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Developing Critical Thinking Through Rehearsal Techniques
... Action, Criticism, and Theory for Music Education 22 (3) relate to critical thinking in the sense that we apply the term, that is, oriented towards Freire's thinking. Similarly, this holds true for some empirical studies examining the advantages of critical thinking in fostering the growth of problem-solving abilities and enhancing music listening skills within the realm of music education (see, for example, Reahm 1986;Pogonowski 1987;Smialek and Boburka 2006;Johnson 2011). Furthermore, there have been studies conducted on music composition activities (Younker and Smith 1996) as well as investigations into choral rehearsals (Garrett 2013). ...
In this article, three researchers and music teacher educators reflect upon the possibilities for and challenges of fostering preservice teachers’ critical and democratic capacities and agency in music teacher education in line with recent 21st-century skills-oriented policy reforms. Based on experiences from participatory action research with preservice music teachers in general teacher education at two Norwegian institutions, the authors problematise how critical reflection is defined in educational literature, in policy documents, and by students participating in the referred participatory action research. The authors further discuss the different understandings of critical reflection, considering concepts such as student-centredness, students as customers, student resistance, and student voice. Inspired by critical pedagogy, the authors suggest that the preservice teachers’ articulated reflections represent important steps in their progress toward becoming professional music teachers and that enduring the discomfort of loosening up the student-teacher dyad benefits the development of students’ agency and critical reflection.
... Η Cannon (1993) υποστηρίζει πως το µάθηµα της µουσικής είναι ένα εξαιρετικό βοήθηµα στην ανάπτυξη των υψηλών δεξιοτήτων σκέψης. Reahm (1986) θέλοντας να τονίσει την αναγκαιότητα της κριτικής σκέψης στη διδασκ ροφοριών είναι τέτοια , από την αποµνη (trial and error). Επιπλέον, το περιβάλλον Ο αλία, επισηµαίνει ότι στην εποχή µας η έκρηξη των γνώσεων και των πλη που πείθει τους δασκάλους ότι πιο σηµαντική είναι η απόκτηση των δεξιοτήτων της συγκέντρωσης, της επεξεργασίας και της αξιολόγησης των πληροφοριών µόνευσή τους. ...
Είναι κοινός τόπος όλων των µουσικών παιδαγωγών, ότι η δηµιουργικότητα και η ανάπτυξη της δηµιουργικής σκέψης αποτελούν αναπόσπαστα κοµµάτια του µαθήµατος της Μουσικής Αγωγής. Παράλληλα, τα τελευταία χρόνια, πολλοί ερευνητές και σχεδιαστές αναλυτικών προγραµµάτων τονίζουν τη σηµασία της κριτικής σκέψης και
τη σπουδαιότητα της ένταξής της στην εκπαιδευτική διαδικασία. Έτσι λοιπόν, η παράλληλη ανάπτυξη της κριτικής και της δηµιουργικής σκέψης στη διδακτική πράξη προβάλλει αναγκαία. Η µουσική εκπαίδευση στο σχολείο, µε την ευελιξία που τη διακρίνει, παρέχει στον εκπαιδευτικό τη δυνατότητα να συνδυάσει το αντικειµενικό µε το
υποκειµενικό, την πιθανότητα µε τη δυνατότητα, τη λογική µε τη φαντασία. Για όλους τους παραπάνω λόγους ο συνδυασµός της κριτικής και της δηµιουργικής σκέψης στη διδακτική πράξη κρίνεται αναγκαίος.
Στην προσπάθεια αυτή εφαρµόστηκε πειραµατικά στην Α΄ τάξη του Γυµνασίου, σε δύο σχολεία του Ν. Βοιωτίας και µαθητών, µια σειρά µαθηµάτων διάρκειας 3 διδακτικών ωρών, µε θέµα «Τα µουσικά όργανα-Τρόποι παραγωγής του ήχου».
Συνοπτικά, τα µαθήµατα αυτά περιελάµβαναν:
- τη γνωριµία των µαθητών µε µια µεγάλη ποικιλία µουσικών οργάνων,
- την κατανόηση του τρόπου παραγωγής του ήχου τους,
- την κατασκευή µουσικών οργάνων χωρίς την καθοδήγηση του καθηγητή και
- το σχεδιασµό οργάνων «νέου» τύπου (τα όργανα του «µέλλοντος»).
Κεντρικοί θεµατικοί άξονες της παρουσίασης θα είναι:
α) Ο ορισµός της κριτικής και δηµιουργικής σκέψης και η σπουδαιότητα τους στη µουσική εκπαίδευση
β) Η περιγραφή της πειραµατικής εφαρµογής του συνδυασµού τους στην Α΄ τάξη (επιµέρους στόχοι και µεθοδολογία)
γ) Η παρουσίαση των αποτελεσµάτων
δ) Η αξιολόγησή της
στ) Συµπεράσµατα.
... In other words, "Deep learning is when knowledge transforms you." 17 Transformative learning happens when teachers address thinking skills, developing independence by putting students in the path of ambiguity and searching for personal meaning when each student much make and justify a choice when many options may be correct. 18 These independent choices may also be described as artistry. ...
The article explores four master teachers' insights into philosophies and desirable traits for studio voice instructors. Topics include rapport, self-motivation, goal setting, critical thinking, assessment, and other commonalities.
Published in the "Journal of Singing," National Association of Teachers of Singing.
... Not only did the ideas of Piaget and Bruner prompted researchers to experiment with their application in varied music education settings, but Bloom's ideas also initiated several studies that investigated the development of higher level thinking skills such as critical thinking (Pogonowski, 1985;Reahm, 1986) and transfer (Geringer & Madsen, 1987;Ling-Lu, 2002) in music education settings. Shehan (1985) tested decision-making and transferring musical skills from taught to untaught pieces of non-western music genres, and Ling-Lu (2002) investigated the effects of creative musical activities on the development of transfer learning abilities for seventh-grade music students in Taiwan. ...
