“Private Teaching, Private Learning”: An Exploration of Music Instrument Learning in the Private Studio, Junior and Senior Conservatories

Davidson, Jane W.; Jordan, Nané

doi:10.1007/978-1-4020-3052-9_49

Cited by 25 publications

(51 citation statements)

References 12 publications

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“…As noted in the introduction, the approach taken in studio instruction is traditionally in the form of a master-apprentice dyad: the student studies under the tutelage of an expert musician who has been trained in performance and/or pedagogy (Davidson and Jordan 2007;Kennell 2002). Independent or private music instruction is carried out through most of the Western world and is also present in modified forms in other cultural traditions such as the study of Indian classical music (Davidson and Jordan 2007).…”

Section: Music Practicementioning

confidence: 99%

Can an online tool support contemporary independent music teaching and learning?

Brook

Upitis

2014

Music Education Research

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The body of research examining deliberate practice and self-regulation in musical instruction has grown extensively over the past several decades, while at the same time many practices in the independent music studio remain unchanged and/or under-researched. Compelling evidence indicates that students with high levels of self-regulation experience deep fulfilment as musicians. But in order to develop these self-regulatory behaviours, students need guidance as they learn to set goals and monitor, and reflect on, their progress. The research reported here describes how a web-based electronic portfolio, called iSCORE, served to enhance the experiences of students and teachers and to help students become more selfregulated. The results demonstrated that the tool supported learning by helping students articulate their goals more clearly and by making it easier to receive guidance from their teachers between lessons.

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Section: Music Practicementioning

confidence: 99%

Can an online tool support contemporary independent music teaching and learning?

Brook

Upitis

2014

Music Education Research

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“…There is a growing body of work that examines the interactive dynamics between students and their teachers in musical settings (see Siebenaler, 1997;Rostvall and West, 2003;Zhukov, 2012). This research offers a rich overview of the many positive outcomes of one-to-one pedagogical settings (see Davidson and Jordan, 2007;Creech, 2012). Nonetheless, while individual tuition can indeed lead to a number of optimal learning experiences, and is flexible enough to be adapted to the various needs of students and teachers (Gaunt, 2011), it is also necessarily limited.…”

Section: Introductionmentioning

confidence: 99%

Music Teachers’ Perspectives and Experiences of Ensemble and Learning Skills

2020

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In this article, we report data from two survey studies administered to expert music teachers. Both questionnaires aimed to explore teachers' pedagogical and performative practice and included open questions elucidating musical skills emerging in groups. The first study focuses on collective teaching settings offered to amateurs, jazz musicians, and university students with various levels of musical expertise. The second reports data from teachers based at the Royal College of Music, London, where the main emphasis is on Western classical repertoire. We integrate both studies and discuss overlapping findings. Despite intrinsic differences concerning the general goals of their teaching and the educational systems in which they operate, our data indicate the ability to "listen and respond to others" as the most important ensemble skill, whereas "time management," "comparing yourself to the class," and the "development of responsible ways of learning" emerged as main learning skills. We discuss results and suggestions for future research in teaching and learning music in different contexts in the light of recent theoretical research in the cognitive sciences, considering implications for educators interested in diverse skill levels.

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“…Além disso, a autora expõe que, quando a história de vida é colocada a "serviço de lógicas de projeto", limitando-se à "abertura que visa fornecer material útil para um projeto específico", parece mais adequado conceituá-la como "abordagem biográfica ou estudante" (""The typical 'private teaching, private learning' is found in a one-on-one teacher-student dyad, and it takes place usually in a small room, in the teacher's own house, ranted studio, or the student's house" ). (DAVIDSON;JORDAN, 2007: 730, tradução nossa). abordagem experiencial" (JOSSO, 2004: 30).…”

Section: Caminhos Metodológicosunclassified

Narrativas musicais de professores de acordeom: inseguranças e dificuldades formativas

Weiss

Louro-Hettwer

2019

OPUS - Rev. Elet. Anppom

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A partir dos resultados da dissertação de Weiss (2015) – que, por meio de narrativas, buscou compreender a formação e atuação de professores de acordeom, destacando aspectos constitutivos dessa profissão em meio a choques culturais de contextos populares e acadêmicos – este artigo é um recorte do referido estudo, com o objetivo de não somente apresentar as principais dificuldades e inseguranças nos caminhos formativos e nas práticas docentes de professores de acordeom, mas também refletir sobre elas. A metodologia que ampara os objetivos desta pesquisa vão ao encontro dos estudos biográficos e (auto)biográficos. As narrativas foram produzidas por meio de uma entrevista semiestruturada e a análise das entrevistas foi feita a partir do conceito de “recordação-referência”, de Josso (2004). Nesse sentido, como resultados, destacamos que, a partir dos diferentes contextos de formação e atuação, surgem dificuldades envolvendo a formação dos professores, as metodologias de trabalho e o relacionamento com as expectativas dos alunos. Ademais, as narrativas sobre dificuldades de formação e atuação e o modo como os professores as superaram mostram um potencial reflexivo para a aprendizagem docente, tendo em vista que algumas dificuldades podem ser recorrentes na atuação dos professores de instrumentos musicais que ministram aulas particulares.

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“Private Teaching, Private Learning”: An Exploration of Music Instrument Learning in the Private Studio, Junior and Senior Conservatories

Cited by 25 publications

References 12 publications

Can an online tool support contemporary independent music teaching and learning?

Can an online tool support contemporary independent music teaching and learning?

Music Teachers’ Perspectives and Experiences of Ensemble and Learning Skills

Narrativas musicais de professores de acordeom: inseguranças e dificuldades formativas

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