2.2. Research steps
First of all, it is necessary to give an overview of the steps followed in this project.
The first step has been orientation, incorporating relevant readings into my work and forming a science-based plan with a comprehensive perspective on the topic. Secondly, because I have never been trained in the skill of playing by ear, I started with my own experimentation and documented my personal case study (using a journal). Then, I have immersed myself in action (teaching), intervention (implementing new materials and techniques, as well as observing their changes) and finally, activity design (materials and strategies). All through practice and reflection.
2.3. Data collection
In action research, various methods of data collection are available (Tomal, 2010). Consequently, diverse approaches have been chosen to ensure the acquisition of relevant and valid information. My objective has been to review sources, obtain ‘field data’ (by observing and interviewing other teachers), and then synthesize this information into my own, personal, coherent view on the topic, which I then implemented in the experimental part of my research. Tomal (2010) outlines five essential questions to address when beginning data collection for action research: who, what, where, when, and how.
2.3.1. Who? Who are the subjects of the study?
-Two beginner level piano students, adults (25-60 years).
-They have started their first piano lessons during the year prior to the research (starting during the spring of 2024). They all had musical experiences when they were children.
The target of this research has been two students in their adult life, with little musical background. As I taught them for a short period before the research, I was able to test their background, their musical processing as well as their potential. The number of students is limited to two to allow for more in-depth learning, given the constraints of time and workload. I chose to focus on adults because there is a growing interest in music initiation among this age group, and it is a less explored target compared to children.
2.3.2. What? What data needs to be collected?
-Background theory drawn from relevant literature, including published books and academic articles.
-Observations of music lessons conducted by other teachers to gain external pedagogical insights.
-Interviews with music educators, piano students, and amateur musicians to gather a range of perspectives and experiences.
-Personal experimentation data: a reflective report on completing “Oído Absoluto” online course, aimed at developing relative pitch perception.
-Experimental data from a six-month teaching intervention consisting of approximately 24 weekly individual piano lessons. Each session will be recorded and accompanied by detailed lesson plans, including reflections on the process. Additional insights will be collected through written feedback from critical friends who will observe and comment on the development of the project.
2.3.3. Where? Where is the data?
Theoretical materials will be integrated into the main body of the research. Empirical data, including transcribed interviews, lesson plans, observation notes, will be referenced within the text and can be accessed in full through the accompanying PDF (please click on the PDF to access the full content). Audio recordings and reports from critical friends are included in the appendix.
2.3.4. When? When will the data be obtained?
-September 2023-June 2024: ORIENTATION
The research proposal has been developed, outlining the main ideas, and the methodology chapter has also been written. The framework has been established: my approach to teach aural skills has been supported by a variety of sources, of which the Principles of Kodaly and the ideas of McPherson have been the primary theoretical underpinning. Also, as a teacher I have never just applied one method, but I have teached based on knowledge, skills and experience, and I have been informed by insights embedded in certain methods. I have also conducted a self-exploratory case study (myself), documenting my reflections in a journal, and I have tested various concepts and exercises with my students. In this first phase, I developed an interview for music educators to assess the state of the question too, and they provided to me their views on it and how they implement it. Additionally, I observed a variety of classes and collected relevant data through anecdotal notes, focusing on the skill of playing by ear as an initial exploration. In reality, my approach to teaching aural skills have always been some combination of various influences.
-June 2024-September 2024: ORIENTATION
The research has progressed similarly to the initial orientation phase, with increased emphasis on studying the framework and self-exploration.
-September 2024-February 2025: ACTION AND INTERVENTION
After studying the framework, I designed lesson plans tailored to the development of playing by ear, encompassing all key aspects. Initially, I prepared activities and strategies, and applied them in lessons with the students. The sessions were recorded, and at least four lessons per student in each cycle were reviewed. Selected recordings were shared with a critical friend for discussion and reflection. I have also continued to observe other teachers' classes and I have continued to analyse the use of the skill in their classes.
This process was repeated across two cycles, each lasting two months. After each cycle, general conclusions were drawn, and the next cycle was prepared based on the new data, continuing to use effective exercises and strategies while discarding the less effective ones.
-February 2025-June 2025: REFLECTION AND ACTION
I have finally drawn conclusions from all the gathered information, discussed the findings with a critical friend, and identified the most effective materials and strategies for developing the skill of playing by ear. I have also talked with the students to understand their experiences throughout the process and to identify which steps were most significant for them.
2.3.5.How? How will the data be collected?
The data for this research will be collected through a combination of theoretical exploration, empirical observation, interviews, and practical experimentation. First, background theory will be gathered from published books and academic articles available online, forming the conceptual foundation of the study. In addition, observations of music lessons conducted by other teachers will be documented using my own observation sheets.
Qualitative data will be collected through semi-structured interviews with music educators, piano students, and amateur musicians to gather diverse viewpoints on the development of playing by ear. Furthermore, the research will include documentation of my own pedagogical experimentation. Each session will be recorded and supported by detailed lesson plans, personal reflections, and feedback from critical friends. These sources will provide rich, contextual data on the teaching process and its outcomes.
a. Interviews
Different formal interviews have been conducted and transcribed between musician educators, piano students and amateur musicians. These transcripts are included in the body of the text. I prepared a flexible set of interview questions. An interview format was chosen over a survey to allow for more open-ended, reflective responses, giving interviewees the opportunity to elaborate freely and provide deeper insights relevant to the research questions.
Furthermore, I have engaged in a series of extended, informal conversations with a range of educators, including piano teachers, Kodály specialists, voice instructors, and improvisation teachers. While this information has not been systematically documented—due to practical limitations and the defined scope of the research—it has nonetheless indirectly informed and shaped the development of my teaching approach.
b. Observation of music lessons
Most of the data has been collected using an observation sheet or logbooks. This approach has allowed me to gather real-life information that cannot be obtained from secondary sources like self-reports and evaluations (Tomal, 2010). I have used a structured observation sheet, as well as logbooks (in order to be more free in collecting data). The aim has been to analyze the foundational aspects of aural skills in students. This process provided me with valuable insights into potential adjustments and enhancements for future lessons. As a participant observer, I had to remain cognizant of numerous biases and reflexivity while observing teaching, as highlighted by Tomal (2010).
c. My personal experimentation data
To develop a first-hand understanding of the skill of playing by ear and to explore potential exercises and strategies, I enrolled in an online course titled “Oido Absoluto”, focused on training relative pitch. Throughout the course, I documented my progress and reflections in a handwritten logbook. A summary report outlining key insights and general observations from this experience is included in the chapter of Data Collection of this research.
d. Experiment: audio recordings and lesson plans
In line with Tomal's (2010) recommendation to prioritize the method of data collection through recordings, it has been a crucial resource in this research. Most sessions have been recorded and a minimum of four sessions per student in each cycle have been analysed. This has been done as objectively as possible, with the help of a critical friend, trying to avoid the tendency of “to see what I want to see” (Tomal, 2010).
The audio has recorded me and the student. Audio recordings are used instead of video, based on the participants’ preference. The adult learners feel more comfortable and confident with voice recordings only. The recordings lasted the whole class (60 minutes). I used my mobile phone for practicality and to ensure a natural process, hoping the audio and sound quality would be sufficient. The ethical considerations of recording audios will be discussed later in this chapter.