abstract: This study investigated high school band students' processes of learning as well as their responses and reactions to student-led aural-based learning projects. Previous research has focused on various aspects of informal learning and student-centered learning--the frameworks upon which this study is based--but none have focused on inclusion of informal learning methods into a secondary large ensemble classroom setting with an emphasis on playing by ear. Participants in this study were 20 students divided into four small groups in a 45-member high school band. The study took place during the regularly scheduled band class during one full class period for eight weeks, culminating in small group performances. Data were collected throughout the study via observation and audio- or video-recording of weekly group rehearsal, participant interviews, teacher interviews, and collection of student artifacts. Data were analyzed by creating a case study of each of the four groups to determine their working processes. Cross-case analysis revealed themes common to the participant groups in these categories: navigation of the learning process, playing by ear, and student attitudes and perceptions of benefits and drawbacks of the project. Discussion of navigation of the learning process includes group members' methods of problem solving within a constructivist classroom environment. These methods included problem finding, strategizing, and responding, peer assessment and feedback, and teacher scaffolding; I also discuss how group dynamics played a major role in student's learning processes. While learning to play by ear, musical elements students addressed included pitch, division of parts, form, key and modality, intonation, instrumentation, dynamics, tempo, rhythm, improvisation, and range. Students' attitudes included enjoyment of most aspects of the project, and dislike or frustration with a few aspects. Benefits students perceived from participation in the project included increased ability to play by ear and increased confidence. Recommendations for music teachers and music teacher educators as well as suggestions for future research are provided. / Dissertation/Thesis / Doctoral Dissertation Music Education 2014

Considering the cultural importance of country-western music in the United States, especially in places such as Texas, the exclusion of country-western music from the musical offerings of public schools and universities (Bates, 2019; Bates, Gossett, & Stimeling, 2020) could be seen as problematic. Furthermore, the absence of the country-western style from formal music education has led to the concomitant exclusion of an an entire musical instrument from formal music study: the pedal steel guitar. The purpose of this inquiry was to engage in the lived experience of becoming a pedal steel guitarist in order to ascertain how I, as a learner of an instrument primarily used in country-western music, could interact with others within both the country-western and pedal steel guitar communities of practice as I gained competence as a pedal steel guitarist. Using communities of practice (Wenger, 1998) and landscapes of practice (Wenger-Trayner & Wenger-Trayner 2014) as a theoretical framework, I employed autoethnographic methods to document the lived experiences contained within an 18-month period in which I progressed from a nascent pedal steel guitarist, to performing professional gigs at various dance halls and honky-tonk bars. Data collection methods included journal entries, interviews with accomplished pedal steel guitarists, and the creation of artifacts such as tablature transcriptions and recordings. I created a short ethnodrama (Saldaña, 2011) to elucidate the conflict I felt between various aspects of my musical identity as my previous musical experiences both enabled and inhibited my new learning project. After analyzing my pedal steel learning project using language from Wenger’s (1998) framework of communities of practice, I concluded that Wenger’s interlocking concepts of participation and reification respectively served as the propulsion and rudder that allowed me to traverse my learning trajectory. In addition, I discussed impications of my research for music teachers, such as destigmatizing the role of mistakes (such as wrong notes) in the learning process; music teacher educators, such as the importance of facilitating boundary experiences for preservice teachers in order to broaden knowledgeability; and music learners¬, such as the benefits that can come from—to quote my pedal steel mentor Bobby Flores—“diving into that cold river with no inhibitions” when it comes to learning a new instrument.

Aural learning, sometimes called “learning by ear,” is a fundamental mechanism of music, connected to musical perception, acquisition, and understanding. Researchers have primarily studied aural learning strategies through self-reported data or qualitative observations. Because the interaction between a learner and a recording offers a unique window into self-guided learning approaches and strategies, the aim of this study was to use participants’ interactions with the recordings as a data source. The purpose of this study was to investigate how high schoolers aurally learn unfamiliar melodies and identify trends that contribute to efficient learning.Twenty-nine high-school participants in individual sessions learned three different melodies by ear. As participants learned each melody, I used a modified, digital playback interface to collect interaction data on three learning constructs from the literature: (a) learning chunk length; (b) learning chunk order; and (c) synchronous versus turn-taking. Descriptive results showed that participants preferred to learn melodies in one-, two-, four-, or eight-measure chunks, and that their use of time learning either in a synchronously or turn-taking approach had no relationship to their total learning time. A Spearman Rank Order correlation revealed a moderate, inverse relationship between average chunk length and total learning time (Rho = -.506, p < .001) suggesting that participants who focused on learning larger chunks learned the whole melody faster. An analysis of participants’ choice of learning chunk order revealed three general approaches to the task. Participants used a “From the Beginning” approach approximately 14% of the time, characterized by repeatedly starting from the beginning and increasing the length of the learning chunk each repetition. Participants used a “Half to Whole” approach approximately 29% of the time, characterized by focusing on half of the melody at a time. Finally, participants most frequently used a “Bit by Bit” approach 57% of the time, characterized by learning short one- to three-measures chunks progressing from the beginning of the melody to the end. Most participants began and ended their learning session by listening to the entire melody. An ANOVA comparing approaches showed that the “Half to Whole” approach was significantly more effective than the “Bit-by-Bit” (F[2,66] = 10.25, p < .001), but showed no differences between other approaches. Some participants made notable changes in their approach between melodies showing some isolated examples of improvement when they chose longer chunks and switched to a “Half to Whole” approach. The approaches that emerged from this study provide a foundation for future experimental research on the way students best learn from recordings. / Music Education