From social constructivist experiential learning to 

sociocultural inclusivity, pluralism and 

open education-inspired pedagogy: 

A dialogic vocal jazz workshop

for MuEd 105 students

Real-world, learner-centered, and social-constructivist vocal jazz education. 

This is the very philosophy underpinning the design, development and implementation of this gamified 3-day vocal jazz workshop for MuEd 105 students at the U.P. College of Music. 

Imagine how a Classically immersed MuEd 105 online class crosses over from a Zoom-based microsystem to a creative world of jazz through sequential, meritocratic badges and highly experiential, sociocognitive and collaborative learning experiences. The three-day workshop provides an opportunity for the Classical singer to learn essential foundations of Jazz singing and improvisation with real-world exposure through a televised macrosystem following Day 3’s masterclass. 

In this essay, I provide the interweaving of psychological theories of learning with essential instructional design principles and models, as well as important social and philosophical aspects of education all aimed at an innovative and comprehensive approach to learning vocal jazz. Ultimately, with insightful, authentic formative assessments from Days 1 through 3,  the online MuEd 105 curriculum is redefined into a real-world performance landscape.

Prior to a discussion of learning theory vis-a-vis this workshop’s design, I present a general overview of the curricular program to this 3-day gamified workshop:

Day 1: Online session with MuEd 105 professor 

Day 2: Hybrid self-paced student work 

Day 3: Masterclass with Lorna Cifra (in-person)

Transition from one day to another is primarily determined by rubrics-based evaluation of song recording outputs in which the student depending on his or her score may get a badge which entitles the bearer to joining the next day. Day 1 lasts for approximately 2 hours and is primarily lecture-based and centered on bel canto vocal technique vis-a-vis vocal jazz (comparative analysis between a  Classical singer and a Jazz singer each with their respective treatments of Summertime). Day 2 is self-paced and can run for about five school days, enough to have the students conduct research on the blues as a key ingredient of the jazz sound, as well as important jazz standards visually notated in scores, discussed in books and played from audio material at the UP College of Music. Helpful instructional videos and slideshows, alongside teacher and learner manuals, have been crafted by the instructional designer to aid in student learning and teacher facilitation on Days 2 and 3. Reading is interspersed with interaction and posting of students’ video performances in an online community. 

Day 2 focuses on the blues and how students can come up with a jazzier sound. Day 3 is an in-person masterclass with a jazz practitioner. On Day 3, students are supposed to cumulatively apply everything they have learned from Days 1 and 2 in an actual performance of one complete jazz song. Days 1 through 3 are schematically interconnected.

Days 1 and 2 are equipped with formative assessments aimed at getting students ready for the masterclass performance. At the end of the 3-day workshop, the students shall have been able to collectively and individually perform a 2-3 minute rendition of a preferably George Gershwin composition showcasing basic to competent skill in incorporating syncopation, swing, blue notes into bel canto vocal dynamics while deviating from the song's melodic structure and/or melodically improvising using lyrics and/or scat [nonsensical but musical] syllables. Objectives to this workshop are aimed at enhancing higher order thinking skills through Bloom’s Taxonomy (Morphew, 2005). 

Excellent scorers in the masterclass performance will get a badge which will afford them a gig on national television. 

Prior to me providing a detailed explanation on how learning theory intertwines with constructivist and experientialist instructional design models in ensuring the workshop’s objectives are accomplished with learner-centered outcomes in mind, I provide a list of important learning theories that may be discussed as this essay progresses: 

Definition of Terms

• Social Cognitive Learning as a "learning theory, introduced by psychologist Albert Bandura, propose[s] that learning occurs through observation, imitation, and modeling and is influenced by factors such as attention, motivation, attitudes, and emotions" (Cherry, 2019).

• Cognitive Mediation Theory means that we humans "acquire tools from our culture and the prior learning of our species" (Ness & Farenga, 2005)

• Perceived Similarity refers to a “comparison standard, which can be understood through the lens of the selective accessibility model (Mussweiler, 2003): When faced with a comparison opportunity, individuals first make a rapid judgment of overall similarity between themselves and the standard and subsequently focus on information consistent with this initial assessment. As a result, focusing on information confirming similarity is likely to lead to assimilation (i.e. moving self-beliefs toward the standard) and focusing on information confirming dissimilarity is likely to lead to contrast (i.e. moving self-beliefs away from the standard). Taken together, comparisons should have positive impacts when focusing on similarities with upward and dissimilarities with downward standards (Mussweiler, 2003)”  (Perey & Koenigstorfer, 2023).

