我對於樂器音樂課有效教學方法的研究始終充滿興趣。最近，我注意到了de Bruin（2023）進行的一項質性研究，該研究深入探討了回饋對學生學習和成就的影響。在這篇網誌中，我將探討該研究的主要發現，並討論對於提升音樂工作室和教室中的學習和元認知的重要性。
反饋在器樂課中的作用
反饋是一個強大的工具，影響學生學習的各個方面，包括知識、技能發展、計劃、反思和動機（de Bruin，2023）。這項研究通過音樂教學的角度分析了反饋概念，研究了反饋對學生學習和成就的影響。研究結果為不同經驗水平的樂器音樂教師所採取的不同方法提供了寶貴的見解。
新手教師與專家教師：
研究調查了新手、發展階段和專家級教師及其反饋方法（de Bruin，2023）。新手教師通常依賴理論和實踐結構，應用已建立的教學方法。而專家教師則展示了更為複雜和個性化的反饋策略，反映了更廣泛的因材施教方法，以滿足學生個別需求（de Bruin，2023）。這突顯了持續的專業發展和反饋實踐的演變在教師經驗中的重要性。
建構主義、以學生為中心的方法：
該研究強調了建構主義、以學生為中心的方法與明確指導相結合，以提升音樂工作室和教室中的學習效果（de Bruin，2023）。專家教師鼓勵學生思考自己的問題解決和批判性思維過程，促進元認知功能和自我調控（de Bruin，2023; McPherson et al.，2017）。通過鼓勵學生反思自己的進步並設定目標，教師可以培養學生的自主性、自我控制、自我指導、自我紀律和目標導向（de Bruin，2023; Zimmerman，2000）。
專家教師的影響：
專家教師展示了更為複雜和相互關聯的結構，並更加關注他們的反饋對學生學習的影響，相比之下，新手教師則較少（Bromme，2001；de Bruin，2023；Wolff等，2017）。他們的反饋根據學生的個別需求進行調整，促進成長和元認知發展。該研究突顯了教師實踐中反饋方法的複雜和個性化特點，強調了在樂器音樂課中重新構思反饋過程的必要性（Carless et al.，2011；de Bruin，2023）。
de Bruin（2023）進行的研究提供了有關樂器音樂教師回饋方法的發展和應用的寶貴見解。研究結果強調了建構主義、因材施教策略對於提升學生學習和元認知的重要性。作為音樂教育工作者，我們有必要不斷反思和改進我們的反饋實踐，努力成為能夠激勵學生主動學習並成為自主音樂家的專家教師。通過擁抱這些以研究為基礎的方法，我們可以為學生創造豐富而有意義的音樂體驗。
The Power of Feedback in Instrumental Music Lessons: Enhancing Student Learning and Growth
As a passionate music educator, I am always intrigued by research that sheds light on effective teaching practices in instrumental music lessons. Recently, a qualitative study conducted by de Bruin (2023) caught my attention, as it delved into the impact of feedback on student learning and achievement. In this blog, I will explore the key findings of the study and discuss the implications for enhancing learning and metacognition in music studios and classrooms.
The Role of Feedback in Instrumental Music Lessons
Feedback is a powerful tool that influences various aspects of student learning, including knowledge, skill development, planning, reflection, and motivation (de Bruin, 2023). This study examined feedback concepts through a musical instruction lens, analyzing the evidence related to its impact on student learning and achievement. The findings offer valuable insights into the diverse approaches taken by instrumental music teachers across different experience levels.
Novice vs. Expert Teachers:
The study examined cohorts of novice, developing, and expert level teachers and their feedback approaches (de Bruin, 2023). Novice teachers tended to rely on theory-practice constructs, applying established teaching methodologies. On the other hand, expert teachers demonstrated more sophisticated and personalized feedback strategies, reflecting a wider range of approaches tailored to individual student needs (de Bruin, 2023). This highlights the importance of ongoing professional development and the evolution of feedback practices as teachers gain experience.
Constructivist, Student-Centered Approaches:
The study emphasized the value of constructivist, student-centered approaches infused with explicit instruction for enhancing learning through feedback in music studios and classrooms (de Bruin, 2023). Expert teachers engaged students in contemplating their own problem-solving and critical thinking processes, promoting metacognitive function and self-regulation (de Bruin,2023; McPherson et al., 2017). By encouraging students to reflect on their progress and set goals, teachers can foster autonomy, self-control, self-direction, and self-discipline (de Bruin, 2023; Zimmerman, 2000).
The Impact of Expert Teachers:
Expert teachers displayed more elaborate, interconnected schemata and placed a greater emphasis on the impact of their feedback on student learning compared to novices (Bromme, 2001; de Bruin, 2023; Wolff et al., 2017). Their feedback was tailored to individual student needs, promoting growth and metacognitive development. The study highlighted the complex and idiosyncratic nature of feedback approaches evident in teacher practice, emphasizing the need to reconceptualize the feedback process in studio music lessons (Carless et al., 2011; de Bruin, 2023).
In conclusion, the study conducted by de Bruin (2023) provides valuable insights into the development and application of feedback approaches by instrumental music teachers. The findings emphasize the importance of constructivist, differentiated strategies for enhancing student learning and metacognition. As music educators, it is essential for us to continuously reflect on and refine our feedback practices, striving to become expert teachers who empower students to take ownership of their learning and become self-directed musicians. By embracing these research-based approaches, we can create enriching and transformative musical experiences for our students.
References:
Bromme, R. (2001). Explaining teacher expertise as the integration of knowledge and action-related schemata. In M. Brekelmans, T. Wubbels, & J. van Tartwijk (Eds.), Teacher thinking and professional action (pp. 81-92). Utrecht University.
Carless, D., Salter, D., Yang, M., & Lam, J. (2011). Developing sustainable feedback practices. Studies in Higher Education, 36(4), 395-407. https://doi.org/10.1080/03075071003642449
de Bruin, L. R. (2023). Instrumental music teachers’ development of feedback across the lifespan: A qualitative study. International Journal of Music Education, 42(1), 32-46. https://doi.org/10.1177/02557614231151445
McPherson, G. E., Osborne, M. S., Evans, P., & Miksza, P. (2017). Applying self-regulated learning microanalysis to study musicians’ practice. Psychology of Music, 47(1), 18-32. https://doi.org/10.1177/0305735617731614
Wolff, C. E., van den Bogert, N., Jarodzka, H., & Boshuizen, H. P. A. (2017). Keeping an eye on learning: Differences between expert and novice teachers’ representations of classroom management events. Journal of Teacher Education, 66(1), 68-85. https://doi.org/10.1177/0022487114549810
Zimmerman, B. J. (2000). Attaining self-regulation: A social cognitive perspective. In M. Boekaerts, P. R. Pintrich, & M. Zeidner (Eds.), Handbook of self-regulation (pp. 13-39). Academic Press. https://doi.org/10.1016/B978-012109890-2/50031-7