of the notion of "quality" in musical contexts, which can be an especially tough shift to make for conservatoire students steeped in a culture of perfectionism. Elsewhere, I suggest that musical quality is contingent on its situation (Camlin 2015b, Camlin 2018), and it is in grappling with these contingencies that more of the complexity of

*happy with that. In some ways it's terrifying but incredibly helpful. (FG-7)* 

*What this kind of work is doing is bringing you into contact with more of the* 

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What this kind of work is doing is bringing you into contact with more of the complexity of what music actually is in the world. It's more than what you might get within a training environment, [where] it's very easy to stay in a box and be happy with that. In some ways it's terrifying but incredibly helpful. (FG-7)

• Quality

At the heart of these epistemological shifts is an awareness of the complexity of the notion of "quality" in musical contexts, which can be an especially tough shift to make for conservatoire students steeped in a culture of perfectionism. Elsewhere, I suggest that musical quality is contingent on its situation (Camlin 2015b, 2018), and it is in grappling with these contingencies that more of the complexity of musical quality is revealed:

As a professional musician, realising the actual impact of music rather than the strive for perfection [is beneficial]. I think that the quality is different. There is less dependency on getting every individual note absolutely perfect and it's more to do with the overall feel and yourself as an educator as opposed to your ability to play any flat in tune. (FG-6)

There was also a recognition that quality is understood in different ways in different musical situations:

I disagree with [participatory music] being lesser [and the idea that] you don't have to audition to be a community musician. You do. It's just different skills. You have to be able to entertain an audience as a community musician, you have to connect. You have to have the chops and to be able to connect—it's a different audition. (FG-3)

Similarly, there was also a recognition that these standards of quality are not fixed, but they vary as the context changes between more presentational and more participatory dimensions of performance (Camlin 2015b, 2018):

I think if you have [an] ensemble that get[s] together just for the community aspect or a bit of therapy or stress relief, that's got a very different dynamic to "okay we've got this community based ensemble, and we're all from the local area, but we've got a concert in three weeks. We need to deliver this concert. All of a sudden the dynamic changes because you're showcasing what you've got. You leave the safety of your space, your room. You're opening up to the public and everyone wants it to be good. (FG-7)
