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Relevance and Reform in the Education of Professional Musicians RELEVANCE AND REFORM IN THE EDUCATION OF PROFESSIONAL MUSICIANS Proceedings of the 20th International Seminar of the ISME Commission on the Education of the Professional Musician Belo Horizonte, Brazil 15-18 July 2014 Editor Glen Carruthers ©International Society for Music Education 2014 www.isme.org All papers presented at the 2014 ISME CEPROM Seminar in Belo Horizonte, Brazil, were fully (blind) refereed by a panel of international authorities before inclusion in the Seminar Proceedings. Editorial Board Glen Carruthers (Chair) Dawn Bennett Eddy Chong Kaija Huhtanen Don Lebler Angeliki Triantafyllaki National Library of Australia Cataloguing-in-Publication Author: ISME Commission on the Education of the Professional Musician (20th: 2014: Belo Horizonte, Brazil) Title: Relevance and Reform in the Education of Professional Musicians. Proceedings of the 20th International Seminar of the Commission on the Education of the Professional Music, Belo Horizonte, Brazil [electronic resource] ISBN: 978-0-9942055-1-3 (ebook) Notes: Includes bibliographical references. Subjects: Music--Congresses. Music in education--Congresses. ISME Commission on the Education of the Professional Musician Dewey Number: 780.7 Our sincere appreciation is expressed to the following people for their support: Heloisa Feichas Walênia Silva Seminar Host Seminar Co-Host Universidade Federal de Minas Gerais Universidade Federal de Minas Gerais Commissioners 2012-2014 Glen Carruthers, Canada (Chair) Dawn Bennett, Australia Eddy Chong, Singapore Don Lebler, Australia Rosie Perkins, UK (to December 2013)/Kaija Huhtanen, Finland (from December 2013) Angeliki Triantafyllaki, Greece ii TABLE OF CONTENTS Mission Statement and Acknowledgements ..................................................................... 6 Glen Carruthers Preface Relevance and reform in the education of professional musicians – An overview………………………………………………………………………………….... 7 I. Identity Formation Anna Reid & Dawn Bennett Becoming and being a musician: The role of creativity in students’ learning and identity formation .…………………………………………………………………………………………….15 Kaija Huhtanen The professional identity of a church musician…………………………………………… 24 II. Musicians’ Health and Well-Being Diane Hughes, Mark Evans, Sarah Keith & Guy Morrow A “duty of care” and the professional musician/artist…………………………………….. 31 III. Instrumental Teaching Gemma Carey & Catherine Grant Teachers of instruments, or teachers as instruments? From transfer to transformative approaches to one-to-one pedagogy ……………………………………………………… 42 Angeliki Triantafyllaki Musicians as teachers: Calls for a “creative” higher music education…………………..... 54 3 IV. Career Preparation and Transition to Career Amanda Watson & David Forrest Being a musician: Performance reviews and the orchestral musician……………………. 62 Diana Tolmie Identifying, analysing and aligning “the dream” with vocational preparation: An investigation into first-year music undergraduate career aspirations and motivations.............................. 73 Pamela Pike Newly minted professional pianists: Realities of teaching, performing, running a business and using technology ………………………………………………………………………….. 86 Janis Weller Making a living in music: Financial stability and sustainability in enacting artistic identity …………………………………………………………………………… 93 V. Informal and Practice-Based Learning Ricardo Costa Laudares Silva From school to “real world” jazz: Learning improvisation in a community of practice… 102 Fernando Rodrigues Informal practices in a formal context of musical education: An experience report……. 108 Annie Mitchell Hip to be square: Where the street meets academe……………………………………… 118 VI. Ways of Learning Eddy Chong Understanding creative musical problems to renew composition pedagogy……………. 130 Juan Pablo Correa Ortega Using emotional responses for teaching musical analysis: Some outcomes in an undergraduate music programme…………………………………………………........... 142 4 Tania Lisboa, Roger Chaffin & Alexander P. Demos Recording thoughts: An innovative approach to teaching memorization……………….. 151 Diana Blom & Matthew Hitchcock ePortfolios: A technologically-assisted learning platform for the professional musician...163 Dawn Bennett & Diana Blom The program note as creative knowledge and skills: Shaping a collaborative interpretation of newly composed music…………………………………………………………………...173 VII. Assessment and Curriculum Renewal Don Lebler Promoting professionalism: Developing self-assessment in a popular music program…. 181 Richard S. Niezen Music school leadership as a transformational learning experience ……………………. 