A Study on Behavioural Characterisation of Music Learners and Optimisation of Teaching Strategies Based on Data Mining
Data publikacji: 03 lut 2025
Otrzymano: 03 wrz 2024
Przyjęty: 16 gru 2024
DOI: https://doi.org/10.2478/amns-2025-0019
Słowa kluczowe
© 2025 Zhou Zhao et al., published by Sciendo
This work is licensed under the Creative Commons Attribution 4.0 International License.
At the present stage, most of the music courses in China use the teaching mode of teacher’s lecture playing demonstration-student’s imitation, which is widely used and generally recognised [1–2]. However, due to the change in students’ knowledge structure and skill structure, the increasing teaching content and teaching objects, the mode emphasises too much the hard and quantitative training of playing skills. However, due to the change in students’ knowledge structure and skill structure, the increasing teaching content and teaching objects, the shortcomings of this model, which emphasises too much on the hard quantitative training of playing skills, are gradually exposed, which mislead students and make them form incorrect professional, ideological orientation, and the learned knowledge and skills can not be effectively applied to the practice, which leads to a serious disconnect between learning and using, and the quality of the cultivated students is not good enough to satisfy the social needs [3–5].
How to reasonably integrate Internet education resources to reduce the additional cost of education and how to maximise the mining of education data and effectively applied to teaching is the problem that the majority of education scholars need to solve [6–7]. The use of cloud computing technology can further optimise the allocation of educational resources and directly use the data resources stored in the cloud, which can minimise the pressure on the end customers and promote the continuous growth of data stored in the cloud. Data mining generally refers to a process of searching for information hidden in massive data through algorithms [8–10]. As the application of data mining technology in the education industry becomes more and more widespread, educators classify different research objects, construct research models corresponding to each category, and collect a series of user data, then use many different types of algorithms or relational graph models or classifiers for music curriculum resources, and ultimately build a music expert system based on big data [11–12].
On the other hand, there are many influencing factors about music learners’ music learning behaviour, which are broadly divided into two main categories. One is the factors affecting students’ music learning behaviour outside the classroom, such as school, parents’ subjective and objective factors [13–14]. The second is the factors affecting music learning in class, such as the quality of teachers, classroom learning style, environment, music teaching materials, students’ psychology and other factors. These factors affecting students’ music learning behaviour were explored with effective strategies [15–16].
Learning behaviour is the most direct control variable that determines whether teaching is effective or not, and the teacher’s teaching behaviour affects the outcome and efficiency of learning by acting on students’ learning behaviour. In music classroom teaching, students’ learning behaviour is affected by many factors. Schmidt, C. P describes the prevalence of applied music instruction in contrast to classroom music instruction, pointing out that applied music instruction is applicable to students with varying musical interests, motivation to learn music, etc [17]. Montgomery, A. P et al. conducted an experimental examination of music teaching and learning based on a learning analytics approach, revealing that the daily frequency of access to a student’s online e-music learning platform can be the strongest predictor of a student’s ability to self-regulate their learning of music [18]. Culp, M. E et al. explored how music instructional design can be undertaken to achieve compatible learning for postgraduate music learners and undergraduate music learners, incorporating qualitative and quantitative analyses with informational data from professional organisations such as music societies, as well as interview comments [19]. Hatfield, J. L et al. empirically assessed the performance of a self-regulated learning adaptive model for use in higher music education, and the study noted that students’ self-efficacy in music learning showed a positive correlation with arousal-regulation based coping [20]. Varner, E elucidates the link between general musical social practice and emotional learning and argues that music teachers need to develop their students’ social and emotional competence while teaching them theoretical knowledge and skill techniques in music [21].
