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Jun 4, 2014 · The findings suggest that the practice of playing along to a recording can reveal a range of spontaneous learning styles amongst students, of which teachers may otherwise remain unaware, and a range of further learning strategies that may provide new insights for music teachers.
- Musical “learning styles” and “learning strategies” in the ...
This article considers the concepts of “learning style” and...
- Musical “learning styles” and “learning strategies” in the ...
Nov 8, 2010 · Through participant observation and other qualitative methods, it is suggested that four potential aural “learning styles” emerged: the “impulsive”, the “shot-in-the-dark”, the “practical” and the “theoretical” styles. These are illustrated with qualitative data from lesson transcripts and annotations.
- Lucy Green
- 2012
Through participant observation and other qualitative methods, it is suggested that four potential aural “learning styles” emerged: the “impulsive”, the “shot-in-the-dark”, the “practical” and the “theoretical” styles.
This article considers the concepts of “learning style” and “learning strategy”. The former connotes an inbuilt trait which tends to remain fundamental to the way an individual approaches learning.
Jun 4, 2014 · Overall, the learners’ spontaneous responses to the ear-playing task, termed here ‘learning styles’, were classified into four main categories, termed impulsive, shot-in-the-dark, practical and theoretical.
- Maria Varvarigou, Lucy Green
- 2015
Feb 23, 2024 · In the synthesis of the studies, four aspects emerged as crucial for students’ musical learning: (1) the framing of the teaching, (2) taking the learners’ perspectives, (3) teachers’ scaffolding strategies, and (4) representations of sounding music.
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Should musical learning styles and strategies be categorized?
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What are aural learning styles?
It analyzes four influential perspectives of learning, and considers how the learner is shaped by them: (1) the music learner as a skilled performer, (2) the music learner as a collaborator, (3) the music learner as an explorer, and (4) the music learner as an authentic musical being.
