I set out to look for some literature on action research in music production education, but everywhere I looked, I got pointed to music education. While music production is part of a big music education umbrella, music education research mostly focuses on performance and theory.
Though this field is vibrant and diverse, we can learn from various aspects of teaching and learning different aspects of music and it has a significant impact on both theoretical understanding and practical applications for our context.
Music education, with its multifaceted and dynamic nature, has been a fertile ground for action research. The diversity in focus ranges from understanding the psychology of individual learners to exploring the dynamics of ensemble participation. For instance, studies have investigated how students respond to pupil-centred learning in piano lessons, examining the psychological aspects of individual learning styles (Mackworth-Young, 1990). Similarly, research on compositional tasks in elementary music classrooms has provided insights into the design of such tasks and their impact on student learning (Miller, 2004).
Several themes have emerged in the literature, reflecting the varied interests and focal points within music education. Studies have delved into the sub-culture of high school ensembles, exploring the range of effects on participants (Adderley, Kennedy, and Berz, 2003). Others have focused on understanding the motivations behind choir participation among different age groups, as well as the roles students adopt in various ensemble settings (Conway and Borst, 2001).
Action research in music education often explores the dynamics of tutor and peer feedback, although finding specific examples that focus exclusively on this area can be challenging. The literature indicates that action research in music education is diverse and covers a wide range of subject matter. It integrates research and action, is collaborative, and is grounded in a body of existing knowledge, leading to powerful learning experiences for participants. (Cain, 2008).
Moreover, peer tutoring in music education has been recognized as a valuable cooperative learning strategy. Even though most studies revolve around instrument performance tutoring, it involves pairs of students working together, providing assistance, instruction, and feedback. This method has been examined in various studies, reflecting its potential in music education and the specific elements that can enhance teaching and learning music. (Fernández-Barros, et al. 2023).
Regarding music technology, I found a study that focuses on an action-research project involving 12 teachers and 68 students at an Ecuadorian university, funny enough where I’m from. The study developed a Holistic and Technological Model of Music Education (HTMME) and assessed its effectiveness through an original questionnaire and qualitative work. The findings highlight the positive appreciation of the new model and demonstrate how learning music with ICT can induce creative-musical processes in students. This research emphasises the significant impact that technological integration can have on music education, offering new teaching experiences and relevant learning opportunities for students. (Bolivar et al, 2021).
Outside of music education, I found plenty of literature about peer feedback in a classroom setting. The article “Improving Student Peer Feedback” by Linda Nilson, published in College Teaching in January 2003, addresses the challenges and inefficiencies of traditional peer feedback methods in educational settings. Nilson critiques the typical judgment-based peer feedback for its lack of validity, and reliability, and its tendency to be superficial and emotionally charged. The article proposes an alternative approach focusing on neutral, informative, and thorough responses that aim to enhance the peer feedback process. This approach encourages students to provide genuinely valuable feedback, avoiding common pitfalls associated with emotional biases and superficial assessments. The article also explores the broader context of cooperative learning and peer assessment in modern education, highlighting its importance for developing critical thinking and collaborative skills.
Tim McMahon (2010), explores the use of action research to enhance peer feedback in an undergraduate program. It focuses on addressing students’ reluctance to provide critical feedback to their peers. The study, conducted over four years, involved implementing and refining a peer assessment regime to generate high-quality, reflective, and useful peer feedback. The paper documents the transformation of a system initially characterized by students’ reluctance to criticize into one that encouraged effective peer feedback and critical thinking. It highlights the importance of making peer assessment formative and giving students ownership of the feedback process, resulting in a more engaged learning community.
The paper “Action Research on Implementation of Peer Assessment as an Effective Learning Strategy: Evidence from WIUT” by Feruza Yodgorova (2020), examines the implementation of peer assessment in higher education. The study, conducted at Westminster International University in Tashkent (WIUT), utilized mixed-method research to explore the effectiveness of peer assessment in enhancing the learning process. It involved students from Business Administration and focused on the student-centred approach of peer assessment. The paper discusses both the positive perceptions and challenges faced in implementing peer assessment, including its impact on student relationships and potential issues of collusion among group members.
In conclusion, while there are no specific studies directly addressing the creation of audio artefacts, the insights obtained from action research in music education and the application of peer feedback in various fields have significantly contributed to the formulation of a more informed approach. This knowledge has been instrumental in guiding the development and shaping the direction of my intervention in this area.
References:
Adderley, C., Kennedy, M., & Berz, W. (2003). “A Home Away from Home”: The World of the High School Music Classroom. Journal of Research in Music Education, 51(3), 190–205. https://doi.org/10.2307/3345373
Bolívar-Chávez,O.-E.; Paredes-Labra, J.; Palma-García, Y.-V.; Mendieta-Torres, Y.-A. Educational Technologies and Their Application to Music Education: An Action-Research Study in an Ecuadorian University. Mathematics 2021, 9, 412. https://doi.org/ 10.3390/math9040412
Cain, Tim. (2008). The Characteristics of Action Research in Music Education. British Journal of Music Education, v25 n3 p283-313 Nov 2008. https://eric.ed.gov/?id=EJ1073476
Conway, Colleen & Borst, James. (2001). Action Research in Music Education. Update: Applications of Research in Music Education. 19. 10.1177/87551233010190020102.
Fernández-Barros, Andrea, Duran, David, and Viladot, Laia. (2023). Peer tutoring in music education: A literature review. International Journal of Music Education, 41. https://journals.sagepub.com/doi/abs/10.1177/02557614221087761
Mackworth-Young, L. (1990). Pupil-centred learning in piano lessons: An evaluated action-research programme focusing on the psychology of the individual. Psychology of Music, 18(1), 73–86. https://doi.org/10.1177/0305735690181006
McMahon, Tim. (2010). Peer feedback in an undergraduate programme: Using action research to overcome students’ reluctance to criticise. Educational Action Research. 18. 273-287. 10.1080/09650791003741814.
Miller, B. A. (2004). Designing compositional tasks for elementary music classrooms. Research Studies in Music Education, 22, 59–71.
Nilson, Linda. (2003). Improving Student Peer Feedback. College Teaching. 51. 34-38. 10.1080/87567550309596408.
Yodgorova, F. (2020). Action Research on Implementation of Peer Assessment as an Effective Learning Strategy: Evidence from WIUT. European Journal of Research and Reflection in Educational Sciences, Vol. 8 N. 8, p.45-55.