View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Tasmania Open Access Repository The conductor-teacher, conductor-learner: An autoethnography of the dynamic conducting/teaching, learning process of an advanced level wind ensemble conductor By Stephen Mark King B. App Comp, B.P.A. (Mus), B. Teach (Hons) Submitted in fulfilment of the requirements for the degree of Master of Education (Research) Faculty of Education University of Tasmania June 2011 STATEMENT OF ORIGINALITY This thesis contains no material which has been accepted for a degree or diploma by the University or any other institution, except by way of background information and duly acknowledged in the thesis, and to the best of the my knowledge and belief no material previously published or written by another person except where due acknowledgement is made in the text of the thesis, nor does the thesis contain any material that infringes copyright. ……………………………………… Stephen King i PERMISSION TO COPY I hereby give permission to the staff of the University Library and to staff and the students of the Faculty of Education within the University of Tasmania to copy this thesis. This thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. This permission covers only single copies made for study purposes, subject to normal conditions of acknowledgement. ……………………………………… Stephen King ii STATEMENT OF ETHICAL CONDUCT The research associated with this thesis abides by the international and Australian codes on human and animal experimentation, the guidelines by the Australian Government's Office of the Gene Technology Regulator and the rulings of the Safety, Ethics and Institutional Biosafety Committees of the University. ……………………………………… Stephen King iii ABSTRACT This study aimed to examine the nature of the work of a conductor-music educator, more specifically my lived experience as a music educator, conductor and performer as I worked with a community music program in regional Tasmania, Australia. The study was conceived from a desire to better understand my own practice as a music educator and conductor. It is through this desire that I examine the nature of the conductor-music educator‘s work through my eyes and the eyes of members of an ensemble I conduct. A number of research studies have examined music educators‘ work and the conducting practice. To assist in the understanding of the complex work of the conductor-music educator it was important to gain an understanding of the development of the large instrumental ensemble performance and within music education in Tasmania, Australia. To achieve this it was necessary to explore the international (United States of America and United Kingdom) influences on Australian music education. It was also necessary to review literature pertaining to the work of the music educator and skills and the work of the conductor within an educational context. An autoethnographic approach was taken to facilitate an understanding my practice as a conductor-music educator. This approach provided opportunities for me to reflect upon how I became the musician, music educator and conductor I am today. Data were generated through my reflexive writings, journaling, rehearsal plans, rehearsal video footage, concert video footage, ensemble participant interviews and video-stimulated interviews. The rich data generated provided an insight into my work as a conductor-music educator. These data are considered in relation to the iv literature the work of the music educator, the development and art and craft of a conductor, and the work of the conductor-music educator. The findings from this study suggest that the nature of the conductor-music educator‘s work is multifaceted and multi-layered. The relationship between repertoire (music pedagogical texts) selection and preparation, rehearsal planning, rehearsal implementation and rehearsal reflection is inextricably linked; it is a cyclic process where one stage informs the next stage. Fundamentally a conductor-music educator never stops teaching and during rehearsals they must engage ensemble members‘ fingers (technique) and musicianship (brain). This engagement comes through the planning and implementation of meaningful experiences which empower ensemble members to learn. The findings of this study highlight the need for pre-service music education courses to provide future conductor-music educators with a good understanding of the choreography of conducting. However, it is important for pre-service music education students to also learn how teach for musical understanding through the use of meaningful and effective teaching strategies and the art and craft of conducting. Most importantly is the realisation that the conductor-music educator never stops teaching and learning. v ACKNOWLEDGEMENTS This study represents a huge investment in time and energy not only by me, but of many people. People who have helped and assisted me as I have navigated my way through the study. People who have invested their time and energy into me to make me the man I am today. People who have been gracious enough to allow me to practice, hone and refine my craft with them. People who have been willing to accept my failures and provide comfort and support, and people who have encouraged me to keep going and growing. It would be very remiss of me not to mention my supervisors, Professor Margaret Barrett, Dr William Baker and Professor Ian Hay. Each of you have provided assistance, guidance and encouragement as I have undertaken this study. For your assistance, encouragement, wealth of knowledge and patience I am extremely grateful. This study would not have been possible without the members of my band. Thank you for your patience, encouragement and for graciously allowing me to work with you. It is a truly humbling experience to have a group of people who place their trust in me. To the man who is responsible for making me believe in myself and giving me the courage to step out in faith and become a music educator and a conductor; my teacher, mentor and most importantly my friend, Associate Professor Monte Mumford, all I can say is ―thank-you‖ for all have done for me. On this journey I have had many silent partners. People who have taken a keen interested in the study and been a sounding board, listening ear, encourager and, at vi times, been willing to push me to see this journey through. You have been like an ―angel‖ watching over me. To my family have invested an inordinate amount of time into this study, I thank you from the bottom of my heart. Some may view it as time lost, maybe, but there will be good times ahead. To my two children, Josh and Ashlyn, for somehow making all this worth doing. Thank you for your love and patience. vii TABLE OF CONTENTS PROLOGUE MY STORY – A JOURNEY TOWARD MUSIC ........................... 1 CHAPTER 1 INTRODUCTION ............................................................................ 12 1.1 Limitations of the study ............................................................................ 13 1.2 Background to the Study .......................................................................... 14 1.3 Significance of the Study .......................................................................... 14 1.4 Research Aims and Objectives of the Study ............................................. 16 1.5 Research Questions .................................................................................. 17 1.6 Summary .................................................................................................. 18 1.7 Organisation of the Study ........................................................................ 19 CHAPTER 2 LITERATURE REVIEW ................................................................ 21 2.1 Introduction .............................................................................................. 21 2.2 Development of Instrumental and Ensemble Music Education ............... 23 2.2.1 Music Education in the United States of America: the growth of the wind band .......................................................................................................... 23 2.2.2 Music Education in the United Kingdom: from vocal traditions to instrumental initiatives ............................................................................. 29 2.2.3 Music Education in Australia and Tasmania: diversity of quality and approach .................................................................................................. 38 2.2.4 Summary .................................................................................................. 44 2.3 Music Educator’s Work ........................................................................... 45 2.4 Conductor-Music Educator’s Work ......................................................... 47 2.4.1 Introduction .............................................................................................. 47 2.4.2 Teaching and Learning in Conducting .................................................... 49 2.4.3 Summary .................................................................................................. 68 CHAPTER 3 METHODOLOGY ........................................................................... 72 3.1 Introduction .............................................................................................. 72 3.2 Aim of the Study ......................................................................................