Conclusions
In my lesson practice I was using multi-perspective learning, meaning experiencing music from many different theoretical, musical and motoric perspectives. In my research I focussed on autonomy supportive teaching and learning to learn.
Due to the covid pandemic the online applications to teach opened earlier than officially planned. Initially I used the online space for lesson content and video calls. After the first period I started to experiment with ideas on how the space could enrich a program when used in a differentiated way. The flipped classroom turned out to be a game-changer in my music lessons. It created an ongoing learning process during the week. I found that the application of the learning theories were as important online as they were in live lessons.
This chapter describes the effects on my teaching and the students' processes. I used a column for every learning theory and the development of the blended learning program. After this I return to the research question and I explain how I want to apply the research and what the future directions are for my teaching practice.
Effects of autonomy supportive teaching.
During the lockdown in March 2020 the theory and ensemble lessons came to a hold. The lessons were taking place in our living rooms and family and pets were part of the online teaching. Through music we kept track on time playing on remembrance day, liberation day and birthdays. The cultural meaning of music became more clear. The pets were an inspiration to make compositions and creative work. This situation triggered an increase in autonomy. After focussing on teaching in a more autonomy supportive teaching style (September-December 2020), I found the teacher - student dialogue changed in the sense that students started sharing their wishes and needs. They have experienced how their input can become part of the program. They also learned to explain what they need in the flipped classroom to help them in their practice during the week. Through giving students more choice in repertoire, using playlists with pieces to practice the learning goals, students showed an increase in motivation. In combination with peer learning this effect increased. In groups, sharing of pieces inspired peers to also work on other compositions. They played double the amount of pieces, to automate the goals.
A differentiated program where students have some control over the content of the program, triggers motivation, resulting in more playing and working on more repertoire.
Effects of relatedness supportive teaching
I embedded relatedness in the program in three different areas.
1. The oboe classes
2. The family
3. The peers
1. As a teacher I used a reciprocal dialogue, with a focus on listening to students and giving students space to speak and exchange ideas.
2. To connect with parents I used the online space with a lot of student presence. Parents could follow the program in the online environment. To end lesson series we made video presentations to share with family and friends. In this period students started giving regular online concerts for grand parents too.
We reflected on the feedback of peers and family, creating 'safe' situations in class, at homes and at school where students were surrounded by people that supported their practice.
3. I motivated students to play on special events at school and speak about their instrument in presentations. By connecting to school music projects, such as a Mozart project, I created a situation in which the student could deepen her knowledge and take information and music to school.
Relatedness supportive teaching resulted in a better and more lively dialogue between teacher, students and parents. More support at home for their practice and 'mastery experiences' at school, triggered a sense of being skillful. This increased motivation.
Effects of Competence supportive teaching
To create a situation in which students could see the effectiveness of their practice I used reflection sheets. Through presentations they finish lesson series with specific lesson goals. After these presentations pieces are added to their repertoire list and they receive achievement cards on key rings, in order to have proof of their effectiveness. Seeing the results of their practice, they felt proud and competent. Having proof of their competences through lists and cards with pieces and techniques they had mastered, changed the believe in their ability to learn positively. In the final questionnaire all students said they thought they could tackle any challenge on their instrument.
Using a personal weekly agenda students had an overview of their week and could plan their practice sessions better. This resulted in more practice sessions during the week.
The logbook, made the students aware of focus in their practice. This focus had the effect of the sessions becoming longer. Students reflected on their practice better and more frequently. As soon as they started describing end goals, students started using strategies and creative solutions. This increased effectiveness. Reading the logbooks it became clear students were often satisfied with their work after one practice session. They were able to play pieces and songs in one practice session. I reflected with them on end goals. I gave them more complex pieces to work on throughout the week, so they had to think of a longer process with more strategies to tackle challenges per piece.
I decided to make a simple version of the logbook and to connect it to a repertoire sheet for every piece. In these sheets they can describe rubrics in levels and connect the goals to strategies and creative solutions. As the goal descriptions proved vital for thinking of strategy use I made this a priority in this sheet.
They use the logbook for practice overviews and reflections.
The students became aware of a practice process and are familiar with the basics of planning. They also learned that they can choose different strategies to tackle challenges. They are now experimenting with the tools and reflecting on their practice.
Introducing self-regulation in teaching resulted in students that can plan their practice, use focus while practicing and reflect on their practice sessions and playing, in a technical and artistic perspective.
Giving students choice in repertoire means, I set goals and choose repertoire to practice the goals, but the students have choice in pieces, creating space for them to practice what they would like to play. Sometimes the goals came from students, for example playing high notes. As they were saying they wanted to learn how to play high notes, I could work with their motivation and look for appropriate repertoire to fit the steps to attain the goal. More choice triggered their autonomy. Working on a personal goal was motivating.
I introduced Thinkers Keys, giving students the card deck, symbolising strategies and creative solutions. With these cards they can plan their own practice and reflect on it. When there is no improvement they can use a different strategy in the next practice session. They describe their personal path in logbooks and repertoire sheets.
I designed three reflection sheets. For the preparatory, executive and closing learning functions. These reflection sheets use the Thinkers Keys to start a dialogue or a thought process and create an overview on their practice in three stages (preparatory, executive and closing).
Giving students choices motivated them. Giving them decisions over their practice process increased their involvement in the classes and made them more creative in tackling challenges. They enjoy working with the Thinkers Keys and it helps students plan their practice. They connect strategies to challenges and explore what works well. Their is a mindset change, the believe in their ability to learn has increased.
