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COLLABORATIVE LEARNING IN MUSIC EDUCATION: BEYOND BOUNDARIES

Collaborative Learning in Music Education: Beyond Boundaries

Bettie-Ann Candelora

Introduction, Background, Context

We are social creatures who require social communities for our very existence.

Every aspect of our learning centers around socialization. From the moment we are born

to the day we draw our last breath we learn from others. Children imitate sounds for

language acquisition (Cederborg, 2013), they ask questions-sometimes to the point of Commented [RC1]: Cite

distraction-they figure things out and then ask new questions (Harris, 2015). From the Commented [RC2]: cite
Commented [RC3]: cite. You can put (author, year) right in
outset we are all active participants in our own learning. Constructivist theorists such as the middle the sentences after each buzzword

Dewey, Bruner, and Piaget recognized the value of the interactive learning process.

Piaget believed that we extend the knowledge we acquire through perception and Commented [RC4]: (year)

external environments by relating new experiences to previous understanding, and

Vygotsky expanding this idea by saying that knowledge is produced culturally by

collaborations with other people (Phillips 1995; Scott 2011). Learning centers, they

suggest, should be incubators where students become active participants as the focus

shifts from teacher to students. Collaborative experiences are an essential part of that

learning. John Dewey recognized that social interaction is required in order to develop a

mind of one’s own yet conceded that all too often, instead of encouraging community,

schools keep students trapped behind desks (Phillips and Soltis, 2009.). Music

classrooms that are student centered -where students are actively involved, making

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COLLABORATIVE LEARNING IN MUSIC EDUCATION: BEYOND BOUNDARIES

musical decisions, analyzing results, and asking questions-allow for such social

interaction. (Scott 2110).

Social constructivists suggest that schools follow the same interactive and Commented [RC5]: Cite
Commented [RC6]: Avoid making your own points until
collaborative learning process we experience from birth by encouraging students to the conclusion/synthesis

explore, ask questions, figure things out, and then ask more questions ( Thornton &

McEntee, 1995). Oxford English Dictionary defines the verb collaborate, “to work in Commented [RC7]: to

conjunction with another or others, to co-operate; esp. in a literary or artistic

production.”

Music learning can foster collaborative learning. This essay will explore the many Commented [RC8]: If this is the end of your intro, you’ll
need to insert a paragraph explaining the outline for the
remainder of your paper
benefits of musical collaboration and consider methods that help shift music classes

from teacher centered to learner centered as a means to deepen engagement, promote

wellbeing, and create musical connections. Finding opportunities for collaboration and

community within three specific areas of music groups- large bands, string ensembles,

and choral groups-will be discussed and opportunities presented for moving learning to

collaborative, and in some cases democratic, systems of learning. Connective

opportunities with the larger community- locally by means of student to student

collaborations and globally by means of online collaborative projects-will be presented.

Benefits of Collaborative Learning

Theorist Vygotsky and his colleague A.N. Leont’ev suggested that learning is Commented [RC9]: cite

experienced through the Law of Cultural Development; learning happens first on the

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COLLABORATIVE LEARNING IN MUSIC EDUCATION: BEYOND BOUNDARIES

social plane and later on the mental plane (Burnard & Dragovic, 2015). Understanding

such a progression and designing learning environments accordingly can have powerful

repercussions on learning as well as larger implications, such as wellbeing, for students.

One study by Burnard and Dragovic linked student wellbeing to specifically designed

collaborative endeavors: If students feel connected to the practice of music, and if they Commented [RC10]: potential for what? I’m not sure I
understand the use of the :
feel a sense of belonging to the group or ensemble, music groups can be a transformative

experience. According to Burnard and Dragovic, such collaborative settings can satisfy Commented [RC11]: plural or singular

basic psychological needs of belonging and contributing. The freedom to explore and Commented [RC12]: I’d agree with you, but are you
advocating for something here or summarizing what the
literature says?
create is enhanced as teachers provide statements of support for student endeavors and

efforts; music group learning can empower students by including them in decision-

making and can engage them through the use of improvisation by encouraging

playfulness in their musicianship (Burnard and Dragovic, 2015). Burnard and Dragovic

state that democratic models-ones that are non-hierarchical and horizontal- allow the Commented [RC13]: Ok…so explain more of this and cite

teacher to act both as leader and follower and informs the division of labor in musical

ensembles. They go on to state that teachers benefit as they continue to learn and grow

with their students and students benefit by shared responsibilities as they take

ownership in their own learning. These democratic learning models also help us to Commented [RC14]: The word participatory is used in
mued contexts in other ways now. (participatory cultures)
Can you either change the word or explain what you mean
consider the evolutionary and ongoing relationships within a community, as contrasted by this

with simply the internalization of information (Lave and Wenger et al., Phillips and

Soltis, 2009).

