Peer learning and reflection: strategies developed by vocal students in a transforming tertiary setting

Abstract

The focus of this article is on the analysis of reflection and peer learning in the pedagogical environment. The research draws on findings from an Australian study, which aimed to develop and critically evaluate a model of vocal pedagogy influenced by socio-cultural theories. The model sought to position Vygotsky's theories in the environment of university-level vocal instruction. To capture the developmental nature of this pedagogical project, a design-based development research methodology was employed. Central to this approach was flexibility of the design, multiple dependent variables and capturing social interaction. The students were not the subject of experimentation, but were co-participants in the design and analysis. The results of the study suggest that there is value in peer learning for both classical and non-classical singers at an undergraduate level. In particular, the data from the student journals in the present study also suggests that if the environment is arranged in such a way that peer learning is encouraged and purposely mediated, singing students find this extremely helpful as a learning strategy.

Synchronous learner support for music-sequencing software

“…The peer education aspect of this delivery model draws on the work of Topping (2005Topping ( , 2009) with regard to the theory of learning and the review of Medley et al (2009) with regard to its successful implementation. In music education Latukefu (2009) has since published her successful use of this peer education approach to vocal training with higher education students.…”

Listening and learning in a master class

“…These studies did not involve music students, but the results have been substantiated for this student group as well. In a study on group teaching among tertiary voice students (Latukefu 2009(Latukefu , 2010, the students reported that taking part in peer assessment helped improve their own performance. In their discussion of the positive effects of peer assessment, Searby and Ewers (1997, 381) claim that students will develop a deeper and more critical understanding of musical performance and the processes involved when asked to assess fellow students; the learning goals will become clearer as they gain a better understanding of the assessment criteria.…”

Supporting music students’ refl ection in instrument studies

“…Kooskõlas eelnevaga võimaldab refl eksioon pilliõppes tõhustada instrumendi harjutamist, sest refl ekteerimine aitab mõtestada oma nõrku külgi ning jõuda lahenduseni, kuidas neid parandada (Parncutt, 2007). Samuti aitab eneseregulatsioonimeetodite (sh refl eksiooni) kasutamine kaasa sellise iseseisva õppija kujunemisele, kes on suuteline oma õpiprotsessi juhtima (Zimmerman, 2002) ning võtma selle eest vastutuse (Latukefu, 2009). Dewey (1933) refl ekteeriva mõtlemise teoorias on tegevus ja mõtlemine omavahel põimunud ja toimuvad korraga.…”

“…Tulemustest nähtub, et refl eksioonimudeli rakendamisel pilliõppes on palju positiivseid mõju tegureid. Uuringus osalenud üliõpilaste hinnangul võimaldab video näha ennast objektiivsemast vaatenurgast, mis on oluline refl eksiooni eeltingimus (vt nt Leijen et al, 2009b;van den Berg, 2001), ning ülesannete täitmine distsiplineerib end süstemaatiliselt arendama (Latukefu, 2009), aitab keskenduda konkreetsetele eesmärkidele ning fookustada harjutamist. Kooskõlas Parncutti (2007) tähelepanekutega võib uuringu tulemuste põhjal väita, et üliõpilased tajusid refl eksioonimudeli positiivset mõju pilliharjuta misele: nad õppisid ära tundma ja mõtestama oma nõrku külgi ning jõudma lahendusteni, kuidas neid parandada, mis on kooskõlas pragmatistliku refl eksiooni käsitluse eesmärkidega.…”

“…Samuti võetakse kaaslaste parandus ettepanekuid ja soovitusi tõsiselt ning raken datakse neid edaspidisel harjutamisel. Üliõpilaste hinnangute põhjal võib eeldada, et refl eksiooni toetamise mudel aitab neil kujuneda ennast juhtivateks õppijateks, kes võtavad oma õppimisprotsessi eest vastutuse (Latukefu, 2009;Zimmerman, 2002). Kõik osalejad leidsid, et sellised ülesanded võiksid olla pilliõppe lahuta matu ja tavapärane osa.…”