Slawsky defensetake2

Transitioning from Student to Teacher in the Master-Apprentice Model of Piano Pedagogy: An Exploratory Study of Challenges, Solutions/Resources, Reflections, and

Suggestions for the Future

Melissa M. Slawsky, Ph.D. CandidateCenter for Music Education Research, University of South Florida

IntroductionIntroductionStandard teacher-training program-Standard teacher-training program-

-Educational coursework-Educational coursework

-Observations of experienced teachers-Observations of experienced teachers

-Fieldwork experience/internships-Fieldwork experience/internships

-Supervised student teaching-Supervised student teaching

-Mentored when entering the field-Mentored when entering the field

Induction- 1-3 year yearsInduction- 1-3 year years

-sensitive and impressionable period-sensitive and impressionable period

-much research exists-much research exists

Piano Teacher TrainingPiano Teacher TrainingA very different framework-A very different framework-

-Master-apprentice model-Master-apprentice model

-Years of private study-Years of private study

-Piano Pedagogy Coursework-Piano Pedagogy Coursework

-Limited support when -Limited support when transitioning to the teaching roletransitioning to the teaching role

Research problemResearch problem• Much research exists for the pre-

service music educator preparing to entering the classroom setting*Implications drawn for contributing to the

success of the beginning music teacher:– Curriculum development– Preservice experiences– Educational materials– Mentoring and support systems– Professional development opportunities

• However, little is known about the experiences of the beginning piano teacher preparing to enter the studio setting.

PurposesPurposesa.a. Explore how piano teachers learn to teach Explore how piano teachers learn to teach

from and independent of piano pedagogy from and independent of piano pedagogy coursework,coursework,

- - overcome challengesovercome challenges, and, and

- continue to add to their pedagogy - continue to add to their pedagogy knowledgeknowledge

b. Explore topics that would be b. Explore topics that would be most usefulmost useful in a in a ppiiaannoo ppeeddaaggooggyy course or program course or program

Research QuestionsResearch Questions

1.1. How do piano teachers make the transition How do piano teachers make the transition from student to teacher? from student to teacher?

a. What a. What challengeschallenges do they face? do they face?

b. What b. What solutions/resourcessolutions/resources do they find? do they find?

c. What c. What learning experienceslearning experiences (formal and (formal and informal) helped prepare them?informal) helped prepare them?

d. What d. What professional activitiesprofessional activities (if (if applicable) served as support in the field?applicable) served as support in the field?

Research QuestionsResearch Questions2. What2. What current challengescurrent challenges do piano teachers do piano teachers

face?face?

a. What a. What solutions/resourcessolutions/resources do they find to do they find to overcome these challenges?overcome these challenges?

Research QuestionsResearch Questions3. What do piano teachers suggest for the 3. What do piano teachers suggest for the

future of:future of:

a. piano pedagogya. piano pedagogy

b. the piano curriculum, in general?b. the piano curriculum, in general?

Qualitative ApproachQualitative Approach

• PhenomenologyPhenomenology“…“…there is an essence or essences there is an essence or essences

to shared experience” (Patton, to shared experience” (Patton, 2002, p. 106). 2002, p. 106).

• Heuristic InquiryHeuristic Inquiry " " . . In heuristic research the . . In heuristic research the

investigator must have had a investigator must have had a direct, direct, personal encounterpersonal encounter with with the phenomenon being the phenomenon being investigated. There must have investigated. There must have been actual autobiographical been actual autobiographical connections” (Moustakas, connections” (Moustakas, 1990, p. 14)1990, p. 14)

Qualitative ApproachQualitative Approach

InterviewsInterviews• Detailed understanding of the Detailed understanding of the

research problem research problem -Allowed for probes-Allowed for probes-Interpersonal encounter-Interpersonal encounter

• Validate or invalidate issues drawn Validate or invalidate issues drawn from the literature from the literature