Teachers in the daily teaching work should always take core literacy as a guide, update the teaching concept and innovative teaching methods, improve the classroom environment, and stimulate the student’s enthusiasm for learning so that the students can express their emotions through music, exercise original thinking and practical ability, and be able to resonate with the music to enhance the humanistic literacy. Colombo, B et al. based on the case of music teaching, point out that the metacognitive strategy can play a positive role in music teaching practice and that music teachers can scientifically and reasonably use metacognitive strategies in the teaching process to improve the effect of music teaching [22]. Griffith, K. R et al. conducted an experimental piano music teaching class to explore how the Equivalence Based Instruction (EBI) methodology affects the effectiveness of teaching basic music reading as well as piano playing skills, and the results of the study showed that the EBI methodology is a highly effective method of teaching piano music, pointing out that the EBI teaching strategy can be used to teach adults music score reading and piano playing skills [23]. Wang, F et al. considered the feasibility of reflective teaching improved for music teaching in colleges and universities around the principles and characteristics of reflective teaching, which made a positive contribution to the development of music teaching in colleges and universities in the direction of naturalisation, vividness, health and harmony [24]. Chen, I. C et al. designed a pedagogical platform with a peer assessment function and confirmed after a comparative experiment that comprehensive peer assessment helps students improve their musical theatre skills, arguing that the strategy of comprehensive peer assessment can be extended to teaching other music courses [25]. Cao, Y based on dialectical materialism, from the perspective of teaching content, teaching process and the purpose of teaching, discussed the essence of education in music education, based on the essence of education to deepen the reform of music education as well as constantly promote the implementation of the new curriculum standard of music education [26].
In this paper, a music teaching model based on the flipped classroom was designed for the optimisation of music teaching strategies, and data on students’ questioning styles in eight quality music courses were collected to analyse the characteristics of students’ quality questioning behaviours in the flipped classroom. Using the improved Flanders Interactive Behaviour Analysis System and combining the ratio analysis method and the curve analysis method, the characteristics of teacher-student interactive behavior in the flipped classroom were evaluated. In addition, the video observation method, questionnaire survey method, interview method, and inductive method are chosen in this paper to mine the data on students’ music level to further evaluate the teaching effect of different dimensions of the flipped classroom as well as students’ music skill level.
Based on the flipped classroom, this paper designs a smart music teaching model to explore the optimization and implementation of music teaching strategies. In this paper, a comprehensive analysis of the relevant literature in advance and drawing on the domestic application of the flipped classroom is a more successful experience, from the characteristics of the subject of music and students’ learning interests, combined with the teaching experience to design the music teaching curriculum [27–28], based on the flipped classroom music teaching design process as shown in Figure 1.
Music teaching process from the perspective of flipped classroom
Pre-analysis
Pre-analysis mainly involves analysing students, analysing teaching objectives and analysing teaching content.
Before carrying out the flipped classroom, it is necessary to analyse students ’ individual differences and design teaching based on students’ differences, mainly considering students’ learning needs, learning styles, writing inquiry and independent students ’ abilities, etc., to comprehensively grasp the students’ learning situation, reasonably set the learning environment based on student’s situation, and achieve students’ personalized learning.
Analysing the teaching objectives, based on the overall requirements of the course, the learning situation and teaching resources, teachers and students jointly discuss the formulation of objectives. At the same time, teachers should grasp the distribution of tasks and master the whole teaching process.
Finally, analyse the teaching content, dig deep into the learning content, and reasonably formulate the teaching plan and classroom activities. Music teaching content mainly involves several types of appreciation, singing, knowledge and skills, and practice. If it is theoretical content, students can be required to study independently before class. For skills content, students should practice before class and the teacher will correct them in class.
Preparation of task list
Teachers, based on student feedback, carry out the analysis of learning conditions and prepare teaching materials. The task list is not only related to the learning effect of students but also affects the teacher’s preparation before class, which is of great value to flipped classroom teaching. When the task list is made, the teacher can issue it in paper form or give it to the students in electronic form, which mainly consists of various modules such as learning objectives, tasks, methods and difficult problems. Teachers in the development of the task list should combine subject specificity, reflecting the characteristics of the music subject, based on the actual situation of design and preparation. When creating the task list, consider the importance of motivating students to learn and achieving the goal of motivation.
