Peer Learning in Instrumental Practicing

Abstract

In higher music education (HME), the notion of “private teaching, private learning” has a long tradition, where the learning part rests on the student's individual practicing between instrumental lessons. However, recent research suggests that collaborative learning among peers is beneficial in several aspects, such as sense of belonging, motivation and self-efficacy. This is consistent with the concept of vicarious learning. In this study, we conducted a survey among bachelor music students in church music, performance or music education programs enrolled in a music academy (N = 96), where parts of the questionnaire addressed peer learning and peer's influence on the students's instrumental practicing, and the degree of satisfaction with their practicing. These issues were seen in relation to gender, musical genre and study program. Overall, the students reported engaging in peer learning related to their instrumental practicing, to various degrees. This involved discussing practicing matters with peers, and practicing together with peers. However, student's reports of their views on peer learning, show that they perceive it more beneficial than the amount of time reported doing it would indicate. No significant gender differences were found, but students within improvised music/jazz engaged the most in peer learning, and church music students the least. Neither the degree of engaging in peer learning nor reported influence from peers correlated significantly with the degree of satisfaction. We discuss whether a general dissatisfaction is caused by being in a competitive learning environment combined with a privatized culture for learning. Finally, we suggest that collaborative forums for instrumental practicing within HME institutions can function as constructive and supportive arenas to enhance students learning and inner motivation.

Adaptation and destabilization of interpersonal relationships in sport and music during the Covid-19 lockdown

“…Social belonging and affiliation are also crucial aspects of musicians and learners being able to perform well in various contexts. Recent work on collaborative music teaching methods (e.g., Nielsen et al., 2018 ), improvised interaction (e.g., Aucouturier and Canonne, 2017 ), and high-level performers in classical orchestras ( Biasutti, 2013 ) has highlighted the key role of social communication and companionship. In orchestras and ensembles, for example, instrumentalists often report having the sensation that the group shares common aims, artistic ideas, and musical objectives (ibidem).…”

Music Teachers’ Perspectives and Experiences of Ensemble and Learning Skills

“…With this in mind, recent theory and research in music education is concerned with forms of learning that complement traditional one-to-one settings in various ways. One line of enquiry of particular interest for this paper is focused on the properties and possibilities offered by collaborative forms of music making (see Luce, 2001;Nielsen et al, 2018). In the present contribution, we aim to investigate how music teachers working in different contexts engage in such collective practices.…”

Instrumental Technique, Expressivity, and Communication. A Qualitative Study on Learning Music in Individual and Collective Settings

“…), intended to foster deeper awareness of the possibilities of musical learning as an artistic and creative process of self- and world-making. This includes educational settings that are based in collaboration and improvisatory musical interactions (Hargreaves et al, 2003; Biasutti, 2017; Nielsen et al, 2018). The purpose of this article is to explore more closely the relationship between such participatory forms of instrumental musical learning on the one hand, and – on the other – the theoretical tools central to ECS.…”