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Musicians' Learning Styles, Learning Strategies, And MUSICIANS’ LEARNING STYLES, LEARNING STRATEGIES, AND PERCEPTIONS OF CREATIVITY BY WILLIAM WINSER HAGANS Bachelor of Music Berklee College of Music Boston, Massachusetts 1980 Master of Human Relations University of Oklahoma Norman, Oklahoma 2001 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF EDUCATION December, 2004 ACKNOWLEDGMENTS I give my faithful thanks to God for providing me the courage, determination, and resiliency to complete another successful project. I would like to thank my loving wife, Dr. Monica E. Browne-Hagans, for accepting and enduring the role and responsibilities of a single parent during this journey. Thanks for your coaching, encouragement, support, and inspiration. We know that I would not be here without you. I dedicate this study to my creative children, William W. Hagans, Jr., Marcus A. Hagans, Triana D. Browne, and Teras X. Hagans. Hopefully this study will answer some of the questions concerning your creative lives. I also would like to thank my mother Anne Clarke for your unconditional love and Steven and Cheryl Brown and Bobbie Atkinson for being my family away from home. I want to express my utmost sincere appreciation to Dr. Gary J. Conti for facilitating the genuine concept of transformative learning through the lens of a Reconstructionist. Thanks for your encouragement, patience, and vision to guide me through the obstacles to the “Land of Done”. I give my deepest thanks and appreciation to my committee members Dr. Lynna Ausburn, Dr. Martin Burlingame, Dr. Anne Ghost Bear, Dr. Robin Hughes, and Dr. Deke Johnson for your invaluable creative ii contributions and insights. I would like to thank Harry Chalmiers, Dr. Charles Combs, John Hagon, Ed McGrath, and Wayne Ward, from Berklee College of Music for their sincere support and assistance. I could not have completed this study without the collaboration and encouragement of educators who understand the need for educational music research. In addition, I extensively must express gratitude to my cohort, Dr. Joyce McClellan, Dr. Janice Watkins, and Dr. Lester Shaw for mentally ministering me through the process from an African-American’s perspective. We did it! Thanks to Calvin Johnson for providing a comfortable resting place in Boston, MA. Finally, I give a special thanks to the Naturally-trained musicians in Tulsa, Oklahoma who’s real- life and experiential learning revealed indispensable perspectives of “a life in music”. iii TABLE OF CONTENTS Chapter Page I. INTRODUCTION .................... 1 Introduction .................... 1 Creativity ..................... 1 J. P. Guilford’s Research ............. 3 Music ....................... 6 Music as a Language .............. 6 Formal Structure of Music ........... 9 Musicians .....................10 Music Instruction .................13 Berklee College of Music ..............15 Adult Learning ...................18 Andragogy ...................18 Self-Directed Learning ............19 Learning Styles ................20 Learning Strategies ..............22 Learning How to Learn .............25 The Reflective Practitioner ..........26 Problem Statement .................28 Purpose ......................29 Research Questions .................30 Competing Paradigms ................31 The Researcher In Context .............31 Statistical Analysis Used .............35 II. REVIEW OF THE LITERATURE ..............37 Learning Styles ..................37 Experiential Learning ...............42 Kolb’s Research ..................44 Learning Style Instruments .............46 The Group Embedded Figures Test ........48 The Myers Briggs Type Indicator ........49 The Canfield Learning Style Inventory ...49 The Gregorc Style Delineator .........50 The VARK Questionnaire ............51 The Grasha-Riechmann Student Learning Style Scales ..............52 The Multiple Intelligence Inventory ......53 The Study Process Questionnaire ........54 Learning Strategies ................55 Metacognition .................57 iv Metamotivation ................59 Memory ....................60 Critical Thinking ..............61 Resource Management ..............62 Learning Strategies Research ............63 Creativity .....................68 Models of Creativity .............69 Creativity Traits ...............72 Csikszentmihaly’s Research .............74 Adult Learning ...................81 Andragogy ...................86 Self-Directed Learning ............89 Learning How to Learn .............91 The Reflective Practitioner ..........93 Summary ......................96 III. METHODOLOGY ....................98 Design .......................98 Exploratory Research Method ......... 102 Quantitative Research Methods ........ 104 Qualitative Research Methods ........ 