Video recording
Teachers record the knowledge content into videos in advance, using modern information technology to integrate sound, text, pictures, and other elements recorded into video resources.
Self-learning
If the goal can be achieved through self-study, students can study independently before class based on the task list and combine it with the learning videos. After completing the task list, students have the option to give feedback to the teacher via the Internet or paper, which will enable the teacher to prepare the lesson again based on the learning situation.
After completing the preliminary preparatory work, it is necessary to rationally conduct in-class teaching in conjunction with the teaching design to ensure that the whole classroom teaching can be carried out effectively.
Sorting out doubts In classroom teaching, the first thing to do is to review the knowledge learned earlier and sort out the whole knowledge system. The second thing to do is to solve the difficult problems found by students in self-study. In flipped classroom teaching, the teacher should collect the problems found by the students before class so that each group of students can express their personal views, and encourage the students to act as a small teacher, which can exercise the students’ ability to express themselves. If students are unable to solve the problem, the teacher should not just give the answer, but should provide appropriate guidance to guide students to remove obstacles, and form a learning atmosphere of mutual help in the classroom. Collaborative exploration Teachers combine teaching content and design a variety of thematic tasks so that each group can explore and complete the tasks. In the implementation of the exploration, each group should be a clear division of labour, so that each student has a task, and each shows their skills, the basis of the slightly poorer students should be given more opportunities to perform as a way to make up for the lack of knowledge. Show results In the flipped classroom teaching mode, teachers let students show more of their creations, such as singing, composing, playing and other practical activities, so that students can feel their strength and provide them with a free and broad space for development. Summarising and Evaluation During practice before the lesson, the teacher makes a summary evaluation of the students. In the middle of the lesson, teachers conduct formative assessments on activities such as group discussion and presentation of results.
Reflection on Teaching
In the reflection session, teachers should summarise and reflect on the students’ results and various deficiencies in teaching. Improvement suggestions should also be made in response to problems to facilitate the improvement of teachers’ and students’ professional competence.
Knowledge consolidation
Combined with reflection and corrective comments, students can consolidate what they have learnt and sublimate the knowledge and skills they have learnt in the classroom. Because of the characteristics of the music course, teachers can ask students to collect relevant materials after class and share them, and they can also organise various activities to help students consolidate their knowledge, enrich their emotions, and continuously cultivate their aesthetic interest in music.
This section analyzes the characteristics of students’ questioning behaviors in the traditional music classroom as well as the flipped classroom as a means of assessing the effectiveness of the optimization plan for music teaching strategies proposed in this paper.
Eight high-quality music lessons from the award-winning lesson examples were chosen as the objects of study, namely, the eight high-quality music lessons of “Fengyang Flower Drums”, “Echoes of Friendship”, “The Dance of the Great River”, “Weaving Flower Baskets”, “Pauline Lamps”, “In the Rain”, “Green Bamboos Sing”, and “Outwitting the Mountain of Wei Hu”, which were recorded as Classes 1-8 in order.
In analyzing the classroom questioning behavior of these 8 quality music lessons, this paper classifies the students’ questioning methods in the flipped classroom into factual questioning, comprehension questioning, analytical questioning, evaluative questioning, and comprehensive questioning, which are recorded as questioning methods 1-5 in turn. Based on the following data obtained from analyzing these 8 quality music lessons, the results of the characterization of the students’ questioning behavior in the flipped classroom of music are shown in Figure 2.
Student questions behavior analysis results
From the data in the figure, it can be seen that compared with the traditional music classroom, students in the flipped classroom prefer analytical, evaluative and comprehensive questioning, and the average rate of the three types of questioning in the eight high-quality music classes increased by about 12.02%, 12.30%, and 5.65% compared with that of the traditional classroom, respectively. The variety of questioning styles adopted by students in the classroom has a very positive effect on the promotion of music teaching.
