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Reciprocal Peer Teaching in Elementary General Music Classrooms Using Orff Schulwerk and Modern Band

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Title: Reciprocal Peer Teaching in Elementary General Music Classrooms Using Orff Schulwerk and Modern Band
Language: English
Authors: David J. Saccardi (ORCID 0000-0001-6521-8236), David Dockan (ORCID 0000-0002-2604-682X)
Source: Journal of General Music Education. 2025 38(3):35-41.
Availability: SAGE Publications. 2455 Teller Road, Thousand Oaks, CA 91320. Tel: 800-818-7243; Tel: 805-499-9774; Fax: 800-583-2665; e-mail: journals@sagepub.com; Web site: https://sagepub.com
Peer Reviewed: Y
Page Count: 7
Publication Date: 2025
Document Type: Journal Articles
Reports - Evaluative
Education Level: Elementary Education
Descriptors: Music Education, Elementary School Students, Peer Teaching, Cooperative Learning, Teacher Role, Feedback (Response), Sequential Approach, Teaching Methods, Musical Instruments, Musical Composition
DOI: 10.1177/27527646251319767
ISSN: 2752-7646
Abstract: Music classrooms have incorporated elements of cooperative peer learning for generations. Whether sharing an instrument or composing a song together, peers interact in many meaningful and spontaneous ways. While the principles of peer-assisted learning (PAL) might be familiar to many music teachers, the process and structures of reciprocal peer teaching (RPT) may be new to some and can help provide a structured and positive approach to music learning, particularly considering limited class time. The purpose of this article is to describe the process of RPT as it applies to elementary general music classrooms. An established body of research in peer learning will lead to an explanation of the tutor training process. Readers will then be provided content-specific suggestions for practice based on two common methods of elementary general music: Orff Schulwerk and Modern Band.
Abstractor: As Provided
Entry Date: 2025
Accession Number: EJ1467413
Database: ERIC
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  Value: <anid>AN0184443119;[mts2]01apr.25;2025Apr15.05:10;v2.2.500</anid> <title id="AN0184443119-1">Reciprocal peer teaching in elementary general music classrooms using Orff Schulwerk and Modern Band </title> <p>Music classrooms have incorporated elements of cooperative peer learning for generations. Whether sharing an instrument or composing a song together, peers interact in many meaningful and spontaneous ways. While the principles of peer-assisted learning (PAL) might be familiar to many music teachers, the process and structures of reciprocal peer teaching (RPT) may be new to some and can help provide a structured and positive approach to music learning, particularly considering limited class time. The purpose of this article is to describe the process of RPT as it applies to elementary general music classrooms. An established body of research in peer learning will lead to an explanation of the tutor training process. Readers will then be provided content-specific suggestions for practice based on two common methods of elementary general music: Orff Schulwerk and Modern Band.</p> <p>Keywords: Reciprocal peer teaching; elementary general music; Orff Schulwerk; Modern Band; peer-assisted learning; tutor training</p> <p>Consider the following vignette: A teacher guides students through a learning process for the melodic pattern <emph>ti-re-do</emph> using the Caribbean song <emph>Four White Horses</emph>. The students have played the game, and the teacher has isolated this tonal pattern and taught it to the students with solfege. The teacher can then have students play this tonal pattern on instruments. Students then compose a four-beat pattern using the pitches <emph>ti-re-do</emph> and perform it together singing and playing. Then to provide an opportunity for reciprocal peer teaching, the teacher will assign students to be partners and designate one student to be the tutor and the other to be the tutee. The teacher then presents a series of directions on the board with steps for students to teach each other. The directions read:</p> <p></p> <ulist> <item> You will both sing the song, and play "ti-re-do" when it happens in the song.</item> <p></p> <item> <bold> The tutor will _B_T</bold>ell them something you like, <bold>A</bold>sk a question, and <bold>G</bold>ive a suggestion to provide feedback to the tutee (also known as the TAG method).</item> <p></p> <item> The tutor will then model the pattern, and the tutee will echo it.</item> <p></p> <item> The tutee will then compose and perform their four-note pattern using "ti-re-do."</item> <p></p> <item> The tutor will listen and then use the TAG method to provide feedback on their performance.</item> <p></p> <item> Switch roles and repeat steps 1–5.