Location of Repository

Peer assisted learning in the acquisition of musical composition skills

By Hilda Mugglestone

Abstract

The purpose of the study was to discover the effects of using peer assisted learning in acquiring skills in music composition. The ten criteria used for assessing the effects of peer assisted learning comprised six concerning social qualities and four relating to cognitive aspects of what might be learned from working and learning together. The research used both qualitative and quantitative methods, encompassing interviews with the teacher, questionnaires for the students and observation. The latter included a quantitative element. The research took place in the natural settings of timetabled music lessons in Year Seven at an English comprehensive secondary school. \ud \ud This peer assisted learning research is believed to be the only such project conducted entirely in the unadulterated classroom settings. The lessons followed the teacher’s choice of lesson material and the length of time normally allowed for lessons in that school. No changes in classroom organisation, timing, or for any other reason were requested by, or made for, the researcher. Each class was divided into groups whose size, ability and gender were determined by the teacher. From these groups, the teacher selected the three which were the focus of this research.\ud \ud All three of the sample groups showed some evidence of the beneficial effects of peer assisted learning socially and cognitively although this varied according to the children’s different ability levels. Peer assisted learning was found to be most successful where children were able to work together cohesively and communicate well, either verbally or musically. Most children either acquired new musical skills or enhanced those they already possessed through the use of peer assisted learning

Topics: X390 Academic studies in Education not elsewhere classified, W390 Music not elsewhere classified
Year: 2006
OAI identifier: oai:eprints.lincoln.ac.uk:2471

