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Konsten att ge feedback I ensemble och till ensemblesångare - en kvalitativ studie om ensemblelärares arbete med feedback på estetiska programmet

Juhlin, Isabelle LU (2018) LAMP72 20181
Malmö Academy of Music
Abstract (Swedish)
Under många år av studier inom musik har jag som sångare upplevt att jag sällan får samma konkreta feedback som andra instrumentalister i ensemblesammanhang. Många sångare med liknande erfarenheter verkar ha upplevt samma sak. Flera studiekamrater vid Musikhögskolans lärarutbildning anser även att det finns en utbredd problematik i bristen på undervisning i hur man som framtida lärare bör ge feedback till elever i undervisningssyfte.
Utgångspunkten i denna studie var att undersöka hur ensemblelärare arbetar med feedback i ensemble på estetiska programmets musikinriktningar. Syfte var att kartlägga hur ensemblelärare på gymnasiets estetiska program arbetar med feedback, vilken typ av feedback som ges generellt samt hur lärarna ger... (More)
Under många år av studier inom musik har jag som sångare upplevt att jag sällan får samma konkreta feedback som andra instrumentalister i ensemblesammanhang. Många sångare med liknande erfarenheter verkar ha upplevt samma sak. Flera studiekamrater vid Musikhögskolans lärarutbildning anser även att det finns en utbredd problematik i bristen på undervisning i hur man som framtida lärare bör ge feedback till elever i undervisningssyfte.
Utgångspunkten i denna studie var att undersöka hur ensemblelärare arbetar med feedback i ensemble på estetiska programmets musikinriktningar. Syfte var att kartlägga hur ensemblelärare på gymnasiets estetiska program arbetar med feedback, vilken typ av feedback som ges generellt samt hur lärarna ger feedback specifikt till sångare. Studien utfördes genom kvalitativa intervjuer med fyra verksamma ensemblelärare och genom en dokumentanalys av ensemblelärarnas skriftliga omdömen eller bedömningsmatriser.
Det huvudsakliga resultatet visar en stor variation i hur lärarna ger feedback till sina elever. I denna studie var den vanligaste metoden formativ feedback både muntligt och i skrift. Ensemblelärarna använde sig även till stor del av positiv feedback i form av beröm för ansträngning samt självbedömning och kamratbedömning. Den feedback som ges till sångare tenderar vara mer positiv och berömmande, då några lärarna anser att sång som inomkroppsligt och solistiskt instrument är känsligare att kommentera. (Less)
Abstract
During my many years of music studies, I – as a singer – have rarely felt as though I receive the concrete feedback other instrumentalists get in the context of an ensemble class. Many singers with a similar background as myself seem to have experienced the same thing. Several peers at the Teacher’s Programme of Malmö Academy of Music also consider it problematic that there’s a lack in training regarding giving feedback.
The starting point in this study was to examine how ensemble teachers provide feedback at the Music Programme in high schools. The motive was to map out what type of feedback that is generally given, how the feedback is provided, as well as how the teachers provide feedback specifically to singers. The study was conducted... (More)
During my many years of music studies, I – as a singer – have rarely felt as though I receive the concrete feedback other instrumentalists get in the context of an ensemble class. Many singers with a similar background as myself seem to have experienced the same thing. Several peers at the Teacher’s Programme of Malmö Academy of Music also consider it problematic that there’s a lack in training regarding giving feedback.
The starting point in this study was to examine how ensemble teachers provide feedback at the Music Programme in high schools. The motive was to map out what type of feedback that is generally given, how the feedback is provided, as well as how the teachers provide feedback specifically to singers. The study was conducted through qualitative interviews with four active ensemble teachers, and through a documentary analysis of the teachers’ written reviews or assessment matrices.
The primary results of the study show that there is a significant variation in the participating teachers use to give feedback to their students. There was no distinguishable model for how this should be accomplished. In this study, the most common method was shown to be formative feedback provided both orally and in writing. The ensemble teachers mainly used positive feedback in the form of
praise for efforts and relied partly on self assessment and peer assessment. Feedback given to singers tend to be more positive and laudatory, since some teachers consider vocals – as an in bodily and soloist instrument – to be more personal and therefore sensitive to critique. (Less)
Please use this url to cite or link to this publication:
author
Juhlin, Isabelle LU
supervisor
organization
course
LAMP72 20181
year
type
H3 - Professional qualifications (4 Years - )
subject
keywords
Bedömning, ensemble, estetiska programmet, feedback, musikpedagogik, sång, utbildningsvetenskap assessment, educational science, high school, music education, vocals, music programme
language
Swedish
id
8950109
date added to LUP
2018-06-19 16:17:10
date last changed
2018-06-19 16:17:10
@misc{8950109,
  abstract     = {During my many years of music studies, I – as a singer – have rarely felt as though I receive the concrete feedback other instrumentalists get in the context of an ensemble class. Many singers with a similar background as myself seem to have experienced the same thing. Several peers at the Teacher’s Programme of Malmö Academy of Music also consider it problematic that there’s a lack in training regarding giving feedback.
The starting point in this study was to examine how ensemble teachers provide feedback at the Music Programme in high schools. The motive was to map out what type of feedback that is generally given, how the feedback is provided, as well as how the teachers provide feedback specifically to singers. The study was conducted through qualitative interviews with four active ensemble teachers, and through a documentary analysis of the teachers’ written reviews or assessment matrices. 
The primary results of the study show that there is a significant variation in the participating teachers use to give feedback to their students. There was no distinguishable model for how this should be accomplished. In this study, the most common method was shown to be formative feedback provided both orally and in writing. The ensemble teachers mainly used positive feedback in the form of
praise for efforts and relied partly on self assessment and peer assessment. Feedback given to singers tend to be more positive and laudatory, since some teachers consider vocals – as an in bodily and soloist instrument – to be more personal and therefore sensitive to critique.},
  author       = {Juhlin, Isabelle},
  keyword      = {Bedömning,ensemble,estetiska programmet,feedback,musikpedagogik,sång,utbildningsvetenskap assessment,educational science,high school,music education,vocals,music programme},
  language     = {swe},
  note         = {Student Paper},
  title        = {Konsten att ge feedback I ensemble och till ensemblesångare - en kvalitativ studie om ensemblelärares arbete med feedback på estetiska programmet},
  year         = {2018},
}