-Phase 1 & 2- Conducted over the -Phase 1 & 2- Conducted over the phonephone

-Phase 3- Conducted in person-Phase 3- Conducted in person(more interpersonal encounter)(more interpersonal encounter)

Closely Aligned LiteratureClosely Aligned LiteraturePre-service music educator

*Colleen Conway (1999)-interviewed pre-service music teachers during their internship periods (e.g., induction challenges)a. Informed practitioners in the field (Handbook for the Beginning Music Teacher, Conway & Hodgman, 2006)b. The framework for music teacher training(Great Beginnings for Music Teachers: Mentoring and Supporting New Teachers, Conway & MENC, 2003)

Haddon (2009)Haddon (2009)• The Applied Music Teacher

Elizabeth Haddon (2009)-interviewed undergraduate applied music

teachers studying in a UK conservatory

a. Implications for applied music teachers in the field

b. Recommendations for the framework for applied music teacher training

MethodologyMethodologyExploratory study which evolved over three Exploratory study which evolved over three

phases:phases:

• Semi-structured interviewsSemi-structured interviews(phases 1 & 2 conducted over the phone, phase 3 in person)(phases 1 & 2 conducted over the phone, phase 3 in person)

• Interviews transcribedInterviews transcribed• Coded using qualitative data Coded using qualitative data

analysis techniques analysis techniques (Miles & Huberman, (Miles & Huberman,

1994)1994)

The Interview GuideThe Interview Guide

22 questions:22 questions:Piano teachers asked about:Piano teachers asked about:

1.1. Demographics & studio Demographics & studio set-upset-up

2.2. Transition into the teaching Transition into the teaching rolerole

3.3. Challenges, SolutionsChallenges, Solutions4.4. Current Challenges & Current Challenges &

SolutionsSolutions5.5. Reflections & Suggestions Reflections & Suggestions

for the futurefor the future

ParticipantsParticipants

Synthesizing the DataSynthesizing the Data

-Transcripts coded using Nvivo9 as an indexing -Transcripts coded using Nvivo9 as an indexing software software

(selected passages could be ‘dragged and (selected passages could be ‘dragged and dropped’ into designated categories. No dropped’ into designated categories. No shorthand notation was necessary)shorthand notation was necessary)

--Resulted in 27 pages of codes, 1240 individual Resulted in 27 pages of codes, 1240 individual codes, reduced to 11 major themes with codes, reduced to 11 major themes with corresponding sub-themescorresponding sub-themes

11 Major Themes11 Major Themes

Theme I:Theme I: Piano teachers are Piano teachers are autonomouslyautonomously resourceful resourceful

when transitioning into the teaching role.when transitioning into the teaching role.

1.1. No formal teacher No formal teacher trainingtraining

-7 began teaching between -7 began teaching between ages 12 and 16.ages 12 and 16.

2. Very little guidance 2. Very little guidance when beginning to when beginning to teachteach

-3 sought the guidance of an -3 sought the guidance of an experienced teacher.experienced teacher.

Preparation for the teaching rolePreparation for the teaching role

*Average of 10 yrs. of applied music lessons, begun between 4 and *Average of 10 yrs. of applied music lessons, begun between 4 and 10 years of age.10 years of age.

Theme II:Theme II: Learning by Doing (Experiential Learning)Learning by Doing (Experiential Learning)

The majority of piano The majority of piano teachers learned to teachers learned to teach simply by:teach simply by:

• Doing itDoing it

• Gaining experienceGaining experience

• Trial-and-errorTrial-and-error

• Filling one’s toolbox or Filling one’s toolbox or learning ‘tricks of the learning ‘tricks of the trade’trade’

Theme II:Theme II: Learning by Doing (Experiential Learning)Learning by Doing (Experiential Learning)

“I really think [I learned to teach] through experience, you know, just doing it over and over and over… My undergraduate professor used to call performing “diving.” You just have to dive in. I think teaching is very similar. You just go with it and see what happens, and you just have to learn how to respond to things on the spot all the time, and learn through difficult situations and all that stuff…” (Lilly Crumb)

Learning on one’s own:

“I had taught myself how to teach” (Susan Liszt). (Susan Liszt).

