COACHING in APPLIED MUSIC EDUCATION: The Solution-Focused Approach to Practice and Performance by Bo Yon Koh A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Bo Yon Koh 2014 COACHING in APPLIED MUSIC EDUCATION: The Solution-Focused Approach to Practice and Performance Bo Yon Koh Doctor of Musical Arts Faculty of Music University of Toronto 2014 Abstract The shift towards student-centered learning has been one of the most significant developments in education in the twentieth century. Many research projects have studied the effectiveness of student-centered instruction in facilitating independent learning. In most private music education settings, however, the traditional culture of master teacher and apprentice roles still exists. This study began as an effort to introduce an environment for student-centered learning for advanced music students while respecting the existing culture in music schools. The client-centered approach in Solution-Focused Brief Therapy (SFBT) parallels many principles of student-centered learning. SFBT is an empirically developed intervention method from social work and counselling therapy disciplines that aims to create clients’ preferred future by focusing on strengths and solution precursors. In SFBT, unlike many other intervention models, practitioners assume the non-expert stance in their interaction with clients. SFBT provides the tools and framework to promote student-centered learning without imposing changes to the existing student-teacher relationship. ii Within the structure of the study, the researcher provided solution-focused private coaching sessions as well as facilitated peer group meetings over one academic semester for eighteen participants studying music performance at the university level. Five withdrew from the study mid-term. Of the thirteen that remained, ten completed all the requirements of the study. The research explores the participating students’ experience using primarily a qualitative method. The purpose of the research is to explore how students apply the solution-focused concepts and investigate its influence on students’ self-perception and learning. Students’ stories describing self-awareness, motivation, and confidence as well as practice productivity and performance strategies are presented in the data chapters. For quantitative data, pre and post- surveys were conducted to assess students’ perception on their own performance. Two detailed case studies are presented in this paper. At the conclusion of the research, participants displayed improvements in several areas, including confidence, productivity, and motivation. Several participants have reported successful audition results after the research concluded and credited their success to their experience in the research. The result of this study suggests that solution-focused coaching may be employed as an effective educational tool for advanced music students. iii Acknowledgments My entire journey through the DMA program, and especially this paper, would not have been possible without the support and guidance of many loving and dedicated people. My heartfelt appreciation goes to the following faculty members who enlightened me about music, pedagogy, and research. Dr. Midori Koga, your support and enthusiasm for my research even before I could articulate what I was trying to do gave me the confidence and motivation to follow through with the project. Thank you so much for all your thorough comments, edits, and motherly guidance. Ms. Lydia Wong, your mentorship throughout the last four years sustained me through many ups and downs of being in a DMA program. Thank you for accommodating me in every way possible and making sure I crossed the finish line. Dr. Lori-Anne Dolloff, your expertise in research was the guiding light when I felt lost and confused. Thank you so much for your generous support and guidance. I would also like to thank two unforgettable companions: Min-Jeong Koh and Haesun Moon. I feel deeply privileged for our friendship and the journey we shared. Min-Jeong, I don’t think I would have even applied for this program if it weren’t for you. Thank you for being my partner in crime all these years. You are the best sister! Haesun, thank you for introducing me to the world of SFBT. Without you, this project wouldn’t have been born. Thank you for countless thought-provoking conversations we shared in our car rides, lunches and dinner as well as for being the second eye to my research. Your input fueled and crystalized so many steps throughout this process. Last but not least, I would like to thank the participants of this research. I am grateful to every one of you who gave your time so generously and shared your life so freely. It was an honor to witness your journey and growth as musicians and I learned a lot about who I was as a student, teacher, and a musician through our conversations. Thank you for making this study possible and memorable. iv I would like to dedicate this paper to my parents, Ki Bong Koh and Kyung Chul Koh, who I know will be holding a copy of this paper dear to their heart. Mom and Dad, thank you for your infinite love and support. I’m indebted to you for everything you’ve done, from taking me to my first piano lesson to cooking and doing the dishes so I can concentrate on writing this paper. I love you. v Table of Contents Acknowledgments .................................................................................................................................. iv Table of Contents ................................................................................................................................... vi List of Tables ........................................................................................................................................... x List of Appendices ................................................................................................................................. xi Prelude .................................................................................................................................................... xii Chapter 1 ................................................................................................................................................. 1 1 Introduction ...................................................................................................................................... 1 1.1 Journey Through Music ........................................................................................................................ 1 1.2 Solution-Focused Brief Therapy ......................................................................................................... 2 1.3 Inquiry ...................................................................................................................................................... 3 1.4 Research Questions ................................................................................................................................ 5 Chapter 2 ................................................................................................................................................. 7 2 Getting to Know Solution-Focused Brief Therapy ................................................................... 7 2.1 Background .............................................................................................................................................. 7 2.2 Problem Solving vs. Solution Building ............................................................................................... 8 2.3 Solution-Focused Perspectives ............................................................................................................. 9 2.3.1 Client & Coach ................................................................................................................................................ 10 2.3.2 Change & Preferred Future .......................................................................................................................... 11 2.3.3 Solution & Problem ........................................................................................................................................ 12 2.4 Solution-Focused Lexical Choice ..................................................................................................... 13 2.4.1 Simple and Powerful Words ........................................................................................................................ 14 2.5 Solution-Focused Questions .............................................................................................................. 15 2.5.1 Outcome Questions ........................................................................................................................................ 15 2.5.2 Exceptions Questions ..................................................................................................................................... 16 2.5.3 Coping Questions ............................................................................................................................................ 17 2.5.4 Scaling Questions ............................................................................................................................................ 17 2.5.5 Relationship Questions .................................................................................................................................