8. Possible Approaches to the Concept of Collaborative Teaching in the "Music Analysis" Course. Benefits and Challenges

By Vlahopol, Gabriela | Review of Artistic Education, January 1, 2018 | Go to article overview

8. Possible Approaches to the Concept of Collaborative Teaching in the "Music Analysis" Course. Benefits and Challenges


Vlahopol, Gabriela, Review of Artistic Education


1.Introduction

The central learning outcome of the Music Analysis discipline is to educate the skills necessary for the discovery and deep understanding of the main musical structures used in instrumental and vocal repertoire. But the ultimate goal of the course is not only the acquisition of theoretical knowledge, but essentially the acquisition of techniques to approach and perceive music from the point of view of the compositional thinking, of constructive details as a preliminary stage of the formation of a complete picture of the opuses approaches by the instrumentalists.

Considering the preference of music students for practical subjects and less for the theoretical or analytical ones, the use of innovative methods for teaching the Music Analysis course becomes necessary as a way to diversify course dynamics, stimulating both interest and creativity of the students and the inventiveness and motivation of teachers. In this context, the concept of Co-Teaching is an option to the traditional teaching method by abandoning the status of sovereignty of the instructor and including him in a forming cell composed of two or more teachers with equal responsibilities and participation in the teaching process.

Literature on this subject are very much concerned about the use of the team teaching method in special and specially integrated education, but many studies have demonstrated the benefits that collaborative teaching brings to the pre-university and university school environment (Thousand, Villa & Nevin., 2006; Bouck, E., 2007; Anderson, R. S. & Speck B. W., 1998; Ennis, R., 1986 etc.).

The definitions of the Co-Teaching syntagm have been formulated more simply or more complexly, generally or with more or less significant details, thus providing ideas for an extremely varied constitution of the teaching team. Buckley (2000) states that there is no universal approach to the concept of team teaching and proposes the following definition: "Team teaching involves a group of instructors working purposefully, regularly and cooperatively to help a group of students learn". This approach is closely linked to many factors such as teaching methods, learning philosophies, interpersonal skills, and the level of education. Other definitions focus on the different components of learning or teaching, including the participants in the process:

A method of instruction that brings together two teachers of equal status to create a learning community with shared planning, instruction and student assessment. (Bouck, 2007; Crow & Smith, 2005). Two or more professionals delivering substantive instruction to a diverse, or blended, group of students in a single physical space. (Cook & Friend, 1995) Anderson & Speck (1998) emphasise the multitude of definitions given to the phrase team teaching, some of them contradictory due to the attempt to define the phenomenon through the methods and means of organising the teaching team: "an approach in which two or more persons are assigned to the same students at one time for instructional purposes" (Gurman, 1989, p. 275); "two or more instructors collaborating over the design and/or implementation and evaluation of the same course or courses." (Hatcher, Hinton & Swartz, 1996, p. 367); "two or more teachers accepting responsibility for the same group of students." (Ennis, 1986)

Within the Music Analysis course, the application of team teaching can be tackled in two main directions: the unidisciplinary one with the involvement of two professors with the same specialty, but providing different views upon the topic of the lesson, and the multidisciplinary one with two or more teachers of different specialties, but related to the analytical field: performing theory, musical stylistics, harmony. A possible interdisciplinary association that goes beyond the musical sphere, but which can provide practical solutions to future instrument teachers, is the association with the didactic field, the results focusing on the ways in which the musical score, once understood in all its details, can be explained to a student. …

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