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Using qualitative phenomenological methods, including interviews and a focus group with thematic analysis, findings show pedagogy and perceived learning improve through respect and decline through fatigue and job dissatisfaction, prompting educators in performing arts to reconsider the performance-teaching relationship.",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/research-report/","Research & 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Performers on Pedagogy and Perceived Student Learning in the Elementary and Secondary School Music Classroom  \nJohn L. Vitale  \nNipissing University  \nAbstract  \nThis study investigated the lives of three active music teacher performers and how their performing experience impacted pedagogy and perceived student learning in the classroom. At the time of data collection, one participant was a full-time elementary school music teacher, and the other two participants were full-time secondary school music teachers. Philosophically, this study intended to discover the central meaning underlying the life experiences of each participant as they relate to pedagogy and perceived student learning (phenomenology). Methodologically, qualitative data (typical of phenomenological inquiry) were collected through both interviews and a focus group session. Furthermore, a traditional thematic exploration of the data was employed. Findings indicate that pedagogy and perceived student learning are positively impacted through the theme of respect and negatively impacted through the themes of fatigue and job dissatisfaction. Such themes invite all educators within the performing arts to reexamine and reflect upon the intricate relationship between performing and teaching.  \nKeywords: phenomenology, music teacher performers, pedagogy, perceived student learning  \nCanadian Journal of Education / Revue canadienne de l’éducation 38:1 (2015)©2015 Canadian Society for the Study of Education/ Société canadienne pour l’étude de l’éducation  \n[www.cje-rce.ca](www.cje-rce.ca)  \nRésumé  \nCette étude porte sur la vie de trois interprètes et professeurs de musique et sur les répercussions de leur expérience en tant qu’artistes sur leurs méthodes pédagogiques et leurs perceptions de l’apprentissage de leurs élèves. Lors de la collecte de données, les trois participants enseignaient la musique à temps plein, l’un au primaire et les deux autres au secondaire. D’un point de vue philosophique, cette étude visait à cerner le sens profond des expériences personnelles vécues par chaque participant quant à leur pédagogie et à leurs perceptions de l’apprentissage de leurs élèves (phénoménologie). D’un point de vueméthodologique, les données qualitatives (propres à la recherche d’ordre phénoménologique) ont été colligées au moyen d’entrevues et d’une discussion en groupe, le tout complété par une exploration thématique des données. Les résultats indiquent que, pour ce qui est de la pédagogie et de la perception de l’apprentissage, le respect a des impacts positifsalors que la fatigue et l’insatisfaction au travail ont des impacts négatifs. Ces observations peuvent inciter tous les éducateurs associés aux arts de la scène à réexaminer la relation complexe entre la performance artistique et l’enseignement.  \nMots-clés : phénoménologie, interprètes et professeurs de musique, pédagogie, perception de l’apprentissage des élèves  \nCanadian Journal of Education / Revue canadienne de l’éducation 38:1 (2015) [www.cje-rce.ca](www.cje-rce.ca)  \nContextual Framework  \nIn the classical world of conservatory music, it is imperative that teachers also maintain a reputation as noteworthy performers (Aureden, 2006) . In the elementary and secondary school music classroom, however, teacher performers are often relegated as individuals who have chosen teaching as an ancillary career out of financial necessity (Regelski, 2009) . In other words, the old adage that “those who can, do, and those who can’t, teach.” Even in recent times, there is some truth to this old adage. In a study conducted by Conway, Eros, Pellegrino, and West (2010), for example, undergraduate music education students felt they were perceived as weaker performers. Such perception, however, is unwarranted in many cases. In fact, I know many individuals who teach elementary/ secondary school music on a full-time basis and simultaneously perform in a multitude of professional venues on we","cbCailnPAqpwVR7c","https://ap.wps.com/l/cbCailnPAqpwVR7c","pdf",289343,27,"English","# Abstract\n# Résumé\n# Contextual Framework\n# Literature Review","[{\"question\":\"What was the focus of the study about teacher performers?\",\"answer\":\"The study explored how the performing experience of three music teacher performers influenced their pedagogy and their perceptions of students’ learning.\"},{\"question\":\"How were the data collected and analyzed?\",\"answer\":\"Qualitative phenomenological data were gathered through interviews and a focus group, followed by thematic exploration of the collected data.\"},{\"question\":\"What themes were found to affect pedagogy and perceived student learning?\",\"answer\":\"Pedagogy and perceived student learning were positively impacted by respect and negatively impacted by fatigue and job dissatisfaction.\"}]","Attitudes and Perspectives of Teacher Performers on Pedagogy and Perceived Student Learning in the Elementary and Secondary School Music Classroom | PDF",1792081378,68]