The Flanders Interaction Analysis System is a tool for analyzing the verbal interaction behaviors of teachers and students in the classroom, and the whole research system consists of three parts: i.e., a set of coding systems for coding, a set of coding criteria, and a set of matrix analysis table [29–30].
The Improved Flanders Interaction Analysis System can record the classroom teaching videos, and code and analyze the recorded teaching videos, which can facilitate the researcher to conduct the study. The Improved Flanders Interaction Analysis System (IFIAS) improves the Information Technology-based Interaction Analysis Coding System (ITIAS) as follows:
Teachers’ language of “asking open questions” and “asking closed questions” as a subcategory of the category of “teacher questions”, regardless of whether the teacher asks open or closed questions, they are categorized as teacher questions, which are categorized as teacher questions in the IFIAS. All questions were categorized as teacher questions, and in the coding matrix, the code for “teacher questions” was the sum of the codes for these two categories. In the student language category, “responding” and “active questioning” were combined to form “student-initiated speech,” which was divided into two subcategories, “Student-initiated speech” and “Student-initiated questioning” are classified as student-initiated speech regardless of whether the student initiates the speech or the questioning, and the new coding category 9 is the sum of these two categories. The improvements above were made to retain the traditional closed-loop instructional mode judgment function of the Flanders Interaction Analysis System (FIAS) matrix. The categories “thinking about problems” and “doing exercises” in the category “silence” were merged into “silence useful for teaching”. Merging “Technology for students” in the “Technology” category into the “Teacher-operated technology” category. The above improvements were made due to the increased coding of the “technology” category in the IT-supported classroom, which could not be analyzed using the traditional FIAS.
The iFIAS coding system has 24 codes that are categorised into six categories: teacher language, student language, silence, technology, teacher-student interaction, and student interaction. Table 1 displays the code types and specific descriptions of iFIAS.
iFIAS encoding type and description
| Classification | Coding | Statement |
|---|---|---|
| Teacher speech | 1 | Teachers receive emotions |
| 2 | Teachers encourage praise | |
| 3 | Teachers adopt opinions | |
| 4 | Open question | |
| 5 | Question closing problem | |
| 6 | Lecturing | |
| 7 | Demo song | |
| 8 | Indication | |
| 9 | Criticize | |
| Student speech | 10 | Answer questions |
| 11 | Singing songs | |
| 12 | Stage | |
| 13 | Active response | |
| 14 | Discuss | |
| Silence | 15 | Do nothing to teach |
| 16 | Thinking problem | |
| 17 | Do exercises | |
| Technology | 18 | The teacher controls the technology and the lego |
| 19 | The student controls the technology and the lego | |
| 20 | Music appreciation | |
| Teacher-student speech Body interaction | 21 | Teachers and students sing simultaneously |
| 22 | The teacher and the student do the same thing in the chair | |
| 23 | Teachers and students are in the classroom space contact action | |
| Student interaction | 24 | Group interaction between students |
Classroom video transcription was performed using the iFIAS coding system, where 3 seconds was used as a time unit, and classroom interactions within three seconds of the unit time were coded one by one according to the coding instructions, and the recording was completed. The following coding rules were used: if an interaction occurred in a 3-second time unit, the subject’s behaviour in the next 3 seconds was determined based on the behaviour in the previous 3 seconds. When the classroom appeared to emphasise discipline or test requirements, a simple roll-call session was regarded as criticism or assertion of teacher authority. When the classroom appears to have a long audio play-aloud take-home session, it is considered teacher manipulation of technology.
