An Exploration of Three Peer Tutoring Cases in the School Orchestra Program

Abstract

The purpose of this multiple case study was to explore the choices, thought processes, and evidence of knowledge construction of high school string players in their role as peer tutors. Three high school students served as participants and were observed and video-recorded while teaching private lessons to sixth grade students from within their district’s orchestra program. Lesson data were supplemented by pre- and postlesson interviews with, and written reflections by, each of the participants. After a cross-case analysis of the data, four themes emerged: (a) choices from experiences, (b) reorganization and communication, (c) enjoyment and value, and (d) perception of roles. Interviews with the participants suggested that the act of teaching younger peers might contribute to an increased motivational interest for learning on the part of the tutors. Student-centered learning experiences such as peer tutoring may also foster an increased sense of ownership, both of the music program in which the tutors participate and of the tutors’ own learning. Findings supported the results of prior studies in the areas of communication, responsibility, altruism, selfconfidence, self-efficacy, and other cognitive-affective aspects of tutoring. Implications for informing music education practice, and suggestions for further research into peer teaching and learning in the music classroom, are offered.

Peer Mentoring in a University Music Methods Class

“…Madsen (2011) examined cross-age mentoring in an after-school reading program in which music education students served as mentors and noted the collegial relationships and friendships that developed during the experience. Webb (2015) investigated how high school orchestra students used their knowledge to mentor sixth-grade students in a school music program. Although the mentors’ pedagogy was limited to a “trial and error” approach, they indicated that teaching helped to reinforce their own knowledge.…”

Counterpoint in the music classroom: Creating an environment of resilience with peer mentoring and LGBTQIA+ students

“…Researchers in music education have investigated the various features of peer mentoring that include individualized instruction (e.g., Goodrich, 2007), how students construct knowledge (e.g., Webb, 2015), and the role of socialization (e.g., Goodrich, 2016). For example, the social interactions embedded in the process of peer mentoring provide opportunities for all students, including those who are marginalized, to share knowledge during learning in the music classroom (e.g., Johnson, 2015).…”

Near-Peer Mentorship: A Model for Private Music Instruction in an Underserved Community

“…Findings in music education literature related to peer teaching, near-peer teaching, mentoring, and tutoring demonstrate that these models can benefit both mentor and mentee (Alexander & Dorow, 1983;Goodrich, 2007;Johnson, 2011;Scruggs, 2008;Webb, 2015). Peer and near-peer mentoring are similar concepts but differ in that peerassisted learning typically describes student pairs that are similar in age, experience, and ability, while near peer refers to mentorship pairs where one student is older, has more experience, and can serve as a role model.…”

“…Similar findings from Johnson (2011Johnson ( , 2017 indicated that peer-assisted learning led to improved sightreading ability and music theory knowledge in seventh-grade band students. Webb (2015) found that older mentors in a private lesson setting were eager to assist new players, and that they used pedagogical methods that they learned from their teachers. Mentors in this study identified several benefits in their playing and communication (Webb, 2015) and commented that they valued the social connections made with younger players.…”

“…Webb (2015) found that older mentors in a private lesson setting were eager to assist new players, and that they used pedagogical methods that they learned from their teachers. Mentors in this study identified several benefits in their playing and communication (Webb, 2015) and commented that they valued the social connections made with younger players. Goodrich (2007) examined peer mentoring in a high school jazz band and found that the social aspects of mentorship in this context mirrored mentorship in the jazz community, in which novice players are enculturated by experienced players in the scene.…”