Educating Musicians for a Lifetime of Learning Edited by Michael Hannan

Educating Musicians for a Lifetime of Learning Proceedings of the 17th International Seminar of the Commission for the Education of the Professional Musician (CEPROM), International Society for Music Education (ISME) edited by Michael Hannan Spilamberto, Italy July 15-18, 2008 The full papers of these proceedings have been peer reviewed by a panel of international experts. Publisher: International Society of Music Education (ISME) PO Box 909, Nedlands, 6909, Western Australia, Australia Editor: Michael Hannan ISBN: 978-0-9804560-3-5 Published: 2008 Contents i Editorial Michael Hannan 1 Identity as a catalyst for success Dawn Bennett 5 The artist as academic: Arts practice as a site of knowledge Diana Blom, David Wright, and Dawn Bennett 10 ‘Music isn’t one island’: The balance between depth and breadth for music students in higher education Rosie Burt-Perkins and Don Lebler 15 Prior learning of conservatoire students: A western classical perspective Gemma Carey and Don Lebler 21 The pedagogy of interpretation Glen Carruthers 26 Teaching music theory using blogging: Embracing the world of Web 2.0 Eddy K. M. Chong 32 On the Music Education System Of Music Middle School Affiliated to Shanghai Conservatory Yu Danhong 38 Renaming the rose: a sweet future offered for professional music training John Drummond 42 Teaching the intangible Kirsty Guster 47 How to design Optimal Educational Experience in order to awaken the spark of creativity in music students Rozalina Gutman 57 Adults as learners in the field of education: a pedagogical challenge Kaija Huhtanen 62 Change or you don’t survive: the evolving conservatorium Helen Lancaster 67 Prior learning of conservatoire students: A popular music perspective Don Lebler and Gemma Carey 72 Renew, refresh, retrain: turning professional musicians into professional music teachers Annie Mitchell 78 Strategies in overcoming memory lapses in live solo musical performances: Educational implications Elena Esteban Muñoz 85 Stress and well-being in the aural training class – the psychological aspects of training for enhanced musicians’ skills Inger Elise Reitan 91 Going Global: A pilot project in diversifying the musical experiences of Conservatoire students in non- performance-based programs James M Renwick and Michael Webb 96 Salvation or suffocation: Can world music survive in formal education environments? Huib Schippers 100 Educating musicians for careers as teachers and for a lifetime of learning: An overview of teacher education courses in Australia Amanda Watson 106 Biographical Notes of Contributors Proceedings of the 17th International Seminar of the Commission for the Education of the Professional Musician (CEPROM), i International Society for Music Education (ISME) Editorial Michael Hannan Southern Cross University Lismore, NSW, Australia [email protected] This publication contains the papers presented at following the presentation of the paper than is the17th International Seminar of the Commission ever possible in the standard conference format. for the Education of the Professional Musician After peer review of the full papers, the (CEPROM) which was held at the Scuola di Proceedings are distributed to all participants Musica "J.Du Pré" in Spilamberto (Modena, Italy) allowing enough lead-time for the participants to from July 15 to July 18, 2008. read every paper in preparation for the Seminar. In CEPROM is a special study group of the addition each participant also prepares two formal International Society of Music Education (ISME). responses to two other papers. This is intended to Its mission is “to engage in and promote a variety stimulate further quality discussion in the ample of activities in international and local settings time assigned to each session. Because the which”: delegates are very familiar with each paper, all the participants are expected to “speak to” their 1. Focus on the professional musician as one papers, rather than read their papers verbatim, thus who accepts responsibility for advancing and providing engaging additional materials which disseminating music as an integral part of life, illustrate and illuminate the main points of the and whose creation and performance of music papers. reflects perception, understanding, appreciation, and mastery in a manner that The intimate nature of the Seminar (typically 15 conveys meaning to people; to 25 participants) provides the opportunity for 2. Foster the recognition of the many modes of quality networking and the formation of educating and training musicians, as those collaborative links between individuals and modes exist in various societies and cultures; institutions. The jointly-authored paper of Rosie and Burt-Perkins and Don Lebler in these Proceedings 3. Emphasise ways in which to enable present is one example of the kinds of projects that can and future educators to employ modes of emerge from CEPROM Seminar discussions. The preparing musicians that reflect an awareness Seminar also includes a number of sessions of the continually changing role of the designed to brainstorm ideas for future Seminar musician in various societies and cultures. themes and CEPROM projects. The theme of the 2008 CEPROM Seminar was Setting the scene for the need for a lifetime of “Educating musicians for a lifetime of learning”. learning in music, Helen Lancaster’s study of In calling for paper proposals for the Seminar the change in Australian Conservatoria identifies the Commission suggested a number of sub-themes considerable challenges that the leaders of these from this general theme, as follows: music training institutions face when operating in a shifting environment of government policy on • -Educating musicians for solo careers higher education. Lancaster focuses on the • -Educating musicians for careers as teachers upheaval caused by the forced amalgamation of • -Educating musicians for diverse careers conservatoria with universities in the late 1980s. • -The musical aspect of training for enhanced Suddenly the music schools (many of which were musicians’ skills freestanding Colleges of Advanced Education) • -The psychological aspect of training for lost their independence and were forced to operate enhanced musicians’ skills within “new systems of governance and different • -The physiological aspect of training for expectations”. Music leaders within these enhanced musicians’ skills organisations were forced to reinvent themselves • -Catalysts for evolution and growth in the by searching for new directions, new markets and training and support of musicians new sources of funding to maintain the health and ISME Commission Seminars, including the status of their disciplines. CEPROM Seminar, provide the opportunity for One of the main challenges brought about by the more in-depth consideration of the papers location of conservatoria in universities was the presented and more formalised discussion expectation that university academics would Proceedings of the 17th International Seminar of the Commission for the Education of the Professional Musician (CEPROM), ii International Society for Music Education (ISME) undertake research as a significant part of their Huib Schipper’s paper. Although there has been a work. In the Australian research context, creative trend since the 1960s for conservatoires to offer work and performance have never qualified for world music courses including performance funding in National Competitive Grants (NCGs) training in select musical traditions, Schippers and artistic outputs have been recognised in only a questions the approaches often used such as the limited way for just a few years of the past two separation of theory and practice and the decades. None the less, research degrees in the imposition of analysis and notation onto largely creative and performing arts have flourished aural traditions. His case study of the traditional where the thesis submission is principally a music performance program at the Hanoi National creative or performance project with an Conservatory of Music reveals dubious practices accompanying written paper (commonly called an creeping into the curriculum such as the teaching “exegesis”). Diana Blom, David Wright and of fixed forms of works that exist in improvisatory Dawn Bennett document the struggle that music traditions. Schippers’ title question, “salvation or academics have had in negotiating the equivalence suffocation?” might equally apply, as he suggests, of arts practice with research. They investigate the to jazz training, and by implication, to other forms relationship between creativity and research by of contemporary music training. interrogating the creative/research practices of Appropriateness of teaching method is also the three artists employed as academics in thrust of Rozalina Gutman’s work on improving universities; and they discover a range of attitudes the learning experience of children beginning the and approaches to the creation of new knowledge study of music performance. Gutman’s method through artistic work. Taking a shot at music revolves around encouraging students to invent researchers in the conventional mould, they narratives relating to the content and structure of conclude that “if writing of this knowledge is to the classical music pieces they are learning. occur, then it needs to be undertaken by Motivation for the child to enjoy the experience of practitioners rather than non-practitioner learning and not be discouraged by the rigours of observers”. technique acquisition comes through personal Although both

Load more