Educating Professional Musicians in a Global Context Philippos Nakas

Educating Professional Musicians in a Global Context Proceedings of the 19th International Seminar of the Commission for the Education of the Professional Musician (CEPROM) International Society for Music Education edited by Janis Weller Philippos Nakas Conservatory, Athens, Greece July 10-13, 2012 Published by the International Society for Music Education 1 The full papers submitted to the 2012 International Seminar of ISME’s Commission for the Education of the Professional Musician were double blind refereed by a panel of international authorities before inclusion in the Seminar Program and Seminar Proceedings. Membership of the Commission for 2010-2012: Janis Weller, USA (Chair) Kaija Huhtanen, Finland Eddy K.M. Chong, Singapore Glen Carruthers, Canada Rosie Perkins, U.K. Don Lebler, Australia © 2012 International Society for Music Education (ISME) email: [email protected] http://www.isme.org Apart from fair dealing for the purposes of research or private study, or criticism or review and only as permitted under the Copyright Designs and Patents Act, 1988, this publication may only be reproduced, stored or transmitted in any form or by any means, with the prior permission in writing of the Publishers, or in the case of reprographic reproduction, in accordance with the terms of licenses issued by the Copyright Licensing Agency. Enquiries concerning reproduction outside those terms should be sent to the publishers at the above address. National Library of Australia Cataloguing-in-Publication entry Author: International Society for Music Education. International Seminar of the Commission for the Education of the Professional Musician (19th: 2012: Athens, Greece) Title: Educating professional musicians in a global context [electronic resource] : proceedings of the 19th International Seminar of the Commission for the Education of the Professional Musician. Philippos Nakas Conservatory, Athens, Greece, July 10-13, 2012 / Janis Weller. ISBN: 9780987351142 (ebook) Notes: Includes bibliographical references. Subjects: Music--Instruction and study--Congresses. Musicians--Congresses. Authors/Contributors: Christina Anagnostopoulou, Dawn Bennett, Diana Blom, Judith Brown Francisco Cardoso, Gemma Carey, Glen Carruthers, Eddy Chong, Erika Donald, John Drummond, Francis Dubé, John Encarnacao, David Forrest, Patrick K. Freer, Michael Hannan, Diane Hughes, Kaija Huhtanen, Don Lebler, Andromai Melissari, Christian Martin, Annie Mitchell, Rosie Perkins, Pamela Pike, Elisabetta Piras, Hermilo Pinherio Santana, Ian Stevenson, Angeliki Triantafyllaki, Amanda Watson, Janis Weller, Yangang Zhao. International Society for Music Education. Dewey Number: 780.7 2 Contents Janis Weller Preface 5 Acknowledgements 8 Dawn Bennett & Patrick K Freer Possible selves and the messy business of identifying with career 10 Diana Blom, Ian Stevenson & John Encarnacao The assessment rubric as institutional culture: Evaluating creative music processes 15 and outcomes at undergraduate level Judith Brown Making it Relevant: Engaging performing arts students in theoretical learning 21 Gemma Carey & Don Lebler Quality, Accountability, Change 26 Glen Carruthers Conservatories and Universities: Emergent New Roles 32 Eddy Chong Contemplating Composition Pedagogy in the iPad Era 37 Erika Donald Performance Students as Future Studio Teachers: Are they prepared to teach? 44 John Drummond Quarts into pint pots: Meeting the challenges of professional education in the 21st century 49 Michael Hannan & Diana Blom The role of popular songwriting in three Australian tertiary music curricula: different strokes for different folks? 54 Diane Hughes Mediocrity to artistry: Technology and the singing voice 60 Kaija Huhtanen The education of the professional musician: How much music is required? 