Conclusion: Towards a New Frame for Teaching and Learning

This review has shown that teaching and learning a classical instrument is multi-faceted and complex. In ascertaining how to better assist my younger pupils to become more autonomous, the literature supports a change in environments as a way of developing a new refractive lens through which to expand their musical knowledge. The literature indicates that a potentiating environment, more heavily pupil-centred than normally experienced in the one-to-one violin lesson, can encourage the development and expansion of learning dispositions, which are at the crux of successful learning: ‘learning dispositions enable children (and adults) to go beyond what they have been taught, to improvise in new contexts, to re-cognise the past, to learn in the present, and to imagine the future’ (Carr, Lee, Jones, Smith, Marshall & Duncan, 2010). In attempting to nurture processes that are more student-centred and boost pupil engagement and autonomy, this study makes a paradigm shift in my pedagogical approach drawing from various aspects of Claxton’s work, especially his ideas on reflection, but also from his thoughts on reciprocity, resilience and resourcefulness (Claxton, 2002).

While the literature discussed in both Chapters 1 and 2 implies that how a teacher reacts and responds in lessons might impact pupils’ learning, conversely, it also indicates that learning ultimately depends on how actively the pupils engage. How the teacher and pupil interact is also critical because pupils often ‘look to them for guidance’ (Jorgensen, 2011: 217). A good working relationship between pupil and teacher should empower learning not only in the lesson, but also in the pupil’s home practice. Peer collaboration has been shown to further expand the learning forum to include observation, feedback and the dialogue that it contributes. Engaging with the teacher and peers in a changed environment is not only posited to influence purpose, goals, listening, critical thinking, reflection and learning strategies, but helps develop new-found confidence, motivation and self-belief to create a new understanding of what it means to learn and work towards a performance.

2.10.1 Musical chairs of reflection

As a violinist and teacher, I recognise that musicians continuously multi-task, switching from roles such as critic to experimentalist, fix-it-man, explorer, performer, or creator. The list is as individual as there are players, with each role requiring a high degree of personal reflection. Over many years of teaching I have witnessed that the more advanced violin pupil is often aware of moving between different reflective roles. Some obviously favour certain roles over others, but it seems to me that younger pupils need a great deal of assistance in developing awareness and an appreciation of how reflection benefits their learning, or what it really means to be their own best critic and mentor. In this thesis I have decided to use three metaphors that work well in combination to convey the nuanced meaning of function: roles; chairs; and lens. These ‘musical chairs’ function as lenses through which a new perspective is gained within the different learning environments (Layers) that pupils have the opportunity to navigate during this enquiry. The literature chosen for this review supports six reflective roles that I feel are fundamentally important for any young instrumentalist to engage (see Figure 1), and that are used as an analytical frame for this enquiry. However, it is not necessarily easy to discuss each of these roles in isolation with out some overlapping.

Musical Chairs of reflection The Listener: The role of listener is one of listening with a

purpose, intently paying attention to what one is hearing - in all contexts.

Claxton 2018, 2008, 2002; Hewitt, 2011; Blom & Poole, 2004; Burrack, 2002; Hallam, 2001a; Hunter & Russ, 1996; Bamberger, 1991; Elliot, 1995; Galamian, 1964; Auer, 1921 The Observer: The role of observer is one that gives attention to

visual components separately, or may be influenced by aural issues.

Claxton 2018, 2008, 2002; Meissner, 2017; Hatfield & Lemyre, 2016; McPhail, 2013; Tsay, 2013; Burwell, 2005; Daniel, 2001.

The Analyst: The role of analyst demands deliberate critical and reflective thinking in relation to specific and/or general issues (current or past) generated from listening and observing; to form an opinion regarding what is at stake, what needs improving, or what has improved, or simply why it is so.

Claxton, 2018, 2008, 2002; Leon-Guerrero, 2008; Hunter 2006; Burrack, 2002; Daniel, 2004; Hunter & Russ, 1996; Elliot, 1995; Bergee & Cecconi- Roberts, 2002; Bamberger, 1991; Galamian, 1964; Havas, 1961; Auer, 1921.

The Designer: The role of the designer is one derived from listening, observing, and analysing; it calls for independent reflecting, planning and formulating strategies for improvement or to find an

alternative solution.

