Oídos a pares (Hears in pairs). A project based on peer tutoring to develop intonation and audition in violin and viola students

Authors

DOI:

https://doi.org/10.7203/LEEME.45.16062

Keywords:

Cooperative Learning, Peer Tutoring, Violin Practice, Viola Practice, Intonation, Hearing.

Abstract

In the last decades, many studies point to music as a fully collaborative activity, and, therefore, the advantages of cooperative learning in music teaching. This paper presents “Oidos a pares” (Hears in pairs), an innovation educational project based on cooperative learning aimed at improving competences in intonation and aural perception in violin and viola students. The innovation consists in the use of reciprocal peer tutoring, pairs of students with an asymmetric relationship in terms of level of competence, who learn by teaching each other, based on a common and shared objective. All this is done through a framework of interaction structured by the teacher and a specific didactic material. For this, an experience has been designed and implemented with 10 students of violin and viola from grade 6 and 7, which is reported here. The article highlights the potential of peer tutoring in music education, points out specific elements to be considered to make the most of this strategy, and shows an example of the experience carried out. Findings reveal that this project turned out to be a successful and positive experience. Proving that these methods, despite being underexplored in instrumental teaching, can provide valuable options in music education.

Author Biographies

Andrea Fernández Barros, Conservatori de música de Reus Universitat Autònoma de Barcelona (UAB)

Profesora de viola y jefe de departamento de cuerda en el Conservatorio de música de Reus Doctoranda en el departamento de didáctica de la expresión corporal, musical y plástica de la Universitat Autònoma de Barcelona

Laia Viladot, Universitat Autònoma de Barcelona (UAB).  Bellaterra, Catalunya

Departamento de Didáctica de la Expresión Musical, Plástica

David Duran, Universitat Autònoma de Barcelona (UAB). Bellaterra, Catalunya.

Departamento de Psicología Básica, Evolutiva y de la Educación

References

Burt, R. y Mills, J. (2006) Taking the plunge: the hopes and fears of students as they begin music college. British Journal of Music Education, 23, 51-73. doi: 10.1017/S0265051705006741

Carey, G. y Grant, C. (2015). Teacher and student perspectives on one-to-one pedagogy: Practices and possibilities. British Journal of Music Education, 32(1), 5-22. doi: 10.1017/S0265051714000084

Choksy, L. y Kodály, Z. (1981). The Kodály context: creating an environment for musical learning. Englewood Cliffs, Nueva Jersey: Prentice Hall.

Duran, D. (2012). Utilizando el trabajo en equipo. Estructurar la interacción a través de métodos y técnicas. En J.C. Torrego y A. Negro (Coords.), Aprendizaje cooperativo en las aulas(pp.139-166). Madrid: Alianza.

Duran, D. (2014). Aprenseñar. Evidencias e implicaciones educativas de aprender enseñando.Madrid: Narcea.

Duran, D. (2018). Evidencias sobre la efectividad del aprendizaje cooperativo: Síntesis de metaanálisis y relación con educación inclusiva. En J. Torrego, L. Rayón, Y. Muñoz y P. Gómez (Eds.), Inclusión y mejora educativa(pp.122-130). Alcalá de Henares: Universidad de Acalá.

Duran, D. y Vidal, V. (2004). La tutoría entre iguales: de la teoría a la práctica. Barcelona: Graó.

Finnegan, R. (2001). Senderos en la vida urbana. En F. Cruces et al. (Eds.), Las culturas musicales. Lecturas de etnomusicología(pp.437-474). Madrid: Trotta.

Gaunt, H. (2011). Understanding the one-to-one relationship in instrumental/vocal tuition in Higher Education: comparing student and teacher perceptions. British Journal of Music Education, 28, 159-179. doi: 10.1017/S0265051711000052

Gordon, E. (1989). Advanced Measures of Music Audition.Chicago: GIA.

Gordon, E. (2013). Quick and Easy Introductions. Chicago: GIA.

Hoppenot, D. (1992). El violín interior. Madrid: Real Musical.

Johnson, D., Johnson, R. y Holubec, E. (2013). Cooperation in the Classroom.Edina, MN: Interaction Book Company.

Keetman, G. (1974). Elementaria: first acquaintance with Orff-Schulwerk. Mainz: Schott.

Kodály, Z. (1965). Let Us Sing Correctly. Londres: Boosey & Hawkes.

Malbrán, S. (2011). Desafíos de la educación musical: disfrutar haciendo música. En A. Giráldez, y L. Pimentel (2011), Educación artística, cultura y ciudadanía. De la teoría a la práctica(pp.57-72). Madrid: Organización de Estados Iberoamericanos para la Educación, la Ciencia y la Cultura.

Sawyer, R. K. (2006). Group creativity: musical performance and collaboration. Psychology of Music, 34(2), 148-165. doi: 10.1177/0305735606061850

Suzuki, S. y Suzuki, W. (1983). Nurtured by love: The classic approach to talent education. Miami, Florida: Alfred Music.

Topping, K. J. (2000). Tutoring. Ginebra: International Academy of Education.

Topping, K., Buchs, C., Duran, D. y Van Keer, H. (2017). Effective peer learning: From principles to practical implementation. Londres: Routledge.

Vilar, M. (2004). Acerca de la educación musical. Revista Electrónica de LEEME, 13, 1-25. Recuperado en: https://ojs.uv.es/index.php/LEEME/article/view/9748/9182

Published

2020-04-06