How can autonomy and active learning be stimulated in a blended oboe class program?

Irma Kort

This research is an exploration into stimulating autonomy and active learning in musical tuition. Through an explorative journey in my teaching practice I developed tools to increase autonomy, active learning and self-regulation in students, using the self-determination theory, new learning and self-regulation as the main learning theories to find answers to my research question. In my lesson practice students rarely come in as active-, self-directing autonomous learners. However, literature and experiences of other teachers, show us that students – even beginners – can learn to become active, self-directed learners. It is not common practice yet to implement these theories in music classes. This is why I would like to create a toolkit and a user manual for teachers that would like to incorporate autonomy supportive teaching and self-regulation in their practices. I will also create a blueprint to inspire working with blended programs in music classes. A flipped classroom can trigger an ongoing learning process in the week, it can aid students in their practice and it is a tool to reflect on teaching practices, teaching styles and programs. The research took place in the BASIS oboe classes at the School for Young Talent, in The Royal Conservatoire of The Hague. There were 5 beginning oboe players, in the age group of 7 till 13 years. I used a combination of design and action research. With the design research I developed the online learning space and the tools for active learning and self-regulation. With action research I reflected on my teaching, students learning, development and well-being and the use of the tools. It was possible to use learning theories in different ways. I used tables and frameworks to reflect on my teaching, I used existing tools, I tailored tools to the age group of my students and I combined aspects of active learning and self-regulation. After three design cycles there is a blueprint of a toolkit that can be used in a flexible way and there is a blueprint for blended learning in instrumental music classes. The changes in my teaching style, the implementation of the learning theories and the reflections on the program using the online environment had a great impact on the teacher – student dialogue, the content of my lessons and the overview of the program. In students I saw an increase in motivation, autonomy and effectiveness. They are very engaged young learners, they learned to choose repertoire and strategies in their practice, they are able to plan, practice and reflect on their process and they have covered more repertoire and technique over the last year in comparison to the year before. They started sharing their music outside of classes and started thinking about their own goals in their oboe practice.

The Self-Determination Theory

The Self-Determination Theory was developed by Ryan and Deci (2018) and focusses on human motivation and behaviour change. It describes the basic psychological needs in motivation, development and wellness.

In educational contexts, Self-Determination Theory research has found that autonomy, relatedness and competence supportive teaching has positive effects on students' intrinsic motivation and engagement in learning.

Autonomy in this context is described as self-endorsed behaviours, which are congruent with students' authentic interests and values.

Relatedness in the musical learning context is feeling cared for by others, such as teachers, family and peers.

Competence is a basic need to feel effective in mastery of goals.

Links: selfdeterminationtheory.org

Reading: Ryan, R. M. , Deci E. L. (2018)Self-Determination Theory, Basic psychological need in motivation, development and wellness. New York: The Guildford Press

Reeve, J. , Jang, H. (2006) What teachers say and do to support students' autonomy during a learning activity.

Chapter 2. Applications: From The Self-Determination Theory and Blended learning to tools for learning in music lessons

In this chapter I will take the reader through the steps I took from theory to learning tools.

Application in musical teaching

I used the Self-Determination Theory in my research as it focusses on students' needs in motivation, development and well-being. I used the theory to serve as an umbrella to a holistic approach in teaching. Through autonomy supportive teaching, with a reciprocal dialogue, active learning and quality practice can be implemented well in classes to stimulate autonomy, effectiveness and motivation.

Autonomy supportive teaching

In general students start their musical training with motivation, intrinsic or inspired by their family. In my classes aspects of motivation could be: the wish to learn to make music or the wish to learn to play the oboe. They also have a need to find ways to connect what they learn to their cultural environment, consisting of informal practice and interests within the family or their expanding horizon through peers and social media platforms. To keep motivation high and intrinsic, when they become older and more independent a reciprocal dialogue was used.

I observed my teaching in the second design cycle through watching recorded lessons, with an observation framework on autonomy supportive teaching by Reeve and Jang (2006).

This table consists of the following observation topics:

-Listening to students

-Making time for students' independent work

-Giving students an opportunity to talk

-Acknowledging signs of improvement and mastery

-Encouraging students' effort

-Offering progress-enabling hints when students seem stuck

-Being responsive to students' comments and questions

-Acknowledging students' experiences and perspectives

To balance and check my observations I asked three colleagues in education to observe some lessons for me with the same framework and comment on my teaching.

