Enhancing learning and teaching in the tertiary music studio through reflection and collaboration

Carey, Gemma; Coutts, Leah; Grant, Catherine; Harrison, Scott; Dwyer, Rachael

doi:10.1080/14613808.2017.1409204

Cited by 11 publications

(10 citation statements)

References 31 publications

(34 reference statements)

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Brenner and Strand, 2013) and situations, they acknowledged that they had often slipped into using one uniform approach for most pupils (cf. Carey et al, 2018). Therefore, it had been useful to watch examples of each other's teaching, to share ideas and discuss methods.…”

Section: Discussionmentioning

confidence: 99%

Young Musicians' Learning of Expressive Performance: The Importance of Dialogic Teaching and Modeling

Meissner

Timmers

2020

Front. Educ.

View full text Add to dashboard Cite

Until recently little was known through systematic research about effective teaching methods to enhance children's expressiveness in music performance. A previous experimental study indicated that a dialogic teaching approach, consisting of questions and dialogue, improves pupils' expressive performance. Developing from this, a participatory action research study was conducted with the following objectives: (1) To explore how dialogic teaching and learning of expressiveness can be used in weekly individual instrumental lessons; (2) to investigate whether instrumental tutors find a dialogic teaching approach useful for facilitating pupils' learning of expressiveness; and (3) to explore what other complementing instructional modes tutors would like to employ. (4) To investigate pupils' views on their learning of expressiveness; and (5) pupils' views on the instructional strategies used for teaching expressiveness. Five instrumental music tutors participated in this research with two or three of their pupils (11 girls in total, aged 8-15, playing various instruments) for 4 months. Pupils played in informal performance sessions at the start, middle, and end of the project. Lessons and performances were video-recorded. Music diaries, questionnaires and video-stimulated recall interviews were used to collect information about participants' views. Participating tutors used mainly dialogic teaching, modeling, and playing along with pupils. Tutors thought that teaching and learning expressiveness is a complex process wherein "everything is intertwined"; several methods can be used within a dialogic teaching approach for working on various teaching aims. Aural modeling combined with dialogic teaching was seen as especially useful. Pupils' accounts indicate that they had learned to think about the musical character and how to convey this in performance. Tutors' questions had stimulated pupils' reflection and raised their awareness of the musical meaning, while teachers' modeling had helped to build up an aural picture of the music which had facilitated pupils' learning. The dialogic teaching approach supported by modeling had generated improved expressiveness in lessons and contributed to a growing sense of achievement, confidence, self-efficacy, and musical agency. These findings demonstrate the importance of dialogic teaching supported by modeling for meaningful instrumental music education as this can stimulate pupils' thinking, thus facilitating their learning and enhancing their expressiveness.

show abstract

Section: Discussionmentioning

confidence: 99%

Young Musicians' Learning of Expressive Performance: The Importance of Dialogic Teaching and Modeling

Meissner

Timmers

2020

Front. Educ.

View full text Add to dashboard Cite

show abstract

“…It can be reflected that once the investment in music teaching reform is insufficient, it is difficult for teachers to use multimedia at the most realistic level, much less to implement the most creative reforms in the current new media environment. In the end, the reform effect will be lost, and the music teaching reform will become a mere formality [13].…”

Section: Problems Of Musicmentioning

confidence: 99%

Research on the Innovation of Music Teaching in Universities Based on Artificial Intelligence Technology

Shi

Ning

2022

Security and Communication Networks

View full text Add to dashboard Cite

At present, music education in colleges is in a period of rapid development in China. At the same time, music education in universities is facing innovation and reform of teaching modes. How to improve music education in colleges and universities has become an important issue for music teachers in colleges. Music teaching and management activities for students in general universities can enrich students’ talents and expand their knowledge. It can also help them develop a positive emotional psychology and develop positive and healthy character characteristics, both of which are vital for college students’ healthy development. Innovation and modification in music teaching and management activities for students is the only way to increase the quality and effectiveness of music teaching for nonarts students and to promote the overall quality of students. Based on this, this paper proposes an innovative research method of college music teaching based on artificial intelligence technology. The method introduces a fuzzy evaluation algorithm to establish a two-level teaching evaluation index system and calculates the weights of each index based on fuzzy mathematical theory. In data processing, the SVM algorithm in the field of data mining is used to classify all collected teaching evaluation data in advance through supervised learning, which significantly improves the efficiency of data processing. The experimental results show that the model in this paper can well assess the quality of music teaching in colleges and universities and play a role in promoting the progress of music teaching in colleges and universities.

show abstract

“…This model of teaching has been widely criticized for its authoritarian teaching methods (Zhukov, 2012; Gaunt, 2008) and passive student learning (Gaunt, 2010; Zhukov, 2007). While some institutions are attempting to improve one-to-one teaching (e.g., Carey et al, 2018), the master-apprentice model remains largely entrenched in higher music education worldwide. Instrument-specific master classes supplement individual lessons, and while many students view these as positive learning experiences, female students in particular tend to find master classes “intimidating and unfriendly” (Long et al, 2014, p. 176).…”

Section: Introductionmentioning

confidence: 99%

“Play with me”: Student perspectives on collaborative chamber music instruction

Zhukov

Sætre

2021

Research Studies in Music Education

View full text Add to dashboard Cite

This article reports on a pilot project conducted in Australia and Norway evaluating new approaches to collaborative chamber music instruction in higher education settings. Following suggestions from the literature on collaborative and group learning in music, chamber music tuition was chosen as a suitable context to examine the possibility of teaching-through-playing and the impact of such an approach on students’ collaborative learning and their induction into the professional music community. Two groups of staff and students in each institution volunteered to participate in the project and implemented their own rehearsal schedule. Student focus group interviews were conducted after the final performance of rehearsed repertoire, and transcripts were analyzed by two researchers independently for the emerging themes and refined through iterative discussions. Key findings include students being inspired by working with experienced staff in a professional setting, learning the skills of ensemble playing such as effective rehearsal techniques, understanding of stylistic conventions, specific technical, musical and co-ordination skills, greater experimentation, positive impact of group discussions, and a more collaborative atmosphere. Students found it challenging to alter power roles, as the ingrained attitudes of teacher-led approaches prevailed. This project has shown that teaching-through-playing chamber music is a viable approach for developing students’ musical and social skills by providing them with authentic professional experiences. We propose an alternative model of higher education performance teaching that is more collaborative and participatory.

show abstract

Enhancing learning and teaching in the tertiary music studio through reflection and collaboration

Cited by 11 publications

References 31 publications

Young Musicians' Learning of Expressive Performance: The Importance of Dialogic Teaching and Modeling

Young Musicians' Learning of Expressive Performance: The Importance of Dialogic Teaching and Modeling

Research on the Innovation of Music Teaching in Universities Based on Artificial Intelligence Technology

“Play with me”: Student perspectives on collaborative chamber music instruction

Contact Info

Product

Resources

About