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Learning behind the stand: The beliefs, attitudes and perceptions of beginning string players in a democratically engaged learning environment.

机译：立场背后的学习：在民主参与的学习环境中，初学者的信念，态度和看法。

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摘要

With the intention of informing teaching practices in large ensemble settings, the purpose of this study was to describe a democratically engaged ensemble classroom and examine the perceived meaning and value attributed by the students to what and how they were learning. Four research questions guided this inquiry: (1) How do students perceive what and how they are learning in an environment in which they are asked to contribute creatively and critically? (2) How does this learning environment influence students' perception of personal musical meaning? (3) How does participation in this learning environment influence students' musical decision making? (4) How does participation in this learning environment influence student development of musical identity?;To answer these questions, I employed an ethnographic single case study design. The orchestra teacher and 21 sixth grade students, eleven girls and ten boys, from a semi-urban Midwestern school district served as primary informants. The teacher, Mrs. Peterson, was a highly trained string musician with a background in Suzuki teaching, early childhood music education, and creative music-making. In addition, Mrs. Peterson incorporated a democratic leadership style. The student participants represented two sections of sixth grade orchestra and were divided into gender-based focus groups to facilitate discussion.;Data sources included focus group interviews with students, semi-structured interviews with the teacher, field notes, and observations. Interviews were video and audio taped, and then transcribed for analysis. Additional data consisted of informal interviews, researcher notes, and the study of learning artifacts (e.g. parent communication and student work). Trustworthiness was enhanced through triangulation of data sources, teacher-participant member checks, persistent observation, and external review of analysis.;Two overarching theme areas emerged from the data: (1) Multi-faceted learning environment and (2) Facilitated democratic practices. The first theme focuses on the learning environment and three ways in which the students described learning in this environment: (i) Messy - based on the prevalence of sound, student interaction, and the learning process; (ii) Relevant - accomplished in part by the incorporation of facilitated musical critique, student participation in musical decision-making, and regular development of student creativity and composition; and (iii) Social - described as the interactive nature of the learning that occurred as well as the nature and strength of relationships that developed in orchestra. The second theme, Facilitated democratic practices, highlights the teaching practices and leadership style Mrs. Peterson used to engage her students: (i) incorporating different modes of teaching and learning based on modeling and creativity, (ii) integrating student input through the use of purposeful dialogue, and (iii) developing student autonomy through choice.;Based on the results of this study, I suggest the following implications for music education: (1) music teachers need to reenvision themselves as participatory democratic leaders, shedding the traditional didactic and competitive approach; (2) instrumental music teachers should use a combination of critical listening, problem-solving, and creativity to enhance student self-evaluation and note reading; and (3) by empowering student music-making, teachers can prepare their students for life-long learning. Additional suggestions for further research are also included.
机译：为了向大型合奏环境中的教学实践提供信息，本研究的目的是描述一个民主参与的合奏教室，并检查学生对学习的内容和方式的感知意义和价值。四个研究问题指导了这一探究：（1）在要求学生创造性和批判性地做出贡献的环境中，学生如何看待自己以及他们正在学习什么？ （2）这种学习环境如何影响学生对个人音乐意义的理解？ （3）参与这种学习环境如何影响学生的音乐决策？ （4）参与这种学习环境如何影响学生的音乐身份发展？；为了回答这些问题，我采用了人种学单例研究设计。来自中西部半城市学区的乐团老师和21名六年级学生，11名女孩和10名男孩是主要线人。彼得森夫人老师是一位训练有素的弦乐音乐家，具有铃木教学，幼儿音乐教育和创造性音乐制作的背景。此外，彼得森夫人还采用了民主领导风格。学生参加者代表了六年级乐团的两个部分，并分为基于性别的焦点小组以促进讨论。；数据来源包括与学生进行的焦点小组访谈，与教师的半结构化访谈，现场笔记和观察。对采访进行录像和录音，然后转录进行分析。其他数据包括非正式访谈，研究人员笔记和对学习文物的研究（例如，家长交流和学生作业）。通过对数据源进行三角测量，对教师与参与者进行检查，进行持续观察以及对分析进行外部审查，增强了可信赖性。数据显示出两个总体主题领域：（1）多方面的学习环境和（2）便利的民主实践。第一个主题侧重于学习环境以及学生在这种环境中描述学习的三种方式：（i）凌乱-基于声音的普遍性，学生互动和学习过程； （ii）相关-部分地通过纳入便利的音乐评论，学生参与音乐决策以及定期发展学生的创造力和作曲来实现； （iii）社交-描述为所发生的学习的互动性质，以及在乐队中发展的关系的性质和强度。第二个主题是“促进民主实践”，着重强调了彼得森夫人用来吸引学生的教学实践和领导风格：（i）在建模和创造力的基础上融合不同的教学模式，（ii）通过使用有目的的对话，以及（iii）通过选择来发展学生的自主权。基于这项研究的结果，我对音乐教育提出以下启示：（1）音乐教师需要重新设想自己是参与式民主领袖，摒弃传统的教学方法和竞争方法； （2）器乐教师应结合批判性听力，解决问题和创造力，以增强学生的自我评价和笔记阅读能力； （3）通过增强学生的音乐创作能力，教师可以为学生提供终身学习的准备。还包括进一步研究的其他建议。

著录项

  • 作者

    Gottlieb, Betty Anne.;

  • 作者单位

    Michigan State University.;

  • 授予单位 Michigan State University.;
  • 学科 Education Music.;Music.;Education General.
  • 学位 Ph.D.
  • 年度 2014
  • 页码 167 p.
  • 总页数 167
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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