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Explicit versus Performative Assessments in Music Pedagogical Interactions

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Title: Explicit versus Performative Assessments in Music Pedagogical Interactions
Language: English
Authors: Ivaldi, Antonia
Source: British Journal of Music Education. Mar 2019 36(1):69-86.
Availability: Cambridge University Press. 100 Brook Hill Drive, West Nyack, NY 10994. Tel: 800-872-7423; Tel: 845-353-7500; Fax: 845-353-4141; e-mail: subscriptions_newyork@cambridge.org; Web site: https://journals.cambridge.org
Peer Reviewed: Y
Page Count: 18
Publication Date: 2019
Document Type: Journal Articles
Reports - Research
Descriptors: Music, Music Education, Interaction, Performance Tests, Music Teachers, Musical Instruments, Lesson Plans
DOI: 10.1017/S0265051717000262
ISSN: 0265-0517
Abstract: Research on teachers' assessments of students' playing within music lessons has mainly focused on verbal (spoken) evaluations of their learning. However, closer exploration of these interactions shows that embodied assessments, that is, those that also include non-verbal, multi-modal features as part of the interaction, are found to be particularly relevant when making assessments in performing domains such as music. The study's aim was to examine the different types of assessments made by teachers of their students' playing, how they were responded to by the student, and the function they served in opening up the learning dialogue. 18 video recordings from one-to-one conservatoire music lessons were analysed and two types of assessments were identified: (1) Explicit, definite assessments that provided a clear statement of the students' playing (e.g., 'excellent', 'very good') that resulted in closing down the learning dialogue; and (2) Performative, instructive assessments that were more complex evaluations of the students' playing (e.g., 'that's closer', 'it's too top heavy') that necessitated further work, thus leading to a more detailed pedagogic interaction. Findings highlight the importance of looking at embodied assessments as essential components to the learning dialogue in music, as well as discussing the implications that the different types of assessments have for opening up and closing learning interaction.
Abstractor: As Provided
Entry Date: 2019
Accession Number: EJ1212598
Database: ERIC
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  Data: Explicit versus Performative Assessments in Music Pedagogical Interactions
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  Data: Cambridge University Press. 100 Brook Hill Drive, West Nyack, NY 10994. Tel: 800-872-7423; Tel: 845-353-7500; Fax: 845-353-4141; e-mail: subscriptions_newyork@cambridge.org; Web site: https://journals.cambridge.org
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  Data: Journal Articles<br />Reports - Research
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  Data: <searchLink fieldCode="DE" term="%22Music%22">Music</searchLink><br /><searchLink fieldCode="DE" term="%22Music+Education%22">Music Education</searchLink><br /><searchLink fieldCode="DE" term="%22Interaction%22">Interaction</searchLink><br /><searchLink fieldCode="DE" term="%22Performance+Tests%22">Performance Tests</searchLink><br /><searchLink fieldCode="DE" term="%22Music+Teachers%22">Music Teachers</searchLink><br /><searchLink fieldCode="DE" term="%22Musical+Instruments%22">Musical Instruments</searchLink><br /><searchLink fieldCode="DE" term="%22Lesson+Plans%22">Lesson Plans</searchLink>
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  Data: Research on teachers' assessments of students' playing within music lessons has mainly focused on verbal (spoken) evaluations of their learning. However, closer exploration of these interactions shows that embodied assessments, that is, those that also include non-verbal, multi-modal features as part of the interaction, are found to be particularly relevant when making assessments in performing domains such as music. The study's aim was to examine the different types of assessments made by teachers of their students' playing, how they were responded to by the student, and the function they served in opening up the learning dialogue. 18 video recordings from one-to-one conservatoire music lessons were analysed and two types of assessments were identified: (1) Explicit, definite assessments that provided a clear statement of the students' playing (e.g., 'excellent', 'very good') that resulted in closing down the learning dialogue; and (2) Performative, instructive assessments that were more complex evaluations of the students' playing (e.g., 'that's closer', 'it's too top heavy') that necessitated further work, thus leading to a more detailed pedagogic interaction. Findings highlight the importance of looking at embodied assessments as essential components to the learning dialogue in music, as well as discussing the implications that the different types of assessments have for opening up and closing learning interaction.
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