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Justification for the study
Many scholars have noted that education and specifically individual music teaching have expressed a need for new trends and development because of both the current world teachers and students live in and their worldviews (Burke 2005; Garcia 2002; Miller 2007; Usher and Edwards 1994:1-2, 7-8; Watson- Gegeo 2005:43-44; Williams 2001:115 and Zimmer et al 2004). Coil (2000:8-9) explains that teachers so often take the ‘rear view mirror’ approach in that the educational process is treated in the same way as when one has been picked up on a radar going too fast. Teachers in general look backwards to their role models and try to do the things that have worked in the past. The author sides with Coil in that the same behaviour patterns in my teaching started to occur before this study was launched.
My current thinking is not based on formal data obtained by questionnaires, but by observations in my own teaching and that of other music teachers in private music practices as well. This urged me to select and research the thesis topic chosen. It is very important to adapt to the attitude that “excellent teachers will be lifelong learners” (Coil 2005:9). Change has always been part of the human condition and it will continue occurring at an evermore rapid pace throughout the 21st century. Current life forces teachers, at least to a certain extent, to keep up with technology, new methods of teaching and learning, using creative teaching materials and a holistic approach to students. If these demands are not kept up with both teachers and their students will become more and more under- and unemployed because of a lack of relevant skills (Coil 2000:9; Gaunt 2010:202; Odam 1992:161 and Rigg 2008:112). However, most private/studio music teachers who come to such awareness will not have access to the material in and services of an academic library, and this motivated the writer to condense what she was privileged to have access to. Coil (2005:12) defines the four essential keys for successful teaching and learning in the 21st century as Flexibility, Resources.
Choices and Planning. Each of these key ideas moves away from the 19th and 20th century ‘fixed idea’ mode of everyone learning and doing much at the same time to the information age model of individualized lifelong learning. Teachers having openness and vision in their teaching approach will foster higher-level thinking abilities in their students (provided a connection is first made). If teachers are to structure their teaching in ways that enhance critical and creative thought this should achieve increasing success amongst students. Growing awareness of the above aspects of teaching stimulated the writer in searching for an appropriate theoretical framework from which to function. Postmodernism embraces many approaches and insights without putting any limitations on where things begin and end (Beck 1993). I believe I have been something of a postmodernist most of my life, even before my exposure to postmodernist writings. As research continued, I increasingly realized that aspects I was addressing in this study were connected to a postmodern orientation/worldview.
The aim of this thesis was not to arrive at a specific teaching philosophy, but to research and consider the application of various aspects relating to teaching, thus creating an awareness for music teachers that students should not be labelled as first perceived before all aspects relating to the child as a whole have not been taken into account. Engaging in this endeavour, open-ended possibilities may exist that certain teaching aspects (like having goals for lessons and working with a lesson plan in mind) may be more fixed, but other aspects (as to how and through which means this could be achieved) can be less calculated as they depend on the student-teacher interaction.
Table of Contents :
- Abstract
- Key words
- Acknowledgements
- List of Figures
- Chapter Introduction
- 1.1 Justification for the study
- 1.2 Research questions
- 1.3 Aims of the study
- 1.4 Research methods
- 1.5 Methods for data collection
- 1.5.1 Literature review
- 1.5.2 Developmental research
- 1.5.3 Grounded theory research
- 1.5.4 Auto-ethnographic research
- 1.6 Theoretical orientation of the study
- 1.7 Layout of the study
- 1.8 Delimitations of the study
- 1.9 Notes to the reader
- Chapter Literature survey
- 2.1 Introduction
- 2.2 Shifts in thought relevant to music teachers in the 21st century
- 2.2.1 Shifts in humanistic trends
- 2.2.2 Shifts in cognitive trends
- 2.2.3 Philosophical trends that influence teachers’ current world views and teaching
- 2.2.4 Relevant views on perception
- 2.2.5 Biological and aesthetic concepts
- 2.3 Examining learning and teaching styles
- 2.3.1 Learning styles
- 2.3.2 Teaching styles
- 2.3.3 The integration of learning and teaching styles
- 2.4 Exploring brain profiles and personality types
- 2.5 Perspectives relevant to Multiple Intelligences
- 2.6 Transformative learning
- 2.7 Flow
- Chapter Trends in thought, frameworks and concepts relevant to music teachers in the 21st century
- 3.1 Introduction
- 3.2 Relevant psychological developments
- 3.2.1 Humanistic trends
- 3.2.1.1 The concept of Holism in teaching and learning
- 3.2.1.2 The shift from the parts to the whole
- 3.2.1.3 The shift from analysis to context
- 3.2.1.4 The shift from objects to relationships
- 3.2.1.5 The shift from hierarchies to networks
- 3.2.1.6 Understanding Holism in relation to Postmodernism
- 3.2.2 Cognitive trends
- 3.2.2.1 Cognitive behavioural trends
- 3.2.2.2 Cognitive orientation to learning
- 3.2.2.3 Gestalt psychology
- 3.3 Relevant philosophical developments
- 3.3.1 The modern world view
- 3.3.2 Modernism and its influence on methods of music teaching
- 3.3.3 Postmodernism and its influence on methods of music teaching
- 3.3.4 Tendencies describing Modernism and Postmodernism
- 3.4 Relevant developments in perception
- 3.4.1 Views on perception
- 3.4.2 What is perception?