</item> </ulist> <p>The students in this vignette are participating in <emph>reciprocal peer teaching</emph> (RPT), an established and highly effective method for promoting cooperative learning, prosocial skill development, and a positive classroom environment. Throughout this vignette, the teacher helped the students focus on a single aspect of music making by highlighting and focusing the lesson on <emph>ti-re-do</emph>. The teacher then provided the opportunity for student tutors to provide their partners feedback using the TAG framework, and prompt their partners to imitate the song, then explore and create with the different pitches. Then, most importantly, the student's roles of tutor and tutee switched.</p> <hd id="AN0184443119-2">Introduction</hd> <p>Music classrooms can promote elements of cooperative learning. Whether sharing an instrument, composing a song together, or synchronizing movement to music, peers interact in many meaningful and spontaneous ways which can play a significant role in a child's development. We know from the results of research that children around the age of two begin to experience friendship and engage in positive, reciprocal interactions ([<reflink idref="bib31" id="ref1">31</reflink>], [<reflink idref="bib30" id="ref2">30</reflink>]) and that children have a natural inclination to imitate others, desiring to help those in and around their environments. Music teachers might leverage these inclinations to their advantage using structured peer-assisted learning (PAL; [<reflink idref="bib40" id="ref3">40</reflink>]; [<reflink idref="bib42" id="ref4">42</reflink>]). [<reflink idref="bib57" id="ref5">57</reflink>] defined PAL as a pedagogical approach in which students take on the roles of teacher or learner, instructing their peers on specific topics or concepts.</p> <p>Elementary music teachers can utilize PAL in their classrooms to help improve social relations, minimize review week to week, and increase retention of course content. One such derivation of PAL that has emerged as highly effective is RPT ([<reflink idref="bib14" id="ref6">14</reflink>]; [<reflink idref="bib45" id="ref7">45</reflink>]). This strategy places same-age peers as partners who take turns both teaching course content to their partner and having their partner teach the content back to them. In this configuration, students play both the role of "teacher" (tutor) and "student" (tutee), allowing participants opportunities for multiple iterations of a desired skill with opportunities for specific, immediate feedback along with skill development and memory consolidation.</p> <p>When students and teachers are trained properly, RPT can be a powerful pedagogical tool for an elementary general music teacher. Since many elementary teachers have limited class time with students ([<reflink idref="bib43" id="ref8">43</reflink>]), RPT can be particularly effective where opportunities for review are limited, reteaching previous lessons occupies class time, and students struggle to retain pedagogical content week over week. The purpose of this article is to describe the process of RPT as it applies to elementary general music classrooms. A summary of the established body of research in RPT will lead to an explanation of the tutor training process. Following this summary, content-specific suggestions for practice based on two common methods of elementary general music: Orff Schulwerk and Modern Band.</p> <hd id="AN0184443119-3">Research in reciprocal peer tutoring</hd> <p>There has been interest in peer learning in its various iterations for decades, from early programs aimed at the development of cooperative learning programs ([<reflink idref="bib33" id="ref9">33</reflink>]) to the creation of more structured peer learning programs such as paired reading ([<reflink idref="bib56" id="ref10">56</reflink>]) and PAL Strategies (PALS; [<reflink idref="bib17" id="ref11">17</reflink>]). A factor that differentiates PAL ([<reflink idref="bib57" id="ref12">57</reflink>]) from other forms of peer learning, specifically peer mentoring ([<reflink idref="bib23" id="ref13">23</reflink>]), is that PAL involves <emph>structured</emph> peer interactions preceded by teacher-mediated tutor training ([<reflink idref="bib47" id="ref14">47</reflink>]; [<reflink idref="bib57" id="ref15">57</reflink>]).</p> <p>PAL has been utilized most frequently in elementary schools for reading (e.g., [<reflink idref="bib17" id="ref16">17</reflink>]; [<reflink idref="bib42" id="ref17">42</reflink>]; [<reflink idref="bib45" id="ref18">45</reflink>]; [<reflink idref="bib55" id="ref19">55</reflink>]) and mathematics interventions (e.g., [<reflink idref="bib18" id="ref20">18</reflink>], [<reflink idref="bib19" id="ref21">19</reflink>]; [<reflink idref="bib61" id="ref22">61</reflink>]). Researchers and educators have also implemented PAL to help meet the diverse requirements of supporting students with special needs ([<reflink idref="bib11" id="ref23">11</reflink>]; [<reflink idref="bib29" id="ref24">29</reflink>], [<reflink idref="bib31" id="ref25">31</reflink>]; [<reflink idref="bib41" id="ref26">41</reflink>]; [<reflink idref="bib54" id="ref27">54</reflink>]; [<reflink idref="bib55" id="ref28">55</reflink>]) and students whose primary language is not English ([<reflink idref="bib47" id="ref29">47</reflink>]; [<reflink idref="bib52" id="ref30">52</reflink>]; [<reflink idref="bib55" id="ref31">55</reflink>]). Meta-analyses (or "studies of studies") of PAL research revealed that less frequent and shorter tutor training sessions for tutors ([<reflink idref="bib15" id="ref32">15</reflink>]; [<reflink idref="bib39" id="ref33">39</reflink>], [<reflink idref="bib40" id="ref34">40</reflink>]) along with more frequent PAL in the classroom led to significant academic gains ([<reflink idref="bib21" id="ref35">21</reflink>]; [<reflink idref="bib39" id="ref36">39</reflink>], [<reflink idref="bib40" id="ref37">40</reflink>]; [<reflink idref="bib47" id="ref38">47</reflink>]; [<reflink idref="bib48" id="ref39">48</reflink>], [<reflink idref="bib49" id="ref40">49</reflink>]). Further, students in grades 1–3 showed stronger academic gains than students in grades 4–6 ([<reflink idref="bib21" id="ref41">21</reflink>]). [<reflink idref="bib47" id="ref42">47</reflink>] speculated that specific features of PAL, such as its cooperative approach to learning and emphasis on social connectedness, allowed it to be an effective learning strategy for students from diverse backgrounds.</p> <hd id="AN0184443119-4">Reciprocal peer teaching</hd> <p>RPT is an instructional strategy rooted in PAL; however, in RPT, students take on the role of both tutor and tutee ([<reflink idref="bib14" id="ref43">14</reflink>]). In a structured dyad consisting of a "high ability" student and a "low ability" student (terms utilized in the research literature (e.g., [<reflink idref="bib47" id="ref44">47</reflink>]; [<reflink idref="bib57" id="ref45">57</reflink>])), the higher-ability student will first act as tutor to the lower-ability student. Unique to RPT is that midway through student interaction time, the students will swap roles, with the lower-ability student now tutoring the higher-ability student. This configuration allows both students to enjoy the benefits of tutoring, including academic achievement ([<reflink idref="bib40" id="ref46">40</reflink>]; [<reflink idref="bib48" id="ref47">48</reflink>], [<reflink idref="bib49" id="ref48">49</reflink>]), student autonomy ([<reflink idref="bib21" id="ref49">21</reflink>]; [<reflink idref="bib48" id="ref50">48</reflink>]), opportunities for skill development and memory consolidation ([<reflink idref="bib50" id="ref51">50</reflink>]), and positive social and self-concept outcomes ([<reflink idref="bib31" id="ref52">31</reflink>]; [<reflink idref="bib21" id="ref53">21</reflink>]).</p> <p>The concept of RPT was developed initially by [<reflink idref="bib45" id="ref54">45</reflink>] as an instructional method to improve reading comprehension skills in elementary school students. The original model consisted of students utilizing four main strategies to comprehend a text: (<reflink idref="bib1" id="ref55">1</reflink>) summarizing, (<reflink idref="bib2" id="ref56">2</reflink>) questioning, (<reflink idref="bib3" id="ref57">3</reflink>) clarifying, and (<reflink idref="bib4" id="ref58">4</reflink>) predicting. Each student would take turns engaging with these concepts as a tutor on a prepared text, and this framework has since been applied to other content areas including so-called "specials" courses in elementary schools such as physical education (e.g. [<reflink idref="bib32" id="ref59">32</reflink>]) and music education.</p> <hd id="AN0184443119-5">Research in Music Education</hd> <p>Although research on RPT in music education is limited, music education researchers have provided instructional strategies for peer interactions ([<reflink idref="bib9" id="ref60">9</reflink>]; [<reflink idref="bib15" id="ref61">15</reflink>]; [<reflink idref="bib31" id="ref62">31</reflink>]; [<reflink idref="bib51" id="ref63">51</reflink>]) and examined the effectiveness of peer tutoring to improve several musical skills, including rhythm fluency ([<reflink idref="bib12" id="ref64">12</reflink>]; [<reflink idref="bib34" id="ref65">34</reflink>]), music literacy ([<reflink idref="bib35" id="ref66">35</reflink>]; [<reflink idref="bib58" id="ref67">58</reflink>]), and listening skills ([<reflink idref="bib20" id="ref68">20</reflink>]). Music education researchers have also focused on using peer tutoring as an instructional strategy for inclusive elementary school music classes ([<reflink idref="bib9" id="ref69">9</reflink>]; [<reflink idref="bib11" id="ref70">11</reflink>]; [<reflink idref="bib29" id="ref71">29</reflink>], [<reflink idref="bib31" id="ref72">31</reflink>], [<reflink idref="bib30" id="ref73">30</reflink>]; [<reflink idref="bib41" id="ref74">41</reflink>]). [<reflink idref="bib31" id="ref75">31</reflink>] provided several classroom strategies for the implementation of peer tutoring as a means of achieving a more inclusive elementary music classroom. These strategies included ground rules to establish with students, the importance of starting early in the school year, and the importance of collaboration in the general music classroom.