“…“…Picking it up on my own and learning as I go” Picking it up on my own and learning as I go” (Thomas Chang). (Thomas Chang).

Theme III:Theme III: Evoking memories when transitioning into the Evoking memories when transitioning into the

teaching roleteaching role

Piano teachers evoked Piano teachers evoked memories of:memories of:

• Former teachersFormer teachers

• Materials playedMaterials played

• Experiences as studentsExperiences as students

*Many indicated that they were highly influenced by their *Many indicated that they were highly influenced by their former piano teachersformer piano teachers

Theme IV:Theme IV: Piano teachers emulate + a mix of elements in Piano teachers emulate + a mix of elements in

developing their teaching styledeveloping their teaching style

Piano teachers either chose Piano teachers either chose to emulate, not to emulate, to emulate, not to emulate, or diverge from:or diverge from:

• Teaching approachesTeaching approaches

• Curricular aspectsCurricular aspects

• Personal traitsPersonal traits

Theme IV:Theme IV: Piano teachers emulate + a mix of elements in Piano teachers emulate + a mix of elements in

developing their teaching styledeveloping their teaching style

““I feel like I’ve taken or learned what was I feel like I’ve taken or learned what was bad and what was good from my piano bad and what was good from my piano teachers. I tried to emulate the things teachers. I tried to emulate the things that I’ve learned from a lot and then that I’ve learned from a lot and then the things that didn’t help or were the things that didn’t help or were counter-productive to my learning I counter-productive to my learning I tried to not do” (Thomas Chang).tried to not do” (Thomas Chang).

•A natural part of developing one’s teaching styleA natural part of developing one’s teaching style

•Specific reasons (e.g., “They’re people I respect and want to be like in my Specific reasons (e.g., “They’re people I respect and want to be like in my teaching” (Lilly Crumb)teaching” (Lilly Crumb)

Theme IV:Theme IV: Other aspects of teaching styleOther aspects of teaching style

Theme V:Theme V: Overcoming challenges and Overcoming challenges and

seeking out resourcesseeking out resourcesPiano teachers Piano teachers

discussed:discussed:

• Challenges faced as Challenges faced as beginning piano teachersbeginning piano teachers

-Resources found in overcoming -Resources found in overcoming challenges as beginning piano challenges as beginning piano teachersteachers

2.2. Challenges currently facedChallenges currently faced

-Resources found in overcoming -Resources found in overcoming challenges currently facedchallenges currently faced

Theme VI:Theme VI: Formal Learning ExperiencesFormal Learning Experiences

Piano teachers Piano teachers discussed:discussed:

• Undergraduate studyUndergraduate study

2.2. Master’s level studyMaster’s level study

3. Doctoral study3. Doctoral study

4. Piano pedagogy 4. Piano pedagogy courseworkcoursework

Theme VII:Theme VII: Partnership of Teaching and Learning Partnership of Teaching and Learning

(Apprenticeship Models)(Apprenticeship Models)Piano teachers Piano teachers

discussed:discussed:

• Cognitive-apprenticeshipCognitive-apprenticeship

-Teaching and learning -Teaching and learning simultaneouslysimultaneously

2.2. ApprenticeshipApprenticeship

-Formal teaching -Formal teaching apprenticeshipsapprenticeships

Theme VIII:Theme VIII: Support in the FieldSupport in the Field

(including the role of professional activities)(including the role of professional activities)


• Professional activities as Professional activities as

support in the fieldsupport in the field (positive (positive and negative aspects)and negative aspects)

2.2. Guidance from experienced Guidance from experienced

teachersteachers (sought out informally or (sought out informally or otherwise)otherwise)

3. A forum to discuss issues and 3. A forum to discuss issues and

ideasideas (related to communities of (related to communities of practice)practice)

