Full Description
Fresh perspectives on teaching and evaluating music performance in higher education are offered in this book. One-to-one pedagogy and Western art music, once default positions of instrumental teaching, are giving way to a range of approaches that seek to engage with the challenges of the music industry and higher education sector funding models of the twenty-first century. Many of these approaches - formal, informal, semi-autonomous, notated, using improvisation or aleatory principles, incorporating new technology - are discussed here. Chapters also consider the evolution of the student, play as a medium for learning, reflective essay writing, multimodal performance, interactivity and assessment criteria.
The contributors to this edited volume are lecturer-practitioners - choristers, instrumentalists, producers and technologists who ground their research in real-life situations. The perspectives extend to the challenges of professional development programs and in several chapters incorporate the experiences of students.
Grounded in the latest music education research, the book surveys a contemporary landscape where all types of musical expression are valued; not just those of the conservatory model of decades past. This volume will provide ideas and spark debate for anyone teaching and evaluating music performance in higher education.
Contents
1. Teaching and evaluating music performance at university: a twenty-first century landscape
John Encarnacao and Diana Blom
PART II
Student experiences 1
2. Reassessing what we call music: investigating undergraduate music student response to avant-garde music through Annea Lockwood's "Piano Burning"
Diana Blom and Raymond Strickland
Teaching approaches: Student collaboration
3. All together now: semi-autonomous ensemble building through collaboration
Eleanor McPhee
4. Transformational insights and the singing-self: investigating reflection and reflexivity in vocal and musical group learning
Diane Hughes
5. The iPad Orkestra ensemble: creative and collaborative learning
Ian Stevenson and Diana Blom
PART II
Student experiences 2
6. Back to the future: a role for 1960s improvisatory scores in the 21st century undergraduate music performance program
Diana Blom, Brendan Smyly and John Encarnacao
Professional development
7. A professional development program to facilitate group music performance teaching
Annie Mitchell
Teaching approaches: performance practice
8. Implementing group teaching in music performance
Annie Mitchell
9. Introducing first year music students to the choral experience: skills for lifelong enjoyment and for the portfolio career
Naomi Cooper
10. Free improvisation: what is it, can it be taught, and what are the benefits?
John Encarnacao, Brendan Smyly and Monica Brooks
11. Performativity and interactivity: pre-paradigmatic performance
Ian Stevenson
12. Expanded practice: facilitating the integration of visual media, theatricality and sound technology into music performance
Ian Stevenson, John Encarnacao and Eleanor McPhee
PART III
Student experiences 3
13. Play as a medium for active learning in vocal education at university
Lotte Latukefu and Irina Verenikina
Evaluating performance
14. Disciplinary perspectives on music performance through the lens of assessment criteria
Ian Stevenson
15. Engaging music performance students in practice-led reflective essay writing and video/recording analysis
Eleanor McPhee and Diana Blom
PART IV
Student experiences 4
16. Curriculum as catalyst: from rock guitarist to transcendent improvisation
Adrian Barr and Diana Blom
CONCLUSION
17. Provocations for change in higher music education
Glen Carruthers