</p> <p>In a literature review of peer tutoring studies in music education, [<reflink idref="bib15" id="ref76">15</reflink>] found several consistencies with the general education literature, including the benefits for student tutors, the importance of tutor training, and structured peer learning environments. The authors go on to state, "Group classes could take advantage of the opportunity of incorporating this pedagogical tool, formalizing the relationships that would have already been naturally internalized and naturalized within the group (p. 136)." These formalized relationships come to fruition through students having specific roles: tutor and tutee. In RPT, students are provided guidance in how they should act in these roles through tutor training.</p> <hd id="AN0184443119-6">Tutor training</hd> <p>When incorporating RPT into your classroom, it is important that students understand how to tutor their peers effectively ([<reflink idref="bib39" id="ref77">39</reflink>], [<reflink idref="bib40" id="ref78">40</reflink>]; [<reflink idref="bib47" id="ref79">47</reflink>]; [<reflink idref="bib57" id="ref80">57</reflink>]). It can be challenging to incorporate these strategies into the classroom due to time constraints that elementary music teachers face. In some instances, elementary music teachers see their students 30 minutes a week for 34 weeks ([<reflink idref="bib43" id="ref81">43</reflink>]). Within those 17 hours of instruction per year, it would be difficult to devote time to teaching students instructional strategies for the recommended four sessions of 15 minutes of instruction. In the following section, we share three strategies for scaffolding skills necessary for RPT: (<reflink idref="bib1" id="ref82">1</reflink>) focusing on a single aspect of music making, (<reflink idref="bib2" id="ref83">2</reflink>) providing feedback, and (<reflink idref="bib3" id="ref84">3</reflink>) sequencing instruction.</p> <hd id="AN0184443119-7">Focusing on a single aspect of music making</hd> <p>In the elementary music classroom, teachers introduce students to many songs and acknowledge the multitude of musical concepts that one song might help them teach (i.e., rhythm, and tonal patterns). Within each piece, the teacher can take the opportunity to highlight a specific aspect of a piece that they want to bring to their student's attention. In doing so, the teacher is modeling how to focus on a single musical skill at a time while allowing for a wholistic musical experience. When teachers focus on a single concept in their instruction, they can use that as a springboard to facilitate students teaching each other. For example, teachers might be instructing students about a syncopated rhythm pattern in the song <emph>Four White Horses</emph>. Before having the students participate in RPT to provide one another practice on that skill, the teacher would train the students to focus their peer feedback on their partner's performance of the syncopated rhythms.</p> <hd id="AN0184443119-8">Providing feedback</hd> <p>Feedback is an important skill for students to develop; however, the concept can be difficult for some students to grasp. Teachers have noticed students having trouble working with their peers since the pandemic and have found frameworks for students to provide feedback to one another ([<reflink idref="bib10" id="ref85">10</reflink>]). One way of providing this feedback was through a process of TAG: <bold>T</bold>ell them something you like, <bold>A</bold>sk a question, and <bold>G</bold>ive a suggestion ([<reflink idref="bib13" id="ref86">13</reflink>]). Teachers can outline this process of feedback to their students before splitting them into groups, and post visual stimuli throughout their classrooms, such as posters with reminders and sentence starters. We recommend modeling this type of feedback during whole-class instruction to prepare students to use it with their peers when they are in RPT groups.</p> <hd id="AN0184443119-9">Sequencing instruction</hd> <p>Teaching students to sequence instruction is important for them to help teach their peers. It is important for students to understand how to best guide their peers to understanding or proficiency. We recommend having the students use the process that resonates most with your classroom. If you are teaching in an Orff Schulwerk classroom, consider students use a process of imitate-explore-create ([<reflink idref="bib36" id="ref87">36</reflink>]), or for a Music Learning Theory classroom, whole-part-whole ([<reflink idref="bib24" id="ref88">24</reflink>]). Teachers are encouraged to incorporate these strategies into their classrooms to complement individual teaching styles. Before moving on to specific pedagogical approaches, please refer to the opening vignette to see an example of how these three aspects of RPT training can be incorporated effectively into a lesson sequence.