4. Opportunities to connect to a 4. Opportunities to connect to a broader pedagogy community broader pedagogy community

Theme IX:Theme IX: Teaching ConfidenceTeaching Confidence

Piano teachers Piano teachers discussed an discussed an increased sense of increased sense of confidence through:confidence through:

• Participating in professional Participating in professional activitiesactivities

2.2. Strengthening their identity Strengthening their identity with the teaching rolewith the teaching role

-Developing a philosophy of -Developing a philosophy of teachingteaching

-Actively choosing the teaching role-Actively choosing the teaching role

Theme X:Theme X: Reflective PracticeReflective Practice

Piano teachers alluded Piano teachers alluded to reflective practice to reflective practice when discussing:when discussing:

• Thinking about their teachingThinking about their teaching

2.2. The importance of self-critiqueThe importance of self-critique

3. Through the process of overcoming 3. Through the process of overcoming challengeschallenges

4. Teaching helped performance, and 4. Teaching helped performance, and vise versavise versa

5. Teaching and learning is a cyclical 5. Teaching and learning is a cyclical processprocess

6. Toward the attainment of expert 6. Toward the attainment of expert teachingteaching

Theme XI:Theme XI: Reflections and Suggestions for the FutureReflections and Suggestions for the Future


• Reflections on higher education and:Reflections on higher education and:

a. Preparation for the teaching rolea. Preparation for the teaching role

b. Ability to make a viable livingb. Ability to make a viable living

2. Recommendations for:2. Recommendations for:

a. The future of piano pedagogya. The future of piano pedagogy

b. The piano curriculum, in generalb. The piano curriculum, in general

Answers pertaining to research questions:Answers pertaining to research questions:1. How do piano teachers make the transition from student to teacher? 1. How do piano teachers make the transition from student to teacher?


The master-apprentice model provided:The master-apprentice model provided:

a.a. Pianistic and musicianship skillsPianistic and musicianship skills

b.b. A bank of memories for which to A bank of memories for which to evoke (former teachers, materials evoke (former teachers, materials played, experiences as students)played, experiences as students)

c. Primary models of teaching for c. Primary models of teaching for which to emulate (i.e., archetypes for which to emulate (i.e., archetypes for the teaching role)the teaching role)


As pianists were autonomous As pianists were autonomous in their transition into the in their transition into the teaching role, experiential teaching role, experiential learning factored just as learning factored just as prominently as the master-prominently as the master-apprentice model:apprentice model:

a.a.Learning by doing (gaining Learning by doing (gaining experience, trial-and-error)experience, trial-and-error)

b.b.Overcoming challenges* Overcoming challenges* (considered a productive (considered a productive aspect of their teaching)aspect of their teaching)

c. Seeking out resourcesc. Seeking out resources


Additionally, two facilitative Additionally, two facilitative modes of learning to teach modes of learning to teach included:included:

a.a.Cognitive-apprenticeship Cognitive-apprenticeship (e.g., piano pedagogy (e.g., piano pedagogy coursework combining coursework combining formal learning w/ hands-on formal learning w/ hands-on teaching)teaching)

b.b.Apprenticeship (formal or Apprenticeship (formal or informal learning informal learning opportunities, teaching opportunities, teaching internships, etc.)internships, etc.)

Answers pertaining to research questions:Answers pertaining to research questions:1a. What 1a. What challengeschallenges do they face when making this transition? do they face when making this transition?

Answers pertaining to research questions:Answers pertaining to research questions:1b. What 1b. What resourcesresources do they find when making this transition? do they find when making this transition?

Answers pertaining to research questions:Answers pertaining to research questions:1c. What learning experiences (formal and informal) helped prepare them?1c. What learning experiences (formal and informal) helped prepare them?

Answers pertaining to research questions:Answers pertaining to research questions:1d. What professional activities (if applicable) served as support in the field?1d. What professional activities (if applicable) served as support in the field?

Answers pertaining to research questions:Answers pertaining to research questions:2. What current challenges do piano teachers face?2. What current challenges do piano teachers face?