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COLLABORATIVE LEARNING IN MUSIC EDUCATION: BEYOND BOUNDARIES

Enhancing Music Education Through Collaboration

The constructivist approach suggests that students form a community and work

collaboratively, helping other members to achieve agreed upon goals (Scott, 2006).

The challenge in creating such communities, however, is to design working groups that

have the teachers and students as co-learners (Scott, 2006). According to Scott, groups

may have the appearance of cooperative learning at the surface level, but closer

examination may reveal that the teacher has so thoroughly designed the learning Commented [RC15]: Ok, but why can’t a teacher designed
learning process still be collaborative
process by providing step by step instructions that little room remains for student

choice in the process. It is an ongoing quest to create groups that function true to

democratic principles, and many learning communities may never achieve a fully Commented [RC16]: cite

democratic structure (Scott, 2006). Finding that balance of teacher as facilitator while Commented [RC17]: cite

maintaining some structure or order is the challenge; the job becomes one of supporting

students in their knowledge quest, of deepening student understanding, and of learning Commented [RC18]: deepened?

to work cooperatively with the other members within the community while giving up

some control of the process (Ferm, 2015). A thoughtful method requires students to Commented [RC19]: Does this need a new paragraph?

link new meaning to previous understanding through questioning and problem solving

(Ferm, 2015). As Scott states, the mere use of activity-based music does not imply that

it is constructivist simply because students are learning by doing: Collaborative

practices must be brought into the equation.

Students need the freedom to identify or develop their own musical problems, to
decide what attributes of musicianship will be needed to work out their problems,
and to decide what procedures they will implement in their search for musical
meaning. In doing so, students are engaged in musical thinking, and, as a result,
are constructing personal meaning from musical knowledge (Scott, 2006, p. 19).

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COLLABORATIVE LEARNING IN MUSIC EDUCATION: BEYOND BOUNDARIES

Current Practices in Music Education

Large Band Communities

Creating a democratic environment in a large school band of one hundred

students, for example, is a challenging task (Brown et. Al, 2012). Written reflections can

provide purposeful consideration of the musical learning process as students give

opinions about the literature or suggest new music (Brown, Pogonowski, Allsup, Goffi-

Fynn& Lee, 2012). The use of student blogs may encourage group interactions and foster

understanding as students formulate who they are individually and who they are as a

group (Brown, et al., 2012), and can have a transformative effect on who they may Commented [RC20]: Et al

become (Freire, 2003; Allsup, 2003, et al., 2003). Brown goes on to say that the

reflective process allows the teacher to challenge personal assumptions about student

understanding and to gain insight of what students want to know or to learn. Another Commented [RC21]: Seems to end abruptly. Did you have
more on this topic?
challenge of working with large groups, Brown states, is the resulting loss of individual

connections. The formation of smaller group interactions through ensemble work and

blogging, Brown suggests, allows the entire band community to continue to interact

after the full rehearsal has ended.

Chamber Ensembles

The mere structure of chamber ensembles- specifically string quartets- exemplify

collaborative efforts applied within a democratic environment: leadership is shared,

innovation is spontaneous within the rehearsal, there is democratic decision-making

process, and members work intensely and collaboratively together during rehearsals

and performances (Cotter-Lockard et al., 2012, Gilboa et al., 2010; Sawyer, 2006; Commented [RC22]: If this is a citation for the previous
sentence then omit the period after performances.

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COLLABORATIVE LEARNING IN MUSIC EDUCATION: BEYOND BOUNDARIES

Tovstiga et al., 2004). Chamber ensembles are traditionally performed and rehearsed

without a conductor, so in order to be successful participants must understand and

communicate through nonverbal cues, share and trade off leadership, navigate the

various personalities within the ensemble, discuss problems and agree upon solutions,

and support and find compromises when necessary (Jones, 2010).