• Information Processing Theory is when “learners utilize different levels of elaboration as they process information. This is done on a continuum from perception, through attention, to labeling, and finally, meaning” (Huitt, 2003).

• Schema refers to a mental framework that helps organize and interpret information (Juachon-Panlilio, 2020; Cherry, 2023).

• Sociocultural Theory: “Lev Vygotsky believed that parents, caregivers, peers, and the culture at large are responsible for developing the brain's higher-order functions.  It suggests that human learning is largely a social process, and that our cognitive functions are formed based on our interactions with those around us who are ‘more skilled’” (Cherry, 2019).

• Constructivism- The constructivist approach to learning characterizes learners as active, dynamically involved participants in the process who play a role in transforming information into knowledge. Constructivist theories of learning derive from Lev Vygotsky’s works (Cherry, 2022). 

• Experiential Learning-This learning theory focuses on “learning via hands-on experience. The theory was formally introduced by psychologist David Kolb but was influenced by the work of other theorists, including Jean Piaget and John Dewey”(Cherry, 2022). 

• Operant conditioning. “In operant conditioning, positive reinforcement involves the addition of a reinforcing stimulus following a behavior that makes it more likely that the behavior will occur again in the future. When a favorable outcome, event, or reward occurs after an action, that particular response or behavior will be strengthened” (Cherry, 2022). 

A. Day 1 (Zoom-based synchronous MuEd 105 lecture centered on bel canto singing technique)

1. Social Cognitive Learning

Instructional Strategy

Providing audio-visual material displaying two different treatments of Summertime (Classical and Jazz). 

Important Note:

Perceived Similarity - similar role model to increase motivation: Sarah Vaughn's "classicalness" as a jazz vocalist

Model prestige and competence- Kathleen Battle and Sarah Vaughan are both widely, globally acclaimed Grammy-winning artists singing Summertime

Instructional Activity

Having students watch the two videos by one Classical singer and another a Jazz singer

INTERPLAY OF LEARNING THEORY WITH LEARNER EXPERIENCE

Students are able to maximize cognitive mediation from credible, relatable examples/role models in the field of music like Sarah Vaughan who possesses both Classical and Jazz characteristics in her vocal art. The importance of Classical singer Kathleen Battle singing a jazz-associated song strikes perceived familiarity in the minds of the students. By watching credible and highly excellent role models in performing a jazz piece, students can become more appreciative, respectful towards the musical community. Students become more sociable, and imbibe a collaborative, community-inspired disposition towards learning. Students will get to appreciate the value of collaborative learning and contributions-based pedagogy. 

2. Behaviorism (B. F. Skinner)

Instructional Strategy

Awarding a badge (Operant conditioning) to the participants once they complete the required activity; gamifying the workshop

Instructional Activity

Students do the activity at the end of Day 1 by recording a jazz song with a rating of not below 3 based on applicable assessment rubrics provided. Badge entitles the bearer to proceed to Day 2.

INTERPLAY OF LEARNING THEORY WITH LEARNER EXPERIENCE

Gamification through badge-based rewards not only acts as a source of motivation but also makes the learning experience more concrete and meaningful. Awarding of badges can serve to enhance the student's concept of self-efficacy in which their sense of purpose and sense of worth will be prized. This posits a culture of meritocracy in which hard work and excellence are appropriately rewarded. This prepares students for real-life situations as artists and voice teachers in which they may have to be as much competitive as possible in regard to their skills and employability in general.

3. Cognitive Information Processing

Robert Gagne’s 9 levels of instruction (Ullah et al, 2015)  is utilized to allow for a learner-centered approach to cognitive information processing:

3. 1. Gain attention of the students- Greeting the student at the class onset. Informing the class about Mr. Pharaway Lacdao's instructional design project. Providing general info on the workshop and how Day 1's iteration would impact the redesign/modification of Days 2 and 3 Also introduced the Crossover Badge- can be obtained upon completion of Day 1 tasks. Badge will eventually get students the chance to join a masterclass with an Aliw-awardee jazz singer 

3. 2. Inform students of the objectives- presentation of Slide 3 to the PPT deck/ setting of expectations- mainly towards a bel canto-focused discussion of today's lesson 

3. 3. Stimulate recall of prior learning- presentation of important topics (which were discussed back in the MuEd 105 class); presentation of slides 4-7 

3. 4. Present the content- reading/presentation of slides 4-7 

3. 5. Provide learning guidance 

3.5.1 Discussion of slides 8-14 (vocal production, resonation, articulation, dynamics, with learner participation elicited by some slides where letters had to be filled in to answer a question) 

3.5.2 Listening activity- slides 15-17: listening to an Opera/Classical singer vs a Jazz singer (with an almost operatic technique) performing a crossover aria/jazz standard Summertime by Gershwin. The operatic technique of the jazz singer was intended at fostering "perceived similarity". 

