Frederick A Seddon

A comparison of modes of communication between members of a string quartet and a jazz sextet

This study revealed the modes of communication employed between the members of a professional string quartet during rehearsal and performance. Results of this study enabled comparison with modes of communication employed by a student jazz sextet revealed in a previous study by the first author. Six modes of communication were revealed in both studies (i.e., verbal and non-verbal, instruction/cooperation/ collaboration). Results indicated that the modes of communication employed by both groups of musicians (i.e., the string quartet and the jazz sextet) were the same, although, at times, the content of the communication differed based on the presence of a pre-composed score and conventions of the musical genre. Participants in both studies confirmed researcher interpretations of the modes of communication during member checks. Results also indicated that when playing from a pre-composed score the string quartet were able to become empathetically attuned and produce ‘spontaneous musical variations’ during performance. The authors propose that these spontaneous musical variations are examples of ‘empathetic creativity’.

Non-music specialist trainee primary school teachers’ confidence in teaching music in the classroom

Prior research has revealed that non-music specialist trainee primary school teachers lack confidence in teaching music in spite of changes to teacher training and the introduction of music in the National Curriculum in England. The current study investigated the effects on non-music specialist trainee primary teachers’ confidence to teach music in the classroom after having experienced six keyboard-based ‘blues activities’ presented in an asynchronous e-learning environment. Participants were videotaped as they worked with music technology and a ‘remote facilitator’, to play a 12-bar improvised blues with both hands together. Participants also took part in individual, semi-structured interviews before and after engaging in the ‘blues activities’. Video and interview data was analysed employing inductive, qualitative procedures. This exploratory intervention study was undertaken with three participants and is reported as three individual case studies. After the ‘blues activities’ intervention, all participants were able to play the 12-bar improvised blues with both hands together and reported improvements in their confidence to teach music in the primary school classroom. The results also revealed improvements in participant perceptions of their own musicality when compared with ‘other musicians’ and links between perceptions of their own musicality and prior musical experience. Implications for future research and music education are discussed.

Modes of Communication Between Members of a String Quartet

This qualitative case study revealed the modes of communication employed between members of a professional string quartet during rehearsal and performance. Six modes of communication and two levels of attunement were revealed. The modes of communication were interpreted as verbal and non-verbal: instruction, cooperation, and collaboration. The levels of attunement were interpreted as sympathetic and empathetic. Results indicated that the members of the string quartet were able to become empathetically attuned and produce spontaneous musical variations during performance. These spontaneous musical variations were interpreted as examples of empathetic creativity. Participants confirmed researcher interpretations of the six modes of communication, sympathetic and empathic attunement, and empathetic creativity during member checks. The authors propose that spontaneous musical variations are examples of empathetic creativity. The findings of the current qualitative case study support the findings of a previous study conducted with a jazz sextet (Seddon, 2005). Implications of the findings of the current study for small group communication and creativity are discussed.

Collaborative computer-mediated music composition in cyberspace

This article reports on an exploratory investigation of the relationship between prior experience of formal instrumental music tuition (FIMT) and the process of collaborative computer-based music composition. The study linked a school in the UK with a school in Norway to engage in computer-mediated collaborative composition via e-mail. Participants were grouped into composing pairs (one from each country) balanced for prior musical experience. Results revealed prior experience of FIMT was associated with extended and complex musical dialogues, critical engagement with musical ideas and produced an ‘exploratory’ environment. No prior experience of FIMT was associated with uncritical and descriptive dialogues and a ‘cumulative’ environment. Proposals for future research are discussed.

Strategies Students Adopted when Learning to Play an Improvised Blues in an E-Learning Environment

In this investigative study, the authors sought to reveal the learning strategies adopted by participants as they learned to play a 12-bar improvised blues with both hands together on a musical keyboard in an e-learning environment. There were 3 participants, 2 female and 1 male. Participants’ average age was 21 years. They worked individually in an e-learning environment with the assistance of “Blues Activities” text and supporting audio material. A remote facilitator was available via e-mail to provide advice, support, and encouragement during and after each of the learning sessions. Video observation techniques were employed, and a coding scheme emerged via a qualitative analysis procedure. A time analysis of the video data based on the emergent coding scheme revealed the percentages of time participants spent in five distinct learning activities, which were interpreted as instruction, copying, practicing, playing, and evaluating. The findings of the current study provide an insight into the learning strategies adopted by these 3 participants in this particular learning situation and provide empirical support for theories of learning to play by ear proposed in prior research reviewed in this article.