Research Design

The complex and multiple interactions between a conductor-music educator and the ensembles with which they work, require an understanding of the ensemble members‘ perceptions, beliefs, attitudes and motivation for participating in group music making. To explore this phenomenon a qualitative study focusing on an autoethnographic approach was designed. The qualitative researcher, according Denzin and Lincoln (2000), uses the aesthetic and material tools of his or her craft, deploying whatever strategies, methods, or empirical materials that are at hand.

Stephen Brookfield (1995) in Becoming a Critically Reflective Teacher outlines four lenses through which we can view our teaching. These are (1) autobiography as teacher and learner, (2) through our students‘ eyes, (3) through the experiences of our colleagues, and (4) through theoretical literature (Brookfield,

methodological approach was implemented. As soon as I read these four points I immediately identified with them. However, in my study Brookfield‘s four lenses morphed into three lenses as my data collection methods evolved. As you read through this study, I hope, the use of Brookfield‘s modified lenses will become evident. The three lenses in this study have been renamed; however, the underpinning theoretical concept is the same. Table 3-1 below illustrates how I employed the three lenses of critical reflection as part of my research design.

Three Lenses Lens Data Collection

1 Autobiography as teacher and learner Autoethnography

2 Students‘ Eyes Ensemble Participants

3 Theoretical Literature Literature Review

Table 3-1: Three Critically Reflective Lenses

This study was conceived from a personal desire to identify the nature of the work of the conductor-music educator. This phenomenon has a broad interest beyond my own personal inquisitiveness as it may assist in the understanding of the many diverse and complex tasks performed by the conductor-music educator performs.

Brookfield (1995, p. 31) suggests that our autobiographies as teachers and learners provide one of the most important insights into our teaching practice. Recognition of our lived experiences and the critical events in our lives, form the many stories which are at the core of who we are and their profound and long lasting influences upon us, shape our work as educators. Analysing our autobiographies may assist in enlightening us ―to those parts of our practice to which we feel strongly committed‖ (Brookfield, 1995, p. 32). This analysis is presented as part of my

autoethnographic writings. It is embedded in the prologue and is woven into the presentation of the data and its analysis in Chapter Four.

Semi-structured interviews were conducted with targeted members of the ensemble I conduct. These interviews were designed to understand the participants‘ ensemble experiences and their perceptions of the work of the conductor-music educator. Following the final concert performance a group video-stimulated interview was held with the targeted members of the ensemble which served to inform the emergent themes and identify variations within the interview data. The video contained an initial sight-reading, rehearsal footage halfway through the rehearsal schedule featured in this study in addition to the final performance of the music pedagogical texts. This allowed the participants to reflect upon the rehearsal processes and final performance, thus providing insight into the teaching and learning during rehearsals. These semi-structured open-ended interviews added further voices to the autoethnographic writing, which assisted in the identification of the themes.

Research must be grounded and surrounded by theoretical literature. It is this third lens that can help us as educators name our practice through the illumination of the ―elements of what we think are idiosyncratic experiences…[that] can provide multiple perspectives on familiar situations‖ (Brookfield, 1995, p. 36). Chapter Two presents the theoretical literature that has informed this study. The literature helped in the investigation of, and clarification of, my thoughts, hunches, wonderings, instincts, tacit knowledge and experiences. As I critically reflected on the literature I endeavoured to develop an understanding of the work of the work of the conductor and music educator. Using these understandings I have attempted to gain insight into

the work of the conductor-music educator. Brookfield (1995) offers that the reading of theoretical literature can prompt us through the ―offering of unfamiliar interpretations of familiar events and by suggesting other ways of working‖ (p. 186). It is this use of the theoretical literature, and its application to my teaching and conducting practice, that has helped me reflect upon and understand my work as a conductor-music educator. These understandings are vital as they influence our critical questioning of our practice and ultimately influence our future practice.

Multiple methods of data collection were employed in this study to enable me to gain a deeper understanding of the nature of the work conductor-music educator. Utilising three lenses model, based upon of Brookfield‘s (1995) four lenses of critical reflection, Table 3-2 outlines the lens, participant and the data collection method.

Three Lenses Lens Data Collection Method

1 Autobiography as teacher and learner

Researcher

Autoethnography

2 Students‘ Eye

Ensemble Participants

Semi-structured Interviews Video Stimulated Interview

3 Theoretical Literature Literature Review

Table 3-2: Three Critically Reflective Lenses and Data Collection Methods