3.5.3 Reflective observation- slides 18-19: comparing between the Opera and the Jazz singer's technique employed in singing Summertime vis-a-vis MuEd 105 concepts: vowel formation, resonation etc. 

3. 6. Elicit performance (practice)- Students had to record a song of their choice (two treatments: Classical and Jazz) 7. Provide feedback- Students would get feedback via email from instructional designer after deliberation between designer and SME. 8. Assess performance- Recordings would be assessed using MacGregor-based rubrics on vocal jazz performance evaluation (partly patterned after a vocal jazz performance assessment designed in EDS 157). 9. Enhance retention and transfer- Students will have to go through Days 2 and 3 where Day 1 content will further materialize. In other words, Day 1 will be schematically connected, continued into Days 2 and 3 of the workshop. 

Students cannot be bombarded with too much information to avoid cognitive overload. The application of the Robert Gagne model into instruction makes for Attention to the teacher, Retention and Reproduction of information, as well as Motivation to assimilate and accommodate new information to be viable in class. When students are provided with opportunities to elaborate on new information and consequently opportunities for repetition of learning, information has a higher chance of transfer from short-term to long-term memory. Also, with further elaboration and repetition, the student can climb up from unconscious competence onto ideally unconscious competence. Mention Kolb's Exp learning model.

Overall Commentary on Day 1

Social and cognitive constructivism

A combination of online and in-person elements allows for flexibility and personalization of the learning experience. May cater to different learning styles and can potentially accommodate students who may have varying schedules and/or preferences. While Day 1 is a real-time synchronous session to last between 1-2 hours, Day 2 is a self-paced portion of the workshop, and Day 2 can actually happen within 5 school days, in regard to tasks required of the students.

B. Day 2 (Self-paced research-based student activity)

1. Social Cognitive Learning/ Schema Theory (Piaget)

Instructional Strategy/ Instructional Design Model

Providing access to audio-visual material displaying two different treatments of Summertime (Classical and Jazz). I

Important Note:

Perceived Similarity - similar role model to increase motivation (listening to singers whose technique is partly or mostly Classical); can listen to Sarah Vaughan, Ella Fitzgerald or any opera singer covering Summertime at the UP library

Instructional Activity

Having students listen to vocal jazz material that aptly mix African-American blues music and European Classical music traditions (like the works of Gershwin). Introducing students to jazz singers who aptly mix bluesy techniques and European vocal dynamics

INTERPLAY OF LEARNING THEORY WITH LEARNER EXPERIENCE

Schematic learning is important in cognitively accommodating, retaining and further elaborating on and expanding information. Such cognition can be facilitated through social means. When students are provided with examples, models, references especially artists who can serve as models to jazz voice learners, learners get to have that affirmation of and confidence in the existence of the art form. The learner will not feel isolated. 

Through cognitive mediation, the learner becomes confident that history has proven the existence of vocal jazz artists and that vocal jazz is certainly a viable art form, and is definitely part of human existence. Observational learning is important in that behavior is learned not only through conditioning but also through observation. For Voice Pedagogy students, learning from historical examples/models will also inspire them to become models themselves to current and future generations.

During Day 2, students are made to research the multicultural and pluralistic fabric that wraps around jazz music- from Blues to Classical and even World and Indigenous musical traditions. Through an online community composed of vocal jazz educators and vocal jazz students from across the globe representing multifarious texts and practices and unique musical and cultural points of view, MuEd 105 students get to immerse themselves in an online community of inquiry where social and cognitive presences abound. 

Day 2 not only encourages critical research but also and more importantly, collaboration and social interdependence. This will help students become agents of peace and social dialog. Vocal jazz education as iterated in this socially constructivist workshop means peace education as well as global citizenship, given that the three theories of peace education, as described by Johnson and Johnson (2010), are:

1. Social Interdependence theory which deals with the nature of cooperation and competition

2. Constructive Controversy theory which deals with political discourse and creative problem-solving; and

3. Integrative Negotiations theory which guides the principles of mutually beneficial agreements 

Days 1 and 2 which mainly happen online and on a distance learning mode foster transactional presence. 