Vocal Music Ensembles

Constructivism proports that learners must construct concepts themselves (it

cannot be done for them); therefore, teachers can use real life examples to stimulate Commented [RC23]: Explain or cite.

thinking about complex problems (Broomhead, 2005). Broomhead goes on to state that

the constructivism model works especially well when teaching musical expression to a

choral group. The interconnected variations required for expressive singing-timing,

volume, tone, color, dynamics and more- have many sub concepts; passive learning is

simply not good enough to achieve these goals. As Broomhead states, the highest level Commented [RC24]: cite

of constructivism is not just problem-solving but problem-finding; If a teacher takes on

the sole responsibility of identifying and solving problems- expressiveness for example-

achieving autonomy in that area will be difficult to achieve (Broomhead, 2005, p. 63).

Small group work, once again may help foster collaborative connections within a

large group setting (Brown, et al.,2012). As students listen, assess problems, and work Commented [RC25]: Et al

together to make connections about expressiveness and other musical considerations

they begin to take on responsibility during rehearsals (Broomhead, 2005, p 63).

The previous three examples-student refection in a large band rehearsal, student

participation in a small chamber ensemble, and student problem finding and problem

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COLLABORATIVE LEARNING IN MUSIC EDUCATION: BEYOND BOUNDARIES

solving in the choral rehearsal-run the gamut of collaborative opportunities possible

within a music learning groups of varying sizes. Students who work to solve musical Commented [RC26]: if you resequence or combine above,
you’ll need to modify this
problems are acting as real-world musicians would by listening, questioning,

performing, and even composing (Scott, 2016, p 19). Student reflections may help the

teacher eliminate false assumptions about the group’s needs and desires (Brown, et al., Commented [RC27]: Fix this
Commented [RC28]: Et al
2012) and help the students develop deeper thinking and understanding of the music

and the process. In the chamber ensemble and the choral rehearsal, responsibility falls

to the students for problem solving; that type of shift provides an opportunity for the

teacher, facilitator, or conductor to maximize student learning by problem identification

and problem solving and address problems within a group or class (Broomhead, 2005).

Options also exist for establishing collaborative connections beyond the classroom and

beyond the school building. Commented [RC29]: This foreshadows the next section,
but the next paragraph interrupts this. Can you move it
down?

Beyond the Boundaries: Community Collaborations

Some largely homogeneous schools exist within richly diverse communities Commented [RC30]: cite

(Beloin, Kim, & Peterson, Michael, 2000). There are potential problems of living,

learning, and socializing within a bubble, however, when exposure to varying

perspectives is limited and cultural knowledge and understanding is incomplete Commented [RC31]: cite

(Maclean's, 2017). If cultural influences and prior understanding form the bases for

musical understanding, (Wiggins, 2015, p. 141), then collaborations within the local Commented [RC32]: only do this is you are citing multiple
times in a sentence…otherwise put at end of sentence
community, to a wider geographic area (the county or state), or even around the world

can provide a myriad of learning opportunities for both student and teacher (Beloin, Commented [RC33]: cite

Kim, & Peterson, Michael, 2000).

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COLLABORATIVE LEARNING IN MUSIC EDUCATION: BEYOND BOUNDARIES

It may be argued that globalization has made intercultural understanding and

engagement critical; music can be one bridge that links people from different cultures,

that establishes the social capital needed to build knowledge-based trust among

dissimilar individuals, and that develops cultural understandings (Stolle et al., 2008).

When students form connections beyond the physical school building or campus there

are larger implications for learning as they construct meaning about music cultures

(Peters, 2007). Students who experience cultural music in the context of community will

observe different belief systems, traditions, emotions, and musical expression particular

to a culture (Walker, 1990 as cited in Peters, 2007). The resulting broader implications

often are non-musical goals such as awareness of prejudice, cultural understanding, and

even self-esteem (Campbell 1992 as cited in Peters, 2007). One study by Peters

connected music students in Montreal with an insulated Italian community through a

series of personal interactions and combined music rehearsals. Students were given

opportunities to question and interview the community members throughout the

process. While students grappled with issues about their personal identity, there was an

extrapolation of concepts, beliefs, and values about the Italian community, their music,

and their cultural practices (Peters 2007).

Beyond the Boundaries: Deterritorialized Collaborative Learning

If improved musicianship, greater social understanding, and cultural bridges can

be achieved at the local level, how much more can be achieved through global

collaborations?

