![]() 18) to participate in interviews about their experiences. , who had previously expressed strong opinions about the project, or who otherwise thought would be able to provide important context” (p. After the performance, students completed a reflection form, and then Haning chose six students (two from each voice part) who had taken on a “visible leadership role. Whenever the students worked on the piece, Haning did not provide direct instruction and instead observed the students. He allowed the students to choose a piece to perform for their final concert and to spend time independently preparing the piece over a 2-month period. Haning conducted a case study of 29 students and himself in his own high school choral classroom. What are student and teacher perceptions of a collaborative, student-directed approach to learning in an ensemble setting, and what are the challenges or barriers to implementing such an approach? What did the researcher do? Update: Applications of Research in Music Education, 39(2), 15-24. “I didn’t know I could do that!”: Student and teacher perceptions of an independent choral music learning project. ARTICLE “Educate Our Advocates!” by Suzanne Burton.ARTICLE: “Lift the Hood and Get Dirty! A Closer Look at Informances” by Jill Reese.ARTICLE: “Both Performance and Informance: Not ‘Either-Or’ in Elementary General Music” by Mary Pautz.This can help parents and administrators see the depth and breadth of the curriculum by focusing more on the process of learning than the final product of a performance. Elementary music teachers might consider shifting to in-class performances or “informances,” in which students demonstrate classroom activities and show what they are learning in a smaller setting rather than simply putting on a large show. Performances can be a significant source of stress for elementary general music educators and may cause them to sacrifice time spent on student learning and accomplishing curricular goals. ![]() One participant explained, “Nobody understands what I’m actually doing. All three of the participants felt there was “a general lack of understanding, from people outside the general music program, of undertaking so many extra responsibilities in facilitating these performances” (p.In addition, “all participants discussed how their stress levels spiked the night of the performance, perhaps due to an overall lack of control in student, audience, or parent/guardian behavior” (p. For example, one participant was required to perform at the middle school due to lack of space at her elementary school, which was a source of stress. While all three felt they had control over selecting repertoire, they did not all have control over factors such as equipment and venues. For two of the three participants, performances were part of a supplemental contract, which dictated the number of performances required in a given school year. Participants expressed “concern about the degree of control they had over certain aspects of their students’ performances” (p.One participant said, “I feel like programs can take a little bit away from the curriculum that you’re trying to teach because they take so much time to put together and to get done to a level that you want to perform in front of people” (p. Balancing curriculum instructional time with performance preparation was a concern for all three participants. For example, one mentioned that she began preparing her students for a mid-February performance before Thanksgiving break. All three participants considered time management to be critical in performance preparation. They stressed the importance of planning performances well in advance, which included giving students enough time to learn the material.Potter identified three themes in response to the research questions. (Interviews took place over Zoom due to the COVID-19 pandemic.) Potter analyzed the interview transcripts through qualitative coding to identify themes in response to the research questions. She interviewed each participant two times over the course of two months. Potter conducted a multiple case study of three mid-career elementary general music teachers. What are elementary general music teachers’ perceptions of performance preparation and how do they perceive its impacts on their stress level? What did the researcher do? Update: Applications of Research in Music Education, 40(1), 36-44. Elementary general music performances and teachers’ perceptions of stress.
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