As a teacher I learned how to create a flipped classroom in the Microsoft Office Teams platform. This reflected the learning theories, created an ongoing learning process and deepened knowledge and skills of students during the week.
Students learned how to use the online environment. They started to communicate through the platform and they added information, creative work and uploaded assignments.
It was very important to create teacher and student presence online. The space needed to be a reflection of all participants, for students and parents to start using and enjoying it. It is important, for an ongoing learning process, that the needs of the students are reflected in the online environment. The students tell me what they need to be able to practice well during the week.
The online program is a great reflective tool. Gaps in the program are clearly visible. It is also necessary to describe goals and steps in every lesson to create an overview on the program and the process, this creates a blueprint for the lesson practice. The space makes it possible to differentiate and follow students' steps. It increased insight in my program and my teaching style.
Research question
The main research question was: How can autonomy and active learning be stimulated in a blended oboe class program?
Additional questions are: What is autonomy based and active learning in the context of musical tuition?
From the learning theories I implemented a more autonomy supportive teaching style. This resulted in autonomy development in students. Through the use of the tools (see chapter 2 and 3 and appendices) I gave students more choices in repertoire and strategy use and I helped them plan their practice and creating an overview on their practice process. All students have a basic idea of a process now and they show more autonomy in their lessons. They also have learned to use strategies in their practice.
What are aspects of blended learning and what kinds of blended learning fit instrumental music classes?
In this research it became clear that a blended learning environment needs a base of learning theories as much as live lessons do. An important aspect was online presence of teacher and students, meaning the space resembles a reciprocal dialogue in which all participants explore the material and goals. Applications and learning tools can always be added when there is a need to automate certain aspects of musical learning. When learning to learn is implemented in music classes there is a need for creating a differentiated learning path, based on the students' needs. A blended learning environment with teacher driven content would not be sufficient, as it explains the program, but doesn't follow the students' needs and therefor doesn't trigger students to use it. In the beginning I started with blended learning in a teacher content driven style. The result was that students didn't feel the need to go to the online environment. After creating personal presence of all participants they started using the space. When the space reflected their learning needs, they started to become actively involved in the online environment.
What are the effects of using 'learning to learn' tools, in a blended oboe class program for an understanding of a students' learning process?
All students have gained insight in using strategies, through introduction and use. By using the tools they can create an overview on their practice process. Even when they didn't use the tools a lot, through introducing them and discussing them during the lesson they learned to work with them. Their practice has become more effective, in both technical and musical ways. Their technical and musical improvements came from describing personal end goals and connecting these to practice plans. They play more repertoire in the same time periods. They play repertoire of choice added to the program. By using the strategies they have created more compositions based on the technical and musical learning goals and they use improvisation more in their practice. So their practice has become more creative and playfull, it is more process based and because of the emphasis on individual development, motivation has increased.
My hypothesis for this research was: Students can develop autonomy, active learning and self-regulation within the context of a blended oboe class program, when introduced to these aspects, students can create a process overview with learning functions that can be applied in future musical contexts.
Students have developed autonomy, active learning and self-regulation in their oboe practice. The blended learning environment, as a flipped classroom, worked as a catalyst to their personal development. When aspects of active learning and self-regulation are introduced to young learners, they are able to use and apply them in future learning processes.
Applying research
In this research I was looking for ways to implement learning theories in my musical teaching practice to stimulate active learning, self-regulation and autonomy. As students rarely come in as active, self-directing learners with autonomy I felt the need to use these theories to develop 'learning to learn' in music classes. This resulted in a toolkit for teachers and students to fit the age group for starting instrumentalists. With this toolkit teachers can teach musical and technical skills in connection to self-directed practice and active learning, making young students independent musicians.
I also created a flipped classroom for my oboe classes in Microsoft Office Teams. This online environment reflected the same learning theories and goals. I will create an online space where teachers can download the tools and a user guide with implementation ideas. I will also add a Teams guide for music teachers. A forum will be connected to the site, making it possible for teachers to exchange and discuss ideas and to work together on future music programs. Creating a peer learning platform for music teachers.
It is also possible to apply the main topics in this research seperately in teaching practices. All the tools can be used on their own and in combination, depending on the needs of students and the intended result by the teacher.
Future directions
Future work in connection with this research will be disseminating it, helping teachers to use the tools, creating blended programs and creating a stronger scaffolded theoretical program in combination with the method I developed.
With colleagues in the field I will create a website about learning theory in connection to musical tuition, to disseminate our collective work. This HUB will also serve as a peer learning group for professional educators in music.
I will develop the Thinkers Keys to fit instrumental music tuition better and incorporate 'smart things to do' and wellbeing to overcome challenges, also in connection to cooperative learning and developing personal strategies and creative solutions.
I will combine the ABRSM exam grades in theory and performance with my program. I will use ABRSM goals and overviews to tailor a personal lesson plan for each student, in combination with a flipped classroom.
I will extend the flipped classroom blueprint I created to musical teaching in higher education and in my private practice. I will also start creating vlogs to inspire and help other teachers in developing flipped classrooms.
As new applications and possibilities are created all the time I believe visualising music education in 10 years time, is impossible. Creating a flipped classroom, to me, was a wonderful process. It gave me insight in my program and my teaching style. I will keep adding new tools in my practice, exploring all new possibilities, while keeping the learning theories as a backbone to the program.