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Honours Thesis 1 RAISING THE MUSICAL SELF-EFFICACY OF CLASSROOM TEACHERS: BEST PRACTICE COLLABORATIVE STRATEGIES FOR VISITING ARTISTS Karen Cortez A thesis submitted in partial fulfilment of the requirements for the degree of Bachelor of Music (Music Education) (Honours), Sydney Conservatorium of Music, University of Sydney. 2020 2 Acknowledgments This paper and I owe our lives to so many people whose support and occasional eyerolls created such a deep sense of academic FOMO that I actually stuck with this project for two years just to see what Honours was like. I literally would have never done this without you. To my supervisor, Dr. Jennifer Rowley: Thank you for giving up your time to ride out my moments of (generally unfounded) panic, answer every list of questions with lists of answers, and for being in my corner, especially when times got COVID-y. Your guidance gave me the opportunity to develop myself as a reflecting practitioner. To all the wonderful music educators from the Sydney Conservatorium and beyond: You helped me grow from uncomfortable fence-sitter to happy parkour enthusiast in my identity as both teacher and artist. Your commitment to your students and your undying drive to better music education inspires us all. To my dear friends in Quart-Ed: Thank you for being the “yes” people whose mission to bring out the music in everyone was the foundation of this project. To my new friends at Banana School: Every student and teacher Quart-Ed will meet after our collaboration thanks you for your contribution to our professional growth. Thank you for spending your time and sharing your ideas and skills with us. To my proof-readers, David Tocknell, Caitlin Sandiford, and Lillian Li: The readers of this thesis and I thank you for taking the time to read my half-baked drafts. Thanks for taking one for the team. David, not only did you proofread my thesis, you helped me continually revise my self-belief and motivation with your unwavering encouragement and unbelievable patience. Thank you for finding the time and energy to bring me along to the finish line with you. Finally, to my parents: A sentence will never quantify how much you have done for me. Thanks for teaching me how to keep swimming through rough water, be it the perils of editing or the ever-constant pull to procrasti-bake. 3 Abstract This study aimed to investigate the collaborative possibilities of a modified single- visit format to support the musical self-efficacy of teachers. A “truncated” action research model (Cain, 2008) was used to demonstrate at a methodological level the importance of teacher involvement in this process. The ensemble Quart-Ed worked with four teachers from Banana School over the course of two collaborative meetings in preparation for delivering a program for their classes. Using interviews, fieldnotes, video recordings, and formal and informal reflection from all participants at every stage of the process, numerous strategies for positive teacher-artist collaboration were identified that increased musical self-efficacy or fostered a sense of ownership of the program. Some attempted strategies were less successful and modified versions are suggested for future cycles of action research. The results of this study suggest that the modified single-visit format has strong potential to positively impact teacher musical self-efficacy and is a possible solution for artists wishing to encourage the musical capabilities of the teacher with whom they interact. 4 Table of Contents Acknowledgments ................................................................................................................. 2 Abstract .................................................................................................................................. 3 Table of Contents .................................................................................................................. 4 List of Figures ............................................................................................................................... 7 List of Tables ................................................................................................................................. 8 Chapter 1: Introduction ........................................................................................................ 9 Motivation for Study ................................................................................................................................. 9 Aim of the Study ..................................................................................................................................... 10 Research questions .................................................................................................................................. 11 Key Terms ................................................................................................................................... 13 Chapter 2: Literature Review ............................................................................................. 16 Teachers and music education in NSW primary schools ........................................................................ 16 Music Education from Visiting Artists .................................................................................................... 17 Relationships and Collaboration .............................................................................................................. 17 Teachers’ Self-efficacy ............................................................................................................................ 18 Artists’ beliefs about education ............................................................................................................... 19 Current practices and findings on the single-visit collaboration ............................................................. 20 The need for teacher-artist collaboration ................................................................................................. 21 “Remusicalising” teachers with Small’s musicking ................................................................................ 21 Recent approaches to researching artist-teacher collaborations .............................................................. 22 Chapter 3: Methodology ..................................................................................................... 24 Qualitative Paradigm ............................................................................................................................... 24 Action Research ....................................................................................................................................... 24 Sampling Method .................................................................................................................................... 25 Participants .............................................................................................................................................. 26 Partington and Small ............................................................................................................................... 26 Data Collection ........................................................................................................................... 27 Planning Phase: Interviews ...................................................................................................................... 27 Acting Phase: Collaborative meetings and program delivery ................................................................. 27 Evaluating Phase: Closing interviews and questionnaire ........................................................................ 29 Reflecting Phase ...................................................................................................................................... 29 Data Analysis .............................................................................................................................. 30 Chapter 4: Findings ............................................................................................................ 32 5 Planning Phase: Interviews ....................................................................................................... 32 Musicality and musicking ................................................................................................................... 32 Expectations of interactions ................................................................................................................ 35 Preparation for next phase ....................................................................................................................... 38 Acting Phase: First Meeting ...................................................................................................... 39 Icebreaker activity ................................................................................................................................... 39 Freeform conversation ............................................................................................................................. 41 Contribution imbalances ..................................................................................................................... 41 Artists as assistants ............................................................................................................................. 42 Teachers as student advocates ...........................................................................................................
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