Instructional Approaches to Teaching a Korean Percussion Ensemble (Samulnori) to Preservice Music Teachers and Preservice Classroom Teachers: An Action Research Study

Abstract

The purpose of this practical action research study was to explore how preservice music teachers, preservice classroom teachers, and a methods course instructor responded to the experience of rehearsing a Korean percussion ensemble piece. Seven preservice music teachers and nine preservice classroom teachers rehearsed Samulnori for 20 minutes per week for 8 weeks. Data sources included reflective narratives produced by the instructor and participants, observation field notes, and participant interviews. Through each step in the action research process, across multiple cycles of instruction and reflection, the teaching approach was altered to better fit participants’ needs and interests in the two groups. While preservice music teachers valued authentic music demonstrations and the hands-on process of learning to perform Samulnori in a polished and accurate manner, preservice classroom teachers required more detailed verbal explanations in addition to music demonstrations and showed interest in learning about the historical and cultural background of Samulnori.

A History and Analysis of the Evolution of Action and Participatory Action Research

“…A recent example of the use of practical action research is a study by Yoo and Kang (2018) in which the authors sought to determine how music instructors responded to their experiences of rehearsing within a Korean percussion ensemble piece. Specifically, the authors sought to assess the effectiveness of instructional approaches used when teaching a Korean percussion ensemble piece "Salmulnori" to both preservice music teachers and preservice classroom instructors (Yoo & Kang, 2018).…”

“…A recent example of the use of practical action research is a study by Yoo and Kang (2018) in which the authors sought to determine how music instructors responded to their experiences of rehearsing within a Korean percussion ensemble piece. Specifically, the authors sought to assess the effectiveness of instructional approaches used when teaching a Korean percussion ensemble piece "Salmulnori" to both preservice music teachers and preservice classroom instructors (Yoo & Kang, 2018). Data collection methods included reflective narratives produced by the instructor and participants, observation field notes, and participant interviews, with the research participants made up of 7 preservice music teachers and 9 preservice classroom teachers (Yoo & Kang, 2018).…”

“…Specifically, the authors sought to assess the effectiveness of instructional approaches used when teaching a Korean percussion ensemble piece "Salmulnori" to both preservice music teachers and preservice classroom instructors (Yoo & Kang, 2018). Data collection methods included reflective narratives produced by the instructor and participants, observation field notes, and participant interviews, with the research participants made up of 7 preservice music teachers and 9 preservice classroom teachers (Yoo & Kang, 2018). An example of the types of questions participants where asked included: "What were your overall impressions about the lesson?"…”

“…and "Please share your suggestions on how to make this experience better" (Yoo & Kang, 2018, p. 74). This approach to action research differs from the previously mentioned technical action research as the research participants were encouraged to reflect upon their rehearsal experiences in an unstructured format and were also encouraged to freely comment on as many aspects of the rehearsal session as possible (Yoo & Kang, 2018). Consistent with the practical action research and the interpretivist paradigm, participant debriefing aided in the interpretation of data and the coding process (Yoo & Kang, 2018).…”

Preservice Music Teachers’ World Music Preference for Taught Pieces and Its Transfer to Untaught Pieces

“…The fact that several preservice teachers expressed fear of misinterpreting cultures revealed that they desired to legitimately represent diverse cultures. Such desires were often reported in the previous literature, especially when people’s musical capacity and flexibility allowed them to perceive and express subtle cultural manifestations in music (Hebert & Saether, 2014; Yoo & Kang, 2018). Hebert and Saether (2014) reported a Danish musician’s struggle to represent Finnish music culture “without destroying the beauty of the original tradition” (p. 427).…”