</p> <hd id="AN0184443119-10">Approaches in specific settings</hd> <p>There are many ways to incorporate RPT in the elementary music classroom. Previously, scholars have noted that incorporating new pedagogical approaches into a classroom can seem more accessible when they are incorporated through the lens of an approach that a teacher already uses ([<reflink idref="bib60" id="ref89">60</reflink>]). Therefore, this section is organized through the lens of two prominent elementary pedagogical approaches: Orff Schulwerk and Modern Band. Both approaches are rooted in the belief that music should be experienced first as an impetus for learning, where music notation is introduced after the musical concepts and skills are experienced through active music making.</p> <hd id="AN0184443119-11">Orff Schulwerk classroom</hd> <p>The Orff Schulwerk approach to music education places the students at the center of their learning by putting them in the role of the composer ([<reflink idref="bib37" id="ref90">37</reflink>]). Teachers facilitate this learning by guiding the students through imitation, exploration, and creation within one lesson or over several class periods ([<reflink idref="bib16" id="ref91">16</reflink>]; [<reflink idref="bib36" id="ref92">36</reflink>]). The Orff Schulwerk approach lends itself to RPT through encouraging partnership, being mindful of time, acting as the <emph>guide on the side</emph>, and <emph>embracing the chatter</emph> ([<reflink idref="bib27" id="ref93">27</reflink>]). With those ideals in mind, this section will examine RPT through the three phases of the Orff Schulwerk approach: imitation, exploration, and creation.</p> <p>Imitation is the first part of the Orff Schulwerk approach where [<reflink idref="bib37" id="ref94">37</reflink>] wrote that "from the beginning they should each have a feeling of creative participation in the musical activities" (p. 23). This can happen in the first days of a child's experiences in school music with the game <emph>Cuckoo</emph> ([<reflink idref="bib44" id="ref95">44</reflink>]). In this game, the teacher or class might be sitting in a circle practicing call-and-response phrases. The game might begin with the teacher singing a phrase using a Sol-Mi pattern, "cuckoo, where are you." The class would then respond all together singing "Cuckoo, here I am." Then, the teacher might add an object, such as a puppet, that will be passed from student to student during the teacher's call, and instead of a full class response, individual students would have a chance to sing their response as a solo, "Cuckoo, here I am" using Sol and Mi. This same game can then be varied to ask a variety of questions such as "Cuckoo, what's your name" and the student could respond with their name either singing on those pitches or speaking. In this scenario, the student is teaching the class their name and a melody they created, and this pattern goes on. By playing the game as a whole-class first, students experience performing for and providing feedback to each other. This can act as a scaffold to prepare students to play the game together in two-person dyads and use RPT.</p> <p>The Schulwerk provides opportunities for exploration—guided experiences using suggestions ([<reflink idref="bib2" id="ref96">2</reflink>]) or improvisation ([<reflink idref="bib4" id="ref97">4</reflink>]). Throughout exploration, teachers might facilitate students working in partners to facilitate RPT. As an example, a teacher might introduce a short song about flowers in C pentatonic. After introducing this poem, and having the students sing the song together, the class could brainstorm many different species of flowers. Using the different species of flowers, the class could create an accompaniment ostinato pattern using the different species. After creating an ostinato accompaniment, this could be moved to instruments. This could further be extended to provide students the opportunity to improvise on a C pentatonic scale while the rest of the class continues playing the ostinato accompaniment. In this setting, RPT could be implemented through having students work with a partner on an instrument and provide feedback on their peer's improvisation or their playing technique. This feedback would most likely be guided by the teacher asking the students who are not playing to watch their partners for specific things, focusing on a single aspect of their music making while they are playing.</p> <p>During the creation phase, students might work to solidify something they discovered during the exploration phase. For example, students might be divided into groups and asked to transfer a word chain onto instruments or into a creative movement. This creates an opportunity for RPT, as throughout this process, the teacher has mostly been guiding and informally assessing the students. The teacher can use this informal assessment to pair students who might need more assistance with students who are more successful. To facilitate RPT, the teacher might pair students into tutor groupings based on differing ability levels. If the lesson is focusing on a particular rhythm, the teacher might pair a student who is demonstrating some mastery of a skill with a student who is still working toward mastery. A teacher might guide the group work with tutor training, providing the students with a process to provide feedback and facilitate their collaboration.