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Attrition rates among applied music students accelerate as young people progress through adolescence. Once disengaged from music participation in the teenage years, disinterest tends to persist throughout adulthood. The aim of this qualitative study was to investigate the teaching practices of applied music teachers as they worked with teenagers at a talent development level referred to as second phase (Bloom, 1985), which is typically reached in adolescence. The study investigated teaching and learning behaviors in the lessons, teachers’ management of para-instructional decisions (such as monitoring students’ progress and recommending students for collegiate-level study), and teachers’ strategies for influencing, motivating, and nurturing students. Purposeful sampling was used to recruit six classical guitar, harp, and piano teachers. Data collected from music lesson observations, semi-structured interviews, and documents were analyzed typologically for occurrences of predetermined categories of instructional behaviors and inductively for emergent themes. The study revealed several findings. Verbal directives and questions, positive approbations, and playing models dominated the teachers’ behavior. The teachers accommodated individual learning styles and empowered their students by providing them with decision-making opportunities. The teachers’ pedagogies were systematic and goal driven, with refined tone and strategies for lifelong music making among the pedagogical foci. Musical analysis was integral to the teaching, as it served to deepen students’ intellectual understanding of the music and support their memorization during performances. The teachers prescribed exact practice routines, which most of them provided in written form. The findings suggest that in light of the voluntary nature of applied music study in adolescence and the many activities competing for students’ time, a chief concern of the teachers was to influence and motivate their students to continue their participation in music lessons. The teachers accomplished this by utilizing six categories of teaching strategies, some of which could involve decisions contrary to their own musical preferences and pedagogical inclinations. The strategies’ synergy maximized the facilitation of positive student experiences, particularly those associated with public performance. These experiences seemed to fulfill students’ drive for independence, satisfy their need for recognition, and boosted their motivation to work towards achieving higher proficiency levels. / 2024-03-31T00:00:00Z

The focus of this case study was on the problem-framing activities of one teacher within two teaching contexts large group and studio. This study was grounded in Schöns research on reflective practice and sought to answer the following research questions: 1. What are the teachers problem-setting behaviours in the studio and large class context? As the teacher resets problems; (a) what frame-experiments are carried out by the teacher in each context? (b) Are these experiments similar or different? (c) How do these frame-experiments change with each iteration? 2. What type of teacher feedback is given to students in each of these contexts? 3. What tacit teacher understandings are at work in each context? 4. What are the similarities and differences in assessment techniques used in a studio and large group context? Interpretation of the data revealed several differences in how one teacher framed problems in the studio and classroom contexts. Findings from the data suggest ways that teaching strategies commonly employed in studio teaching might be applied to classroom music teaching.

The focus of this case study was on the problem-framing activities of one teacher within two teaching contexts large group and studio. This study was grounded in Schöns research on reflective practice and sought to answer the following research questions: 1. What are the teachers problem-setting behaviours in the studio and large class context? As the teacher resets problems; (a) what frame-experiments are carried out by the teacher in each context? (b) Are these experiments similar or different? (c) How do these frame-experiments change with each iteration? 2. What type of teacher feedback is given to students in each of these contexts? 3. What tacit teacher understandings are at work in each context? 4. What are the similarities and differences in assessment techniques used in a studio and large group context? Interpretation of the data revealed several differences in how one teacher framed problems in the studio and classroom contexts. Findings from the data suggest ways that teaching strategies commonly employed in studio teaching might be applied to classroom music teaching.

Facebook studio groups/pages are commonly used by applied music faculty to communicate with current students, recruit new students, share students' activities, and promote faculty members' professional performances and academic endeavors. However, the blurred lines between academic, professional performance, and social activities in the field have led to a wide variety of approaches to Facebook use by music faculty. This dissertation documents the first generation of music faculty social media users and investigates the beliefs, intent, and lived experiences of music faculty who use Facebook studio groups/pages to communicate with their students. Four music faculty were interviewed and a semester's Facebook studio group/page data collected for each faculty member. Interviews and Facebook data were analyzed using Interpretative phenomenological analysis (IPA) to identify emergent, and ultimately super-ordinate, themes from the data. The three super-ordinate themes that emerged were: Impact of Social Media on Studio Teaching and Learning, Learning through Enculturation, and Faculty Lived Experiences with Facebook Studio Groups/Pages. Findings of the study included: faculty concerns about personal and professional risk; the observation that teaching and learning are occurring through these Facebook studio groups/pages by way of the process of enculturation, but without evidence of a Virtual Community of Practice; and, a multitude of group/page management practices developed in isolation that suggest a need for discussion/debate and training in the field to determine best practices for using Facebook studio groups/pages as an extension of the physical studio. Recommendations include training for music faculty that situates Facebook studio groups/pages within the enculturation process of students pursuing careers in music, music department development of guidelines for Facebook group/page creation and management based upon their institutions' rules and oversight procedures, and the sharing of exemplar Facebook studio groups/pages by professional music education organizations to encourage discussion of best practices for teaching and learning in informal environments.

Syftet med den här studien är att undersöka hur ett träningsprogram baserat på metoden Simultaneous Learning upplevs av lärare och elever. I bakgrundskapitlet beskrivs metoden som är skapad av Paul Harris och hur den förändrats över tid. Det finns endast lite tidigare forskning om metoden, på grund av att den är relativt ny, men den som hittats redogörs det för. Bakgrundskapitlet inkluderar också tidigare forskning om enskild musikundervisning och några viktiga problem som identifierats inom det området. Studien är en fallstudie där tre lärare, utan tidigare erfarenhet av Simultaneous Learning, fick delta i ett träningsprogram i metoden. Lärarna använde metoden i sin undervisning under 3-6 lektionstillfällen. Under datasamlingen intervjuades elever och lärare för att undersöka hur interventionen i form av träningsprogrammet upplevts. I resultatet framkommer att eleverna och lärarna upplevde skillnader, i form av till exempel nya moment i undervisningen såsom improvisation. De upplevde även att undervisningen efter träningsprogrammet påminde om den tidigare undervisningen. Det kan också lyftas fram att lärare upplevt att träningsprogrammet inom metoden gjorde det enklare att undervisa proaktivt. Ett sista relevant resultat var att elever uppskattade att momentet improvisation tillfördes i undervisningen. I diskussionen relateras studiens resultat till tidigare forskning samt till frågor kring hur olika perspektiv på lärande kan påverka synen på Simultaneous Learning som metod. Slutligen diskuteras hur Simultaneous Learning skulle kunna vidareutvecklas / The purpose of this study was to investigate how a training program based on Simultaneous Learning was perceived by teachers and students. In the background chapter the evolution of Simultaneous Learning, developed by Paul Harris, is traced. There is only little earlier research regarding the method since it is comparatively new. The research that was found is however presented. The background chapter also includes earlier research in the wider field of music-studio teaching, and the problems that have been identified within this style of teaching are presented. The study is a case-study where three teachers, with no prior experience with the method, participated in a training program and later proceeded to teach a selection of students with the method for between 3-6 lessons. To gather data semi-structured interviews with both the teachers and the students was conducted, to investigate how the intervention was perceived. Results show that both teachers and students noticed differences and similarities with their previous style of teaching. Some significant results include that teachers experienced that Simultaneous Learning was helpful in creating a pro-active teaching and students experienced the introduction of improvisation to the lesson as positive. In the discussion the results are related to earlier research and how different perspectives on the role of a teacher can affect how Simultaneous Learning is perceived as a valuable tool or not. Lastly, some suggestions on how the method could be further improved is suggested and discussed.