A Reflective Lens: Music Pedagogical Research to Transform Practice | Page 92

Becoming a Reflective Practitioner:
A Music Teacher’s Exploration of Singing Games

I also learned that my pupils loved singing games and they
play it beyond the classroom. Pupil A in her FGD shared
that she taught the games to her friends and practised
during recess. She shared also that she demonstrated the
games to her grandmother. Pupil B mentioned that she
also played the games with family members and friends at
the playground.
Marsh (2008) found that these play songs are seen to forge
a link between the classroom and the playground, thus
allowing children to practise musical materials learnt in
their own time.
Reflective Process
Coaching from my mentor also played an integral role in
developing my reflective thinking skills (Barry, 1996; Smith,
2002) as his questioning and feedback provided me with
opportunities to think deeper. My research consultant,
during our group and individual consultation sessions,
often inquired if I was trying to teach music as if I was “in
Hungary back in the 1960s?” He challenged me to rethink
my approach and delivery of my music lessons. I questioned
myself if I could allow my lessons to be more pupil-centric
and allow my pupils more space to be creative. I wondered
if composition was a possible way to show how creative my
pupils were. Even as I wanted to encourage creativity in my
pupils, I did not know how to scaffold and document their
creative process.
In keeping with Larrivee’s model (2000), I recognised my
fear of change and the implications to my belief system.
I was torn, having to accept that pupils could exhibit
creativity without first establishing a firm foundation of
music concepts, and my observations in practice that the
solfège and hand signs could be a stumbling block rather
than an enabler. I experienced feelings of vulnerability and
found myself out of my comfort zone. It was definitely a
disconcerting period of time for me.

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