POSTER SESSION – FRIDAY, JANUARY 23, 2015
Kate Lennie Philp (Bloomfield Hills Schools), Inquiry Based Learning through Music Centers
Inquiry Based Learning can provide students with the op- portunity to explore a musical concept. When students are encouraged to develop their questions and ideas about a con- cept, an authentic experience for learning and understanding occurs. As an educator within the International Baccalaure- ate Programme I was challenged to think, “Where and how can I effectively increase student initiative and choice?” Mu- sic centers have been a new way to explore a concept within the music room. I have found that through music centers stu- dents can develop a deeper understanding of the music con- tent, as well as develop independent and collaborative skills. The purpose of this project was to get more information and develop an understanding of how students can be challenged through inquiry while interacting during music centers.
Inquiry Based Learning changes the focus from teacher- centered instruction to a student focus. Inquiry cycles can come in a variety of forms. The cycle of inquiry that res- onates best with my teaching style includes the following steps: connect and wonder, investigate, construct, express, and reflect. These steps fit with our experiences as musicians very authentically. Some of the benefits from an inquiry- based learning experience can include collaborative work, generating questions, setting goals, sharing information, and reflecting on the process. As musicians, part of our goal is to create, perform, evaluate, and reflect. A variety of centers in the music classroom can give students more time to explore a musical concept. Teachers have more time to check-in with students to see where they are in the learning process. Cen- ters in the music room can help differentiate instruction, and provide students with time to create, revise, and perform. Not only can students develop skills as an individual, they also begin to value ensemble skills. Through an inquiry-based approach, student musicians can make deeper connections to musical content. The students view themselves as active par- ticipants in the learning process. Inquiry-based classrooms allow for a unique culture of learning where more than one answer can be correct. Through evaluation and discussion, students can have a variety of viewpoints and possible out- comes to understanding a concept.
When students are given time to create, explore, and inquire, their learning and understanding becomes more authentic. This practice is different in the field of music education. A student driven and student centered approach gives students the chance to develop, create, and explore musical concepts as an individual and through collaborative processes.
Jared Rawlings (University of Michigan-Ann Arbor), Middle School Band Students’ Perceptions of Bullying
(See abstract under paper presentations)
Michael Hopkins (University of Michigan-Ann Arbor), Eighth-Grade Violinists’ Instrument Tuning Ability: A Comparison of Pitch Perception and Tuning Accuracy
The purpose of this study was to explore the relationship between eighth-grade violinists’ pitch perception and instru- ment tuning skill. The perceptual task was a researcher-de- veloped computer-based Violin Tuning Perception Test. The instrument tuning task involved tuning two violins, one mis- tuned flat and the other mistuned sharp.
Participants (N = 46) were enrolled at three middle schools in the Midwestern United States. A moderate relationship was found between participants’ perceptual accuracy and in- strument tuning accuracy (rs = .44, p < .002), with pitch per- ception scores significantly more accurate than instrument tuning scores (p < .001). Participants tuned the flat instru- ment more accurately than the sharp instrument (p = .05). An overall tendency toward flat tuning was found on both the perception and instrument tuning tests, with responses to items representing the G string the least accurate on both the perception and the instrument tuning tests. No relation- ships were found between participants’ rating of their tuning ability and their perceptual or instrument tuning accuracy, however, those who rated themselves as “excellent or good” required significantly less time to complete the instrument tuning test than those who rated themselves as “fair or poor” (p = .03).
Based on the criteria for tuning accuracy established in pri- or research, the findings from this study revealed that the eighth-grade violinists had high levels of perceptual accu- racy for pitch-matching and P5 interval tuning. Some re- searchers have not found a relationship between perception and production tasks, while others have found relationships of varying strength. As predicted by the pedagogical litera- ture in string education, a relationship between pitch percep- tion and instrument tuning accuracy was found in this study. However, only a moderate relationship was found. Scores on the instrument tuning tests were not as accurate as the pitch perception scores, suggesting that one or more aspects of the physical act of tuning the instrument may have inter- fered with accurate pitch perception. The findings suggest that when teaching students to tune a violin, teachers should place an emphasis on physical aspects of tuning the violin such as manipulating pegs and fine tuners while maintaining a bow stroke with even weight and speed. Greater attention to the physical demands of tuning a violin may help to im- prove instrument tuning accuracy.
39
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56