A combination of one-to-one teaching and small group teaching in higher music education in Norway – a good model for teaching?

Bjøntegaard, Bjørg Julsrud

doi:10.1017/s026505171400014x

Cited by 24 publications

(40 citation statements)

References 32 publications

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“…When collaborative learning is used for music practice and performance, masters and apprentices become co-constructors of learning (Lave & Wenger, 1991;Lebler, 2007;Hanley, Baker, & Pavlidis, 2018). These informal group practices contrast with those of the conservatoire, where one-to-one tuition is the predominant educational model for music practice and performance (Bjøntegaard, 2015;Carey & Grant, 2015;Virkkula, 2016b;Gaunt, 2017). Informal pedagogies within communities of practice have much to recommend themselves in arts education (Virkkula, 2016a), and more specifically, it is argued in this paper, within HME (see also Westerlund & Partti, 2012).…”

Section: Introductionmentioning

confidence: 99%

The value of collaborative learning for music practice in higher education

Forbes

2020

Brit. J. Music. Ed.

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This article presents evidence of the value of collaborative learning for students working in small heterogeneous groups within first year music practice courses in an Australian university popular music program. Wenger, Trayner, and de Laat’s framework for promoting and assessing value creation in communities and networks was used to gather and analyse data from students throughout one academic year. Collaborative learning created value for students through peer-to-peer learning which cultivated new skills and improved performance, causing students to reframe their criteria for musical and personal success. The value of collaborative learning promotes its use both within and beyond popular music degree programs.

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Section: Introductionmentioning

confidence: 99%

The value of collaborative learning for music practice in higher education

Forbes

2020

Brit. J. Music. Ed.

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“…A teacher will demonstrate how to perform a chord, the student will attempt to play according to the teacher's instructions, and the teacher will then provide feedback, showing the student how to correct their mistakes [9][10][11]. Two faults have been identified with this model: firstly, students can experience boredom as a result of playing too passive a role [12][13][14], and secondly, students can feel demotivated as a result of a dynamic that involves consistently finding fault and errors in their performance. Clearly, both of these faults act as obstacles when it comes to learning a musical instrument [15].Numerous studies have explored the relationship between musical instruments and their associations with a particular gender.…”

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confidence: 99%

AR Graphic Representation of Musical Notes for Self-Learning on Guitar

et al. 2019

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Despite being one of the most commonly self-taught instruments, and despite the ready availability of significant amounts of didactic material, the guitar is a challenging instrument to learn. This paper proposes an application based on augmented reality (AR) that is designed to teach beginner students basic musical chords on the guitar, and provides details of the experimental study performed to determine whether the AR methodology produced faster results than traditional one-on-one training with a music teacher. Participants were divided into two groups of the same size. Group 1 consisted of 32 participants who used the AR app to teach themselves guitar, while Group 2, with a further 32 participants, received formal instruction from a music teacher. Results found no differences in learning times between the two groups based on the variables of method and gender. However, participant feedback suggested that there are advantages to the self-taught approach using AR that are worth considering. A system usability scale (SUS) questionnaire was used to measure the usability of the application, obtaining a score of 82.5, which was higher than the average of 68 that indicates an application to be good from a user experience point of view, and satisfied the purpose for which the application was created.

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“…Evidence also exists that students benefit from multiple voices in their principal study (Haddon, 2011) and from a variety of one-to-one, masterclass and collaborative small group learning opportunities (Bjøntegaard, 2015;Forbes, 2016).…”

Section: Reflections and Conclusionmentioning

confidence: 99%

Classical soloists’ life histories and the music conservatoire

Palmer

Baker

2021

International Journal of Music Education

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This article explores the life histories of virtuoso classical music soloists with particular reference to conservatoire provision. Detailed life-history interviews were conducted with six virtuosi between May 2018 and January 2019. These participants were three singers, two cellists and a concert pianist. Resultant qualitative data were stored in an NVivo software database and understood through a process of analytic induction. Key findings spotlight the significance of Higher Education, a connection between broad creative and cultural interest and musical excellence, and a significant role for conservatoires in diversifying their training and easing transition into the career. The soloists also warned of dangers relating to controlling teachers, loss of autonomy and a need to convey their career realities to students.

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A combination of one-to-one teaching and small group teaching in higher music education in Norway – a good model for teaching?

Cited by 24 publications

References 32 publications

The value of collaborative learning for music practice in higher education

The value of collaborative learning for music practice in higher education

AR Graphic Representation of Musical Notes for Self-Learning on Guitar

Classical soloists’ life histories and the music conservatoire

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