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COLLABORATIVE LEARNING IN MUSIC EDUCATION: BEYOND BOUNDARIES

How we listen to music in this country has changed significantly and it continues

to evolve in the variety of ways as we create, perform, and interact with those around the Commented [RC34]: cite

globe through music (Burkholder et al., 2014). A century ago, to merely acquire sheet

music, a musician would have to visit a local music shop to find music that would be

demonstrated on a piano by the salesperson (Burkholder et al., 2014). Music Commented [RC35]: cite

experience would frequently come from live concert performances and collaboration

occurred through making music with family, friends, in churches, and with local

community members (Morgan-Ellis, 2014). The advent of records and of the radio Commented [RC36]: cite

allowed music to be shared to a wider audience and cassette tapes in the 1970’s allowed

music to be shared music more easily (Fronzi, 2016).

Today’s instantaneous downloads provide seemingly unlimited access to a vast Commented [RC37]: repeated word in same sentence

variety of music (Fronzi, 2016). Instead of merely listening to music on the radio with

friends and family or singing with our neighbors we now interact with people around the

world through a myriad of platforms (Fronzi, 2016). Commented [RC38]: cite

Online global collaborations- connecting geographically distributed students and

educators-can be tied directly to curricular objectives, can build intercultural Commented [RC39]: Strengthen this claim

understanding, and can range in scope from complex music projects with timelines and

outcomes to simple connections with other musicians (Lindsay, 2016). There now exists

a host of sites such as Splice, GrooveZoo, and Blend that allow for collaborative music

projects and let students connect virtually anywhere in the world. In addition to

benefits both cultural and musical, the opportunity to work with other musicians

outside of the students’ immediate community has the potential to enrich learning

experiences (Cremata & Powell 2017, p.311).

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COLLABORATIVE LEARNING IN MUSIC EDUCATION: BEYOND BOUNDARIES

The Partti study of digital spaces collaboration as cited by Cremata & Powell

notes a correlation between expertise-contribution and perceived benefit: a relationship

between what a learner contributes to the process in terms for their musical skills

(coined as generosity), is directly associated with the resulting benefit; the greater the

generosity the greater the return on investment. (Partti, et al., 2012, Cremata & Powell).

Uneven expertise, in other words, can benefit all participants. An ear-based project, for

example, doesn’t have to require students to know musical notation but still allows for

musical formation (Cremata & Powell 2017). And the range of collaborative projects can

span digitalized projects, written compositions, music analysis, or virtual choirs. Almost

anything a teacher can conceive for in-person learning can now constructed online.

The digital paradigm has reshaped and revolutionized thinking and learning. The
brick-and-mortar limitations of chairs, textbooks, rows, chalkboards, and an all
too homogeneous student population can be expanded upon and potentially
reinvented with digital teaching/learning through collaborative, digital musical
networks (Cremata & Powell, 2017, p. 312)

Conclusion: Implications for Educators

If knowledge is a collaborative process involving interactions in varying contexts

in order to construct knowledge, as the social constructivists state (Peters, 2017), then

educators now have the opportunity and the obligation to deepen their students’

interaction with world music and world musicians through a variety of collaborative

formats spanning across the aisle, across the street, and across the globe. Learners of all

ages-from the youngest child to the eldest senior citizen-can benefit by advancing

musicianship through collaborative methods and democratic group models. Sites such

as Smule (which allow users to sing solos, duets or large group songs and other group

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COLLABORATIVE LEARNING IN MUSIC EDUCATION: BEYOND BOUNDARIES

members to comment and rate the music) and World Stage (where users create musical

content and act as juries and provide feedback) (Wang et al. 2015) have created vibrant,

interactive, collaborative online music communities comprised of members from across

the street and around the world through interactions that foster a culture of involvement Commented [RC40]: cite

and interaction (Waldron, 2013).

A second type of online music learning includes collaborative projects (Waldron,

2013) through use one-on-one interaction for digital music creation through sites such

as GrooveZoo and JamStudio (Cremata & Powell 2017). Online music collaborations are

not necessarily a new phenomenon and have been used in education for nearly thirty Commented [RC41]: What happened for 30 years?

years as a means of student engagement (Cremata & Powell), yet exploitation has yet to

be fully explored and opportunities abound.

How we create, listen to, and distribute music will continue to evolve, but music

teachers can utilize collaborative methods-both in person and online- as a means to help

students understand various and differing cultures, to appreciate musical, cultural and

social differences, and to create connections within the community and throughout the

world. It is our job as educators, therefore, to figure out how best to use democratic

principles within a shift toward student-centered learning environments, and to help

our students to be active participants in their own learning process through enriching Commented [RC42]: this seems like your synthesis so save
for conclusion
and collaborative experiences.

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COLLABORATIVE LEARNING IN MUSIC EDUCATION: BEYOND BOUNDARIES

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