</p> <hd id="AN0184443119-12">Modern band classroom</hd> <p>Since modern bands have become increasingly popular among elementary music educators ([<reflink idref="bib7" id="ref98">7</reflink>]; [<reflink idref="bib6" id="ref99">6</reflink>]; [<reflink idref="bib38" id="ref100">38</reflink>]), we will highlight how elementary music teachers might integrate RPT into their music classrooms through modern bands. Modern band is a type of ensemble that uses instruments found in popular music such as guitar, bass, and drums, and incorporates students' preferred music and songwriting ([<reflink idref="bib46" id="ref101">46</reflink>]). This type of ensemble is commonly taught through Green's informal music learning framework ([<reflink idref="bib26" id="ref102">26</reflink>]). Green highlighted five key aspects: (<reflink idref="bib1" id="ref103">1</reflink>) music chosen by the students, (<reflink idref="bib2" id="ref104">2</reflink>) aural learning from copying recordings, (<reflink idref="bib3" id="ref105">3</reflink>) peer teaching and learning, (<reflink idref="bib4" id="ref106">4</reflink>) personal practice, and (<reflink idref="bib5" id="ref107">5</reflink>) learning as an integrated experience. Using this framework teachers become more of a facilitator through nonformal teaching ([<reflink idref="bib8" id="ref108">8</reflink>]; [<reflink idref="bib28" id="ref109">28</reflink>]); the teacher acts as a mentor guiding students to acquire skills and knowledge.</p> <p>Peer teaching and learning is a central component of a modern band ([<reflink idref="bib25" id="ref110">25</reflink>]), although some teachers might not know how to facilitate it. In one case study, elementary music teachers using modern bands shared that they learned to facilitate peer learning in modern bands through professional development ([<reflink idref="bib59" id="ref111">59</reflink>]). During these professional developments, teachers were given permission and provided pathways of releasing some of the power in the classroom; students began to have control over the curriculum, repertoire, and how they were learning ([<reflink idref="bib10" id="ref112">10</reflink>]). One way that teachers can release power to their students is through "noodling time" ([<reflink idref="bib53" id="ref113">53</reflink>]), which allows students to practice informally, improvise, and play their instruments, usually after a moment of instruction. In the classroom, this might look like a teacher providing instruction on how to perform a certain musical skill, and then allowing students the time to noodle on the instruments.</p> <p>Peer teaching and learning might naturally occur during noodling time; however, the teacher could provide additional structure through the lens of RPT. To facilitate this, a teacher might start with a lesson having students switch between a C chord and a G chord. During the portion of the lesson where the teacher is providing the instruction, the teacher can observe to see which students are struggling and which students are feeling more confident in this skill. Before releasing them to noodling time, the teacher might pair up students based on ability level and provide an RPT framework where students can provide feedback to each other through verbal instruction and modeling, having the students take on the role of tutor and tutee, and switching roles throughout. Students could focus on a single aspect of their partner's playing, providing specific feedback and a sequenced solution to help facilitate more effective transitions between the two chords ([<reflink idref="bib60" id="ref114">60</reflink>]).</p> <hd id="AN0184443119-13">Coda</hd> <p>RPT reinforces course content and prompts social interactions between students while providing multiple opportunities to rehearse and receive feedback on course content. This approach maximizes instructional time and allows the classroom teacher to provide more individualized instruction for students who may require additional attention. One way to begin using this approach is by integrating it with pedagogies already used in elementary music classrooms, such as Orff Schulwerk and Modern Band. This integration, along with proper tutor training, allows RPT to be an advantageous strategy for any elementary music teacher in their goal of providing effective and meaningful music instruction for students.</p> <ref id="AN0184443119-14"> <title> References </title> <blist> <bibl id="bib1" idref="ref55" type="bt">1</bibl> <bibtext> Allsup R. E. (2016). Remixing the classroom: Toward an open philosophy of music education. Indiana University Press.</bibtext> </blist> <blist> <bibl id="bib2" idref="ref56" type="bt">2</bibl> <bibtext> AOSA. (2024). The teaching process. AOSA. https://aosa.org/about/what-is-orff-schulwerk/the-teaching-process/</bibtext> </blist> <blist> <bibl id="bib3" idref="ref57" type="bt">3</bibl> <bibtext> Beegle A. C. (2010). A classroom-based study of small-group planned improvisation with f-grade children. 