Claxton, 2018, 2008; 2002; Leon-Guerrero, 2008; Lehmann

et al., 2007; Duckworth, 2006;

Hallam & Barry, 2002; Schunk & Pajares, 2002; Pitts et al., 2000a; Hallam, 1997; McPherson & Davidson, 2006; Menuhin, 1986; Galamian, 1964; Gerle, 1983; Havas, 1961.

The Advisor: The role of the advisor is to give honest feedback with integrity to oneself or others, in an encouraging and thoughtful manner grounded in one’s own musical knowledge.

Claxton 2018, 2008, 2002; Napoles, 2008; Hewitt, 2002, 2011; Lebler, 2008; Barleet & Hultgren, 2008; Duckworth, 2006; Blom & Poole, 2004; Daniels, 2004; Bergee & Cecconi-Roberts, 2002; Burrack, 2002; Hunter & Russ, 1996; Galamian, 1964; Auer, 1921. The Performer: The role of performer is primarily communication

of musical ideas and embodies the processes of listener, observer, analyst, designer, and advisor. However, when performing, these roles may not be obvious. Indeed, they should not be so: performing is after all, the art that conceals art.

Claxton 2018, 2008, 2002; Richie & Willliamon, 2011; Duckworth, 2006; Bamberger, 1991; Menuhin, 1986; Whone, 1972; Galamian, 1964.

Figure 1: Musical Chairs defined

As the different literatures in both Chapters 1 and 2 have indicated, either explicitly or implicitly, learning involves developing the ability to critically reflect in different ways. While the violin literature links this specifically to the instrumentalist’s ability to listen critically during all aspects of violin learning, the research on how students practise, self-evaluate or evaluate the performances of others draws on the assumption that the participants in those studies were using their critical listening skills. The literature devoted to general education also stresses the importance of learning by listening critically to what others have to say, but also by observing visually to what it is that others are doing. Although visual observation (reflection by using video for instance) is a fairly new area in music research, the growing body of evidence showing how we are influenced by our visual perception in instrumental learning supports my inclusion of observer in my analytical frame.

A distinction is made between the reflective roles of analyst, designer, and advisor in this enquiry. I put forward that it is necessary for the instrumentalist to reflect aurally,

for work or advice for going forward. While the role of analyst is supported by the literature addressing the act of formulating an opinion, the role of advisor is supported by literature that encourages the act of verbally communicating those ideas. These roles are apparent across the literature and research addressing the outcomes of self and peer evaluation, and the advantages of peer-learning and different avenues of feedback. Strong support for featuring these two roles in my analytical frame was also found throughout the violin literature as its entire foundation is built on the assumption that pupils continually assume these roles. The same can be said for the role of designer and the repeated emphasises of this role being activated to create and enact deliberate and self-regulated forms of practice.

While the role of performer is represented in the literature from the perspective of the more advanced student and professional musician, less literature or research exists on the beginner and intermediate pupils’ perspective and experience as performer. Because it is assumed that pupils come to their violin lessons in order to improve their performing capabilities, performing has been an overarching concept throughout this literature review rather than a concept examined in isolation. The role of performer is at the apex of my analytical frame because it is a role of constant reflection, and one that encompasses all of the other roles.

While musicians acknowledge that many of these six roles (musical chairs) may be undertaken in isolation, and probably are so for the very young and inexperienced musician, they are not necessarily discrete, nor should they be. These roles contain the potential to interweave and function simultaneously even for the young musician, promoting pupil reflexivity and awareness as pupils are practising, performing, or observing and engaging with other musicians. Although other roles may exist than those mentioned here, these six ‘musical chairs’ were chosen to create a general teaching and learning frame for my young pupils’ investigation into violin performance, but they were also used as an over arching analytical framework for this project in order to explore answers to the following questions:

How might learning and teaching environments change to assist younger violin pupils develop a greater awareness of their roles in violin learning, performing and practising?

What are the outcomes and implications for teaching and learning when the opportunities for pupils to critically reflect, collaborate, and perform are increased?

Supported by the literature discussed throughout Chapters 1 and 2, a detailed description of how this enquiry was conducted will be given in Chapter 3. This chapter will also detail how the musical chairs were used as tools for data analysis.

1 _{See Jerome Bruner’s discovery-learning model in the 1960’s, or,}

http://www.infed.org/thinkers/bruner.htm

2

As distinct from reflection, refraction is the way in which the path of light is changed by a lens. Part of this study tries to see what the pupils see from their perspective.

CHAPTER 3