Learning and Teaching in the Music Studio: A Student-Centred Approach (Landscapes: the Arts, Aesthetics, and Education, 31)

"This book advocates for a radical change in music teaching and learning methods, allowing for a break from the traditional conservatory model still in use in many classrooms. The product of twenty years of interdisciplinary work by musicians, music teachers, and psychologists, the book proposes to place the focus of music education on the students themselves and on their mental and physical activity, with the aim of helping them to manage their own goals and emotions. This alternative is based on a new theoretical framework, as well as numerous real, concrete examples of how to put it into practice with students of different ages and in different environments. This book focuses primarily on teaching instrumental music, but its content will be useful for any teacher, student, musician, or researcher interested in improving music education in any environment, whether formal or informal, in which it takes place. Chapters 3, 4, 6 and 18 are available open access under a Creative Commons Attribution 4.0 International License via link.springer.com."-- Provided by publisher Preface Contents Editors and Contributors A New Mindset for Learning and Teaching Music Learning and Teaching Music in the Twenty-First Century 1 Introduction: Waking Up from a Deep Sleep 2 Comprehensive Preparation in Music Education: Towards Professionalism in Higher Level Instrument Studies 3 The Social Function of Music: Playing and Learning Music in an Increasingly Open, Diverse, and Changing Society 4 Creativity and Restructured Pedagogies: Towards Genuine Change in Instrument Learning and Teaching Appendix: Some Relevant Initiatives for the Redevelopment of Musical Education References Teaching Music: Old Traditions and New Approaches 1 Introduction 2 Music Education in Conservatories 2.1 A Rigid and Restricted Knowledge Structure 2.2 Musical Theory Based on Positivist Epistemology 2.3 A Musical Production System Based on Taylorism and on the Individual 2.4 Guidance Towards Decoding the Musical Score and Technical Mastery of the Instrument 2.5 Transmissive Teaching Methods Based on Authoritarian and One-Directional Relationships 3 Towards a New Approach on Instrumental Music Teaching References The Psychology of Music Learning 1 Instrumental Learning in the Western Cultural Tradition 1.1 Traditional Versus New Approaches 1.2 When Is Teaching Effective? What Are the Criteria for Learning Well? 2 An Outline for Understanding and Transforming Music Learning: Outcomes, Processes and Conditions 3 The Outcomes of Instrumental Music Learning 3.1 Symbolic Learning: Reading Musical Scores and Musical Comprehension 3.2 Learning Procedures: From Technique to Strategy 3.3 Learning Attitudes: Autonomy and Self-Regulation to Overcome Stage Fright 4 The Processes of Music Learning 4.1 Attention and Perception 4.2 Memory 4.3 Learning 4.4 Motivation 4.5 Emotion 4.6 Metacognition 5 Learning Conditions in Instrumental Music 5.1 The Effect of Practice Quantity 5.2 The Effect of Practice Type: From Repetition to Reflection 5.3 The Social Organisation of Learning: From Monologue to Dialogue and Cooperation 5.4 The New Teaching Roles or Functions: From Trainer to Guide 6 Conclusion: The Need to Change the Design of Learning and teaching Music References How Teachers and Students Conceive Music Education: Towards Changing Mentalities 1 Why Is It So Difficult to Change Mentality in Education? 2 Explicit and Implicit Conceptions on Learning and Teaching 3 Implicit Theories on Learning and Teaching 3.1 The Direct Theory 3.2 The Interpretative Theory 3.3 The Constructive Theory 3.4 Are Teachers and Students Direct, Interpretative or Constructive? What Does This Depend On? 4 The Change in Mentality: How Can Theories and Practices Be Modified? References How to Know and Analyse Conceptions on Learning and Teaching 1 Introduction 2 Researching Implicit Conceptions 3 Selecting Between Multiple Options: Likert Questionnaires and Dilemmas 4 Producing or Introducing Discussions or Actions 4.1 Discourse Analysis 5 Other Activities for Conception Analysis: Problem Solving 6 Familiarity with Conceptions to Improve Music Teaching References SAPEA: A System for the Analysis of Instrumental Learning and Teaching Practices 1 What is the Point of Analysing Instrumental Learning and Teaching Practices? 2 What Actually Happens in Music Classes? 2.1 From Conceptions to Practices 2.2 From Intuition to Analysis of Practices 3 Proposals for the Analysis of Learning and Teaching Practices 3.1 Analysis Models and Dimensions of Interactions in the Classroom 3.2 Instrumental Learning and Teaching: Didactic Interactions, Based on Visible Actions 4 A System for the Analysis of Instrumental Learning and Teaching Practices (SAPEA) 4.1 Units of Analysis of Instrumental Practice 4.2 Dimensions and Components of the Analysis System 4.3 The Results of Learning 4.4 The Learning Processes 4.5 Teaching Conditions 5 Analysis of Practice as Resource for Changing Musical Education References Learning and Teaching in the Music Classroom Early Initiation to Music Learning: Little Children Are Musicians Too 1 Intuitive Musical Knowledge 2 Intuitive Knowledge on Musical Sound Management 2.1 At the Age of 4 2.2 At the Age of 7 3 From Intuitive Musicality to Formal Musicality References Reading Music. The Use of Scores in Music Learning and Teaching 1 Musical Scores as External Representation Systems 2 Understanding Musical Scores 3 Learning to Read Scores and Reading Scores to Learn References The Impact of Teaching Conceptions and