Suggested articles

Preview

Citations

  1. (1971). (2P nd P edition). Folk Music of Hungary. doi
  2. (1991). (2P nd P edition). Learning in Groups.
  3. (1992). (2P nd Pedition). Qualitative Research for Education.
  4. (1986). (3P rd P edition). Models of Teaching.
  5. (1999). (3P rd Pedition). Group Work: A Counseling Specialty.
  6. (1998). (4P th P edition). Statistical Tables, for students
  7. (2003). (4P th Pedition). Qualitative Research for Education.
  8. (1997). A comparison of two composer-guided large group compositional projects. doi
  9. (1964). A Concise History of Hungarian Music. London: Barrie and Rockliff.
  10. (1989). A field study of sixth-grade student’s creative music problemsolving processes.
  11. (2000). A Study of Children’s Understandings of Their Musical Improvisations. Unpublished Ph.D. Thesis.
  12. (1988). A theory of teaching as assisted performance. doi
  13. (1989). A Time Analysis of the Compositional Processes Used by Children Ages 7 to 11. doi
  14. (1998). Advantages and Disadvantages of Peer-Assisted Learning Strategies.
  15. (1996). An analysis of children’s construction of new knowledge through their use of reasoning and arguing in classroom discussions. doi
  16. (2000). An empirical investigation of the social and musical processes involved in children’s collaborative compositions. A proceedings paper with a report on two studies.
  17. (1996). An introduction to Vygotsky. doi
  18. (2002). An investigation of children’s musical collaborations: the effect of friendship and age. doi
  19. (2000). APPENDIX 2: National Curriculum attainment target for music Key Stage Three. (Department of Education and Skills,
  20. (1990). Apprenticeship in thinking: Cognitive development in social context. doi
  21. (1986). Aspects of teaching and learning.
  22. (2000). Better Book Buddies.
  23. (1991). Breakthroughs and blockages in ethnographic 212 research: Contrasting experiences during the Changing Schools project.
  24. (1955). Carl Orff. London: Calder and Boyars.
  25. (1999). Case Study Research in Educational Settings.
  26. (1996). Children’s aesthetic decision-making: an analysis of children’s musical discourse as composers. doi
  27. (2002). Children’s collaborative creative process in the music classroom.
  28. (2000). Children’s collaborative music composition: Communication through Music.
  29. (1990). Children’s Communication.
  30. (2000). Children’s creative collaborations: the importance of friendship when working together on a musical composition. doi
  31. (1978). Children’s Minds. doi
  32. (1994). Children’s strategies for solving compositional problems with peers. doi
  33. (1991). Classroom Nonverbal Communication. doi
  34. (1996). Classroom Research.
  35. (2004). Collective music making: observing early childhood collaborators.
  36. (1990). Computer based learning: the social dimensions.
  37. (2004). Constructions of jazz: how jazz musicians present their collaborative music practice. Paper presented at the Society for Education Music and Psychology (SEMPRE) Conference. Milton Keynes.
  38. (2004). Creative collaboration’: exploring the teaching-learning relationship in music composition .Paper presented at the Society for Education, Music and Psychology Research (SEMPRE) Conference. Milton Keynes.
  39. (1996). Creativity: flow and the psychology of discovery and invention. doi
  40. (1991). Dalcroze Today.
  41. (2004). Democracy and peer collaboration in creative music making. Paper presented at the Society for Education, music and
  42. (1982). Discovering Music. Developing the Music Curriculum in Secondary Schools. London: Batsford Academic and Educational Limited.
  43. (1998). Disruptive Students as Tutors: A Systems Approach to Planning and Evaluation of Programs.
  44. (1987). Doing your research project. Milton Keynes:
  45. (1991). E621 Methodology Handbook. Milton Keynes:
  46. (1987). Education and Music. doi
  47. (2000). Education and Skills. doi
  48. (1993). Educational Research: Current Issues. doi
  49. (1976). Emile Jaques-Dalcroze. In doi
  50. (2003). Ethnography for Education.
  51. (1965). Folk and Traditional Music of the Western Continents. doi
  52. (1993). Frames of Mind.
  53. (1966). Genesis of the Higher Mental Functions. doi
  54. (2000). Grounded Theory. Objectivist and Constructivist Methods. In doi
  55. (1997). Group Communication. doi
  56. (2004). Group creativity: musical performance and collaboration. (Keynote Presentation). Paper presented at the Society for Education, Music and Psychology (SEMPRE) Conference. Milton Keynes.
  57. (1993). Group Work in Schools.
  58. (1927). Hary Janos Suite. (music score) London: Universal Edition.
  59. (1997). How do children make music? Composition in small groups.
  60. (1999). Into Different Worlds: Children’s Experience of Musical Improvisation and Composition. Unpublished Ph.D. Thesis.
  61. (1998). Introduction to peer assisted doi
  62. (1999). Is Everyone Musical?
  63. (1997). Joining In. An Investigation into Participatory Music. London: Calouste Gulbenkian Foundation. doi
  64. (1992). Joint involvement episodes as context for development.
  65. (1988). Language and Literacy. doi
  66. (1991). Learning to Think.