Answers pertaining to research questions:Answers pertaining to research questions:2a. What solutions and/or resources do they find to overcome current 2a. What solutions and/or resources do they find to overcome current

challenges?challenges?

Answers pertaining to research questions:Answers pertaining to research questions:3. What do piano teachers suggest for the future of piano pedagogy and the piano 3. What do piano teachers suggest for the future of piano pedagogy and the piano

curriculum in general?curriculum in general?

SummarySummary

The iron plate or harp of the The iron plate or harp of the piano is utilized to display a piano is utilized to display a summary of research findings.summary of research findings.

-Known as the “backbone” of -Known as the “backbone” of the piano, it must provide the the piano, it must provide the rigidity to keep the framework rigidity to keep the framework together, together,

-However, it must remain pliant -However, it must remain pliant enough so the framework does enough so the framework does not crack and can endure not crack and can endure through changing conditions.through changing conditions.

ImplicationsImplications

• Transition into the teaching Transition into the teaching role and early development role and early development of teaching navigated of teaching navigated independent independent of the higher of the higher education setting.education setting.

• Experiences in higher Experiences in higher education did not serve as education did not serve as piano teacher preparationpiano teacher preparation

• Underscores the need for Underscores the need for teacher-training experiences teacher-training experiences at the undergraduate level.at the undergraduate level.


• Piano teachers Piano teachers demonstrated several demonstrated several progressions from progressions from undergraduate to undergraduate to graduate study:graduate study:-Identification with the teaching -Identification with the teaching role (similar to Gray, 1998)role (similar to Gray, 1998)-Consulting of written resources -Consulting of written resources and researchand research-Participation in professional -Participation in professional activitiesactivities-Propensity to engage in reflective -Propensity to engage in reflective practicepractice


• Pedagogical coursework and Pedagogical coursework and teacher-training experiences teacher-training experiences were considered facilitative were considered facilitative modes of learning to teach. modes of learning to teach. -Importance of observing experienced -Importance of observing experienced piano teacherspiano teachers

-Opportunities to gain authentic -Opportunities to gain authentic hands-on teaching experienceshands-on teaching experiences

(to immediately apply what is being (to immediately apply what is being learned to one’s own teaching)learned to one’s own teaching)

-”Cradle to grave” model for a variety -”Cradle to grave” model for a variety of learnersof learners

-Business skills for all pianists-Business skills for all pianists


• Similar implications Similar implications have been drawn for the have been drawn for the applied musician: applied musician: -Challenges faced (Haddon, -Challenges faced (Haddon, 2009)2009)

-Requisite skills for sustainable -Requisite skills for sustainable practice (Bennett, 2005)practice (Bennett, 2005)

-Thus, applied musicians may benefit -Thus, applied musicians may benefit from pedagogical coursework from pedagogical coursework inclusive to all musicians (i.e., inclusive to all musicians (i.e., ‘private lesson pedagogy’)‘private lesson pedagogy’)


• Tremendous personal Tremendous personal initiative and incredible initiative and incredible resourcefulness in resourcefulness in transitioning into the transitioning into the teaching roleteaching role

-overcoming challenges-overcoming challenges

and seeking out resourcesand seeking out resources

-finding measures to -finding measures to continually refine their continually refine their teachingteaching

ImplicationsImplications• Thus, for some piano teachers, the Thus, for some piano teachers, the

meticulous processes (e.g., critical meticulous processes (e.g., critical listening, reflecting on action, listening, reflecting on action, problem-solving, etc.) involved in problem-solving, etc.) involved in the pursuit of perfection for the pursuit of perfection for consummate piano performance consummate piano performance may also reflect the continual may also reflect the continual refinement of one’s teaching.refinement of one’s teaching.

• It is proposed that through research, It is proposed that through research, collaboration, and pioneering collaboration, and pioneering leaders in the field, similar leaders in the field, similar implications can be drawn for implications can be drawn for raising the standards and quality of raising the standards and quality of the profession and the framework the profession and the framework for piano teacher training for for piano teacher training for preparing the next generation to preparing the next generation to enter the workforce as piano enter the workforce as piano teachers.teachers.

