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    Online communities of practice in the secondary music classroom : a tool for increased collaboration and peer to peer learning?

    Shawcross, Timothy Lestyn Michael

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    Date
    2019
    Citation:
    Shawcross, T.L.M. (2019). Online communities of practice in the secondary music classroom: A tool for increased collaboration and peer to peer learning? (Unpublished document submitted in partial fulfilment of the requirements for the degree of Master of Applied Practice). Unitec Institute of Technology, Auckland, New Zealand. Retrieved from https://hdl.handle.net/10652/4643
    Permanent link to Research Bank record:
    https://hdl.handle.net/10652/4643
    Abstract
    RESEARCH QUESTIONS: 1. How might participating in an online community of practice encourage collaboration and peer to peer learning for secondary school music students in remotely located secondary schools? 2. What are students’ perceptions of the implications on their learning in using a community of practice model? 3. How might I build my students’ capacity to participate in online communities of practice as part of their music education experience? ABSTRACT: The possibilities open to 21st century learners in learning music are fast diversifying. The master–apprentice model that is often found in formal music education offers one such approach. An alternative that is being embraced by many musicians is that of peer learning in online communities of practice. This study examines how the community of practice model might be applied in formal music education within the context of a remotely located New Zealand secondary school. This study was undertaken using practitioner research along with drawing on aspects of Kaupapa Māori methodology. The data gathering methods employed were those of an electronic questionnaire, observation, and a focus group. These tools gathered insight into the students’ perception on the effects of participation in an online community of practice on their learning. It was found that participation in an online community of practice afforded greater opportunity for peer to peer learning and collaboration, however, the participants were not always comfortable with seeing themselves as ‘experts’ when engaging in these learning models. The community also remained largely teacher-driven rather than student-driven. Thus, the gains in student agency observed in this study were modest. It was found that social media was an appropriate forum for an online community of practice, but it was important to consider student perception of the social standing (amongst those students) of the social media platform chosen. The recommendations of this study are that in order to see more of a radical transformation in student agency, the online community must be grown further with a focus on strengthening students’ capacity to be active participants. Furthermore, a greater cognitive diversity in the community is needed, which would be best accomplished by engaging more schools in the community. For educators looking to apply this model in their own setting, this study recommends the careful scaffolding of students so they can participate successfully, along with a careful selection of platform, are key.
    Keywords:
    New Zealand, rural schools, music education, online communities of practice, communities of practice, peer-to-peer learning, elearning, collaborative curriculum design, social media, music students
    ANZSRC Field of Research:
    130106 Secondary Education, 130299 Curriculum and Pedagogy not elsewhere classified, 130306 Educational Technology and Computing, 190406 Music Composition
    Degree:
    Master of Applied Practice (Education), Unitec Institute of Technology
    Supervisors:
    Mane, Jo; Reinders, Hayo
    Copyright Holder:
    Author

    Copyright Notice:
    All rights reserved
    Rights:
    This digital work is protected by copyright. It may be consulted by you, provided you comply with the provisions of the Act and the following conditions of use. These documents or images may be used for research or private study purposes. Whether they can be used for any other purpose depends upon the Copyright Notice above. You will recognise the author's and publishers rights and give due acknowledgement where appropriate.
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    • Applied Practice Dissertations and Theses [40]

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