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Saccardi</bibtext> </blist> <blist> <bibtext>Graph</bibtext> </blist> <blist> <bibtext>https://orcid.org/0000-0001-6521-8236 David Dockan</bibtext> </blist> <blist> <bibtext>Graph https://orcid.org/0000-0002-2604-682X</bibtext> </blist> </ref> <aug> <p>By David J. Saccardi and David Dockan</p> <p>Reported by Author; Author</p> <p></p> <p>David J. Saccardi is an assistant professor of music education at Louisiana State University in Baton Rouge, Louisiana. His primary research interests included reciprocal peer teaching in music classrooms, applications of working memory in musicians, topics in string perfomance and pedagogy, and perceptions of orchestral conductors.</p> <p>David Dockan is assistant professor of music education at Louisiana State University in Baton Rouge, Louisiana. His primary research interests are teacher agency, belongingness, informal music learning, Orff Schulwerk, Modern Band, and popular media in the elementary classroom.</p> </aug> <nolink nlid="nl1" bibid="bib31" firstref="ref1"></nolink> <nolink nlid="nl2" bibid="bib30" firstref="ref2"></nolink> <nolink nlid="nl3" bibid="bib40" firstref="ref3"></nolink> <nolink nlid="nl4" bibid="bib42" firstref="ref4"></nolink> <nolink nlid="nl5" bibid="bib57" firstref="ref5"></nolink> <nolink nlid="nl6" bibid="bib14" firstref="ref6"></nolink> <nolink nlid="nl7" bibid="bib45" firstref="ref7"></nolink> <nolink nlid="nl8" bibid="bib43" firstref="ref8"></nolink> <nolink nlid="nl9" bibid="bib33" firstref="ref9"></nolink> <nolink nlid="nl10" bibid="bib56" firstref="ref10"></nolink> <nolink nlid="nl11" bibid="bib17" firstref="ref11"></nolink> <nolink nlid="nl12" bibid="bib23" firstref="ref13"></nolink> <nolink nlid="nl13" bibid="bib47" firstref="ref14"></nolink> <nolink nlid="nl14" bibid="bib55" firstref="ref19"></nolink> <nolink nlid="nl15" bibid="bib18" firstref="ref20"></nolink> <nolink nlid="nl16" bibid="bib19" firstref="ref21"></nolink> <nolink nlid="nl17" bibid="bib61" firstref="ref22"></nolink> <nolink nlid="nl18" bibid="bib11" firstref="ref23"></nolink> <nolink nlid="nl19" bibid="bib29" firstref="ref24"></nolink> <nolink nlid="nl20" bibid="bib41" firstref="ref26"></nolink> <nolink nlid="nl21" bibid="bib54" firstref="ref27"></nolink> <nolink nlid="nl22" bibid="bib52" firstref="ref30"></nolink> <nolink nlid="nl23" bibid="bib15" firstref="ref32"></nolink> <nolink nlid="nl24" bibid="bib39" firstref="ref33"></nolink> <nolink nlid="nl25" bibid="bib21" firstref="ref35"></nolink> <nolink nlid="nl26" bibid="bib48" firstref="ref39"></nolink> <nolink nlid="nl27" bibid="bib49" firstref="ref40"></nolink> <nolink nlid="nl28" bibid="bib50" firstref="ref51"></nolink> <nolink nlid="nl29" bibid="bib32" firstref="ref59"></nolink> <nolink nlid="nl30" bibid="bib51" firstref="ref63"></nolink> <nolink nlid="nl31" bibid="bib12" firstref="ref64"></nolink> <nolink nlid="nl32" bibid="bib34" firstref="ref65"></nolink> <nolink nlid="nl33" bibid="bib35" firstref="ref66"></nolink> <nolink nlid="nl34" bibid="bib58" firstref="ref67"></nolink> <nolink nlid="nl35" bibid="bib20" firstref="ref68"></nolink> <nolink nlid="nl36" bibid="bib10" firstref="ref85"></nolink> <nolink nlid="nl37" bibid="bib13" firstref="ref86"></nolink> <nolink nlid="nl38" bibid="bib36" firstref="ref87"></nolink> <nolink nlid="nl39" bibid="bib24" firstref="ref88"></nolink> <nolink nlid="nl40" bibid="bib60" firstref="ref89"></nolink> <nolink nlid="nl41" bibid="bib37" firstref="ref90"></nolink> <nolink nlid="nl42" bibid="bib16" firstref="ref91"></nolink> <nolink nlid="nl43" bibid="bib27" firstref="ref93"></nolink> <nolink nlid="nl44" bibid="bib44" firstref="ref95"></nolink> <nolink nlid="nl45" bibid="bib38" firstref="ref100"></nolink> <nolink nlid="nl46" bibid="bib46" firstref="ref101"></nolink> <nolink nlid="nl47" bibid="bib26" firstref="ref102"></nolink> <nolink nlid="nl48" bibid="bib28" firstref="ref109"></nolink> <nolink nlid="nl49" bibid="bib25" firstref="ref110"></nolink> <nolink nlid="nl50" bibid="bib59" firstref="ref111"></nolink> <nolink nlid="nl51" bibid="bib53" firstref="ref113"></nolink>
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  Data: Reciprocal Peer Teaching in Elementary General Music Classrooms Using Orff Schulwerk and Modern Band
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  Data: English
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  Data: <searchLink fieldCode="AR" term="%22David+J%2E+Saccardi%22">David J. Saccardi</searchLink> (ORCID <externalLink term="https://orcid.org/0000-0001-6521-8236">0000-0001-6521-8236</externalLink>)<br /><searchLink fieldCode="AR" term="%22David+Dockan%22">David Dockan</searchLink> (ORCID <externalLink term="https://orcid.org/0000-0002-2604-682X">0000-0002-2604-682X</externalLink>)
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  Data: <searchLink fieldCode="SO" term="%22Journal+of+General+Music+Education%22"><i>Journal of General Music Education</i></searchLink>. 2025 38(3):35-41.
