Informal music learning, improvisation and teacher education

Wright, Ruth; Kanellopoulos, Panagiotis

doi:10.1017/s0265051709990210

Cited by 98 publications

(96 citation statements)

References 25 publications

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“…While her study was limited to choral music education candidates and jazz improvisation, further research may help to suggest instructional treatments that would help all undergraduate music education majors increase confidence in teaching multiple forms of improvisation. Wright and Kanellopoulos (2010), for example, described the effects of a course in free improvisation on perceptions of 91 student teachers from two Greek universities. Using narrative methodology to study participant journals and reflections, the researchers found that improvisation helped to foster positive student teacher dispositions toward embracing informal pedagogies in music education, and to develop more critical analyses of theory and practice.…”

Section: Discussionmentioning

confidence: 99%

A national survey of music education majors’ confidence in teaching improvisation

Bernhard

Stringham

2016

International Journal of Music Education

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The purpose of the study was to investigate undergraduate music education majors' confidence in teaching improvisation, according to the NAfME (1994) K-12 Achievement Standards. Specific research questions were: 1) How confident are music education majors in implementing the 11 improvisation achievement standards for grades K-12? 2) How confident are they in their own improvisation ability? 3) How interested or motivated are they in learning more about how to teach improvisation? 4) Are there differences in confidence among music education majors by year in school? 5) Are there differences in confidence among music education majors by primary instrument? Participants were 397 undergraduate music education majors from National Association of Schools of Music (NASM) accredited institutions in the United States, whose confidence in teaching improvisation decreased as grade level increased. Sophomore and senior means were higher than freshman and junior means, and slight differences were observed by primary instrument (woodwind, piano, brass, voice, string, percussion, in increasing confidence). Participants reported slight to moderate confidence in their own ability to improvise, but moderate to great interest in learning more about how to teach improvisation.

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Section: Discussionmentioning

confidence: 99%

A national survey of music education majors’ confidence in teaching improvisation

Bernhard

Stringham

2016

International Journal of Music Education

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“…Informal music pedagogy, then, intentionally embeds both music making and characteristics of informal learning into a learning environment. Such characteristics include social aspects of relationship, non-linear and holistic play, interactive and self-directed processes, and immersion into and exploration of music making possibilities (Campbell, 2001;Harwood & Marsh, 2012;McPhail, 2013;Wright & Kanellopoulos, 2010). These same characteristics have been observed as aspects of young children's ways of being musical; the purpose of music is for relationship (Bartel & Cameron, 2007), musical behaviors are holistically woven into play (Campbell, 2010;Lamont, 2008;Young, 2003), ownership roles are taken by the child in directing self and others (Elkind, 2007;Sommer, Samuelsson, & Hundeide, 2010), and immersion in a musical environment with opportunity to explore and respond is important for processes of musical development (Gordon, 2013;Reynolds, 2006).…”

Section: Situating the Studymentioning

confidence: 99%

Informal music education: The nature of a young child’s engagement in an individual piano lesson setting

Kooistra

2015

Research Studies in Music Education

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The purpose of this study was to gain insight into the nature of a young child's engagement in an individual music lesson setting based on principles of informal learning. The informal educational space allowed the child to observe, explore, and interact with a musical environment as a process of enculturation and development (Gordon, 2013;McCloskey, 2012). The setting incorporated the piano, and was considered a readiness experience for later formal piano training. Data collection occurred via video recording, with 24 episodes isolated for close analysis. Richly descriptive narratives of each episode were analyzed by lineby-line transformation regarding the nature of the child's engagement (Van Manen, 1990). The child's engagement in the setting was viewed through lenses of lived space, lived body, lived time, lived other (Van Manen, 1990), and lived musicality (Kooistra, 2013). Results include that the child engaged in the setting by expanding the boundaries of the room, using the full range of the room, using his body in rhythmic response, directing the time, including the parent in the lesson, creating pretend contexts, making music (singing, chanting, moving, playing the piano and other instruments), embedding music in his activities, and believing in his musicianship. Keywordsearly childhood, engagement, informal learning, music learning, piano Aims and objectivesThe purpose of this study was to seek insight into the nature of a 2 year 10-month-old child's engagement in a piano lesson setting based on principles of informal education. While informal education has received attention in recent years regarding the music learning practices of older

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“…The successful completion of the activity yielded improvements in their perception of their own musical ability, as well as their ability to teach music in the classroom. Wright and Kanellopoulos (2010) conducted narrative research in two Greek universities in which they provided teacher candidates with a course in Improvisation in Music Education. Participants reported the experience to be free of the fear and intimidation, so often at the core of traditional music instruction.…”

Section: Fear Of Teaching Musicmentioning

confidence: 99%

A Dialogue of Necessity

Griffin

Ismailos

2014

Update: Applications of Research in Music Education

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Many teacher candidates (preservice teachers) in a Bachelor of Education degree cross the threshold into an elementary music methodology course with trepidation. Thus, teacher educators (music education professors) ought to explore the ways in which they can attend to students' music experiences so as to increase teacher competence. This article explores three relevant areas of literature: fear of teaching music, relevance of informal music learning on influencing teacher identity, and influence of such experiences on teacher education programs. Building on this literature, the article concludes with highlighting a 2-year narrative inquiry exploring how the daily music experiences of teacher candidates' inform their teaching practices. Through the use of visual narratives (body maps), oral and written narratives, and conversational interviews, 20 participants gave voice to their multilayered experiences that influenced their perceptions about music teaching. Findings deepen conceptualizations concerning the power of informal music learning in shaping teacher identity and practice.

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Informal music learning, improvisation and teacher education

Cited by 98 publications

References 25 publications

A national survey of music education majors’ confidence in teaching improvisation

A national survey of music education majors’ confidence in teaching improvisation

Informal music education: The nature of a young child’s engagement in an individual piano lesson setting

A Dialogue of Necessity

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