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.

Preface

In my lesson practice I see young children with a richer informal musical learning environment than before. Due to the use of devices from an early age their world expands and they become increasingly critical about program content, musicianship, performance and their musical learning path.

When they start in my practice they show little autonomy and self-regulation and they are often waiting for me to give them content. As 'learning to learn' wasn't a focus point in my teaching up till now, this waiting attitude in learners remained.

So, on the one hand they have opinions on how they should sound and perform, but on the other hand they have no tools to reach their goals and reflect on their learning process.

So this research became an explorative adventure into how I can give students tools for self-regulation and trigger autonomy, while creating a differentiated scaffolded oboe program.

This research period 2019-2021, with a lockdown in March 2020 and in December 2020, due to the Covid-19 pandemic has been both difficult, as the performing arts came to a hold and interesting, as there was an opportunity to explore and develop blended learning within my oboe classes earlier than expected. The need and value of music tuition and culture became very clear when the society was in a lockdown. Music gave students a sense of time, playing on family celebrations and remembrance day. It took back its social role in the family and students loved having means to express themselves. The teacher - student dialogue changed, well being of students was suddenly more important than before. It became clear that the student and his or her development, was the centre of the lesson practice and autonomy was triggered. In the first lockdown we cultivated the student autonomy and it grew into the main focuspoint of my research project. This probably wouldn't have happened in any other period. So although we live in difficult times, I am also very appreciative as I have been able to reflect in depth on my teaching practice, from a different perspective.

Thanks and acknowledgements

Thank you Adri de Vugt for being my supervisor. Without your knowledge on learning theories, your directions into literature, tips to participate in conferences, feedback and the opportunities to exchange ideas in an open learning setting I wouldn't have grown as a teacher the way I did over the last two years.

A warm virtual hug to all the students participating in this research project and their parents. Your efforts, feedback, time and energy is much appreciated. You are the stars of this project. Thank you: Selene, Izisz, Bilou, Hennie and Hannelore.

A special thanks to Susan Williams, who helped me on many occasions, clarified and reflected on the work so many times in the last year, lifting my thoughts and ideas and deepening the knowledge on quality practice.

Thank you, Paul Craenen and the research colleagues of the master circles (2019-2021) for the feedback and the comments on my research.

Thomas Vorisek, thank you for your course on using Teams and reflecting on my online environment. Your perspective on the work was very valuable.

Thank you, Roos Leeflang, for organising the program and the deadlines and Casper Schipper for helping me work with the Research Catalogue.

A big thanks to Bernadette Pollen, Wieke Karsten and Marrit van der Weij for taking time to observe lesson material on video.

Thank you Piek Kock, for the production of the presentation. I loved working with you and exchanging ideas. Your knowledge on filmmaking and presentations was a huge source of inspiration for me.

Thank you Martine Belderok for exploring the research together in the first year. I enjoyed our conversations and the exchange of ideas on teaching.

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