Learning Theories and Pedagogy for Percussion Teachers

Introduction

In forty-five hours of teaching percussion, I have learned to apply various learning theories to my work. I believe a greater understanding of these theories has improved my pedagogy and enhanced communication and interpersonal connections with my students, who are both male and female and range in age from child to adult. The purpose of this paper is to reflect on my own learning experience as a teacher, including the application of learning theories, effective communication techniques, use of formative and summative assessments, and incorporating language literacy and numeracy in lessons. By reflecting on the teaching experience, I hope to gain insight that will inform my approach in the future and help me better meet the needs of all my students.

Learning Theories in Percussion Instruction

For many of my students, I use the London College of Music series, which offers a graded course (grades 1–8) for drum kit. Each handbook includes rudiments and pieces for each grade, sample viva voce questions, sight-reading practice, and aural tests. Each grade is accompanied by a play-along CD that includes backing tracks. There are drum tracks to which students can listen as well as tracks without drums that can be used for exams. For higher grades, there are time sequence studies featuring only a click track. The series is fully accredited in England by Ofqual and has been placed on the national qualifications framework at the foundation, intermediate, and advanced levels. Its validity and reliability as both an instructional and assessment instrument are well established. The series incorporates several important learning theories.

A behavioral objective states learning goals in "specified, quantifiable, terminal behaviors" (Saettler 1990, p. 288). A typical behavioral objective for a beginning percussion student might specify that the student correctly identify basic drum notation ninety percent of the time in a post-test following a unit of instruction. The learning task is broken down into smaller, measurable components, and competency is determined using a specific, objective assessment tool. The lessons in the graded books break concepts down into their constituent parts, making tasks manageable for students — which is particularly important while they are still learning. Beginners, especially, can be overwhelmed by too many concepts at once. Instruction is therefore tailored to focus on single aspects, for which students demonstrate competency before moving to the next step. Eventually, of course, students must learn to combine rhythm with tone production, coordinating eye, hand, and ear with the goal of musicality rather than mere timekeeping (Serrano 2006). Instruction must start, however, with manageable tasks that are specific, quantifiable, and have measurable outcomes. I can also apply this principle in drumming circles by playing simple rhythms for students to repeat before progressing to more complex rhythms and student-led patterns.

Cognitive learning enables students to learn through reasoning, intuition, and perception. This is accomplished in different ways, as students have different learning styles and are motivated by different things. Response behaviors can be an important tool when working with students. Taylor (2006) used a computerized behavior analysis program called SCRIBE (Simple Computer Recording Interface for Behavioral Evaluations) to quantify specific teacher and student behaviors, of which response behaviors were a part. Data showed that teachers spent approximately 37% of their time talking, 10% modeling, and 30% performing with students during performance tasks. Analysis of the results indicates that the nature of verbalization, rather than its quantity, is the key measure of success. "Feedback results in higher student achievement as well as positive attitudes towards rehearsals and the instructor" (Dunn 1997; Price 1983; cited in Taylor 2006). Negative feedback alone was found to be ineffective, but when coupled with positive directives, it was helpful for students (Taylor 2006).

Observation is another powerful learning tool. For this reason, I frequently modeled for my students everything from correct hand position to complex rhythms. Research supports modeling as one of a teacher's most effective tools (Taylor 2006). As shown in Taylor's study, modeling typically comprises just 10% of instruction, with teachers generally spending "more time telling students what, where, or when to play rather than how to play" (Taylor 2006). A brief explanation of "how" is useful, but there is really no substitute for modeling followed by guided practice. Students need to see and hear what they are expected to do, and modeling helps them understand how to produce the sound the teacher is seeking. Reid (2007) notes that listening to actual performances can be inspiring, but that internalizing musical consistency comes from hands-on practice. Marshall (2006) wrote, "I believe that students benefit from hearing familiar instruments played in recorded music and, when possible, playing along with recorded music." The CDs included with the London program are therefore an important component of the lesson.

The humanist approach to learning is student-centered and designed to meet the needs of the individual, helping each student reach their full potential. My role as a teacher is to guide my students' learning, acting as a facilitator as they progress towards mastery. As important as verbalizing and modeling are, I must always strive to give students ample opportunity to ask questions and, most importantly, to play their instruments during lessons. The lesson is not my performance — it is their learning opportunity. Students can learn from listening to and watching their teacher, just as they can learn from listening to CDs and observing live performances by other musicians. However, there must always be a hands-on component. Music is a whole-body experience, and learning cannot take place passively. A student-centered approach in both drum kit lessons and drumming circles invites full student participation and maximizes the experience in ways most conducive to learning.

Social learning theory holds that people learn best in social situations and by observing others. Drumming circles are a wonderful example of this theory in action. I have observed students become more confident as they participate in the group. The learning remains student-centered, but individuals often feel less pressure in performance because they are not the sole focus of attention. They can enjoy being part of a group and appreciate what each member contributes in terms of personality, learning style, and approach to drumming. Anne Fennell, a music teacher, says that a drum circle "must be a sequenced event where every moment is a teachable moment" (Criswell 2009). In my experience, there are many teachable moments when working with a group of students. Each one faces different challenges, responds differently to instruction and feedback, and brings a different perspective to the music.

Effective Communication in Music Teaching

With respect to music rehearsals, studies indicate that successful teachers speak frequently but succinctly (Taylor 2006). I believe the same is true for music instruction, whether one-on-one or in a drumming circle. Fidyk (2010) writes that the goal of a music teacher is to create a "lifelong engagement with making music," and that an essential component of engagement is communication. An interesting study by Karlsson, Liljestrom, and Juslin (2009) compared students' perceptions of computer-delivered feedback versus instructor-driven feedback. Computer technology has advanced to a point where useful information can be provided to students — for example, feedback on hand positions, pitch accuracy, tone quality, and, more recently, musical expression. Despite these advances, students have been reluctant to use such technology and instead prefer feedback from a live instructor, even when they believe it may be less accurate in some respects. Students found both computer- and teacher-generated feedback equally easy to understand, but teacher feedback was judged to be more useful overall. Students particularly appreciated the encouragement they received from their teachers, as well as concrete examples and detailed explanations. Evidence-based research thus supports the importance of teacher-student communication, which I will continue working to improve.

"Music education programs have avoided…objective assessments via the assertion of subjectivity and aesthetics in music learning" (Hanna 2007, p. 7). Assessment of a student's musical ability is important in determining whether they are ready for the next level of study or to participate in ensemble work. As part of the curriculum, music must be assessed to demonstrate that it is a "cognitive equal" (Hanna, p. 8) to other subjects. Hanna further points out that policy decisions for any academic program are usually made on the basis of factual data derived from objective, standardized assessment criteria. This can be challenging in music education because music-learning outcomes are often judged using subjective assessment of aesthetic and psychomotor learning and performance, in contrast to reading, writing, mathematics, and science, which are typically taught as objective, cognitive-domain activities (Hanna, p. 7). Formal assessments therefore give credibility to music as a genuine academic pursuit rather than a peripheral extra.

Conclusion

Good musicianship is an important element of good music instruction. As a percussionist, I am able to model for my students so they understand clearly what I am asking them to do. It is equally important, I found, to have a solid foundation in music pedagogy and learning theory. Being able to play well for my students is not sufficient to instruct them effectively. I must be able to engage them and facilitate their learning. Understanding different learning approaches and learning styles has helped me to do precisely that.