Practices in Elementary Level Musical Instrument Learning 1 Introduction 2 How to Teach, Learn and Assess: Teachers’ Conceptions on Elementary Level Musical Instrument Teaching 3 How Teachers’ Conceptions Impact the Way Children Learn 4 Characteristics of Constructive Practice in Teaching Instruments at Elementary Levels 5 Summary and conclusion References Instrument Mastery Through Expression: Learning Instrumental Technique 1 Introduction 2 How Do We Usually Learn to Play an Instrument? The Obedient Body 2.1 Technical Learning: Contemplating the Means Before the Ends 2.2 What Does One Learn When the Means Obscure the Ends? 3 Another Way of Teaching to Play: The Expressivist Model 4 Reflections and Final Comparison between Both Models References Learning Music by Composing: Redescribing Expressive Goals While Writing Them 1 Introduction 2 Composition as a Didactic Resource 2.1 Composing Music: Beyond Musical Dictation 2.2 Composing to Redescribe Intuitive Musicality 3 Carmen’s Case: How to Learn Through Composing Music 3.1 Learning Outcomes Achieved by the Student 3.2 Learning Processes Taken on by the Student 3.3 Learning Conditions Preferred by the Teacher 4 Conclusion: When Learning and Teaching Music Is a Pleasure References Learning Music Through ICT 1 ICT: A New Frontier for Music Learning 2 ICT in Music Classrooms: Promise, Threat or Reality? 3 Training in New Uses of ICT in the Music Class: From Pragmatic to Epistemic Use 3.1 An Example of the Use of ICT in the Classroom: The Mobile Phone as a Learning Tool 3.2 Smartphone Use for Self-assessment and Goal Changing 3.3 Smartphone Use for Helping the Student Develop Their Own Learning Strategies 4 Conclusions References From Individual to Cooperative Learning 1 Introduction 2 Beyond Individual Learning: The Importance of Learning to Cooperate with Others 3 From Group Work to Cooperative Learning 4 What Is Learnt by Cooperating: Co-constructing the Emotional Significance of the Piece 4.1 A Case of Cooperative Learning 5 How Cooperation Is Learned/Taught 6 Conclusion: Social Interaction as a Driver for Learning. Some Tips for Teachers References Re-Thinking How to Assess Students of Musical Instruments 1 Introduction 2 Do we Coherently Assess What We Want Our Students to Learn? 2.1 What Does the Curriculum Say with Regards to Assessment? 2.2 The Importance of Assessment Procedure Systematisation 3 Towards genuine Continuous and Comprehensive Assessment in the Learning and Teaching Processes 3.1 The Rubric: an Explicit and Shared Assessment Procedure 3.2 Integrating Subjectivity into the Assessment Procedures: Portfolios and Rubrics 3.3 Probing into Assessment Criteria 4 Seeking Intersubjective Consensus from Teachers 5 Conclusions. Minor Efforts, Major Rewards: the Advantages of Using Systematised Assessment and Grading Procedures References The Choir Conductor: Interpreter or Maestro? 1 Why Sing in a Choir? Types of Choir Rehearsal 2 The Choir Conductor’s Viewpoint 2.1 What do Choir Conductors Try to Achieve in Choir Rehearsals? 2.2 Different Types of Conductor and Choir 3 Choir Rehearsal Focused on the Singers 3.1 From Monologue to Dialogic Interaction 3.2 Rehearsal Time Management 3.3 Representation of the Music: Not Just Reading Musical Scores 3.4 Should We Imitate/Model Singers or Develop Musical Language and Comprehension? Different Ways of Repeating and Imitating 4 Conclusions. Towards a Model of Good Practices in Choir Rehearsal References Learning Outside the Music Classroom: From Informal to Formal Learning as Musical Learning Cultures 1 Specificity of Learning Contexts 2 What Do the Different Forms of Learning Provide? 3 Learning Conditions 3.1 Case 1: Where Do We Get the Information for Learning and What Do We Do with It? 3.2 What Can We Do with the Information When Beginning a Piece and What Makes the Activity Difficult? 4 The Learning Processes 4.1 Case 2: What Moves Us to Learn? 4.2 What Can I Do to Make a Learner Motivated to Learn? 4.3 Case 3: How Do We Manage the Student’s Learning? 4.4 What Can I Do to Help a Learner Self-Regulate 5 Conclusions: The Outcomes of Learning References Teacher Training, Innovation and Research Instrumentalist Teacher Training: Fostering the Change Towards Student-Centered Practices in the Twenty-First Century 1 Introduction 2 Pre-Service Education: Initial Teacher Training in Instrumental Music Education 2.1 Teacher Certification: Contents, Types of Training, and the Practicum 2.2 The Gender Gap in Connection to Working Conditions and Educational Levels as Relevant to Pre-service Training 2.3 Control of Knowledge and Watertight Education 3 In-Service Education: Continuous Professional Training for Instrumental Music Teachers 3.1 Class Preparation as Innovation 3.2 Selection Process for Instrumental Music Teachers 3.3 The Role of years of Teaching Experience as a Relevant Factor in Understanding Teachers’ Praxis 4 Preparedness for Contemporary Teaching Demands 4.1 The Importance of Research Skills and Interdisciplinary Awareness in the Professional Education of Music Teachers 4.2 The Use of ICT in Teachers’ Professional Development 4.3 Collaboration and Cooperation Among (Pre- and In-Service) Teachers: Reflective Modelling, Collaborating and Mentoring 5 Summary of the Chapter in Connection to Lifelong Learning References Student-Centred Music Education: Principles to Improve Learning and Teaching 1 Educational Principles That Support Student-Centred Instrumental Teaching 1.1 Guidelines for Music Learning as a Personal Search for Meanings 1.2 Guidelines for Promoting Deliberate Changes in Teaching Practices 1.3 Developing Musicians’ Identity as Learners References