자연주의적 탐구조사(Naturalistic Inquiry)

by J. Biggs and C. Tang, Maidenhead, England,
Open University Press, 2007, 360 pp., £29.99, ISBN-13: 978-0-335-22126-4

Teaching for quality learning at university

How we Think

Self-Directed Learning, A Guide for Learners and Teachers

Understanding and Promoting Transformative Learning: A Guide for Educators of Adults

This paper reports on a multi-institutional project using reflection and collaboration to enable one-to-one music teachers to improve their professional skills and foster deep learning in music stu...

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

Fostering transformative professionalism through curriculum changes within a Bachelor of Music

While tertiary music programs traditionally focus on developing musicians’ craft, there is an increasing emphasis on the need to develop students’ ability to use their craft in socially engaged ways. This has led to an increase in community music, mobility programs, and performance outreach opportunities being embedded into tertiary music programs. There is also, however, potential for students to develop their craft more explicitly in service of social change through activist-musicianship, but little academic exploration into how this might be embedded into tertiary music programs. This article, through interviews and focus groups, investigates tertiary music students’ perspectives on music’s role in activism, their social values and aspirations, and perceived opportunities and challenges for musicians and tertiary music institutions. Music activism was seen to be possible through focusing on the musician as embodying the message or the music communicating the message, with repertoire choice and the degree of explicit messaging deemed important considerations regarding potential impact. Students highlighted a desire to plant seeds for change, to encourage audience members to become aware of and question unconscious biases and values, and to spark ongoing conversations. Within their programs, students expressed a desire for more autonomy in repertoire selection, for training on the inclusion of extra-musical features to support messaging, and for strong integration and alignment of academic and performance courses that could provide opportunities to practice activist-musicianship as part of their programs. Further to this, there are a range of ethical considerations educators need to be mindful of, which are outlined throughout this article. Insights shared highlight a need for further understanding of the activist-musician and how associated skill sets and opportunities might be embedded within existing tertiary music programs.

Tertiary music students’ perspectives on activist-musicianship: Approaches, challenges, and perceived role of higher music education

Student engagement has become an increasing focus for higher music education (HME) in recent times as institutions concentrate on preparing graduates for life beyond their programs. Cultivating effective learning and engagement for first-year Bachelor of Music students is often challenging, as these students predominantly undervalue and deprioritise their academic music courses in favour of practising their craft. ‘Students as Partners’ (SaP) is an emerging field in higher education that may address this challenge due to its potential to foster transferrable skills associated with increased engagement and employability. As an emerging field, there is a paucity of research in this area within HME. This paper responds to the need for further discussions around its potential as a pedagogical approach within this context.

Through a discussion of SAP’s key features and student engagement, it becomes clear that an educator’s role extends beyond assessment and lesson planning to also fostering the attitudes and mind-sets that underpin student learning, such as motivation and conceptions of learning. This approach recognises and respects students as experts in themselves, and values and prioritises authenticity, empowerment and rapport. From this position, it is argued that educators can invite students into partnership, forming effective collaborations to shape engaging learning activities, choose relevant course materials and topics, and design interesting assessment items with students, rather than for students.

This paper outlines a plan to implement SaP pedagogical approaches within one Australian institution’s compulsory first year academic music course, Exploring Music. Exploring Music brings together first year students from different disciplines and involves an exploration of a diverse range of music from different styles, periods and cultures. Typically, student engagement in this course has been low as they struggle to find immediate relevance of the course to their goals. Incorporating insights into SaP explored herein, this paper conceptualises how SaP has the potential to strengthen four key areas of effective learning: communicating values and purpose; understanding self; developing learning activities and content; and designing effective assessment items. This plan forms the basis of a research project that investigates Exploring Music students’ perceptions of, and experiences with the SaP approaches taken, while also exploring their implementation from a practitioner-based perspective.

