COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright The Sydney Conservatorium Early Music Ensemble: An activity-theoretical study of the impact of period instruments, historically-informed performance and a unique pedagogy on tertiary group-learning experiences Daniel Yeadon BA Oxon, Grad Dip RCM London A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Sydney Conservatorium of Music University of Sydney 2016 ii Abstract This PhD thesis is focused on the learning experiences of students in the Sydney Conservatorium Early Music Ensemble (EME). It sheds light on an area that remains relatively under-researched to date: the group-learning experiences of tertiary-level music students. EME provides its members with an opportunity to experiment with period instruments and to explore repertoire from the late Renaissance to early Classical periods with a historically-informed approach to music making. The tutors of the ensemble, all of whom are expert practitioners in the field of historically-informed performance (HIP), have nurtured a pedagogy that embraces elements of informal peer learning and stimulates active participation and collaboration. The main claim of the thesis is that period instruments, HIP, a broadly constructivist tutor approach and collaborative peer learning all play a significant role in stimulating deeper learning and actively engaged music making. As part of the purely qualitative research design twelve EME students are interviewed about their experiences of learning to play period instruments and their perceptions of a collaborative learning environment, including the role of peers and tutors. A series of open-ended interview questions serves to gain insights into the principal research questions: what learning possibilities do the instruments offer and how do the students experience this alongside the mental and physical rigours of HIP, the unique approach of the tutors and interactions with peers? In seeking a theoretical framework to help explore the interrelationships between the materials and the 'actors' in EME, Cultural-Historical Activity Theory (CHAT) offers a particularly helpful perspective. This research approach incorporates both ‘tools’ and the learning community as integral influences in the learning process. As such it facilitates a holistic investigation of the learning and teaching relationships in the specific EME environment and the ‘affordances’ or learning potential of the materials involved. iii My research claim is firmly supported by the findings in this study. The students provide ample evidence of a broad range of deep learning experiences associated with period instruments and HIP. In addition the benefits of multiple elements of group-learning are identified: a continuum of formal and informal learning, collaborative peer learning, and a reflective tutor approach that embraces active participation. The study contributes to CHAT in the realm of the arts and has positive implications for the role of period instruments, HIP and the value of group-learning situations in western-style conservatoires and other tertiary music institutions. iv Acknowledgements I am deeply grateful to my supervisor Anna Reid and my partner Neal Peres Da Costa for inspiring me to embark upon my research journey. Without their steadfast belief in my ability I would not have completed this thesis. I thank Anna for her expert guidance, cheerful disposition and sense of adventure; and Neal for his emotional support, wisdom and patience. Thank you to the students who participated in this project with such enthusiasm and generosity of spirit. My contact with them, both within the Sydney Conservatorium Early Music Ensemble and during the research interviews, has helped me to gain fascinating insights into the musical learning process. I thank David Kim-Boyle for organising the video filming of an EME rehearsal and Ludwig Sugiri for his advice on Nvivo and EndNote software programs. I am also grateful to the friends and colleagues, in particular Megan Lang, Nicole Forsyth and Grace Hunt, who entered wholeheartedly into discussions about my thesis topic and provided moral support. Approval for this research project was granted by the Human Research Ethics Committee at the University of Sydney on 8th March 2012, with protocol number 14368. v Contents Abstract ..................................................................................................................... ii Acknowledgements ....................................................................................................... iv List of Figures ................................................................................................................. x Chapter 1 Introduction ................................................................................................. 1 1.1 Research background ................................................................................................ 1 1.2 Period instruments and bows ................................................................................... 2 1.3 Sydney Conservatorium Early Music Ensemble ........................................................ 3 1.4 HIP ............................................................................................................................. 4 1.5 Students’ experiences and tutor approach ............................................................... 5 1.6 Observations of EME ................................................................................................. 6 1.7 Research themes, proposition and method .............................................................. 7 1.8 Tutor as researcher ................................................................................................... 8 1.9 Theoretical framework .............................................................................................. 9 1.10 Thesis structure ..................................................................................................... 9 Chapter 2 Literature Review: Learning, Teaching and HIP ......................................... 11 2.1 Student-centred learning ........................................................................................ 11 2.2 Western conservatoire culture, one-on-one instrumental tuition and master– apprentice models ............................................................................................................... 14 2.3 Research into ensemble studies at tertiary level .................................................... 16 2.4 Individual learning and group-learning experiences in music ................................. 17 2.5 Theories of learning ................................................................................................. 18 2.6 Constructivism ......................................................................................................... 18 2.7 Peer learning ........................................................................................................... 21 2.8 Formal and informal learning .................................................................................. 22 2.9 Collaborative learning ............................................................................................. 25 2.10 Democracy and leadership .................................................................................. 29 2.11 Variation Theory of Learning ............................................................................... 31 2.12 Reflective practice ............................................................................................... 33 2.13 Tutor congruence ................................................................................................ 34 2.14 Historically-informed performance ..................................................................... 35 2.15 General musical interpretation ........................................................................... 39 2.16 Learning theories and tutors’ perceptions of learning in EME ............................ 39 vi Chapter 3 Qualitative research and Activity Theory .................................................. 43 3.1 Qualitative research ................................................................................................ 43 3.2 Activity Theory ........................................................................................................