Teaching Strategies for High School Group Piano Classes

Teaching Strategies for High School Group Piano Classes

by Ricardo Pozenatto, PhD

LLearning how to play the piano is frequently viewed as a practice that requires one-on-one instruction; however, advancements in technology have made it possible to group electronic keyboards in the same space, enabling more than one student to receive music instruction at the same time. The first electronic piano lab—a music laboratory including digital pianos interconnected through wires—was developed in 1956 at Ball State University (Fisher, 2006). After that, the presence of group piano classes increased in colleges and universities around the country as well as in public schools. In this article, I present a few strategies for teaching group piano classes, based on cooperative learning theory.

Group Dynamics and Cooperative Learning Theory

The study of group dynamics and the interaction of people in groups appeared in the 20th century in the United States with the work of the educator John Dewey, whose “concept of education put a premium on meaningful activity in learning and participation in classroom democracy” (Public Broadcast Service, 2021, para. 2). Group dynamics involve the interaction between members of a group. These interactions influence how the groups function. Factors such as emotions, individual differences, and interpersonal influence and conflict also have an impact on the success of a group’s activity.

Educators from the past have discussed their ideas surrounding group dynamics. The Swiss psychologist Jean Piaget argued that “during cooperative efforts, participants will engage in discussions in which cognitive conflicts will occur and be resolved, and inadequate reasoning will be exposed and modified” (Johnson & Johnson, 1994, p. 39). Similarly, Lev Vygotsky suggested that “group members exchange information and insights, discover weak points in each other’s reasoning strategies, correct one another, and adjust their understanding on the basis of others’ understanding” (Johnson & Johnson, 1994, p. 40).

Cooperative learning is “an instructional method in which students work in small groups to accomplish a common learning goal under the guidance of the teacher” (Rigacci, A., 2020, para. 1). It is a learning theory that was originally designed for use in the public school classroom. The teacher facilitates students’ learning experiences by helping them to collectively discover the concepts that are being introduced or reviewed. The five essential elements of cooperative learning theory are:

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High School Group Piano Classes

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«Positive interdependence: the frame of mind that results in each student’s promotion of other students’ learn« ing and achievement. Face-to-face interaction: the communication among members of the group to explain how to solve a proposed problem. It includes personal insights, connections, and transfers « from past to present learning. Individual accountability: the element that holds students accountable and responsible for their contribution to the group in addition to their indi« vidual understanding and success. Social skills: the element where teachers should model positive social behaviors to the class, offering praises to the students. Students acknowledge

constructive criticism while the teacher demonstrates that leadership and decision-making are more effective « when participatory. Group processing: members of the group check for their progress and broaden their techniques to manage and enhance their advancement. (Fisher, 2010)

Simply organizing students into groups and instructing them to work together will not guarantee the desired result. Successful cooperative learning experiences happen through well-structured group settings. Based on cooperative learning theory, many structures can be utilized for group instruction. Four settings can be used in a group piano classroom: individual setting, groups of two, groups of four, and groups of more than four students. The individual learning setting, although beneficial in many circumstances, does not promote cooperative learning.

Groups of Two (Dyads)

The main structure when grouping students in pairs is the Think-Pair-Share, which is particularly useful for shortterm activities (Figure 1) (Brame & Biel, 2015). It can be employed with students of any age and especially those who are new to cooperative learning activities. In this structure, students independently think about a topic or a given question and then are put in pairs to discuss their ideas. They are challenged to reach a consensus and provide justification for

Figure 1

Diagram of the Think-Pair-Share structure

Figure 2

Diagram of the Jigsaw structure

Note. Each number represents one student of the class.

their reasoning. Following, they share their thoughts with the class. This structure facilitates students’ participation and involvement.

Groups of Four

One of the main structures when grouping students in groups of four is the Pairs Check. This effective structure works best when reviewing or practicing lesson concepts. Within their pairs, students alternate between being the pupil and the coach while solving a proposed problem. Afterward, the students’ pairs check if they have achieved a consensus about their answer. The Pairs Check encourages students to share, allowing them the opportunity not only to acquire new knowledge, but also to benefit from a positive social environment.