Exploring partnerships: A Students as Partners pedagogical approach for fostering student engagement within an academic music course

Can transformational learning strategies help a piano teacher foster selfdirection in her adult piano students? My journey suggests it can, but not without some discomfort and bumps along the way. Background and Purpose of Study Many adult piano students hold unrealistically high expectations of their abilities and unrealistically low expectations of the effort required to learn piano. This can result in a lack of focus on strategies conducive to learning (Dweck, 2000; Green & Gallwey, 1986; Sterner, 2012; Westney, 2003). Piano pedagogy literature posits that the solution is for teachers to facilitate selfdirection in their adult students (Dabback, 2003; Myzok-Taylor, 2008; Wristen, 2006). While there is a growing trend for discussion of adult learning theories, specifically transformational learning theory and self-direction, within piano pedagogy, opportunities for students to develop the associated skills of critical action and reflection during their piano lessons are often absent (Chen, 1996). Furthermore, there is a shortage of studies that explore the implementation and efficacy of strategies that might develop these skills. This study offers insight into the use of transformational learning strategies within the piano studio in order to bridge this gap. Theoretical Framework Self-direction is a process in which learners diagnose their learning needs, formulate learning goals, identify relevant resources for learning, choose and implement appropriate learning strategies, and evaluate their learning (Knowles, 1975). While Knowles initially argued that self-direction was an innate adult trait realized through maturation, this notion was criticized as theorists argued that not every adult is mature enough for self-direction (Chen, 1996; Dabback, 2003). Self-direction requires skills of critical thinking, action, and reflection, and as such, can be taught, practiced, and developed. Transformational learning theory offers insight into cultivation of these skills. Its main premise is that “the professional goal of the educator is to foster the learner’s skills, habit of mind, disposition and will to become a more active and rational learner” (Mezirow, 2003). There are four components of this theory relevant to this study. These are: the relevance of the learning content; the role of frames of reference (FR) in constructing or inhibiting learning and their abilities to be transformed into those conducive to deep learning; learning that is experiential in nature, combining action with critical reflection; and teacher transformation alongside the student. Part of the teacher’s role is to facilitate the creation of new FR, which include assumptions, expectations, mindsets, habits of mind, and beliefs, that are conducive to learning. Firstly, it is important to ensure that learning materials align with student motivations and goals. Secondly, teachers need to encourage critical reflection by creating an atmosphere of collaboration, support, and guidance, where students feel safe to participate in discussions and answer and ask questions (Abrahams, 2005; Ettling, 2006; Mezirow, 2003; Newman, 2012; Taylor, 2008, 2011). While it is commonly known that we learn through our experiences, transformational learning argues that it is not the experience itself, but reflection on experiences that creates learning. This combination of action and critical reflection creates a feedback loop that influences future actions. Teachers can facilitate its use through questioning and modeling of the process. Theorists caution that to teach in this way requires that teachers also be willing to reflect critically on their teaching to become aware of their assumptions and agendas that affect their teaching behaviors and to put themselves in the shoes of their students (Abrahams, 2005; Ettling, 2006; Taylor 2008). Research Design There were two aims of my study: to implement and document the use of strategies relating to the above theoretical framework within my studio teaching; and to ascertain their efficacy in promoting self-direction and engagement in adult piano students. These goals drove the decision to adopt a practitioner-based design. During the nine-month study I developed and refined strategies that aimed to foster critical action and reflection and provide opportunities for participants to direct the course of their studies, giving them greater ownership of their learning. I used a suite of qualitative methods to document this journey with six of my adult piano students. I collected data through participant interviews, participant practice journals, and digitally recording each participant’s individual piano lessons in order to generate field notes and a reflective teaching journal. I analyzed the data in accordance with the strategies implemented. These were: collaboration with students regarding lesson content and planning; teaching through questioning; and implementing student journals to facilitate strategy adoption and reflection during home practice. I was interested in both the transformation of my participants, as well as my transformation as their teacher.

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“I Should be Able to Play Already!” Promoting Self-Direction in Adult Piano Students through Transformational Learning Strategies

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