Ratio analyses are interactive variable analyses of experimental data based on formulas calculated from 24 coded indicators, and the main statistical terms are listed below:
Teacher language ratio:
Student Language Ratio:
Unhelpful pedagogical silence ratio:
The percentage of silence that is useful for teaching:
Proportion of technology applications:
Proportion of student-initiated responses in student language:
The research process of teacher-student interaction behaviour characteristics is shown in Figure 3. After selecting the classroom sample videos for repeated observation, the iFIAS system was used to encode and process the classroom teacher-student interactions, obtain the statistical data table, analyse the classroom teacher-student interactions by combining matrices, ratios, and curves, and conduct interviews in order to describe and analyse the teacher-student interactions in the current elementary Chinese comprehensively speaking classroom and to put forward targeted improvement measures.
Selecting the recorded classroom and transcribing the video coding By observing the recorded teaching video samples, the teacher-student interaction behaviours were recorded every 3 seconds according to the significance of the coding system to form a continuous data record sheet, and the classroom observation record sheet is shown in Table 2 below. The total number of codes transcribed was 900 for each 45-minute class. Organise the coding pairs and synthesise the analysis matrix. According to the classroom observation record sheet data, counting from left to right, before and after the two similar codes constitute a combination of data, called “sequential pairs”, such as the classroom observation record sheet coding data in order of 3, 9, 8, 4, 8, 2, 5, then this group of codes will form the following sequential pairs: (3, 9), (9, 8), (8, 4), (4, 8), (8, 2), (2, 5). (3, 9), (9, 8), (8, 4), (4, 8), (8, 2), (2, 5). Based on the above pattern, combine all the pairs, count the number of identical pairs, and fill in the corresponding spaces of the 14*14 matrix. Specify the statistical categories and calculate the ratio data. According to the iFIAS ratio analysis formula, calculate the 24 categories of statistical items in the table, observe the ratio gap, and summarize the characteristics of classroom interaction. Drawing dynamic curves to describe the classroom completely. Use Excel to draw dynamic classroom curves to clearly describe the changing trends in classroom teacher-student interaction behavior while maintaining the integrity of the classroom. Compare classroom data and analyse teacher-student interactions Combine the above classroom data to analyze the interaction between teachers and students in the classroom, and supplement the interviews with online and offline classroom comparative analyses to deeply analyze the interaction between teachers and students in the classroom. Reflecting on the effect of interaction and proposing measures and suggestions. Based on the above research and theoretical knowledge, we reflect on the teacher-student interactions in the primary Chinese speaking classroom, and propose measures to promote effective teacher-student interactions in the classroom both online and offline.
Schematic diagram of the research process
Classroom observation record
| 3s | 6s | 9s | 12s | 15s | … | 54s | 57s | 60s | |
|---|---|---|---|---|---|---|---|---|---|
| 1min | |||||||||
| 2min | |||||||||
| 3min | |||||||||
| … | |||||||||
| 43min | |||||||||
| 44min | |||||||||
| 45min |
This paper analyses teacher-student interactions and movement demands in the music classroom under the flipped classroom model, aiming to conduct exploration about research on the optimisation of music teaching strategies.
The music flipped classroom was observed and statistically analysed based on the classroom video, with every 3 seconds as a unit to specify the actions within 3 seconds, and the corresponding codes were recorded in chronological order based on the coding system. Each classroom has approximately 750-1000 codes, and the codes are connected in chronological order to form a data sequence. Figure 4 shows the ratio of the characteristics of teacher-student interaction behaviors in eight high-quality music lessons based on the flipped classroom.
The ratio of interaction behavior characteristics of teachers and students
From the data in the figure, it can be seen that the teacher’s language is between 37.06% and 46.73%, with a mean value of 41.77%, while the normative reference for the percentage of teacher behaviour in a lesson is 68%, according to the Flanders analysis system. The percentage of teachers language that asked open questions was much larger than the percentage that asked closed questions, which shows that teachers in music classrooms are interested in guiding students to think on their own and open their minds to be more open and autonomous.
