1. Key milestones that have led to current crisis in music education in Aotearoa / New Zealand and the need for new directions
1.1. Loss of advisory, curriculum networks =, no MOE resources, lack tools for music on TKI (NMSSA reports 2015)
1.2. Impact of college amalgamations - ITE 6 hours training for music - Teaching Music, learning culture (Rohan 2011) Issues implementing Music Curriculum (Rohan, 2004)
1.3. National Standards / Localised Curriculum - schools asked to create their own rubrics - NMSSA report 2015, GMcPhail, Thorpe, Wise (2018)
2. Self regulation in the NZ Policy documents
2.1. Our Codes our Standards from MOE
2.1.1. Teach in ways that enable learners to self regulate (p. 20)
2.2. Principles of NZ Currirulum
2.2.1. One of the eight principles “The curriculum encourages all students to reflect on their own learning processes and to learn how to learn.”
2.3. Alluded to in key competencies
2.3.1. Self Management & SRL - “establish personal goals, make plans, manage projects, and set high standards” (Ministry of Education, 2007, p.12)
2.3.2. Relating to others & SRL - By working effectively together, they can come up with new approaches, ideas, and ways of thinking. (Ministry of Education, 2007, p.12)
2.3.3. Thinking & SRL - Learners are expected to be creative problem-solvers who are able to think critically in order to make decisions, plan actions and make sense of the knowledge they learn (Ministry of Education, 2007, p.12)
2.4. Hikairo Schema for Primary Teach and promote self-regulation and goal setting (e.g., with step-by-step goals, and short-and long-term goals) for academic and social aspirations. Smith, Jennifer,Ratima, Matiu,Macfarlane, Angus,Macfarlane, Sonja. The Hikairo Schema Primary (p. 67). NZCER Press. Kindle Edition.
2.4.1. Relevance - aligning learning with cultural and personal identities of akonga
2.4.1.1. Create flexibility in the curriculum to allow ākonga to continue to explore, make sense of, and work out their learning theories.
2.4.1.2. Next steps of learning are constructed with whānau and the learner.
2.4.1.3. Create opportunities for students to set their curriculum What do you want to learn about? What interests you?)
2.4.1.4. Encourage ākonga to overcome roadblocks in learning by building resilience behaviours (e.g., supporting peers to succeed, asking for help).
2.4.1.5. Tauira understands themselves as learners. Teach and promote metacognition and other transferable skills that underpin learning.
2.4.2. Balance of Power - co-constructing learning contexts - supporting self efficacy and self worth
2.4.2.1. Give time for all to share learning, celebrate achievements, reflect, and set social and learning goals.
2.4.2.2. Create learning environments that support and role model ako and tuakana–teina relationships
2.4.2.3. Give constructive criticism in mana-enhancing ways. Participate in peer feedback—teach how to give positive feedback.
2.4.2.4. work alongside and engage learners kanohi ki to kanohi
2.4.2.5. Support learners to articulate and evaluate their learning. Support learners to identify and set next learning steps.
2.4.2.6. Encouraging student agency and sharing by utilising tuakana to guide teina. Include modelling, guidance, and practice opportunities.
2.4.3. Scaffolding - ensuring successful outcomes are within grasp
2.4.3.1. Learners have time to process, to understand, and to respond.
2.4.3.2. Provide a range of feedback as learners engage in experiences (e.g., thinking aloud to “notice” desirable and praiseworthy actions of learners as they perform them inside or outside of class.
2.4.3.3. Celebrate every step of the learning journey, including mistakes.
2.4.3.4. Develop a consistent process for ākonga experiencing difficulties completing an experience (e.g., ensure opportunities to practise skills, tuakana/teina time, conferencing).
2.4.3.5. Know your learners. Design tasks that challenge but create success. Recognise when tamariki are frustrated and figure out what they need from you: check-in support, explicit strategising, routine preemptive breaks, or time to change up the learning activity.
2.4.3.6. Model the acceptance of mistake-making by being open about your own limitations. Demonstrate growth mindsets by showing how mistakes and errors are opportunities for learning.
2.4.3.7. Use open-ended questions to encourage and promote curiosity, problem-solving, inquiry, and exploration.
3. Self regulation - Zimmerman's model - overview (go to https://mm.tt/2050025180?t=9XPPmz2gcO)
3.1. Definitions - (Zimmerman 2000), “self-generated thoughts and behaviours that are systematically oriented to the attainment of personal goals” - complex process influenced by an individual’s motivation, knowledge, beliefs, self-efficacy, emotion, volition and behaviour (Butler & Winne, 1995; Paris & Paris, 2001; Schunk, 1989; Zimmerman, 2000a; 2002)
3.1.1. Pintrich (2000) defines SRL as: An active, constructive process whereby learners set goals for their learning and then attempt to monitor, regulate, and control their cognition, motivation, and behaviour, guided and constrained by their goals and the contextual features of the environment. (p. 453)
3.1.2. More recently, self-regulation has been described as the processes used “to activate and maintain cognitions, emotions and behaviours to attain personal goals” (Zimmerman & Kitsantas, 2014, p. 145).
3.1.3. Contemporary definitions view self-regulation as a multi-dimensional construct consisting of metacognitive, motivational and behavioural attributes. Thus, self-regulating students set learning goals, implement effective learning strategies, monitor and assess their progress against their goals, establish a productive learning environment and maintain self-efficacy in their learning (Zimmerman & Schunk, 2011).