65 Christian Martin &Francis Dubé Descriptive Gaps of Piano Teachers' Representations about Healthy Postural Attitudes 71 Annie Mitchell Raising the Bar 78 Rosie Perkins Conservatoire Cultures of Performance Specialism: Perspectives from an Ethnographically-informed Case Study 84 3 Pamela Pike Educating Musicians to Teach in the 21st Century: A Case Study of Teaching Synchronous Piano Lessons Online 91 Angeliki Triantafyllaki, Andromai Melissari & Christina Anagnostopoulou Undergraduate students' experiences of music and learning during university outreach activities 97 Amanda Watson & David Forrest Live music and the bands culture in Victoria, Australia: An exploratory study of education for the professional musician 104 Poster Presentations—Abstracts Francisco Cardoso Flow while Teaching and Learning in Individual Tuition Settings 111 Hermilo Pinherio Santana The Role of Information Technology in a Brazilian Higher Education Music Program 111 Elisabetta Piras What Young Musicians Think Listening to a Music Performance 111 Yanfang Zhao The Cultural Connotation of the Dulcimer: International Features and Chinese Characters 112 Author Biographies 113 4 Preface Janis Weller McNally Smith College of Music St. Paul, MN, USA [email protected] Introduction to CEPROM/ISME This publication includes the academic papers and poster session abstracts selected for the 19th International Seminar of the Commission for the Education of the Professional Musician (CEPROM), held at the Phillipo Nakas Conservatory in Athens, Greece, from July 10 through 13, 2012. The International Society for Music Education has seven commissions, each focused on specialized fields within international music education. The Commission for the Education of the Professional Musician (CEPROM) is one of these seven. The definition of a “professional musician” can be far-reaching and is somewhat elusive, taking on varied meanings in different types of institutions, in the many different realms of the field, and between diverse cultures. CEPROM seeks to keep the notion of ‘professional musician’ open, and so explores a wide array of topics related to the training, roles, opportunities, and challenges of what it means to be a ‘professional musician’ in today’s global context. CEPROM 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. Theme and sub-themes for 2012 CEPROM has ongoing interests in the innumerable ways that musicians are educated for sustainable careers in today’s world and these broad interests led to the theme for the 2012 Seminar, “Educating Professional Musicians in a Global Context.” The academic papers included in this volume address issues faced by professional musicians and music educators and reflect on the powerful roles of globalization and the increasingly rapid pace of change in 21st century life. Format of Seminar The CEPROM seminar format provides for active participation through presentations, responses, and discussion, resulting in an intimate and engaged atmosphere for learning and sharing. Unlike traditional, presentation-based conferences, the CEPROM seminar seeks to draw on the expertise and cultural diversity of all the participants throughout the week. All presentations at the 2012 ISME Commission for the Education of the Professional Musician in Athens, Greece, were peer refereed before inclusion in the Seminar program. In addition, completed papers were 5 fully (blind) refereed by a panel of international authorities before inclusion in the Seminar Proceedings. Some papers from the full pool of submissions were designated for a poster session to help encourage broader geographic and topical diversity of participation. The seminar proceedings (this volume) are distributed digitally to all participants two weeks before the seminar and it is expected that everyone read the papers prior to the start of the seminar. Individual presenters then ‘speak to’ their papers rather than reading them, highlighting salient points and updating their research when appropriate. Following each ten-minute presentation, two ‘responders’ share their insights and questions about the paper. Responders select papers of interest to them and their expertise and prepare their responses ahead of time. Finally, there is a 10-15 minute opportunity for discussion by the full group. Thorough preparation by all participants coupled with this interactive format deepens and enriches the active learning of all participants. In addition to the paper presentations and poster session, time is also allotted for another session entitled “Open Spaces.” For the Open Spaces portion of the schedule, any presenters or observers may propose topics of interest related to CEPROM’s mission and convene small group discussions on these topics. Open Spaces provides an additional opportunity to tap into the expertise and experience of participants and observers as well, giving attendees a voice in the seminar and in CEPROM. Networking is another vital aspect of the seminar. Working with

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