Student language includes active, passive, and active questioning and discussion. As can be seen from the figure, the student language is between 22.43% and 32.48%, with an average value of 28.47%, plus the proportion of simultaneous singing and group interaction, which is much higher than the standard value of 20% proposed by Flanders, which can be seen that the flipped classroom presents a better student language behaviour.
From the above conclusion, it can be seen that the flipped classroom can provide a student-centered teaching mode for music teaching that emphasizes teacher-student verbal interaction.
In this study, the video observation method was mainly used, and the classroom recordings were stored inside the cloud disk through the server platform, which means that they can be watched synchronously in real time and can also be observed and analysed repeatedly offline. Combined with the lesson plans and courseware shared by the teacher’s pre-course group, the behavioural performance in class, the type of interaction, the post-course feedback, and the WeChat group discussion, it achieves the recording of the whole classroom behaviour and learning content. Through video observation, big data on the behavioral characteristics of students in flipped classrooms is collected to verify the effectiveness of the flipped classroom.
At the end of the experiment, through the questionnaire star platform, a questionnaire survey was conducted to evaluate the teaching effect of a music flipped classroom for sophomore students majoring in music at a university. For the sake of the questionnaire’s breadth, validity, and practical value, this paper investigates the teaching effect of the questionnaire in the music flipped classroom “Fengyang Flower Drums” for a total of four classes.
Based on the whole process of practice and the preliminary investigation, the dimensions of the questionnaire will be investigated from the following aspects: pre-study, test question satisfaction, in-class teaching, follow-up test, and application function.
The aim is to understand a series of issues, such as students’ experience and feelings about this new teaching mode, the learning process and the resulting teaching effect. Therefore, the survey analysis will also be carried out from these four aspects. Regarding the analysis of students’ recognition of the music flipped classroom, the questionnaire will be divided into five grades: highly recognized, relatively recognized, generally recognized, and not recognized.
In the latter part of the experiment, this paper personally travelled to a university and firstly conducted positive conversations with a sample of students who participated in the interactive classroom in each school to find out the students’ satisfaction with their learning through the two-month music flipped classroom. Then, it conducts interviews and surveys with teachers who participated in interactive teaching in each school to understand the problems teachers encountered in the teaching process and their suggestions for this teaching mode.
In the preliminary stage of this research work, the traditional Flanders interactive analysis system is generalized, analysed, and summarized, so as to prepare a preliminary accumulation for the later improved Flanders interactive analysis system. The classroom data of different music teaching was collected, and the conclusions of the experiment were summarized through data analysis and processing, with the successes and shortcomings of the experiment being summarized.
In this paper, seven questionnaire topics were designed, namely: the flipped classroom pushes the pre-study material, which you can independently complete. The sound poetry and sound painting help to enhance creative thinking, change the form of singing, and enrich the knowledge of music. The data statistics assessment is accurate, and the teaching content, even though the supplement, the questioning form, is diversified to stimulate enthusiasm and satisfaction with the flipped classroom approach for music. Figure 5 shows the results of students’ ratings on the evaluation of different dimensions of the music-flipped classroom.
The music flipped the evaluation of different dimensions of the classroom
The data in the figure shows that for the seven questions designed in the questionnaire, the weight of the students’ options is more inclined to “approve (4 points)”, accounting for 67.82% to 79.88%, while the rate of “disapprove (1 point)” option is 0. Among them, 72.68% of the students are satisfied with the ability to complete the pre-assessment independently, and 72.68% of the students are satisfied with the ability to complete the pre-assessment independently. Of the students recognized whether they could complete the pre-test on their own, and of course, 4.31% of the students indicated that they were in the middle of the road. In the classroom, 16.6% of the students strongly agreed that “the audio-poetry-phonics component helps to enhance creative thinking”. Regarding the statistics of the accompanying tests, more than half of the students thought that the correct statistics of the exercises using smart classroom technology were more accurate and efficient. However, 1.23% of the students disagreed with the accuracy of doing the questions in this way. At the same time, most of the students thought that this mode of teaching enriched the ways and means of classroom interaction and diversified the forms of questioning, which to a certain extent stimulated the students’ interest in music class and the active atmosphere in the classroom made the students brave enough to answer the questions so that the value of the subject of the music course was better reflected. Finally, 95.59% of the students recognized the effect of flipped teaching in music class.