Groups of Four or More « Round-Robin. This structure promotes team building while students take turns with their teammates. Each student is offered the chance of sharing their opinions through fair participation. This structure is suitable for reviewing class concepts or inquiring for perspectives from class-

mates. Round-Robin activity includes students answering questions or pro« viding opinions about a given topic. Send a Problem. This structure can be utilized to summarize or review class concepts. “Each student from a group proposes a question to their group mates, who in turn respond with a consensus answer. The same question can be forwarded to a different group to answer” (Fisher, 2010, p. 60). Finally, all the groups discuss their answers, and the class may attempt to achieve a collective response to the questions « generated. Teams-Games-Tournament. For this structure, the teaching happens directly through lectures or discussion. After that, students of different levels are grouped in groups of four or five to study together, ensuring that all in the group understand what the teacher presented. Next, students divide up to play games that cover the class content. Although students are recognized by their accomplishments and game points are marked, grades « are stipulated on an individual basis. Student Teams-Achievement Divisions. In this structure, students take

a quiz every week instead of playing games. A combination of individual and group improvement is recognized at the end of a teaching cycle while scores are added. The teams with the highest scores receive some sort of « reward. Jigsaw. This structure is a method where the teacher assigns the same broad topic for each group of the class.

Next, each student of each group, consisting of four or more students, becomes responsible for learning one portion of the topic and teaching it to the other students of the new group to which they have been assigned. With the contribution of all, the whole class combines their discoveries to create a complete understanding of the topic (Figure 2) (Brame & Biel, 2015). With this structure, the only way a student can gain comprehensive knowledge about the material is if the other members of the group complete their assigned tasks, which encourages students to take ownership of the learning of their assigned portion of the topic and sharing their discoveries with their teammates. Continued on page 24 February/March 2022 23

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Application of Teaching Structures to Class Piano Activities

Playing Scales

Practicing technical elements of the piano, such as scales, can be boring for some students. Understandably, some students feel that way, especially if they cannot see how the benefits of these technical elements can enhance their playing. Although the practice of scales can be done individually, it can be enjoyable when it happens collectively. For that, I have encouraged my students to practice and present their scales to the class in diverse ways. I often pair students so they can play the scales together, or even observe each other’s playing to provide constructive feedback through the Think-Pair-Share or RoundRobin structures.

If I want to hear all students, I ask the students to play the scale together, aloud, so they can also hear one another. If there are students at different levels attending the same class, some can play two notes per beat while the other students play one note per beat. If that is the case, the more advanced students should also play an additional octave, so all students start and finish at the same time (e.g., beginners play one octave up and down one note per beat while advanced students play two octaves up and down twice as fast— two notes per beat). Students can also play scales in the form of a canon, where the second group of students starts the playing as the first group plays the third scale degree. Discussion must follow the performance.

Collective Playing

The structure utilized for this activity is the Jigsaw. It is possible that in a large group of class piano students, several students are learning the same piece of repertoire. They may be in different stages of practicing the piece (e.g., some halfway through to the end and others about to start reading and learning it). A class period can be reserved so students who are practicing the same musical selection may experience the full performance of the piece even when they cannot yet play it completely from the beginning to the end. To achieve that, the teacher may assign a specific portion of the piece to be prepared by each student. A certain amount of time is given so students can practice their assigned parts. In large classes, more than one student can be assigned to prepare the same part of the piece. Then, the teacher groups students whose assigned parts are the same and they discuss aspects of the playing (e.g., fingering, articulation, dynamics) and even play for each other while generating ideas, offering solutions for issues, and sharing constructive criticism. Next, the teacher groups students whose assigned parts are not the same so they can further their discussion (Jigsaw structure). Following, the teacher may request that students play their assigned parts in the proper order, in a continuous manner— no stops in between measures—resulting in a complete performance of the piece. Students should be accountable for learning their parts for the class performance, and a discussion including all students could facilitate students’ sharing of constructive criticism. As each student continues the “musical chain,” they must play on a steady beat so the performance is unified. This demands the attention of all students involved, even when they are not actually playing.