LimitationsLimitations

• Research methodsResearch methods-Interviews vs. -Interviews vs.

anthropological anthropological observationsobservations

• External validityExternal validity-Small sample size-Small sample size

• Internal validityInternal validity-Evolving nature of the interview -Evolving nature of the interview

guide, sampling selection, and guide, sampling selection, and interviewing skills of the interviewing skills of the researcher.researcher.

Measures to Ensure Quality Measures to Ensure Quality and Rigor of Researchand Rigor of Research

• Member checking Member checking (Johnson (Johnson

& Christensen, 2004)& Christensen, 2004) • Inter-coder reliability Inter-coder reliability

agreement agreement (Tinsley & Weiss, (Tinsley & Weiss,

2000)2000) - .9475, .9238, and .9385- .9475, .9238, and .9385, respectively

Peer debriefing with Peer debriefing with experienced researchersexperienced researchers

(Lincoln & Guba, 1985)(Lincoln & Guba, 1985)

Ongoing ResearchOngoing Research

• Presented at the 2010 Presented at the 2010 GP3 Group Piano & GP3 Group Piano & Piano Pedagogy Piano Pedagogy ConferenceConference

• Presented at the 2011 Presented at the 2011 FMEA Clinic-FMEA Clinic-ConferenceConference

• Will be presenting at the Will be presenting at the 2011 National 2011 National Conference on Conference on Keyboard PedagogyKeyboard Pedagogy

Future ResearchFuture Research

• Large scale survey Large scale survey

(To validate or invalidate (To validate or invalidate research findings)research findings)

• Present at the National Present at the National Conference on Conference on Keyboard PedagogyKeyboard Pedagogy

(Learning to teach:(Learning to teach: The facilitative The facilitative role of piano pedagogy role of piano pedagogy coursework in piano teacher coursework in piano teacher preparationpreparation))


• Develop the Develop the Handbook Handbook for the Beginning Piano for the Beginning Piano TeacherTeacher

• Start a Start a Journal of Journal of Research in Piano Research in Piano PedagogyPedagogy

• Promote the value of Promote the value of pedagogical coursework pedagogical coursework and the need for and the need for consistent educational consistent educational standards.standards.


New Directions for New Directions for Research:Research:

1.1. The reflective piano teacherThe reflective piano teacher

2.2. Training interventions for Training interventions for younger individualsyounger individuals

3.3. Best practices (i.e., expert Best practices (i.e., expert teaching)teaching)

4.4. Identity construction of the Identity construction of the piano teacherpiano teacher

5.5. Core competenciesCore competencies, , curriculum curriculum design, etc.design, etc.

Validated Issues from the LiteratureValidated Issues from the Literature• Pianists demonstrate a progression in Pianists demonstrate a progression in

identification with the teaching role identification with the teaching role from undergraduate to graduate study from undergraduate to graduate study (Gray, 1998).(Gray, 1998).

• Applied instrumentalists, including Applied instrumentalists, including pianists, develop their teaching skills pianists, develop their teaching skills through instinct and experience rather through instinct and experience rather than formal training (Haddon, 2009).than formal training (Haddon, 2009).

• Applied instrumentalists, including Applied instrumentalists, including pianists, tend to rely on memories of pianists, tend to rely on memories of former teachers and materials and are former teachers and materials and are unaware of professional development unaware of professional development opportunities (Haddon, 2009).opportunities (Haddon, 2009).

• Current coursework and experiences in Current coursework and experiences in piano pedagogy need to be improved in piano pedagogy need to be improved in the higher education setting (MTNA, the higher education setting (MTNA, 1999, cited in Fu, 2007; Schons, 2005; 1999, cited in Fu, 2007; Schons, 2005; Sumpter, 2008).Sumpter, 2008).

Slawsky defensetake2

Education

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