In the oboe class program the implications of the reciprocal dialogue and the autonomy supportive teaching are visible in the choice of repertoire, the choice of learning strategies and in the differentiated use of the online environment. Part of the dialogue focusses on what students want to learn, what they want to play and what they would like to develop.

Relatedness supportive teaching

I focussed on three different relational environments after research of Creech and Hallam (2010).

1. Classroom (live and online) with teacher-student dialogue

2. The family with teacher - student - parent dialogue

3. Peers (live and online)

1. I used a teacher-student, reciprocal dialogue for autonomy supportive teaching. Feedback was positive and about the process, there was a reward structure with competence based feedback.

Children learn how to give and receive feedback and give each other compliments and tips based on end goals or lesson goals. The online environment features cooperative learning in composing projects and background information. In dialogue with parents and caretakers I created lesson footage in Teams, creating a situation in which they could follow the program. The aims are to create a safe learning environment, where students are motivated to ask questions, to help each other and to learn from one another.

2. The family ; parents, siblings, grand-parents and extended family and friends.

Within the triangular dialogue of teacher - student - parents I created specific feedback and tips on autonomy supportive parenting per student. Parent's believes and behaviours on their children's motivation and performance are important in a parental guide to autonomy supportive parenting, regarding music classes. Therefor I made sure parents could follow the program online through lots of student presence, presentations and feedback loops on performance and goal attainment. Every year has a WhatsApp group where parents can contact each other and ask me questions. At the end of every lesson series parents sent in recorded video's of performances of the children. I create a video presentation with the learning goals, which they can share with family and friends. In class we reflect on the positive feedback. The online environment was used to keep track on the program by parents and follow students progress.

I created a differentiated family guide to supporting and helping children in their practice, with planning tools such as an agenda and logbooks. I asked parents to help create the agenda tool and discuss it with their children to plan the practice moments during the week. I highlighted 'showing interest', asking to facilitate practice and performances and I created a guide to the Self Determination Theory within the family. The aims here are creating a supportive environment for music studies at home with many possibilities to receive positive feedback and praise, to motivate the young students.

3. The peers of students at school (outside the conservatoire and the family).

The relatedness to peers was looked at from the perspective of the school environment, ensembles and orchestra's, summer schools, courses and workshops. To change competitive situations into inspirational environments, reflections on students strengths were a central part of the talk and peer feedback in lessons.

I stimulated children to give presentations at school, to play on important events and celebrations and to add performances to musical projects. I support their process and together we explore what they need to feel 'safe'. After a presentation or performance in school we reflect on the feedback from teachers and peers. This aims to create a supportive environment at school with peers, triggering motivation.

Competence supportive teaching

Competence supportive teaching is basically providing students with goal setting - starting a learning process and attaining goals through practice - with reward structures and mastery experiences. Through quality practice and self-regulation an overview on learning processes was created.

Through dialogue I involved students in decision making regarding repertoire, interests and motivation.

Autonomy supportive teaching in the context of my oboe class is based on the observation criteria in research by Reeve and Jang (2006). I have also implemented choices and options in the online environment, repertoire and learning strategies.

The observation criteria and the options in choice were leading in case studies, lesson observations, the online environment and the logbook reflections.

I implemented competence supportive teaching, in the dialogue through positive feedback followed by comments on what was improved. In the online environment I made lists of skills and repertoire. I created feedback video's of lessons with acknowledgement of improvements and hints for next steps to take. In the lesson series presentations I used positive feedback and through differentiated tools I gave students signs of their effectiveness (achievement cards on key-rings, personalised notenbuch, playlist sheets). At the end of every learning cycle I reflected with the students on their process. It is difficult for young students to remember what they have worked on, what they have improved and what pieces they have mastered. Physical prove of this in the shape of achievement cards, lists and acknowledgements of improvement gives them an overview on their competences.

Reading:

Creech, A. , Hallam, S.(2011) Learning a musical instrument: The influence of interpersonal interaction op outcomes for school aged pupils.

Reeve, J. , Jang, H. (2006) What teachers say and do to support students' autonomy during a learning activity.

Application in tools for music learning

Autonomy supportive teaching

The weekly homework sheet has changed into a weekly playlist. Students have choice in repertoire, they can work on any part of their playlist. The list includes repetition, new pieces, creative work, ensemble pieces and assignments. When they choose sheet music, they can put the pieces in their personal 'Notenbuch'. Compositions and creative work will be printed in the last stage and added to personal 'Notenbuch'. Every student has his or her personal repertoire book in the end.