Ensemble and Improvisation From a Simple Tune

For this activity, the teacher divides the class into two groups. While beginner students learn how to play the melody of a simple tune, more advanced students can use the same material to harmonize and accompany the melody. The ThinkPair-Share structure can be utilized within each group; that way, students have a chance to express and share their ideas and thoughts about the materials (e.g., types of chords for accompanying, accompaniment style, fingering, dynamics, etc.). After that, a consensus regarding harmonic choices and accompaniment style needs to occur. At that point, the whole class can engage in ensemble playing.

The advanced students accompany the beginner students who play the melody. When the tune utilized is short, advanced students may continue playing the accompaniment after the tune ends, and a selected student may improvise on those harmonies (Figure 3). Other students can continue improvising or go back and forth from improvisation to the written melody in a continuous loop. This is an example of how a simple tune can be utilized for ensemble playing and improvisation practice through an activity that accounts for students’ diverse levels of playing and reinforces principles of cooperative learning theory. Longer and more complex tunes may offer diverse harmonic options, which would possibly further engage students in deeper discussions and reflections.

Sight-Reading Practice

In this activity, the teacher pairs students and assigns them the practice of sight-reading. The music selections should come from the students’ current repertoire: one student practices sight-reading a piece that the other student is currently learning and vice-versa. This works best when students will end up learning the same piece they sight-read during this activity. A short length of time— between five and ten minutes—should be offered for individual practice. Following this time, the paired students play for each other while providing constructive

Figure 3

Tune of “A Tisket, A Tasket” including an example of an accompaniment style

feedback and possible solutions for issues they see. This is an effective way for students to review and reinforce concepts they are currently learning in their pieces, and this happens while they coach the other student who is practicing the sight-reading.

Final Thoughts

Some of the activities suggested will last very few minutes while others may last an entire class period, or even a term or teaching unit. The structures presented could easily be incorporated or generate other types of activities, accounting for students’ different playing abilities, the number of students and instruments in the classroom, and the repertoire that students learn. Music teachers should understand the principles behind these activities and the strategies that can be used for enhancing students’ cooperative learning experiences. Most likely, the music selections currently utilized by the students would need to be adapted and/or arranged while teachers develop such activities. Although these adaptations might seem laborious, students will greatly benefit from cooperative learning-based activities.

Ricardo Pozenatto, PhD, is a faculty member at New Tampa Piano and Pedagogy Academy. He has appeared as a presenter in national and state conferences (Florida State MTA, New York State MTA, NCKP, and MTNA Collegiate Symposium) and serves as the coordinator of international engagement at the Frances Clark Center.

References

Brame, C.J. & Biel, R. (2015). Setting up and facilitating group work: Using cooperative learning groups effectively. Vanderbilt

University Center for Teaching. https://cft. vanderbilt.edu/guides-sub-pages/settingup-and-facilitating-group-work-usingcooperative-learning-groups-effectively/ Fisher, C. C. (2006). Applications of selected cooperative learning techniques to group piano instruction (Publication No. 3212008) [Doctoral dissertation, University of

Oklahoma]. ProQuest Dissertations &

Theses Global. Fisher, C. C. (2010). Teaching piano in groups.

Oxford University Press. Johnson, D., & Johnson, R. (1994). Learning together and alone: Cooperative, competitive, and individualistic learning. Allyn and Bacon. Public Broadcast Service. (n.d.). Only a teacher:

Schoolhouse Pioneers – John Dewey. https:// www.pbs.org/onlyateacher/john.html Rigacci, A. (2020, September 1). What is cooperative learning? Strategies for your classroom. https://www.teacheracademy.eu/ blog/cooperative-learning-strategies/