This qualitative multiple-case study examined the pedagogical role that performance arts training played in the emergence of students’ mature artistic identities. As one of many instructors in the musical theatre program of a post-secondary college, the author fulfilled both the roles of researcher and studio music teacher. Multiple learning contexts were observed for eight first-year students; these contexts included the regimens in various artistic classrooms and in the vocal studio. The data comprised field observations from studio and classroom settings, individual interviews with eight students from the vocal studio, and audio recordings from their studio sessions. Data analysis revealed that the students’ construction of identity was positively impacted by: the “triple-threat” program components, the unique dyad relationship between the vocal studio teacher and her students, and the rigorous, professional training the students underwent. A study of the interactions amongst the disciplines of music, dance, and drama exhibited several implications in relation to the students’ acute identity experiences. Recommendations for improved musical theatre curricula centred on improved integration of the three disciplines, enhanced studio time, and greater skill development in the studio. Suggestions for future research in performance arts education were also offered. / Thesis (Master, Education) -- Queen's University, 2008-08-12 23:23:52.131

Based on theories of expert pedagogy, the purpose of this study was to better understand the nature of expertise in voice instruction by observing common elements across three expert voice teachers (Joseph Frank, tenor; Eric Howe, baritone; and Erie Mills, soprano) and discovering the extent voice teaching aligned with common elements of instrumental instruction (Duke & Simmons, 2006a). This qualitative study addressed the overarching question: How can expert voice teaching be characterized? More specifically, using Duke and Simmons’ study of instrumental music teaching expertise as a point of departure, I wanted to understand: To what extent does voice teaching observed in the present study align with Duke and Simmons’ 19 Common Elements of Expertise? Methods of data collection included observation-digital recording of nearly 20 hours of lessons, participant interviews, and field notes. Recorded lessons were reviewed to identify teaching behaviors-attributes that related to students’ goal achievement within “rehearsal frames” (Duke, 1999/2000; 2008). Data analysis occurred in two phases, first coding transcribed data for original elements and second for new elements. Narrative descriptions were created for new elements. Findings gave evidence that expert voice teaching was similar to 14 original elements and revealed nine new elements under three categories: working with a largely invisible and fully embodied instrument, frequent exclusive focus on technique, and drawing on extensive familiarity with texts used for singing. Conclusions advance a theoretical model of voice teaching expertise, drawing on Berliner (1986; 1988). That model has implications for the preparation of novice voice teachers and for further research on voice teaching expertise.

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

This quantitative study explores string teachers’ perceptions of citizenship education and its use in the private lesson. Guided by Westheimer and Kahne’s (2004) model of citizenship education the study sought to identify (a) how private string teachers perceive citizenship education, and (b) the factors that influence these perceptions. Four hundred and fifteen (415) members of the American String Teachers Association (ASTA) participated in this study by completing an on-line survey that contained both closed and open-ended questions. The resulting data was coded and organized according to the survey questions and the conceptual framework. Research findings revealed that, although teachers did not explicitly consider citizenship education a part of their lessons, their intentions and their report on pedagogical practices could be described as citizenship education when viewed through the conceptual framework used in the study. Indeed, nearly all of the participant responses revealed intentions to include attributes of what Westheimer and Kahne refer to as the Personally Responsible Citizen in their music lessons with students. Educating for traits of other types of citizenship was also reported. Factors deemed influential in string teachers’ perceptions of citizenship education included the following: If the teachers had earned certification in Suzuki pedagogy; the number of years of teaching experience; if teachers self-identified as primarily educators, performers, or both; the age of the students who are taught. Additionally, the study addresses teachers’ statements about the use of competitions, dialogue in lessons, and general attitudes about the appropriateness of citizenship education in several different learning environments. The study findings add to a small but growing body of research that furthers understandings of the links between citizenship education and music education. In addition, the findings contribute to our understanding of the complexity of the relationship between private teachers and their students.

This quantitative study explores string teachers’ perceptions of citizenship education and its use in the private lesson. Guided by Westheimer and Kahne’s (2004) model of citizenship education the study sought to identify (a) how private string teachers perceive citizenship education, and (b) the factors that influence these perceptions. Four hundred and fifteen (415) members of the American String Teachers Association (ASTA) participated in this study by completing an on-line survey that contained both closed and open-ended questions. The resulting data was coded and organized according to the survey questions and the conceptual framework. Research findings revealed that, although teachers did not explicitly consider citizenship education a part of their lessons, their intentions and their report on pedagogical practices could be described as citizenship education when viewed through the conceptual framework used in the study. Indeed, nearly all of the participant responses revealed intentions to include attributes of what Westheimer and Kahne refer to as the Personally Responsible Citizen in their music lessons with students. Educating for traits of other types of citizenship was also reported. Factors deemed influential in string teachers’ perceptions of citizenship education included the following: If the teachers had earned certification in Suzuki pedagogy; the number of years of teaching experience; if teachers self-identified as primarily educators, performers, or both; the age of the students who are taught. Additionally, the study addresses teachers’ statements about the use of competitions, dialogue in lessons, and general attitudes about the appropriateness of citizenship education in several different learning environments. The study findings add to a small but growing body of research that furthers understandings of the links between citizenship education and music education. In addition, the findings contribute to our understanding of the complexity of the relationship between private teachers and their students.

This quantitative study explores string teachers’ perceptions of citizenship education and its use in the private lesson. Guided by Westheimer and Kahne’s (2004) model of citizenship education the study sought to identify (a) how private string teachers perceive citizenship education, and (b) the factors that influence these perceptions. Four hundred and fifteen (415) members of the American String Teachers Association (ASTA) participated in this study by completing an on-line survey that contained both closed and open-ended questions. The resulting data was coded and organized according to the survey questions and the conceptual framework. Research findings revealed that, although teachers did not explicitly consider citizenship education a part of their lessons, their intentions and their report on pedagogical practices could be described as citizenship education when viewed through the conceptual framework used in the study. Indeed, nearly all of the participant responses revealed intentions to include attributes of what Westheimer and Kahne refer to as the Personally Responsible Citizen in their music lessons with students. Educating for traits of other types of citizenship was also reported. Factors deemed influential in string teachers’ perceptions of citizenship education included the following: If the teachers had earned certification in Suzuki pedagogy; the number of years of teaching experience; if teachers self-identified as primarily educators, performers, or both; the age of the students who are taught. Additionally, the study addresses teachers’ statements about the use of competitions, dialogue in lessons, and general attitudes about the appropriateness of citizenship education in several different learning environments. The study findings add to a small but growing body of research that furthers understandings of the links between citizenship education and music education. In addition, the findings contribute to our understanding of the complexity of the relationship between private teachers and their students.