Teachers of Adult Music Learners: An Assessment of Characteristics and Instructional Practices, Preparation, and Needs

Abstract

This study investigated characteristics and experiences of teachers of adult music learners, instructional aspects they perceive to be unique to teaching adults, and their self-perceived needs in providing quality experiences for adult learners. A 25-item questionnaire investigating the topics of preparation, goals, methodology, materials, evaluation, behavior management, and attitudes was distributed to instructors with 2 or more years of experience teaching adult learners. Most of the 66 respondents were highly experienced (74% having taught adults 6 or more years), and they provided information about issues unique to teaching adults or that might be similar for teaching music at any age level. Respondents indicated that methodologies should be flexible and individualized, expressed a desire for age-appropriate materials, and said that training specific to adult teaching is advantageous. The longevity and breadth of teaching experience and consistency of responses across demographic variables are indicative of issues that have implications for the profession.

Selecting motivating repertoire for adult piano students: A transformative pedagogical approach

“…Secondly, their aspirations for the future of their playing aligned with their current musical tastes. This strengthens the argument for honouring adults’ specific musical tastes and goals (Bowles, 2010; Wristen, 2006) when selecting repertoire.…”

“…Secondly, their aspirations for the future of their playing aligned with their current musical tastes. This strengthens the argument for honouring adults' specific musical tastes and goals (Bowles, 2010;Wristen, 2006) when selecting repertoire. D a t a g e n e r a t i o n a n d a n a l y s i s This study was conducted over a nine-month period, from June 2013 to February 2014.…”

“…Many one-to-one studio piano teachers have diversified their teaching to include adult novices (Uszler & Upitis, 2000). Retaining adult novices long-term, however, is notoriously difficult (Bowles, 2010). The majority of studies exploring adult piano students to date have thus sought to understand their demographics, motivations for learning, and perceived benefits gained from piano tuition (see Cooper, 2001; Jutras, 2006; Swenson 2006; Taylor, 2011; Taylor & Hallam, 2008; Thornton, 2010; Wristen, 2006).…”

Empowering students to take ownership of their learning: Lessons from one piano teacher’s experiences with transformative pedagogy

“…This can lead to the use of ineffective practice strategies at best, and at worst, premature cessation of piano lessons due to feelings of inadequacy. While piano teachers might empathize and have strategies to address musical challenges, they may not be equipped to address the mindset challenges that can hinder adult students’ ability to progress at the piano (Bowles, 2010).…”

Community Music Today edited by Kari K. Veblen , Stephen J. Messenger , Marissa Silverman and David J. Elliott . Lanham, USA; Plymouth, UK: Rowman and Littlefield Education in partnership with National Association for Music Education, 2013. 315pp., paperback. £25.95. ISBN: 978-1-60709-320-6

“…The interface between formal and non-formal settings for music-making and learning is a recurring theme throughout this book, where ‘the role of teacher-as-facilitator shifts and promotes learner autonomy, the core of self-directed learning’, and the assumptions of music participation and the ‘authoritarian place’ of the teacher are challenged (p. 144). Clearly music educators in the classroom have a great deal to learn from their community musician colleagues in terms of re-envisaging the role of the music teacher, and in terms of developing a ‘lifespan perspective’ (p. 145) choosing ‘goals, methods, activities and evaluation procedures that will function effectively for the student as an adult’ (Bowles, 1999, p.15). The chapter closes with a thought-provoking set of guidelines for implementing a lifespan perspective which aims for a ‘musically engaged society’ where ‘music becomes a metaphor for the humanizing values that enhance the quality of life for all people’ (pp.…”