As I have mentioned in a prior course in Distance Education, I note, and I directly quote (Lacdao, 2022) that presence in any educational process is most of all characterized by some sort of interaction or connection between learner and teacher, between learner and learner, as well as between learner and subject matter. Whether in distance or traditional face-to-face learning parlance, educators must always ask, How are we connecting the learners to us, as human elements in the instructional process? How are we connecting our courses to our students and their personal aspirations in life? How do we construct a bridge, a community of inquiry? 

There are basically six important characterizations of presence especially in distance education, and theses are: 

• presence as social richness

• presence as realism

• presence as transportation

• presence as immersion

• presence as social actor within medium

• presence as medium as social actor

I quote, "'Connectedness’ refers to the belief or feeling that a reciprocal relationship exists between two or more parties, involving an individual’s subjective judgment on the extent of the engagement with which he/she is concerned. Although different terminologies are observed, the idea of connectedness has been the basis of a stream of academic discourse on human relations, learning, and education; for example, ‘related self’ (Guisinger & Blatt, 1994; Markus & Oyserman, 1989) and ‘interdepen- dence’ (Berscheid et al., 1989; Rusbult & Lange, 1996) in social psychology, ‘social learning’ in learning psychology (Bruner, 1990; Vygotsky, 1978), ‘connected knower’ in the discussion of ways of knowing (Belenky et al., 1986), ‘constructivism’ in instructional design research (Duffy & Jonassen, 1992), and ‘academic and social integration’ in drop-out studies (Tinto, 1975; Kember, 1989)" (Shin, 2002).

C. Day 3 (In-Person Masterclass with Vocal Jazz Artist/Pedagogue)

1. Social Cognitive Learning/ Schema Theory (Piaget)

Instructional Activity

• Who is Lorna Cifra? (Formal intro)- banks on perceived similarity/ credibility

• Individualized feedback between Lorna Cifra (masterclass provider) and student based on prior recordings

2. Vygotky's sociocultural theory/ZPD/ Social constructivism

Whole-part-whole approach (Do blues, rhythm exercises as notated, followed by individual scat singing which evolves into a group scat singing with a call-and-response cycle- exchange of musical, improvisational ideas)

Instructional Activity

Individual and Group warmup (Everyone sings and does a call and response activity with each other at some point: threading)

• Blues-based intro to vocal jazz performance

• Scat Syllable Warmup

• Blues in F

• Rhythm Etude 1

3. Schema Theory (Piaget)

Utilizing the 4/C ID instructional design model (4cid.org, n.d.) to channel out Piagetian principles, Day 3 is basically grounded in the following:

“1. Learning tasks: Provide concrete, whole-process tasks. Promote schema construction for nonrecurrent tasks.

2. Supportive information: Provide reference that supports the learner in bridging the gap between prior knowledge and the learning tasks. Focus on elaboration (embellishing existing schema).

3. Just-In-Time information: Provide information that is prerequisite to recurring tasks. Focus on procedural information rules.

4. Part-task practice: Promote rule automation with practice of recurring tasks. Focus on promoting automatic performance” (van Merrienboer, n.d.)

Instructional Activities

• Quick Q&A (for clarifications, questions from the class)

• Summertime (The masterclass can perform this song; or an invited jazz singer can sing this song with bluesy improvisation. Feel has to change from rubato at the onset to swinging towards the middle and the rest of the song. Or the rhythm can vary in between swing, bossa, waltz, tango, depending on the artist’s mood/ideas)

• Individual performance: Each student performs a jazz standard (preferably a George Gershwin composition, so that the melody and harmony are Classically informed)

INTERPLAY OF LEARNING THEORY WITH LEARNER EXPERIENCE

Associating with a masterclass teacher of great caliber not only provides an avenue for observational learning,but also an opportunity for future recommendations that voice graduates may need to seek employment or further scholarships. A masterclass provides a concrete view into what happens in real life. A master teacher can provide first-hand guidance as to what students need to know and master in order to be successful in the field. During the actual masterclass session, the master teacher can provide direct instruction and feedback. This establishes the importance of  Weiner’s attribution theory in which both positive and negative facial reactions from the teacher can impact behavior. 

Furthermore, schematic learning is important in cognitively accommodating, retaining and further elaborating on and expanding information. This is why the masterclass on Day 3 happens after a 5-day long preparation during Day 2.

Such schematic cognition can be facilitated through social means. When students are provided with examples, models, references especially artists who can serve as models to jazz voice learners, learners get to have that affirmation of and confidence in the existence of the art form. The learner will not feel isolated. Through cognitive mediation, the learner becomes confident that history has proven the existence of vocal jazz artists and that vocal jazz is certainly a viable art form, and is definitely part of human existence. Observational learning is important in that behavior is learned not only through conditioning but also through observation. 