192 Author Biographies……………………………………………………………………...203 5 COMMISSION ON THE EDUCATION OF THE PROFESSIONAL MUSICIAN Vision It is the belief of the ISME Commission on the Education of the Professional Musician that any discussion or action relative to the education and training of professional musicians must be sensitive to the roles and status that creative and performing musicians have in various societies and cultures. Of equal importance is attention to the value systems in those societies and cultures that drive the choices made relative to music, education, and the arts in a broader sense. Mission The mission of the ISME Commission on the Education of the Professional Musician is to engage in and promote a variety of activities in international and local settings that: focus on the professional musician as one who accepts responsibility for advancing and disseminating music as an integral part of life, and whose creation and performance of music reflects perception, understanding, appreciation, and mastery in a manner that conveys meaning to people; foster the recognition of the many modes of educating and training musicians, as those modes exist in various societies and cultures; and emphasise ways in which to enable present and future educators to employ modes of preparing musicians that reflect an awareness of the continually changing role of the musician in various societies and cultures. Acknowledgments I would like to express my sincere thanks to the Commission members 2012-2014 for their tremendous help and support over the biennium. Special thanks to Kaija Huhtanen, who resumed her position on CEPROM when Rosie Perkins stepped down to have a baby, Benedict Pip Perkins. The Commission members also served as the program committee for our 20th Seminar. Local arrangements for the Seminar were expertly handled by Heloisa Feichas and Walênia Silva from our host institution, the Universidade Federal de Minas Gerais (UFMG) in Belo Horizonte, Brazil. Thanks, too, to Margarida Borghoff (Diretora) and Isadora Boucherville (Eventos e Programação) of the Conservatório (UFMG) where the seminar was held. Fernando Rodrigues, Ricardo Costa Laudares Silva, the Conservatório staff and student volunteers worked very hard to ensure a successful Seminar. The event could not have run more smoothly and, for that and the many kindnesses we were shown, we are very grateful. Glen Carruthers 6 Relevance and Reform in the Education of Professional Musicians – An Overview Glen Carruthers Wilfrid Laurier University, Canada [email protected] In reference to his own creative output, Neil Young has frequently remarked, “It’s all one song.” This sentiment could be applied to the 20th International Seminar of the Commission on the Education of the Professional Musician, held in Belo Horizonte, Brazil in July 2014. It is as if the Seminar comprised a single, multivalent report, crafted by almost thirty contributors worldwide, on where we are at and where we are going in the world of professional music education. There is no question that where we are going is a fast moving target. I gave a presentation entitled “Remaining relevant: A moving target” to the Canadian Association of Fine Arts’ Deans in 2013 and, indeed, it elicited a common response – that it is becoming increasingly difficult to prepare students for a career and society that we can’t yet even imagine. Because of the intersections and elisions between topics, I have decided to keep the format of these proceedings similar to – but not identical with – the format of the seminar. In the same way that the paper submissions were grouped around separate but overlapping themes, I have here taken the sessions of the seminar and collapsed them into seven common themes. The theme of the Seminar itself, Relevance and Reform in the Education of Professional Musicians, was divided, for the purposes of the Call for Papers, into two sub-themes, each with five categories, as follows: Sub-Theme 1: Institutional Cultures and Leadership . Curriculum Renewal . Creative Teaching Practices . Technologically Assisted Learning . Outreach and Engagement . Global Perspectives Sub-Theme 2: Becoming and Being a Musician . Identities and Careers 7 . Creative Knowledge and Skills . Experiential Learning and Knowledge Transfer . Physical and Emotional Well-being . Global Perspectives From these various themes, sub-themes, sessions, sections and chapters, there emerges Proceedings that grapple with several of the seminal issues facing the education of professional musicians today. The section on identity formation, for example, and the paper by Anna Reid and Dawn Bennett on creativity provide an appropriate opening for this volume. The transition “from expert musical learner to novice professional musician” is often non-linear and fraught with unanticipated byways. The successful negotiation of this transition is a shared responsibility between students and the institutions
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