A Constructivist View of Music Education: Perspectives for Deep Learning

Abstract

Mr. Cruthers enjoys his work as an elementary music teacher. He has been at the same school, Ashley Park, for the past five years. During that time, he has incorporated content corresponding to the nine standards for music education (MENC 1996) into his long and short term planning. This forms the basis for delivery of a comprehensive general music program. Students regularly interact with music as performers, composers, and listeners. They are involved in numerous activities common to general music including singing, playing instruments, improvising and composing. Students gain understanding of music by examining the cultural and historical contexts that give rise to music making.The music supervisor spent the day at Mr. Cruther's school. After observing students in several different classes engage in small group work at several centers, the supervisor praised Mr. Cruthers for the constructivist approach apparent in his program. While Mr. Cruthers was pleased by this compliment, he was perplexed. How can someone decide they have viewed educational sessions built on constructivist principles by observing students for such a short period of time?

Teaching music online: Changing pedagogical approach when moving to the online environment

“…This case study is set within a social-constructivist theoretical framework. Supported by the inherent necessity for a scaffolded learning model when teaching music (Scott, 2006) and the participatory art of musicking (Small, 1998), this theoretical framework addresses both the inner and outer worlds of the musician. Built upon the constructivism writings of Piaget (1970) and Dewey (1910), Vygotsky (1978) posited that inherent dialogical and interactive aspects of learning (that is, social constructivism) were integral aspects of constructivist learning.…”

“…The field of music education can be positively affected by how students learn when using new technologies (Purves, 2012;Webster, 2007). Scott (2006) suggests that a 'deep approach to constructivist theory requires that learning provides students opportunities to link new learning to previous understandings and to interpret this new knowledge through experience ' (17). Learning is also social in nature, as supported by Akyol and Garrison (2008).…”

'Constructivist Questions' in Music Education

“…Yeşil, 2010 (Yeşil, 2010). Scott (2006); müzik öğrencilerinin yaparak öğrendikleri için aktivite temelli müzik öğretimini bizzat yapılandırmacı olarak etiketlemenin yanlış olduğunu belirterek, yapılandırmacı müzik eğitiminde derinlemesine yaklaşımların benimsenmesi gerektiğini vurgular. Derinlemesine yaklaşımları da; soru sorma, işbirliği grupları oluşturma, problem çözme ve öğretimi planlama başlıklarında inceleyen Scott, "Soru Sorma -Questioning" yaklaşımını şu cümlelerle açıklar.…”

Construction of Music Learning

“…This is critical because often a short observation of a teacher might not reveal whether a constructivist approach is at the heart of a teacher's overarching philosophy. Scott (2006) made this point when she described a possible visit to a music classroom to observe a day's worth of activity by a music teacher. Such a visit might reveal small group work in music composition in one class and a teacher-directed lecture in another.…”

“…Barron (2007) argued for a constructive approach in teaching jazz by engaging students in authentic, musical problem-solving experiences with improvisation that include familiar tunes. Scott (2006) believed that constructivism is the key to deep learning in music if done with seriousness and care. However she also maintained that surface attention to this approach creates a pseudo-constructivism within an otherwise teacher-dominated environment.…”