SO UN D I N G T H E T E A CH IN G
2
Exposition
EX A MI NI NG MU SI C LEA R NI NG EX P ER I ENC ES
Flow experiences can take place in both highly-structured music lessons and
less-structured ones. What might work to enhance flow?
STRUCTURED
APPROACH
EXPLORATORY
APPROACH
WHAT DOES IT MEAN IN THE CONTEXT OF THIS RESEARCH?
Artist conducts Orff-based
lessons that encourage
improvisation by students.
Artist facilitates group work
where students create short
music passages to fit a story.
These are put together into a
class composition and presented
with the story.
WHAT CHARACTERISTICS ENHANCE FLOW EXPERIENCES?
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Providing scaffolding
Setting mini goals and
providing fe edback all the way
Making conscious the
awareness of actions to
intentions
Creating a safe environment
that promotes risk-taking
Emphasis on creativity
Providing free choice and
exploration
Empowering the students’ voice
Creating a safe environment
that promotes risk-taking
WHICH STUDENT PROFILE WAS OBSERVED?
Observed to work well with
middle progress classes
Observed to work well with high
progress classes
CONCLUSION
There are many factors in a music
lesson that can promote flow
experiences
Flow occurs when fun and rigour,
complexity and ease, negative and
positive, are all finely balanced and
varied
Flow varies with the deviation of lesson
in response to students’ responses.
Interventions are highly nuanced and
may not always work the same way
Encouraging flow need not mean fun
all the time. Routines and expectations
need to be drawn and constantly
reinforced to ensure that students are
clear of the goals and carry out the
tasks that lead to the aesthetic flow
experience
Tasks that lead to flow experiences are
related to intrinsic motivation rather
than extrinsic motivation
REFLECTION
Having the chance to watch others teach
music classes is a rare experience for
me. It was especially insightful and a
privilege for me to be able to learn from
the artists. Some of the ideas the artists
carried out resonated strongly with me
and affirmed some of the practices I do.
Seeing the practice in action gave me
some perspectives and prepared me
to anticipate possible scenarios while
conducting lessons.
I used to think that the exploratory
approach to improvisation would lack
structure and may not be possible to
carry out with students. Now, I think
the possibilities are there, especially if
enough music elements have been taught
and students are given the chance to
explore the instruments and in groups.
The exploratory approach is something
I hope to try in the future.
I am also more aware of the nuances that
can hinder or enhance flow experiences
in music lessons. I hope to practise and
hone this skill in facilitating flow and
improve my own teaching practice.
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