In order to verify the feasibility and reasonableness of the music flipped classroom teaching design, two groups of students were selected from the music majors of a university to conduct a music level teaching experiment, which was set as the experimental group and the control group. The experimental group uses flipped classroom teaching (a total of 50 students, designated as T), while the control group keeps regular teaching (a total of 50 students, designated as CK).
The teaching effect of this section was compared in four aspects: music skill level, music learning interest, learning attitude, and independent learning. Tests were conducted uniformly before the experiment to ensure the scientific nature of the experiment and to ensure that there was no significant difference between the two groups of students in terms of music teaching effectiveness. After the experiment, the data of the experimental group and the control group were compared and analysed to explore the application effect of the flipped classroom in music teaching. The experimental period is from 3rd September 2023 to 3rd November 2023.
The independent sample t-test was conducted on the test data of the two groups of students before and after the experiment. The statistics of the scores of each evaluation index in the experimental and control groups before and after the experiment are shown in Table 3. The distribution of evaluation index scores for the experimental and control groups after the experiment is shown in Figure 6.
The experimental group and the control group were scored
The results of each evaluation index score
| Music skill level | Interest in music learning | Learning attitude | Autonomous learning ability | ||
|---|---|---|---|---|---|
| CK class | Pre | 64.63 | 71.24 | 63.41 | 61.88 |
| T class | 63.89 | 72.13 | 64.07 | 62.13 | |
| P value | 0.457 | 0.261 | 0.336 | 0.294 | |
| CK class | Post | 66.61 | 72.40 | 66.57 | 64.14 |
| T class | 71.07 | 78.78 | 71.31 | 74.07 | |
| P value | 0.002 | 0.005 | 0.003 | 0.001 |
Combined with the charts, it can be seen that before the experiment, the difference between the two groups of students in terms of music skill level, music learning interest, music learning attitude, and independent learning situation is not significant (P > 0.05), indicating that the two groups of students in the level of music skills, music learning interest, music learning attitude, and independent learning situation is not very different, meet the basic requirements of the experiment, and can be carried out in the experimental study. The scores of music skill level, music learning interest, learning attitude and independent learning situation of the students in the experimental group after the experiment were increased by 4.46, 6.38, 4.74 and 9.93 points respectively, compared with those of the control group. The difference between students in the experimental group and the control group in these four aspects after the experiment is significant (P < 0.05), indicating that the flipped classroom has a more obvious effect on the improvement of students’ music skill level, learning interest, learning attitude, and independent learning ability compared with the traditional classroom.
This paper designs a music teaching model based on the flipped classroom as a way to analyze the characteristics of students’ questioning behavior in the flipped classroom. The teacher-student interaction behavior in the flipped classroom is coded using the iFIAS coding model, and the verbal interaction ratio between the teacher and students is analysed. It also combines a variety of data mining methods to analyze the music level of students in the flipped classroom and further evaluates the effect of music teaching in the flipped classroom model. In the flipped classroom, the ratio of students’ questioning methods for analysis and exploration is greatly increased compared to that in the traditional classroom. In the flipped classroom, the ratio of teacher speech was 37.06-46.73%, which was much lower than the Flanders reference standard, while student speech was much higher than the standard. 95.59% of the students rated the music teaching mode in the flipped classroom as 4 or more, and the majority of the students approved of the teaching mode. After the experiment, the music skill level, music learning interest, learning attitude and independent learning scores of students in the experimental group increased by 4.46, 6.38, 4.74 and 9.93 points respectively, compared with those of the control group, P<0.05, which showed a significant difference.