... Studies specifically targeting nonperformance time usage in rehearsals have revealed that a significant portion of time is spent in nonperformance activity. The quality of that time has been of particular interest to researchers studying critical thinking implementation within the ensemble setting (Pogonowski, 1987(Pogonowski, , 1989Reahm, 1986;Small, 1987). Watkins (1993) discovered that middle school choral directors spent less than 1% of rehearsal time in the use of questioning strategies to evoke higher-order learning. ...
Rehearsals of four outstanding choral conductors were examined to isolate techniques used and time spent in developing choral tone. Participants included four collegiate choral conductors who have been identified as experts in the field of choral music as evidenced by national and international acclaim. Video data were collected over the course of two semesters in three distinct settings: a state level honor choir, a collegiate choir, and a community choir. Two hours of unscripted rehearsals in each setting were recorded, and video footage was edited into five-minute rehearsal segments. Observed rehearsal behaviors were coded into three categories of tone building technique: verbal, nonverbal and vocal model. Video data were analyzed using SCRIBE observation software (Duke & Stammen, 2007) and time spent in each technique was recorded. Additional analysis garnered frequencies of verbal and vocal model types, i.e., technical or figurative language and exemplar or non-exemplar models. Findings indicated significant differences in time spent developing tone between settings as well as between verbal and vocal model types. While Conductors B and C had no statistical differences between time spent in each setting, Conductor A had significant differences between all combinations of settings, and Conductor D had significant differences between the honor choir and community choir settings, as well as between the honor choir and the collegiate choir settings. Significant differences were also found between verbal types for Conductors B and C in the collegiate choir setting, and Conductor D in the community choir setting. No significant differences between vocal model types were found in Conductor A in the collegiate choir or Conductor D in the community choir. However, all other cases yielded significantly more exemplar vocal models. Recommendations for further research were made and implications for practicing choral music educators and teacher certification programs were discussed.
Recent educational discourse is full of references to the value of critical thinking as a 21st-century skill. In music education, critical thinking has been discussed in relation to problem solving and music listening, and some researchers suggest that training in critical thinking can improve students’ responses to music. But what exactly is meant by “critical thinking”? This article explores how critical thinking, when thought of as an outgrowth of Critical Theory and pedagogy concepts, may look very different than our popular definitions of the concept. This reframing of critical thinking requires that students take an active role in questioning and challenging music, education, and the ways in which they may take critical action to pursue change. Examples of critical thinking questions, activities, and curricula are offered, and resources are included for further reading.
The purpose of this study was to examine the perceived use of teacher questioning in secondary music ensemble rehearsals. Participants responded to a questionnaire and reported their perceptions of the frequency of use of specific close-ended (SCE), general close-ended (GCE), open-ended (OPEN), and justification (JUST) questions. For SCE questions, the directors' mean scores were higher than their respective students' scores in six of nine cases. For GCE and OPEN questions, the directors' mean scores were higher than their respective students' mean scores were in eight of nine cases. For JUST questions, the directors' mean scores were higher than their respective students' scores in only three of nine cases. When considered collectively, directors reported greater perceived frequency of teacher questioning for SCE, GCE, and OPEN questions, but students reported greater perceived frequency of JUST questions. There was a significant relationship (p < .001) between type of ensemble and perceived use of teacher questioning. Choral participants reported the highest frequency of all four types of questions. There were no significant relationships between grade in school, years of playing, or gender, and perceived frequency of teacher questioning. Teachers should be trained to use questioning strategies, and implement them from close-ended to justification in order to best help students understand musical concepts.
The purpose of this study was to examine the relationship between time spent in nonperformance and critical thinking activities in high school choral rehearsals. Eighteen rehearsal observations were collected from public school music programs. Observed rehearsal behaviors were coded into three categories of nonperformance activity: lower-order thinking, critical thinking, and nonspecific activity. Results indicated that the mean rehearsal time spent in all nonperformance activities was 53.89%, with 45.96% focused on lower-order thinking skills, 6.36% in critical thinking skills, and 1.57% in nonspecific activities, including off-task behavior and silence. A significant positive correlation was found between the amount of time spent in nonperformance activities and time spent engaged in critical thinking skills. No significant correlation was found between the level of ensemble in which students were enrolled and percentage of time spent in activities that required the use of critical thinking skills. Findings suggest that amount of time spent using critical thinking skills in high school choral rehearsals may be influenced by a variety of factors, including rehearsal techniques and learning objectives used by master teachers.
The study was designed to investigate specific rehearsal behaviors exhibited by band directors in rehearsal settings. Of particular interest was the amount of time band directors engaged in conceptual teaching behaviors, defined as verbal behaviors of band directors in rehearsal settings in which the band director attempts to make students aware of, have an understanding of, and/or be able to transfer any musical concept. Participants (N = 18) were full-time middle school or high school band, directors teaching in Florida. Each participant prepared a videotape of two or three regular band rehearsals. Randomly ordered 20-minute segments counterbalanced across all examples were extracted from each videotape for data analyses. Two trained observers viewed the prepared videotapes and simultaneously manipulated the dial of a Continuous Response Digital Interface (CRDI) to indicate perceived teacher behaviors. The CRDI dial was partitioned along a 256-degree arc into seven specific teacher behaviors. Results indicated that, on average, directors spent less than 3% of observed teaching time engaged in conceptual teaching behaviors. Percentages of time were computed for additional instructional, non-interactive, and feedback behaviors.
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