3.2. Models of SRL - refer A Review of Self-regulated Learning: Six Models and Four Directions for Research in Frontiers in Psychology (Panadero, 2017)
3.3. Why choose Zimmerman's model - Self-regulated learning interventions that are grounded in socio-cognitive theory (Bandura, 1986) have a higher impact when used at earlier educational stages (e.g., primary), and when a framework is provided for students and teachers (Dignath et al., 2008). It has been hypothesized that this probably happens because socio-cognitive models (e.g., Zimmerman, 2000) are more comprehensive and easier to understand (Dignath et al., 2008). In addition, these models contain motivational and emotional aspects, which are more salient for academic performance during primary education (Dignath et al., 2008).
3.4. Skills, knowledge and strategies required to self-regulate can be acquired by all learners (Harris, Graham, & Mason, 2006; Joyce & Hipkins, 2005; Zumbrunn & Bruning, 2013).
3.5. Self Regulated Learning can be enhanced in three ways: (a) through authentic or repeated experiences in school, (b) through explicit instruction coming from the teachers, (c) through engagement in practices that require self-regulation. .. . . All three probably operate together in classrooms as children create their theories about learning in school and their own abilities as they work with teachers, parents, and peers (Paris and Paris, 2001)
3.6. Self-regulation issomething that can be learned through modelling, scaffolding and direct instruction (Watson, 2004). It can be learnt through observing and interacting with parents, teachers, coaches and peers who demonstrate these behaviours (Zimmerman, 2002).
4. Ukulele in NZ Schools
4.1. Students develop literacies in music as they listen and respond, sing, play instruments, create and improvise, read symbols and notations, record sound and music works, and analyse and appreciate music. This enables them to develop aural and theoretical skills and to value and understand the expressive qualities of music. (Arts Document)
4.2. Since 2007, an estimated 35,000 children have played in the Kiwileles, with 482 schools participating in the NZ Ukulele Trust education programmes.
4.3. Championing NZ songwriters, these include the Kiwileles’ Songbook, recordings and lyric videos.
4.4. Music and waiata specifically chosen and arranged by educators and musicians for NZ tamariki to create online teaching resources. (filling void left by Ministry)
4.5. = Portable, cheap, easy to learn = Easy to teach = Encourages singing = Encourages songwriting = Promotes being 'in flow'
4.6. Developing ideas Level 1 - Explore and express sounds and musical ideas, drawing on personal experience, listening, and imagination. Developing ideas Level 4 Express, develop, and refine musical ideas, using the elements of music, instruments, and technologies in response to sources of motivation.
5. Learning Area - Arts - Music in the NZ Curriculum
5.1. Summary of NZ Curriculum Statement Levels 1-4
5.1.1. lack of clear progression indicators for SRL is problematic - Issues implementing Music Curriculum (Rohan, 2004)
5.1.2. Received and enacted curriculum (Nyce 2012)
5.2. Pedagogical approaches - New Zealand Primary Music Education: A Promise Broken (Nyce, 2012) - implementation of everyday classroom teaching that strengthens SRL may require a pedagogical shift by teachers who perceive they are in control of all the learning that occurs in the classroom as demonstrated in these pedagogies
5.2.1. Orff / Marimba
5.2.2. Kodaly
5.2.3. Dalcroze
5.2.4. Integration with Digital Tech
5.2.4.1. should provide students with authentic opportunities to monitor and improve the quality of their increasing musicianship rather than have the teacher as primary source of feedback as this can cause students rely on an external sources for information about progress and learning
5.2.5. NZ Ukulele Method
5.2.6. Gordon
5.2.7. Dalcroze
5.3. Recent NZ research (secondary)
5.3.1. Lessons for 21C learning from the secondary music classroom (McPhail, 2018)
5.3.2. Two conceptual models and their relationship to teaching and assessing composition (Thorpe, 2018)
5.4. SRL in the Arts document - In the arts, students learn to work both independently and collaboratively to construct meanings, produce works, and respond to and value others’ contributions. They learn to use imagination to engage with unexpected outcomes and to explore multiple solutions."
6. 3. Self Regulated Learning in the music classroom
6.1. Empirical Evidence
6.1.1. Self-regulation and music learning: A systematic review (Varela, Abrami, Upitis 2016) 0 NB mainly studio based
6.2. Supporting 'Quality' judgements in the classroom
6.2.1. Backwards assessment explanations: Implications for teaching and assessment practice (Sadler 2012)
6.2.2. Decolonising western notions of quality in music education - Māori perspectives of Wehi / Ihi / Wana
6.2.2.1. What is Bicultural Music Education? A Pākehā Perspective from Aotearoa New Zealand (Scanlon, 2019)
6.3. Co regulation
6.3.1. Sadler, D. R. (2015). Backwards assessment explanations: Implications for teaching and assessment practice.
6.4. Socially Shared regulation
6.4.1. Two conceptual models and their relationship to teaching and assessing composition (Thorpe, 2018)
6.4.2. Music, Informal Learning and the School: a New Classroom Pedagogy (Green, 2018)
6.4.3. Improvising musicians' self-regulation and distributed creativities: A phenomenological investigation (de Bruin 2019)
6.5. Technological supports for SRL
6.5.1. How evolved since lockdowns