In Day 3's Masterclass, students are equipped with a role model who can provide overt adult guidance in singing jazz with the right blues material which forms the bedrock of the jazz sound.

Conclusion

Social constructivist learning, peace education, global citizenship, open education, and 

a conversational vocal jazz education design

Elaboration of previous knowledge, retention of knowledge, transitioning into unconscious competence. These are highlights to the vocal jazz workshop’s 3-day curricula. 

According to Kolb's learning model, there are four learning environments for experiential learning. Each of the four learning environments supports different learning styles. 

• Affectively Complex: Teachers assign activities where students are involved in operations that simulate or mirror what they would in the real world.

• Perceptually Complex: Teachers desire that their students gain a deeper understanding of a problem by investigating, researching, and exploring relationships. 

• Symbolically Complex: Teachers assign problems that have a correct answer or best possible solution. Pimentel (1999, p. 67) states that "in handling such information, the learner is both guided and constrained by externally imposed rules of influence, such as symbols, computer technology, jargon, theorems, graphical keys, or protocols." 

• Behaviourally Complex: Teachers assign a practical problem and ask their students to use "active application" in trying to solve it. The primary goal is doing (Sala, 2005)

Lacdao (2023) has mentioned in an Open Education course project that over the last four decades especially in the US and Canada, jazz education has been considerably established in high schools and colleges (Fisher, 1981; Kuzmich, 1989) (Carter, 1986; McDaniel, 1993; Murphy, 1994) (Thomas, 2022; English, 2004; Brenan, 2005).

The study of both instrumental and vocal jazz has been part of academia in the United States, Canada, Europe and Australia for several decades now (Monkelien, 2001). This 3-day vocal jazz workshop I am envisioning to happen at the UP College of Music  can potentially expand students’ training in voice pedagogy, as well as help inspire the College to consider offering a vocal or instrumental jazz program.

Expanding and enriching the MuED 105 curriculum gravitates towards Open Education’s major principle being a “more flexible and accessible approach for learning for all, opening horizons and vistas for cross-regional collaboration, social cohesion, and sustainable economic development” (Baroud, n.d.)

Designing Open Education Practice-rooted instructional/learning activities for my upcoming vocal jazz workshop entails a thorough, comprehensive definition of what open education practice is.

The University of Edinburgh tells us what open education practice is all about.  Basically, a culture of intellectual openness and sharing characterizes open education. In a nutshell, one has to have that sense of open-mindedness and of thinking outside the box, as well as an ethos of collaboration, ingenuity and inclusivity in this regard.  It is essential to note the following parameters to open education practice, and I directly quote:

●       Production, management, use and reuse of open educational resources.

●       Developing and applying open/public pedagogies in teaching practice.

●       Open learning and gaining access to open learning opportunities.

●       Practising open scholarship, to encompass open access publication, open science and open research.

●       Open sharing of teaching ideas and know-how.

●       Using open technologies (web-based platforms, applications and services) in an educational context (University of Edinburgh, n.d.)

Designing instruction vis-a-vis open education principles requires that  “learners take responsibility for their learning networks and are active participants in its planning and growth/ process oriented” (ioannouolga.blog, 2017).

Through a gamified vocal jazz workshop, MuEd 105 instruction will be more interactive and dialogic following the Laurillard Conversational Framework. A similar learning environment designed for multimedia learners needed to have :"(1) a working environment (2) a task goal (3) learner actions (4) meaningful feedback (5) learner revisions (6) the chance to adapt and reflect in the light of experience (Laurillard, 2008), blending both theory and practice. Laurillard's Conversational Framework included four important components (1) Teacher's concept, (2) Teacher's constructed learning environment, (3) Student's concept, and (4) Student's action” (Neo et al, 2013). It is important to note that there are two important levels to the Laurillard conversational framework: "the discursive level and the experiential level" (Neo et al, 2013).     

Beyond the experiential level, MuEd 105 students take a leap higher into a televised performance environment for jazz singing. A telecast performance not only develops flexibility and adaptability to different entertainment formats, but also engages the student with prospective employers, music producers, as well as jazz fans and music pedagogy patrons locally and internationally. MuEd 105 pedagogy is then redefined into a real-world, socially conversational, interactive and associationist experience. Technology zooms in on a Zoom-based voice pedagogy classroom to authentic learning and performance environments in the real world which becomes an avenue for jazz-inspired global citizenship and the promotion and propagation of social equality, inclusivity and humanistic advocacies through vocal music.