To-One Tertiary Classical Singing Lessons: a Collective Case Study
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Investigating participant values, beliefs and practices in one- to-one tertiary classical singing lessons: A collective case study Jessica O’Bryan Bachelor of Music, Graduate Diploma of Education, Master of Music A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of Music Abstract This project illuminates participant values, beliefs and practices in one-to-one tertiary classical singing lessons. The purpose was to explore with tertiary classical singing teachers and students their values and beliefs about singing teaching and learning and to explore their pedagogical practices, in order to generate new insights for those who work in the field. Values and beliefs of tertiary classical singing teachers are rarely scrutinized and there is little research that documents in situ pedagogical practices or interpersonal interactions between teacher and student. This study addresses the gap in the research literature. The project employed a qualitative collective case study through the theoretical lens of cultural psychology, within a constructivist paradigm. Participants included a purposeful selection of three eminent tertiary singing teachers at separate Australian institutions and a current singing student. Each case comprised one teacher and student dyad. There were three cases in all. The first phase generated data through semi-structured interviews, filmed singing lessons and examination of other artefacts. Initial interviews explored participants’ life experiences of singing and values and beliefs about singing teaching and learning. The teaching and learning practices and interpersonal interactions of each dyad were then filmed in a semester-long singing lesson series. One year later video-prompted second interviews interrogated interpretations of the learning and teaching events and explored current developments of each participant. The second phase was the analysis. Using narrative inquiry methods to analyse the filmed singing lessons, excerpts of certain learning and teaching events and interpersonal interactions were then transcribed. Using narrative inquiry methods, the video data, interview data and other artefacts were then analysed in three narrative accounts. Findings were verified through repeated member checks of the video data and narrative accounts. The discussion chapter then analysed each case using case study methods, based on cultural psychology theories and the substantive theory. Three characteristics emerged: pedagogy, environment, and relationship. From these characteristics five themes common across all cases were discussed: identity, dispositions and attributes, pedagogy, relationality, and community. Broad findings indicate values and beliefs of the three singing teachers were informed by their experiences in singing performance, learning singing and the 2 culture of classical singing training, within both their institution and the wider culture of classical singing. Each teacher believed that a real, or natural voice was important but that a solid technical foundation was imperative to maintain a classical singing career. They showed extensive knowledge and understanding of current research in voice science, but were also knowledgeable about historical practices. The teacher values, beliefs and practices that supported student learning included: use of pedagogy uniquely shaped for the student, empathetic trust and care, mentorship, and networking beyond the confines of the music institution. Each teacher wished to provide their students with the necessary craft skills, dispositions and attributes to pursue a professional career. Each teacher framed their teaching and learning practices through an ethic of responsibility and care but believed the student needed to be respectful and take responsibility for their learning. The three students were encouraged to be independent, autonomous learners. They described their teacher’s experience, skills and knowledge as being integral to their vocal development and described the importance of their teacher’s care and emotional support. Students revealed a common desire to succeed in their lessons and to please their teachers, however the two students who set specific goals and adopted a classical singer identity appeared to achieve greater mastery over their instrument than the student who did not. Students believed they were their instrument and that identifying as a singer was fundamental to their sense of self. Clear communication between teachers and students appeared to be vital for student self-efficacy. In two cases, students’ intrinsic motivation and capacity for self- directed practice appeared to be positive attributes for effective learning. Teachers and students seemed to work best when personalities were aligned, a common pedagogical language was shared, and when respect, care and trust were evident between them. An emergent finding was the tacit role of institutional values and structures in shaping the participants’ teaching and learning practices. While a master / apprentice approach was evident within the one-to-one lesson, two teachers and their students functioned well within a supportive music institution while one dyad struggled to function within their institutional setting. Implications for future research include investigating the transition of classical singing students from graduation to career. Another research strand is to explore gender issues in the one-to-one tertiary music lesson. Further research of Australian tertiary music teachers across a range of musical genres may ascertain the level of 3 institutional and personal support for professional development in pedagogy. A comparative study of the values and practices of tertiary music institutions in different countries is now recommended to ascertain their impact on student training. Finally, research is recommended to ascertain how the values and practices of tertiary music institutions support teachers and their pedagogical approaches to enhance student learning. 4 Declaration by author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly-authored works that I have included in my thesis. I have clearly stated the contribution of others to my thesis as a whole, including statistical assistance, survey design, data analysis, significant technical procedures, professional editorial advice, and any other original research work used or reported in my thesis. The content of my thesis is the result of work I have carried out since the commencement of my research higher degree candidature and does not include a substantial part of work that has been submitted to qualify for the award of any other degree or diploma in any university or other tertiary institution. I have clearly stated which parts of my thesis, if any, have been submitted to qualify for another award. I acknowledge that an electronic copy of my thesis must be lodged with the University Library and, subject to the General Award Rules of The University of Queensland, immediately made available for research and study in accordance with the Copyright Act 1968. I acknowledge that copyright of all material contained in my thesis resides with the copyright holder(s) of that material. Where appropriate I have obtained copyright permission from the copyright holder to reproduce material in this thesis. 5 Publications during candidature Journal articles and book chapters O’Bryan, J. (in press). We ARE our instrument! Forming a singer identity. Article. Research Studies in Music Education. Harrison, S.D. & O’Bryan, J. (Eds.) (2014). Teaching Singing in the 21st Century. Dordrecht, The Netherlands: Springer. doi:10.1007/978-94-017-8851-9 Harrison, S. & O’Bryan, J. (2014). The future of singing teaching in the twenty-first century. In S. Harrison & J. O’Bryan (Eds.), Teaching singing in the twenty- first century (pp. 411–413). Dordrecht, The Netherlands: Springer. doi:10.1007/978-94-017-8851-9 O’Bryan, J. (2014). Habits of the mind, hand and heart: Approaches to classical singing training. In S. Harrison & J. O’Bryan (Eds.), Teaching singing in the twenty-first century (pp. 21–34). Dordrecht, The Netherlands: Springer. doi:10.1007/978-94-017-8851-9 O’Bryan, J. & Harrison, S. D. (2014). Positioning singing pedagogy in the twenty- first century. In S. Harrison & J. O’Bryan (Eds.), Teaching singing in the twenty-first century (pp. 1–12). Dordrecht, The Netherlands: Springer. doi:10.1007/978-94-017-8851-9 O’Bryan, J. (2010). Eminent singers’ recollections of learning to sing: the importance of “fit” between singer and singing teacher. In S. Harrison (Ed.), Perspectives on Teaching Singing: Australian Vocal Pedagogues Sing Their Stories. Bowen Hills, QLD: Australian Academic Press. Presentations O’Bryan, J. (2013). Singing student identity: the values, beliefs and practices of tertiary singing students. Paper. Brisbane, QLD: International Congress of Voice Teachers. O’Bryan, J. (2013). Rethinking the art of apprenticeship: a case study of tertiary one- to-one music teaching in the conservatoire. Paper. Exeter, UK: Rime 3. O’Bryan, J. (2012). One-on-one or group music lessons? Rethinking a signature pedagogy. Poster. Thessaloniki, Greece: ISME Research Commission. Harrison, S., & O’Bryan, J. (2012). One-to-one teaching: parallels and paradoxes in approaches to studio teaching and research supervision.