- 3.4.3 What influences perception?
- 3.4.4 Perception from a psychological and philosophical perspective, applied to music teaching
- 3.5 The challenges of learning and teaching in the 21st century
- 3.5.1 How to keep students interested in music
- 3.5.2 How to keep up, as teacher, with new developments in a high-paced society
- 3.5.3 General considerations concerning the challenges of music teaching in the
- 21st century
- 3.5.3.1 The Adaptor
- 3.5.3.2 The Communicator
- 3.5.3.3 The Learner
- 3.5.3.4 The Visionary
- 3.5.3.5 The Leader
- 3.5.3.6 The Model
- 3.5.3.7 The Collaborator
- 3.5.3.8 The Risk taker
- 3.6 Biological concepts relevant to music teaching
- 3.6.1 Creativity
- 3.6.2 Preference
- 3.6.3 Self image
- 3.6.4 Emotion
- Chapter Learning and teaching styles
- 4.1 Introduction
- 4.2 What are learning styles?
- 4.3 Aspects influencing learning and teaching styles
- 4.4 Types of learners
- 4.4.1 The Visual Learner
- 4.4.2 The Aural Learner
- 4.4.3 The Kinesthetic Learner
- 4.5 Learning types considered in the music teaching context
- 4.6 Learning style models
- 4.6.1 Herrmann Brain Dominance Instrument (HBDI)
- 4.6.2 Using the whole-brain in teaching and learning
- 4.7 Flow experiences in learning, teaching and motivation
- 4.8 Transformative learning theory
- 4.9 Motivation
- 4.9.1 Defining motivation
- 4.9.1.1 Intrinsic motivation
- 4.9.1.2 Extrinsic motivation
- 4.9.2 Theories that influence motivation
- 4.9.2.1 Entity theories
- 4.9.2.2 Incremental theories
- 4.9.2.3 Social cognitive theories
- 4.9.3 Aspects that influence pupils’ motivation positively or negatively
- 4.9.4 Addressing the unmotivated student
- 4.9.4.1 Recognizing poor motivation
- 4.9.4.2 Addressing poor motivation
- 4.9.4.3 Limitation of activities at an early age
- 4.9.5 The validity of motivation in teaching and learning music in the 21st century
- Chapter Brain profiles and personality types
- 5.1 Introduction
- 5.2 Overview of different areas of the human brain relevant to learning
- 5.2.1 Cerebrum
- 5.2.2 Cortexes in the brain
- 5.2.3 Limbic system
- 5.2.4 The internal structures of the brain
- 5.2.4.1 The Hindbrain
- 5.2.4.2 The Neocortex
- 5.3 Whole-brain learning and teaching
- 5.4 Out-of-the-box thinking and teaching
- 5.5 Personality types
- 5.5.1 Understanding the terminology
- 5.5.2 Carl Jung’s eight personality types
- 5.5.3 The importance of personality type towards understanding transformative learning
- 5.6 Myers-Briggs Type Indicator
- 5.6.1 The preferences
- 5.6.2 Type dynamics
- 5.7 Personality and temperament
- 5.8 Temperament and its subdivisions explained
- 5.9 Role dynamics
- 5.10 Understanding the influences of brain profiles and personality types on teaching music in the 21st century
- Chapter Multiple intelligences
- 6.1 Introduction
- 6.2 Theories of intelligence
- 6.2.1 Charles Spearman: General intelligence
- 6.2.2 Louis Thurstone: Primary mental abilities
- 6.2.3 Robert Sternberg: Triarchic theory of intelligence
- 6.3 The characteristics of intelligence
- 6.4 Intelligence and its subdivisions explained
- 6.5 Implementing the Theory of Multiple Intelligences in music teaching
- 6.5.1 Multiple Intelligences and music teachers
- 6.5.2 Multiple Intelligences: teachers and pupils
- 6.5.3 Using technology to teach to the Multiple Intelligences
- 6.6 Defining Emotional Intelligence
- 6.7 The important role of Emotional Intelligence in helping develop other
- intelligences
- 6.8 Key points in Multiple Intelligence Theory
- Chapter Conclusions & recommendations
- 7.1 Introduction
- 7.2 Answering the research questions
- 7.2.1 How can the understanding of aspects related to learning strategies in music expand teachers’ perceptions?
- 7.2.2 In selecting appropriate learning strategies for individual music pupils, how important are trends in thought, frameworks and concepts relevant to teaching music?
- 7.2.3 How relevant is the study of brain profiles, personality types and Multiple Intelligences in influencing teaching and learning styles in music?
- 7.2.4 How can intrinsic motivation be expanded in music teaching?
- 7.3 Strategies in addressing limitations in individual music teaching
- 7.4 Suggestions for rethinking and revisioning current teaching methods
- 7.5 Recommendations for dissemination of this research
- 7.6 Concluding remarks
- List of References
