Developing peer-learning programmes in music: group presentations and peer assessment

Hunter, Desmond

doi:10.1017/s0265051799000145

Cited by 21 publications

(17 citation statements)

References 5 publications

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“…Peer assessing, particularly in company, will contribute to the development of enhanced self-monitoring skills (Brown, Bull, & Pendelbury, 1997;Daniel, 2004a;McLaughlin & Simpson, 2004;Searby & Ewers, 1997) and the ability to make judgments of progress relative to criteria and standards is improved (Hunter, 1999;Sadler, 2005). The average marks awarded for peer panel performance in 2005 are similar for all three year levels as shown in Figure 1.…”

Section: Impact On Self-evaluationmentioning

confidence: 96%

“…While there may be some concerns among students about peer assessment when they are first exposed to the idea, some research indicates high levels of student satisfaction and reliability with this kind of assessment (Gatfield, 1999;Liu, Lin, & Yuan, 2002), and in the case of popular musicians, it is a formalisation of the kinds of processes that are used informally (Green, 2001;Hunter, 1999;Jaffurs, 2004). There are a number of established peer and self-assessment processes in use in the study of music in higher education including the Departments of Music at The University of Ulster (Hunter, 1999), James Cook University (Daniel, 2001) and the University of Kingston (Searby & Ewers, 1997).…”

Section: Assessmentmentioning

confidence: 99%

“…There are a number of established peer and self-assessment processes in use in the study of music in higher education including the Departments of Music at The University of Ulster (Hunter, 1999), James Cook University (Daniel, 2001) and the University of Kingston (Searby & Ewers, 1997). Preparation of students for active assessing is necessary so that they have the resources, techniques and confidence to participate effectively.…”

Section: Assessmentmentioning

confidence: 99%

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The master-less studio: An autonomous education community

Lebler

2006

JLD

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In recent times, it has become difficult for even the best conservatorium graduates to achieve the traditional goals of concert performance ObjectivesThis paper describes an alternative learning design for music education. In this model, the creative practice of popular music is developed largely through the provision of recording facilities rather than through being taught in the master/apprentice one-to-one studio lesson format that prevails in the study of music in most higher education environments. Students are selected for strengths in a range of skills used in the creation of popular music; they form a community of practice in which the collective abilities of the students and staff form a valuable resource for learning. This is often a continuation of students' prior informal learning experiences. Autonomous, intrinsically motivated and self-directed learning, including peer learning and assessment, is common in popular music in the broader community. The recording process performs one of the functions of the master in the master/apprentice model, that of providing a potential for meaningful and well-founded feedback. The paper does not propose that all expert input should be denied to students, but it does provide examples of practices that could be adopted with positive outcomes in creative practice environments.

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Section: Impact On Self-evaluationmentioning

confidence: 96%

Section: Assessmentmentioning

confidence: 99%

Section: Assessmentmentioning

confidence: 99%

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The master-less studio: An autonomous education community

Lebler

2006

JLD

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“…However, there is very little opportunity for peer-learning interactions to enable students to explore variation in their learning and performance styles (Hunter, 1999). These peer interactions could be essential in developing students' appreciation of their own artistry and that of others in their peer group (Havnes, 2008).…”

Section: The Projectmentioning

confidence: 99%

Student for student: Peer learning in music higher education

Reid¹,

Duke²

2015

International Journal of Music Education

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Students of piano and saxophone were asked to explore what peer learning meant to them. Following instrumental-based discussions, and with no intervention from faculty, the students developed a series of videos intended for use with incoming students. This article analyses the students' discussions and videos, and describes the complexity of students learning from each other in informal peers contexts. Instrumental culture appears to impact on the forms and priorities for peer learning.

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“…However, there is very little opportunity for peer-to-peer interaction to enable students to explore variation in their learning and performance styles (Hunter, 1999). As Havnes (2008) suggests, these peer interactions could be essential in developing students' appreciation of their own artistry and those of others in their peer group.…”

Section: The Projects: Music and Statisticsmentioning

confidence: 99%

Exploring Peer Learning: Student to Student, Lecturer to Lecturer

Petocz¹,

Duke²,

Bilgin³

et al. 2012

ASS

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This article explores how lecturers in statistics have adopted a model for a student peer learning project initially established in a music school. The exploration shows how disciplinary differences generate different peer learning approaches between students and how a team of lecturers has adapted a project from one discipline and institution to another. In essence, it explores the nature of peer learning from the perspective of student peers, including the extra insight that is available from the view of lecturer peers. The model is important as it focuses on peer learning that resides in informal spaces rather than within a formalised curriculum.Keywords: peer learning, peer mentoring, organisational learning Peer Learning beyond the CurriculumInteracting with others -peer learning -has always been an important dimension for any learner and supports the learning opportunities provided in formal arenas such as lectures, tutorials, rehearsals and laboratory classes. Often, peer learning is associated with a variety of out-of-class activities such as group projects and assignments. Peer learning is most often studied within the curriculum, organised by lecturers and mediated by tutors (Boud et al., 2001). However, important aspects of peer learning occur outside the formal curriculum, and this has not been much investigated, particularly in the two disciplines considered here, music education and statistics education. As educators we don't really know much about what happens in peer-mediated learning beyond the curriculum (Havnes, 2008) in tertiary courses in statistics or music.Yet with a greater focus on e-learning and electronic communication, such aspects of peer learning become more important. Students are less and less likely to attend classes in person and benefit from the lecturer's live approach and the actual class interactions. Rather, they obtain learning materials electronically, experience the classes via recordings, and build their educational experiences in the virtual world. In such a context, peer interactions beyond the formal curriculum, maybe with students in other classes (or even other disciplines), and organised by the participants themselves, become an essential component of successful learning. For tertiary educators, insight into the intention and practices of such peer interactions -even if they are outside the formal curriculum -contributes to the development of a more effective curriculum.As lecturers, we know that such peer learning and sharing occur amongst our students, but we know little about what actually takes place. In situations where we set up and encourage peer learning programs, such as the PAL program in accounting investigated in Dobbie and Joyce (2009), we are able to obtain some knowledge about how the peer learning occurs by discussion with participants. We also have our own experiences of peer learning and sharing as we learn from each other as academics and collaborate on grant getting and article writing. The authors of this article, for instance, have sh...

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Developing peer-learning programmes in music: group presentations and peer assessment

Cited by 21 publications

References 5 publications

The master-less studio: An autonomous education community

The master-less studio: An autonomous education community

Student for student: Peer learning in music higher education

Exploring Peer Learning: Student to Student, Lecturer to Lecturer

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