The playlist is supported by YouTube links in posts of their Team, offering sound examples, making it easier to choose. These links are shared at the beginning of every lesson series (approximately 6 lessons with the same lesson goals).

The online environment is designed after the dialogue with the students. The main focus is on the question: What do you need this week in order to take steps in your practice process, on the pieces of choice. Students can practice their pieces with a Repertoire sheet. With this sheet they describe their end-goals and have choices of strategies and creative solutions to use, in the shape of Thinkers Keys by Tony Ryan.

In the second design cycle I reflected on my teaching in light of autonomy supportive teaching. I used a set of recorded lessons between the autumn and Christmas break of year groups one till three. The focus of the observations was 'teaching in an autonomy supportive teaching style'. It also clarified where I could offer more autonomy supportive teaching in my lessons.

In the online environment links to concerts, livestreams and recordings are shared that are non lesson related but enrich the learning environment and trigger interest of young learners. Giving them options to have more choice and seek their autonomy independently of the teacher. They can also share their own content they would like to share with the group.

Relatedness supportive teaching

In the teacher - student dialogue there is a focus on what motivates students and what are students' needs, to take the next steps in their practice process. There is space to speak and ask questions. I steer the conversation towards lesson topics. From this dialogue the online environment is developed. What we discuss in lessons is reflected online in assignments, stream video's with hints and strategies, posts and an online dialogue.

During live lessons I stress the importance of listening. Listening to performances, questions and shared work. Feedback from peer to peer is directed to positive process enhancing feedback. Students regularly need to think of compliments to give and process enabling hints to share. They also learn to notice qualities in others.

Parent participation is triggered by using the Teams environment to connect and follow the program. I also ask parents to help in planning the practice sessions during the week, with the Agenda sheet. To create positive feedback from family and friends I create video's on lesson goals after every lesson series. The students and parents can share the video's online.

The positive opinion of peers and teachers in school can also be enhanced by school presentations about the instrument and its music. Performances during important events such as Christmas and Saint Nicolaas can also be a motivational trigger. By connecting to music projects at school, it is possible to deepen and enrich the learning environment of the students. Reflecting on a Mozart project at school in the 1st year group, was a good reason to listen to his wind music, play repertoire, and introduce the 'Notenbuch' as father Mozart made music books for his children. Students can also play a performing role in these settings, creating opportunities for mastery experiences.

During the lockdown children played on remembrance day before the national silence. They performed the national anthem on kings day and they created a Christmas message and a canon for awareness of the situation of refugees on Europe's borders. This created a lot of positive feedback from audiences.

Competence supportive teaching

To 'prove' the effectiveness of their efforts I introduced achievement cards (technical and artistic) on key rings. The cards contain repertoire, exercises, creative work, compositions and learning goals.

Every lesson series is finalised with a presentation on the topics and learning goals. One week before the presentation I create feedback video's, with hints and final tips to take one more step to the final presentation. After the presentation we reflect on the process with a closing learning function sheet.

Playlists of played repertoire in Teams are added to create a repertoire overview.

Through these tools students gain insight on what they have learned, covering what repertoire. They start to see learning to play the oboe as a gradual process in which they can take steps. Noting this together with Thinkers Keys will create an idea of a growth mindset and will change their self-efficacy if necessary.

Blended learning - flipped classroom

Blended learning refers to an educational program that consists of live classroom lessons in combination with an online learning environment. A flipped classroom is an extension of the live lesson, a reflection of the teacher-student dialogue, mirroring the practice needs of the student. Before the live lesson, the online environment introduces the topics, learning goals and information. During the live lessons students indicate what they need to help them in their practice during the week. Throughout the week information and process enabling hints are added to the online environment for students to deepen their knowledge and give them extra challenges. To keep the online dialogue going assignments are created. With these assignments students can perform a specific task and receive progress enhancing feedback on their work. I created a cooperative space for students compositions and practice. Wiki pages are added when students want more information, or find information on composers and repertoire which they would like to share. In posts students can share music they would like to play and I give them YouTube links of repertoire. Livestream links were shared, in posts, of special concerts and online musical holiday events for children. The group-chat was used for questions.

An online teaching expert provided me with regular feedback on the online learning environment. Through his commentaries I was able to adjust the space and create more teacher and student presence, to order all the content logically, to think of lesson content and goal descriptions and to develop the flipped classroom.

In the course of this research it became clear that implications from the learning theories are as important online as they are in live lessons, there is a live class connected to a digital space reflecting the same values in teaching.

Tools:

Teams of Microsoft 365

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