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"Piano Class for the Real World": Ex...

Danyew, Ashley M.

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"Piano Class for the Real World": Exploring Experiential Learning with a Collaborative Inquiry Group in a Creative Musicianship Lab.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	"Piano Class for the Real World": Exploring Experiential Learning with a Collaborative Inquiry Group in a Creative Musicianship Lab./
作者:	Danyew, Ashley M.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2015,
面頁冊數:	530 p.
附註:	Source: Dissertation Abstracts International, Volume: 77-06(E), Section: A.
Contained By:	Dissertation Abstracts International77-06A(E).
標題:	Music education. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3745454
ISBN:	9781339384092

"Piano Class for the Real World": Exploring Experiential Learning with a Collaborative Inquiry Group in a Creative Musicianship Lab.
Danyew, Ashley M.

"Piano Class for the Real World": Exploring Experiential Learning with a Collaborative Inquiry Group in a Creative Musicianship Lab. - Ann Arbor : ProQuest Dissertations & Theses, 2015 - 530 p.

Source: Dissertation Abstracts International, Volume: 77-06(E), Section: A.

Thesis (Ph.D.)--University of Rochester, 2015.

Researchers indicate a growing gap between academic music study and the musical world (TFUMM, 2014; Liertz, 2007). The musical landscape of the 21st century is multi-faceted and constantly changing, requiring musicians to be flexible, well-versed in musical styles, and equipped with diverse musical skills (Lehman, 1999; Liertz, 2007; TFUMM, 2014). However, researchers suggest that in many settings, opportunities for collaborative, shared music-making (Branker, 2010; Gaunt & Westerlund, 2013); creativity (Allsup, 2002; Lehman, 1999; TFUMM, 2014); and practical keyboard skills (McWhirter, 2005; Stoltzman, 2014) are limited. What would music learning look like if we focused on collaboration, creativity, and the development of practical skills for professional practice?

ISBN: 9781339384092Subjects--Topical Terms:

3168367
Music education.

"Piano Class for the Real World": Exploring Experiential Learning with a Collaborative Inquiry Group in a Creative Musicianship Lab.
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520 $a The purpose of this study was to explore Kolb's (1984) Experiential Learning Theory (ELT) in a keyboard skills/creative musicianship lab with a collaborative inquiry group comprised of six undergraduate music education students and me, as facilitator. The study was guided by the following questions: In collaborative inquiry based in a Creative Musicianship Lab (CML): 1. How does the space of collaborative and experiential learning emerge over time? 2. What does co-constructed collaborative and experiential learning look like? 2a. What are the facilitator's perceptions? What are participants' perceptions? 3. How do participants perceive and define the role of the facilitator? 3a. How does the facilitator perceive and define the role of the learner? 4. How was the CML co-constructed throughout the study? 4a. What did participants perceive to be beneficial and meaningful? 5. How could this study be applied to other teaching and learning situations?
520 $a Six preservice undergraduate music education students and I worked together for eight weeks. Data collection included videos, audio recordings, practicing journals, field notes, written reflections, memos, and artifacts. I identified six emerging themes: (a) Building Community Through Shared Responsibility, (b) Developing Skills for the "Real World," (c) Experimenting as "Jam Sessions," (d) Feeling Confident as Musicians and Keyboard Players, (e) Feeling Insecure as Musicians and Keyboard Players, and (f) Empowering One Another.
520 $a Experiential learning was co-constructed by participants as they built community, experimented, developed new skills, and empowered one another as leaders and learners. The CML was a hybrid, in-between space, situated along various continua, created through shared experience, mutual caring, and a willingness to take risks.
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