‘Leaders,’ ‘followers’ and collective group support in learning ‘art music’ in an amateur composer-oriented Bach Choir

Einarsdottir, Sigrun Lilja

doi:10.1017/s0265051714000242

Cited by 7 publications

(4 citation statements)

References 30 publications

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“…The contribution of choral team leaders (in terms of sharing feedback, support and information, assisting in peer learning, and helping to optimize group performance), is generally seen as having a positive impact on the confidence levels of their fellow singers. In choral settings, the phenomenon of informal team leadership has previously been identified, largely in relation to practical and technical aspects of performance, such as intonation, timing and musical entries in high school choirs (Zadig, Folkestad, & Åhlander Lyberg, 2017), and tackling the intricacies of unfamiliar or complex works in amateur choral societies (Einarsdottir, 2014). The current study demonstrates that informal choral team leaders also have a profound impact on affective aspects of rehearsing and performing in a wide range of amateur singing groups, including making a significant contribution to collective and individual choral confidence.…”

Section: Discussionmentioning

confidence: 99%

Collaborative learning and choral confidence: the role of peer interactions in building confident amateur choirs

Bonshor

2020

MPR

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This article describes some of the collaborative processes that take place within adult amateur choirs, and demonstrates some associations between group dynamics, peer learning and the development of choral confidence. Three focus groups and 16 individual interviews provided 40 hours of verbal data. The research aims were: to explore the lived experience of amateur choral singers in relation to their confidence levels; to identify some of the factors affecting singers’ confidence in their vocal skills and choral performance ability; to use the data to extrapolate strategies designed for managing confidence issues amongst amateur choral singers. Data was collected during semi-structured interviews and focus groups with amateur singers. The superordinate themes, which emerged from the data, included collaboration and teamwork, reciprocal peer learning, and the contribution of unofficial team leaders to effective learning and performance. All of these factors were reported as increasing individual and collective confidence levels. The findings highlight the role of peer interactions and social learning in developing the confidence of choral singers, and suggest ways in which conductors might optimize these interactions to build confidence during choir rehearsals and performances.

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Section: Discussionmentioning

confidence: 99%

Collaborative learning and choral confidence: the role of peer interactions in building confident amateur choirs

Bonshor

2020

MPR

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“…In line with the tension identified by educators that adopt a Musical Futures approach (Hallam et al, 2011; Hallam, Creech, & McQueen, 2017a), Nathan has had to experiment to find a balance between fostering student autonomy and providing direction and hands-on support. While the learning setting in a school is formal, with Nathan establishing each activity and its goals (Folkestad, 2005, 2006), the music learning that takes place can be considered “non-formal,” as most students engage with their choice of music while receiving guided instruction during their musical engagement (Shehan-Campbell, 2015; Einarsdottir, 2014; Mok, 2011). The classroom has a strong constructivist vibe, as pupils are given tools which they can freely utilize to create musical works (Casas-Mas, Pozo, & Scheuer, 2015).…”

Section: Discussion: Remixing Musical Futures and Hip Hop Based Educamentioning

confidence: 99%

Listen to the tastemakers: Building an urban arts high school music curriculum

Gage¹,

Low

Reyes

2019

Research Studies in Music Education

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In partnership with academics from McGill University and community arts partners, a high school in Montreal faced with significant challenges became an “urban arts school,” offering music and visual art programs centered in youth culture, as well as integrating arts into several academic subjects. The initiative was inspired by the school’s popular extra-curricular activities, which included a Hip Hop literacy club that ran beat making and rap writing workshops. Considering the popularity of these activities, the school decided to offer a music education program focused on musical skills through real-life music making activities that resemble those employed by popular musicians. This article chronicles the development of this music education program from the perspective of the music teacher, including the experience of continual adaptation to the needs and interests of students. The program is one of the first to combine Musical Futures, an approach to music education that promotes the combination of non-formal music teaching, informal music learning, and students’ interest in a formal school setting, with Hip Hop Based Music Education, predominantly located in community settings. This case study showed that students benefited from having an open-minded and committed educator with experience in popular musics. The co-teaching by professional Hip Hop artists also supported student progress and engagement by adding authenticity to the music making process. Furthermore, the alignment of the music program with the general school ethos contributed to its success. The paper also highlights the need to balance the development of musical skills with student engagement, and the informal music learning philosophy of Musical Futures with direct instruction associated with formal school settings.

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“…It covers a wide range of activities, such as singing in a choir, playing an instrument in a band, or taking music lessons for personal enjoyment. According to Uçan (2005): (Einarsdottir, 2014).…”

Section: Theoretical Frameworkmentioning

confidence: 99%

Challenges and Solutions in Developing Right Hand Techniques in Amateur Violin Education

Taş

2023

education

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Amateur music education, which individuals pursue with a hobbyist spirit based on their own desires and interests, can be defined as music education received for personal enjoyment. In Turkey, it is observed that individuals engaged in amateur music education mostly focus on instrumental training, with the violin being one of the most preferred instruments. In the process of violin education, which holds significant importance in both professional and amateur instrumental training, the identification and resolution of issues related to the right hand is crucial for a healthy progression of the education process. This study, which aims to examine various right-hand problems encountered by amateur violin students and to offer solutions, uses a mixed-methods approach that collects and analyzes data from both qualitative and quantitative sources. The related literature was examined in the qualitative portion of the research to identify the right hand-based challenges faced in amateur violin education and to expose the current state of the problem. The quantitative data utilized in the study were gathered by the researcher’s examination of the participants’ video recordings (n=10)in which they perform assigned musical exercises that require different bowing techniques. The six relevant items of the “String Performance Rating Scale” developed by Zdzinski and Barnes (2002) were used in the evaluation of the participants’ video recordings. Based on the obtained data, solution proposals were developed for resolving the issues related to the right-hand technique.

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‘Leaders,’ ‘followers’ and collective group support in learning ‘art music’ in an amateur composer-oriented Bach Choir

Cited by 7 publications

References 30 publications

Collaborative learning and choral confidence: the role of peer interactions in building confident amateur choirs

Collaborative learning and choral confidence: the role of peer interactions in building confident amateur choirs

Listen to the tastemakers: Building an urban arts high school music curriculum

Challenges and Solutions in Developing Right Hand Techniques in Amateur Violin Education

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