Co-Teaching with High School Students for Music Teaching
Round 1
Reviewer 1 Report
The proposed topic is highly significant and stimulating for carrying out unprecedented research, of a disruptive nature, and with possibilities for replication and transfer to the field of professional praxis. The results achieved correspond to the expectations initially generated, and the possibilities of a line of research with so much potential. The critical apparatus shows a very relevant balance between the seminal works and the most novel contributions and sustains the theoretical foundation of the issues dealt with in a solvent manner. In terms of the formal and dispositional structure of the contents, the work is well organized, and explains the information in a clear and intuitive way with a narrative style very appropriate to academic canons.
However, there is a lack of references at the level of theoretical foundations that allow us to relate the subject under study to the increasingly significant trend of developing models of collaboration in the field of music education promoted by the different currents and new forms of knowledge transmission that have arisen in the digital sphere and the web environment.
An explicit reference to these issues would allow for a more complete vision of the theoretical framework on which the research is based. The following are a number of references that can serve this purpose.
-Merchán-Sánchez-Jara, J. F., & González-Gutiérrez, S. (2023). Collaborative Composition and Urban Popular Music in Digital Music Didactics. Education Sciences, 13(8), 771.
-Merchán-Sánchez-Jara, J. (2015, October). e-Score; impact, perception and uses in music educational institutions. In Proceedings of the 3rd International Conference on Technological Ecosystems for Enhancing Multiculturality (pp. 449-454).
-Sánchez-Jara, J. M., Ahijado, S. R., & Rubio, J. C. M. (2022). Ecosistemas educativos para la práctica musical en el entorno de la Web Social: una revisión sistemática de literatura. Revista de Investigación Educativa, 40(2), 565-587. -Liu, Z. Q., Dorozhkin, E., Davydova, N., & Sadovnikova, N. (2020). Co-learning as a new model of learning in a digital environment: Learning effectiveness and collaboration. International Journal of Emerging Technologies in Learning (iJET), 15(13), 34-48.
Author Response
Thank you very much for taking the time to review this manuscript. Please find the detailed responses below and the corresponding corrections highlighted in the re-submitted files.
Point-by-point response to Comments and Suggestions for Authors
Comments 1: However, there is a lack of references at the level of theoretical foundations that allow us to relate the subject under study to the increasingly significant trend of developing models of collaboration in the field of music education promoted by the different currents and new forms of knowledge transmission that have arisen in the digital sphere and the web environment.
- Response 1: We have added to the text. “There are interesting works that address musical practices through digital spaces [43]. However, this study has opted for activities with face-to-face interactions”. (Line 176). And we have included the reference Sánchez-Jara, J.M., Ahijado, S.R.; Rubio, J.C. Ecosistemas educativos para la práctica musical em el entorno de la Web Social: una revisión sistemática de literatura. Revista de Investigación Educativa. 2022, 40 (15), 565-587.
Author Response File: 
Author Response.pdf
Reviewer 2 Report
Thank you for submitting this clearly written paper.
- Although the teacher-pupil is still widely used, pupil/ student centered approaches are more and more popular nowadays. Cooperative learning - among others - is widespread as well. It might be good to mention this in your introduction.
- Line 43: You state: .. the mediation of a peer may be more effective than that of an adult. A quick scan with google scholar shows that there is already some (empirical) evidence available on the effects of peer learning, including mediation.
- 1,4: I miss the context in which music is taught, or the paradigm in which music learning takes places. There are many different settings in which pupils learn about music, or learn how to play in instrument. Settings can be formal, informal or non-formal. What are we talking about?
- I agree that music notation is often important in Western music education. However, not in all Western countries. Why do you focus on music notation? Why not on vocal technique for example? I would start the article giving more context. Your focus probably follows logically from this.
- Line 216: the number is missing. Sometimes the word pupils is used, sometimes the word students.
- It's nice that the study contains both qualitative as well as quantitative elements. I am not a specialist with regard to qualitative analysis. The descriptions seem clear to me. I am still very curious to the interventions offered to the students. I miss a clear description.
- In the discussion, you refer to Engestrom and Sannino (2010). Interesting! If you agree that their work is relevant, it would expect to read a little more about the Cultural Historical Activity Theory in the introduction (Zone of Proximal Development (Vygotskij), scaffolding (Bruner), more knowledgeable others (including pupils/ students)).
- It's nice to read that the hypothesis has been confirmed. Hopefully more schools will adapt this approach to teach music.
Author Response
Dear Reviewer:
Thank you very much for taking the time to review this manuscript. Please find the detailed responses below and the corresponding corrections highlighted in the re-submitted files.
Point-by-point response to Comments and Suggestions for Authors
Comments 1: Although the teacher-pupil is still widely used, pupil/ student centered approaches are more and more popular nowadays. Cooperative learning - among others - is widespread as well. It might be good to mention this in your introduction.
Response 1: Cooperative learning is mentioned in the introduction in section 1.1. Unfortunately, we have not more space to go in more detail.
Comments 2: Line 44: You state: the mediation of a peer may be more effective than that of an adult. A quick scan with google scholar shows that there is already some (empirical) evidence available on the effects of peer learning, including mediation.
Response 2: We wanted to say that Peer mediation in the classroom could be as effective as teacher mediation, depending on the characteristics of each one. The sentence has been changed to gain in clarity.
Comments 3: 1,4: I miss the context in which music is taught, or the paradigm in which music learning takes places. There are many different settings in which pupils learn about music, or learn how to play in instrument. Settings can be formal, informal or non-formal. What are we talking about?
Response 3: We have added in the text: In a formal context (line 242).
Comments 4: I agree that music notation is often important in Western music education. However, not in all Western countries. Why do you focus on music notation? Why not on vocal technique for example? I would start the article giving more context. Your focus probably follows logically from this.
Response 4: As we explained in line 205, this study is part of a larger project that addresses five subject areas of music included on the Chilean national curriculum. The other topics addressed were vocal technique (singing), flute and listening.
Comments 5: Line 216: the number is missing. Sometimes the word pupils is used, sometimes the word students.
Response 5: We have added the number (line 218) and modified the word pupil (line 32)
Comments 6: It's nice that the study contains both qualitative as well as quantitative elements. I am not a specialist with regard to qualitative analysis. The descriptions seem clear to me. I am still very curious to the interventions offered to the students. I miss a clear description.
Response 6: The qualitative results are very broad in this research. We have described the main actions.
Comments 7: In the discussion, you refer to Engeström and Sannino (2010). Interesting! If you agree that their work is relevant, it would expect to read a little more about the Cultural Historical Activity Theory in the introduction (Zone of Proximal Development (Vygotsky), scaffolding (Bruner), more knowledgeable others (including pupils/ students).
Response 7: Maybe the Zone of Proximal Development (Vygotsky) and scaffolding (Bruner) are sufficiently well-known topics, so we gave priority to less studied topics.
Comments 8: It's nice to read that the hypothesis has been confirmed. Hopefully more schools will adapt this approach to teach music.
Response 8: Thank you so much. We appreciate your suggestions and comments.
Author Response File: Author Response.pdf
