Collaborative learning experiences in the university jazz/creative music ensemble: Student perspectives on instructional communication

Abstract

While the ensemble is a ubiquitous learning environment within jazz education, opportunities to learn through engagement in ensemble performances and industry-level recording opportunities are rare classroom environments tertiary jazz music institutions offer. This qualitative study examines jazz performance contexts within an Australian tertiary music course, exploring students’ learning experience spanning three diverse collaborative projects across nine months. Phenomenological analysis explores the instructional relationship outlining connection between the student and instruction, the subject matter that is taught, and the connection between the student and the teacher as master improviser. Findings outline substantive teacher crafting of learning, relationship building and learning experiences garnered from interpersonal learning relationships, and the application of content with pedagogy that aims to build a positive learning climate between improvising teachers and their students. The author contends that a phenomenological perspective can highlight this diversity and emphasize effective interpersonal strategies and ensemble pedagogies that enhance student learning and potentially enculturate richer and more sophisticated musicianship in students and their developing creative abilities.

The Psychological Education Strategy of Music Generation and Creation by Generative Confrontation Network under Deep Learning

“…Shen et al [ 11 ] applied a text mining method called double-layer concept link analysis, which is a combination of many psychological factors, such as perception, memory, thinking, imagination, and aesthetic experience. In the process of creation, these numerous psychological factors do not appear in an orderly way but are characterized by integrity, organization, and variability, often between various complex psychological factors and technologies, and finally achieve a balance [ 12 ].…”

Signature Pedagogies in Collaborative Creative Learning in Advanced Music Training, Education and Professional Development: A Meta-Synthesis

“…A further search was undertaken after publication of the systematic review, using the same search criteria as reported in Barrett et al (2021), and limiting the year of publication to 2021. Two further studies were identified (Biasutti and Concina, 2021;de Bruin, 2021), making a total of ten papers to be included in our phase two meta-synthesis, reported in this paper.…”

“…Approaches to analysis included thematic analysis ( 6), discourse analysis (1), content analysis (2) and interpretive phenomenological analysis (1). Theoretical frameworks included eminence theory of creative practice (Barrett, 2006); social constructivist perspectives (Barrett and Gromko, 2007;Dobson and Littleton, 2016); sociocultural theories of learning and creativity (de Bruin et al, 2020;Biasutti and Concina, 2021;de Bruin, 2021); community of practice (de Bruin, 2016;Virkkula, 2016;Brinck, 2017); and distributed collaboration (Blom, 2012).…”

Performance Practice in a Pandemic: Training Ensemble Skills Using E-Tivities in Music Teacher Education

“…For educational work, ensemble activity was noted as having high relevance, especially by using an integration approach to combine art group performance in music, dance, and theatrical elements to create a spectacle (Stakauskaitė, 2021). The collaborative learning experience in musical performance allows experimenting with a variety of genres and styles, including jazz and modern techniques, beyond the regular school classes which "enhance student learning and potentially enculturate richer and more sophisticated musicianship in students and develop their creative abilities" (de Bruin, 2021).…”