Playing with understanding : constructivist instrumental learning strategies

This study investigates a constructivist approach to studio instrumental teaching and learning for students identified as having a limited musical background. Such limitations may include a lack of early musical experiences such as singing in the family, not having parents that currently play instruments, a lack of consistent classroom music experience (Stevens, 2002), and a lack of exposure to live performances and CDs. Students who are good workers and performers but with limited musical backgrounds, may not fully understand basic musical concepts and this lack of understanding can be a major barrier to learning. The premise for the study came from my own experiences and observations teaching instrumental music for over 35 years both in public and private schools and my own music school which has over 100 pupils and 10 teachers. The study focuses on the case studies of four students aged 8-14 years, and their teachers, in a private instrumental music school. There are two wind players and two string players - all with limited musical backgrounds. The study uses an action research approach in which constructivist strategies were adopted to apply the learning and understanding of musical concepts to their playing. Data was collected through videoing lessons, interviewing teachers throughout the study, interviewing students throughout the study, accessing notes of students and teachers from practice books and study workbooks, and observing participants’ preparation and performances unassisted to demonstrate their application of concepts learnt. As a finding relevant to teachers, the study noted that a less experienced teacher found this method with its use of video very difficult. The study found that the students were able to use the understanding gained from the constructivist strategies in their own solo playing and apply them to ensemble playing. They were able to gain understanding of the process of learning an instrument and creating music, apply it to their own performance and then use this new knowledge to lead a group of players to create a chamber recital. This is best demonstrated in one of the wind playing students, the flautist, who, after some months in the program, was able to train a woodwind ensemble to perform very creditably. These findings suggest that lack of background in music can be overcome by carefully designed teaching and learning strategies which enable students to create and manage their own learning and performing