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  Data: SAGE Publications. 2455 Teller Road, Thousand Oaks, CA 91320. Tel: 800-818-7243; Tel: 805-499-9774; Fax: 800-583-2665; e-mail: journals@sagepub.com; Web site: https://sagepub.com
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  Data: 7
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  Data: 2025
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  Data: Journal Articles<br />Reports - Evaluative
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  Label: Education Level
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  Data: <searchLink fieldCode="EL" term="%22Elementary+Education%22">Elementary Education</searchLink>
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  Data: <searchLink fieldCode="DE" term="%22Music+Education%22">Music Education</searchLink><br /><searchLink fieldCode="DE" term="%22Elementary+School+Students%22">Elementary School Students</searchLink><br /><searchLink fieldCode="DE" term="%22Peer+Teaching%22">Peer Teaching</searchLink><br /><searchLink fieldCode="DE" term="%22Cooperative+Learning%22">Cooperative Learning</searchLink><br /><searchLink fieldCode="DE" term="%22Teacher+Role%22">Teacher Role</searchLink><br /><searchLink fieldCode="DE" term="%22Feedback+%28Response%29%22">Feedback (Response)</searchLink><br /><searchLink fieldCode="DE" term="%22Sequential+Approach%22">Sequential Approach</searchLink><br /><searchLink fieldCode="DE" term="%22Teaching+Methods%22">Teaching Methods</searchLink><br /><searchLink fieldCode="DE" term="%22Musical+Instruments%22">Musical Instruments</searchLink><br /><searchLink fieldCode="DE" term="%22Musical+Composition%22">Musical Composition</searchLink>
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  Data: 10.1177/27527646251319767
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  Data: 2752-7646
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  Data: Music classrooms have incorporated elements of cooperative peer learning for generations. Whether sharing an instrument or composing a song together, peers interact in many meaningful and spontaneous ways. While the principles of peer-assisted learning (PAL) might be familiar to many music teachers, the process and structures of reciprocal peer teaching (RPT) may be new to some and can help provide a structured and positive approach to music learning, particularly considering limited class time. The purpose of this article is to describe the process of RPT as it applies to elementary general music classrooms. An established body of research in peer learning will lead to an explanation of the tutor training process. Readers will then be provided content-specific suggestions for practice based on two common methods of elementary general music: Orff Schulwerk and Modern Band.
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  BibEntity:
    Identifiers:
      – Type: doi
        Value: 10.1177/27527646251319767
    Languages:
      – Text: English
    PhysicalDescription:
      Pagination:
        PageCount: 7
        StartPage: 35
    Subjects:
      – SubjectFull: Music Education
        Type: general
      – SubjectFull: Elementary School Students
        Type: general
      – SubjectFull: Peer Teaching
        Type: general
      – SubjectFull: Cooperative Learning
        Type: general
      – SubjectFull: Teacher Role
        Type: general
      – SubjectFull: Feedback (Response)
        Type: general
      – SubjectFull: Sequential Approach
        Type: general
      – SubjectFull: Teaching Methods
        Type: general
      – SubjectFull: Musical Instruments
        Type: general
      – SubjectFull: Musical Composition
        Type: general
    Titles:
      – TitleFull: Reciprocal Peer Teaching in Elementary General Music Classrooms Using Orff Schulwerk and Modern Band
        Type: main
  BibRelationships:
    HasContributorRelationships:
      – PersonEntity:
          Name:
            NameFull: David J. Saccardi
      – PersonEntity:
          Name:
            NameFull: David Dockan
    IsPartOfRelationships:
      – BibEntity:
          Dates:
            – D: 01
              M: 04
              Type: published
              Y: 2025
          Identifiers:
            – Type: issn-electronic
              Value: 2752-7646
          Numbering:
            – Type: volume
              Value: 38
            – Type: issue
              Value: 3
          Titles:
            – TitleFull: Journal of General Music Education
              Type: main
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