Musicians As Teachers: Fostering a Positive View 12 Dawn Bennett and Andrea Stanberg

New Models for Educating Professional Musicians in the Twenty-First Century Proceedings of the 16th International Seminar of the Commission for the Education of the Professional Musician (CEPROM), International Society for Music Education (ISME) edited by Michael Hannan and Dawn Bennett Hanoi National Conservatory of Music July 10-14, 2006 Author: International Seminar of the Commission for the Education of the Professional Musician (CEPROM) (16th: 2006: Hanoi, Vietnam) Title: New models for educating professional musicians in the twenty-first century [electronic resource] : proceedings of the 16th International Seminar of the Commission for the Education of the Professional Musician (CEPROM) / editors, Michael Hannan, Dawn Bennett. Publisher: Nedlands, W.A. : International Society for Music Education (ISME), 2007. ISBN: 9780980456004 (pdf) Notes: Includes index. Bibliography. Subjects: Music--Instruction and study--Congresses. Musicians--Instruction and study--Congresses. Other Authors/Contributors: Hannan, Michael. Bennett, Dawn. International Society for Music Education. Copyright © ISME. All rights reserved. Requests for reprints should be sent to ISME. www.isme.org i Contents Editorial iv Michael Hannan and Dawn Bennett Constructing a conscious identity in instrumental teacher training 1 Kaija Huhtanen Musicians as teachers: Fostering a positive view 12 Dawn Bennett and Andrea Stanberg Professional musicians and the music education programs of arts organisations 25 Louise Barkl Building a career as a composer: An Australian project for young composers 40 Amanda Watson and David Forrest Professional musicians and creative/community capital 53 Glen Carruthers Students at a UK conservatoire of music: Working towards a ‘diverse employment portfolio’ 66 Rosie Burt-Perkins Musicians’ skills and attributes: Implications for education 79 Dawn Bennett Soundwaves: Navigating the challenges of musical direction and music training For the cruise ship industry 92 Anne Mitchell Teaching class-based music performance at tertiary level: Focusing theory on practice 108 Diana Blom University based music theory education for aspiring popular music professionals: A contemporary Australian perspective 118 Jon Fitzgerald Discovering improvisation: An action research project in piano education for Australian children aged six to fourteen 130 Jan Gwatkin ii Challenging the old paradigms: Using the dimensions of teaching to enhance the Training of professional musicians within tertiary music institutions 145 Judith Brown Teaching enduring understandings through species counterpoint 161 Eddy K.M. Chong Creating a life in music: Theory to praxis 174 Janis Weller Virtually there: A review of some current approaches to the use of technology in Australian programs designed for training professional musicians 185 Helen Lancaster 3D assessment: Looking through a learning lens 195 Don Lebler Using student evaluation of teaching as a means for improving individual instrumental teaching 209 Ingrid Maria Hanken List of contributing authors 221 iii New Models for Educating Professional Musicians in the Twenty-first Century MICHAEL HANNAN DAWN BENNETT Southern Cross University Curtin University of Technology The seven Commissions of the International Society for Music Education (ISME) include a Commission for the Education of the Professional Musician (CEPROM), which first met formally in 1974. This publication stems from the 16th International Seminar of the Commission, which was hosted in July 2006 by the Hanoi National Conservatory of Music. The changing priorities of the Commission are indicative of the increasing pressure on conservatories to meet the needs of graduates. The initial objective of the Commission refers to the ‘unknown future’ facing professional musicians: to develop direct ties and exchanges between music education institutes of different countries and regions and to collect and disseminate information on new ways in which educational institutions and curricula could better reflect and answer the needs of professional musicians in today’s society, and to provide them with the skills and insights for an unknown future.1 Prior to 1986 the Commission focussed largely on international mutual recognition of qualifications in music and music education. Since 1986, however, the Commission’s research, discussion and activities have prioritised interactions between conservatories and the profession, technological and economic facets of training, the role of music competitions, the musician’s role and place in global and changing contexts, reflective practice, and course content and objectives. Reinforcing its broader agenda, in 1996 the Commission adopted a new mission, namely to iv foster the recognition of the many modes of educating and training musicians, as those modes exist in various societies and cultures; and emphasize 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.2 The Commission comprises practitioners and educators from six continents with experience in a wide variety of music. It includes composers, music scholars, educators, performers, administrators and managers. Delegates debate and report research relating to the recognition of musical heritage, innovations in technology, and economic, social and political structures. The 1996 summary report states that to bring about change in a tertiary institution, the institution as a whole—leadership and teaching staff, decision makers and funders—as well as the public must recognise the need for change. …. Educational institutions … should at all times take the responsibility for establishing a process of adjusting educational policies, goals and structures to the world in which future musicians will work.3 CEPROM’s mission, then, is to “engage in and promote a variety of activities in international and local settings which”: 1. 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; 2. Foster the recognition of the many modes of educating and training musicians, as those modes exist in various societies and cultures; and v 3. 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.4 The theme of the 2006 Seminar was ‘New Models for Educating Professional Musicians in the Twenty-First Century.’ Within this theme, each session focused on one of six topics: ! Musicians’ identity as teachers; ! Professional music education engagement with communities; ! Professional music training implications of employment trends; ! Music theory informing musical practice; ! New approaches to teaching and learning in music; and ! Assessment and evaluation. The format of the CEPROM Seminar is somewhat unusual and merits discussion. Following peer review and a month prior to the Seminar, selected papers are distributed as draft proceedings. Participants read all of the papers in preparation for the Seminar and each participant delivers formal responses to two papers. Because the material in the papers has been read by all participants prior to the Seminar, presenters ‘speak to’—rather than read— their papers, providing engaging additional material that illuminates and expands upon the main points. This stimulates further quality discussion in the ample time assigned to each session. The opportunity exists for participants to revise their papers in response to the feedback they receive within the Seminar context. A focus for several papers in 2006 was the fact that most musicians, including those who achieve great success as performers, also teach music. Kaija Huhtanen’s research deals with the typical scenario of the performer’s realisation that he or she is not going to be able to sustain a career primarily as a performer and must accept the inevitability and invisibility of becoming a teacher. Huhtanen argues that the disappointment experienced by musicians when vi performance ambitions are not realised should be ameliorated within the music academy by better preparing graduates for careers in teaching, and with the positive promotion of the value of teaching. To this end she outlines an educational program of identity formation called ‘growing into teacherhood’. Dawn Bennett and Andrea Stanberg report on a program where performance, composition and music education students in the second year of their university studies work together in a way that makes them aware of the benefits of partnerships and collaborations across their disciplines. This encouraged the development of an identity that embraces the notion of the ‘portfolio career’: a career that comprises a number of different professional activities such as teaching, performing in different contexts and styles, and other entrepreneurial activities. Taking music into the community is just one example of the diverse range of career options available to musicians. Lousie Barkl’s comparative study of two performance organisations that offer educational programs outlines the range of skills required by musicians who work in these contexts in order to operate successfully. Too often, musicians’ training has not prepared

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