  67. (1987). Letting them get on with it. In
  68. (1983). Living School Music. Cambridge: doi
  69. (1995). Making Sense of Music. Foundations for Music Education. doi
  70. (1995). Managing Groupwork.
  71. (1983). Measuring the developmental features of moral discussion.
  72. (1986). Metamagical Themes: questing for the essence of mind and pattern. doi
  73. (1978). Mind in Society: The development of higher psychological processes. doi
  74. (1997). Music as Culture. Based on Action for change in Music Education. The May Day Group.
  75. (1996). Music Education Before the National Curriculum. doi
  76. (1997). Music Education. Historical Contexts and Perspectives.
  77. (2004). Music in collaboration: scaffolding in applied music lessons and the ensemble rehearsal. Paper presented at the Society for Education, Music and Psychology (SEMPRE) Conference. Milton Keynes.
  78. (1979). Music in the Comprehensive School.
  79. (1982). Music in the Secondary School Curriculum. Cambridge:
  80. (2000). Musical conversations: collaborating with a friend on creative tasks.
  81. (1994). Musical Knowledge. doi
  82. (2002). Musical motivation: towards a model synthesising the research. doi
  83. (1985). Naturalistic Inquiry. doi
  84. (1996). Onward from Butler. School Music 1945-1985. doi
  85. (1998). Painting a Big Soup: Teaching and Learning in a Second-Grade Music Classroom. doi
  86. (2004). Paper presented at the Society for Education, Music and Psychology (SEMPRE) Conference. Milton Keynes.
  87. (1995). Peer Assisted Learning and Raising Standards.
  88. (1998). Peer Assisted Learning. New jersey: Lawrence Earlbaum Associates Inc.
  89. (1998). Peer Assisted Learning. New Jersey: Lawrence Erlbaum Associates Inc:.
  90. (2004). Personalising learning –2. Joint publication, Specialist Schools Trust and Secondary Heads Association. Dartford: Dexter Graphics.
  91. (1991). Piaget, teachers and education: into the 1990s.
  92. (1989). Primary Teachers Talking. A reflexive account of longitudinal research.
  93. (1976). Problems of sociological fieldwork: A review of the methodology of Hightown Grammar. In
  94. (1996). Psychology in a social world.
  95. (1990). Qualitative evaluation and research methods. doi
  96. (1989). Reconstructing context: the conventionalisation of classroom knowledge. doi
  97. (1991). Reflections on young children learning. doi
  98. (1989). Research and the teacher.
  99. (1998). Researching children’s compositional processes and products: connections to music education practice?
  100. (1991). Researching Common Knowledge: Studying the content and context of educational discourse.
  101. (1999). Researching Education.
  102. (1990). Researching lived experience. NY:
  103. (1991). Researching the City Technical College, Kingshurst. In doi
  104. (1993). Self-doubt and soft data: social and technical trajectories in ethnographic fieldwork. doi
  105. (1978). Sharing Sounds .London:
  106. (2000). Sixth grade students’ descriptions of their individual and collaborative music composition processes and products initiated from prompted and unprompted task structures.
  107. (1989). Social context effects in learning and testing.
  108. (1976). Some Great Music Educators.
  109. (1998). Songs in their Heads. doi
  110. (1970). Sound and Silence. Cambridge:
  111. (1999). Teacher control and creativity. doi
  112. (2001). Teaching for musical understanding.
  113. (1983). Teaching for the Two Sided Mind.
  114. (1992). Technique and performing practice. doi
  115. (1976). The Antiquity of Modern Educational Ideas.
  116. (1990). The Assessment of Composition: Style and Experience. In doi
  117. (1999). The Disciplined Mind: What All Students Should Understand. doi
  118. (1992). The fundamentals of violin playing and teaching. doi
  119. (1991). The Joint Socialization of Development by Young Children and Adults. doi
  120. (1985). The Musical Mind. doi
  121. (2000). The nature of shared musical understanding and its role in empowering independent musical thinking.
  122. (1992). The pedagogical literature. doi
  123. (1998). The Psychoeducational Basis of Peer Assisted Learning.
  124. (1993). The social psychology of creativity: the importance of peer social processes for students’ academic and artistic creative activity in classroom contexts.
  125. (1999). The Voices Foundation. doi
  126. (1990). The zone of proximal development as basis for instruction. doi
  127. (2000). Thought processes and strategies of students engaged in musical composition. doi
  128. (2001). United Kingdom. doi
  129. (1993). Use of Drama.
  130. (1986). Vicker’s Concept of an Appreciative System: A Systemic Account.
  131. (1985). Vygotsky: A historical and conceptual perspective.
  132. (2004). What does it mean to compose collaboratively and creatively when using music technologies? Paper presented at the Society for Education, Music 209 and Psychology (SEMPRE) Conference. Milton Keynes.
  133. (2006). Writing and presenting research. doi
  134. (1964). Zoltan Kodaly. doi
  135. (1962). Zoltan Kodaly. His Life and Work. London: Collet’s Holdings Limited. doi

To submit an update or takedown request for this paper, please submit an Update/Correction/Removal Request.