105 Paradigm Shifts ............... 112 Survey Methods ............... 116 Interview Methods .............. 119 Greenwood Jazz Hall of Fame ......... 123 Learning-Style Inventory ............. 124 Assessing The Learning Strategies of AdultS ... 130 Procedures .................... 134 Berklee College of Music .......... 134 Naturally-trained Musicians ........ 137 IV. QUANTITATIVE FINDINGS .............. 140 Demographics ................... 140 Learning Styles Profile ............. 142 Divergers .................. 143 Assimilators ................ 144 Accommodators ................ 145 Convergers ................. 146 Learning Style Demographic Differences ..... 146 Learning Style Inventory Continuous Scores .... 148 Learning Style Composite Scores ......... 150 Learning Strategies Profile ........... 154 Engagers .................. 155 Navigators ................. 157 Problem Solvers ............... 157 v Learning Strategy Comparisons .......... 158 Learning Styles and Strategies Relationships ... 161 Group Placement ............... 161 Continuous Measures ............. 163 Creativity Profile ................ 165 Creativity and Learning Strategies Relationships . 169 Creativity and Learning Style Grouping ...... 169 Groups and Creativity .............. 171 Extreme Passionate Feeling and Doing .... 174 Moderate Feeling and Watching ........ 175 Extreme Intensive Thinking and Watching .. 177 Moderate Thinking and Doing ......... 178 V. QUALITATIVE RESEARCH RESULTS ........... 182 Foundations of Creative Learning ......... 182 A Life In Music ................. 184 Collective Music Learning ............ 195 Church ................... 199 High School ................. 202 Bands and Choirs .............. 207 Teaching Creativity ............... 213 Creative Freedom .............. 220 Originality ................. 223 The Business of Music .............. 228 Experience ................. 234 Musical Emotions .............. 237 Drugs and Alcohol .............. 243 The Decision ................ 251 Traits of Creativity ............... 260 Inspiration ................. 260 Filtering .................. 263 The Creative Environment .......... 266 VI. CONCLUSIONS AND RECOMMENDATIONS: LEARNING STYLES AND LEARNING STRATEGIES .......... 271 Summary of the Study ............... 271 Summary of Findings ............... 275 Demographics ................ 275 Learning Style Preferences ......... 276 Learning Strategy Preferences ........ 278 Learning Strategy Comparisons ........ 279 Learning Style and Strategy Interactions .. 280 Learning Styles and Strategy Interactions with Creativity ............ 281 vi Learning Preference Groups and Creativity Responses ............... 283 Learning Styles ................. 285 Conclusions ................. 285 Recommendations for Learning Styles ..... 288 Learning Strategies ............... 293 Conclusions ................. 293 Recommendations for Learning Strategies ... 297 Learning Styles and Strategies Relationships ... 301 Conclusions ................. 301 Recommendations for the LSI and ATLAS Use .. 303 Creativity .................... 307 Conclusions ................. 307 Recommendations ............... 311 Creativity and Learning Strategy and Learning Style ............... 314 Conclusions ................. 314 Recommendations ............... 317 Groups and Creativity .............. 318 Conclusions ................. 318 Recommendations ............... 322 VII. THE FREEdom ROAD ................. 325 Introduction ................... 325 Creative Freedom ................. 327 FREEdom ..................... 331 Flexibility ................. 333 Resources .................. 337 Exploring Relationships ........... 338 Experience ................. 340 FREEdom Education for Adults ........... 343 Eduard C. Lindeman ............. 345 Paul Bergevin ................ 346 J.Roby Kidd ................. 347 Malcolm Knowles ............... 348 Myles Horton ................ 350 Paulo Freire ................ 351 Jack Mezirow ................ 352 Stephen Brookfield ............. 354 Robert M. Smith ............... 356 Summary ..................... 357 Creativity and Adult Education Relationships ... 358 Challenges ................. 359 Insight/Discovery .............. 361 Concentration ................ 363 vii Curiosity .................. 364 Feedback .................. 366 Motivation ................. 367 Enjoyment .................. 369 Problem-Solving ............... 370 Summary ..................... 374 REFERENCES .................... 378 APPENDICES ..................... 411 Appendix A - Consent Form ............ 412 Appendix B - Creativity Survey .......... 414 Appendix C - ATLAS Instrument .......... 417 Appendix D - Institutional Review Board Approval Form ..............
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