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An Exploration of a Student String Quartet As a Model of Cooperative Learning

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An Exploration of a Student String Quartet As a Model of Cooperative Learning View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sydney eScholarship AN EXPLORATION OF A STUDENT STRING QUARTET AS A MODEL OF COOPERATIVE LEARNING Laura Curotta 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. 2007 ABSTRACT This descriptive case study explores the functioning of a student string quartet during rehearsal. Through the theoretical lens of social constructivism, this study seeks to develop a meaningful interpretation of the phenomenon of student chamber music rehearsals. Using a qualitative methodology, this study employs the data collection techniques of non-participant observation, group and individual interview to construct a rich description of the interactions and processes which make up the participants’ rehearsal environment. The data indicate that rehearsals are a complex phenomenon and involve: the musical and social coordination of the group, an agreed sense of leadership, a regular rehearsal structure, and the group members’ individual and collaborative construction of meaning through verbal discussions. External factors, such as upcoming concerts and master classes, appeared to have a positive effect on the group’s perceived level of mental focus during rehearsals. The group’s democratic style of leadership was found to permeate most aspects of the rehearsal process, in particular their mutual construction of meaning. Comparisons are made with the similar functions, leadership and achievements of cooperative learning groups, leading to speculation about further educational implications of this study. ii ACKNOWLEDGEMENTS I would like to take this opportunity to thank the music education staff at Sydney Conservatorium of Music for their inspiration and mentorship throughout my degree. In particular, I would like to thank my conservatorium supervisor, James Renwick, for his guidance and support during my research process. The camaraderie between the music education students has created a fun and encouraging learning environment, and for this I am grateful. Finally, I would like to show my appreciation for the participants of my study whose generosity and enthusiasm made this research project possible. iii The audiences who listen to us cannot imagine how earnest, how petulant, how accommodating, how wilful is our quest for something beyond ourselves that we imagine with our separate spirits but are compelled to embody together. Vikram Seth An Equal Music iv TABLE OF CONTENTS ABSTRACT.................................................................................................................ii ACKNOWLEDGEMENTS ........................................................................................iii TABLE OF CONTENTS............................................................................................. v LIST OF FIGURES ...................................................................................................vii CHAPTER ONE: INTRODUCTION.......................................................................... 1 Outline of the study.............................................................................................. 2 The string quartet as a cooperative learning group .............................................. 3 Research context .................................................................................................. 4 Significance of study............................................................................................ 5 Definition of Terms.............................................................................................. 6 Thesis Outline ...................................................................................................... 6 CHAPTER TWO: REVIEW OF RELATED LITERATURE..................................... 7 Constructivist Learning............................................................................................ 7 Cooperative Learning in the Classroom................................................................... 8 Chamber Music Education..................................................................................... 12 Social and musical interaction in chamber music groups ...................................... 13 Leadership.......................................................................................................... 13 Musical Coordination......................................................................................... 15 Conclusion ............................................................................................................. 16 CHAPTER THREE: METHODOLOGY .................................................................. 18 Outline of the research design................................................................................ 18 The participants...................................................................................................... 19 Role of the researcher............................................................................................. 21 Procedure ............................................................................................................... 21 Video Observation ............................................................................................. 21 Group Interview ................................................................................................. 22 Individual Interviews ......................................................................................... 22 Method of data analysis ......................................................................................... 23 Video observations............................................................................................. 24 Combined Interview Data .................................................................................. 26 v CHAPTER FOUR: DISCUSSION OF RESULTS.................................................... 28 1. “Where should we go from?”: Rehearsal structure............................................ 28 Individual rehearsal structure............................................................................. 28 Long term rehearsal planning............................................................................. 31 Influence of organised tutorials.......................................................................... 32 2. “Everyone just has to be focused”: On-task behaviour...................................... 33 Group focus........................................................................................................ 33 Friendship........................................................................................................... 35 3. “What do you guys think?”: Group interaction.................................................. 36 Leadership.......................................................................................................... 36 Exchanges during verbal discussions................................................................. 38 Effects of repertoire on group interaction .......................................................... 41 4. “I don’t understand our role here”: Issues raised in rehearsal discussions ........ 43 Conclusion ............................................................................................................. 48 CHAPTER FIVE: CONCLUSION............................................................................ 49 Key Findings .......................................................................................................... 49 Educational Implications of the Research.............................................................. 52 Suggestions for Areas of Further Research............................................................ 54 REFERENCES........................................................................................................... 56 APPENDIX A ............................................................................................................ 61 Semi-structured group interview protocol ......................................................... 61 APPENDIX B ............................................................................................................ 62 Semi-structured individual interview protocol................................................... 62 APPENDIX C ............................................................................................................ 63 Confirmation of ethics approval ........................................................................ 63 vi LIST OF FIGURES Figure 1. Allocation of rehearsal time.................................................................... 30 Figure 2. Discussion themes of observed rehearsals ............................................. 44 Figure 3. Rehearsal 1 themes per individual ......................................................... 46 Figure 4. Rehearsal 2 themes per individual ......................................................... 47 vii CHAPTER ONE: INTRODUCTION Current Australian music education practices place emphasis on the acquisition of knowledge through student-centred learning activities. By engaging with music in the areas of performance, composition and listening, students become active in the learning process (Board of Studies NSW, 2003). Cooperative learning is a small group teaching technique that encourages active learning whereby
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