Focus area 2 : Getting to know the participant ’ s performance / composing experience
Since all of the participants have been active performers or composers in either the past or present , these questions were used to better understand their musical experience more generally , as well as build rapport . The questions were also aimed at uncovering some of their personal values when it comes to music-making , which may translate into their pedagogical approaches .
• Can you tell me about some of the performances you have most recently given ?
• Which ensembles or musical groups are you a part of ? [ Follow-up questions : What kind of music do you play with them ? Who are your typical audience members ?]
• Can you tell me more about your recent compositions ? [ Follow-up question : Where have they been performed ?]
• What / who would you consider to be your greatest musical influence ( s ) when you compose or perform ? Why ?
• Do you think of performance as a form of musical education for audiences ? [ Follow-up question : What do you hope audience members will take away from your performance ?]
Focus area 3 : Understanding the backgrounds of their students and how they design lessons
Due to several limitations , such as distance and concerns surrounding child protection , it was not possible to observe the teachers teaching in person . These questions were therefore intended to access a snapshot perspective of how lessons are conducted , the participants ’ pedagogical approaches , and the general cultural background of their students .
• Do you conduct group or one-on-one lessons ?
• Which musical traditions do you teach as part of the General Music Programme ? [ Follow-up questions : Can you tell me more about how students are assessed ?]
• If possible , could you describe how you would approach an introduction lesson taken by a beginner ? [ Follow-up question : What are some of your main objectives for a beginner in an introductory lesson ?]
• Do you use any formal or established methods to teach ? [ Follow-up question : Are there any formal methods used to teach [ musical tradition / instrument ]?]
• What are the cultural and musical backgrounds of the students you teach and have taught in the past ? [ Follow-up question : Do they tend to have previous experience in [ musical tradition / tradition ] or in any other instrument and musical tradition ?]
• Does [ musical tradition ] use any form of musical notation ?
• Do you use Western musical notation in your teaching ?
Focus area 4 : Understanding the learning hurdles that students face
This part of the interview directly addresses the focus of the study , which explores the challenges MME teachers face .
• What would you consider to be some of the biggest learning curves students face when starting to learning [ musical tradition / instrument ]? [ Follow-up question : How do you help students overcome this learning curve ?]
• Do you feel that the cultural background of individual students has a bearing on how they learn [ musical tradition / instrument ]? Why do you think so ? [ Follow-up question : How do you adapt your teaching to help students whose learning may be impacted by their cultural background ?]
• Do you feel that the musical background of individual students , such as having learnt a different musical tradition , has a bearing on how they learn [ musical tradition / instrument ]? [ Follow-up question : How do you adapt your teaching to help students whose learning may be impacted by their previous musical
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