Hostname: page-component-586b7cd67f-t7fkt Total loading time: 0 Render date: 2024-11-23T23:28:26.675Z Has data issue: false hasContentIssue false
  • English
  • Français

Conservatoire students' perceptions of Master Classes

Published online by Cambridge University Press:  02 October 2009

Andrea Creech ,
Helena Gaunt ,
Susan Hallam  and
Linnhe Robertson
Andrea Creech
Affiliation:
Department of Continuing and Professional Development, Institute of Education, University of London, 20 Bedford Way, London WC1H OAL, UKA.Creech@ioe.ac.uk
Helena Gaunt
Affiliation:
Guildhall School of Music & Drama, London, UK
Susan Hallam
Affiliation:
Institute of Education, University of London, London, UK
Linnhe Robertson
Affiliation:
Guildhall School of Music & Drama, London, UK
Get access Rights & Permissions [Opens in a new window]

Abstract

The aim of this research was to investigate the value and purpose of Master Classes, from the perspective of Conservatoire students. Thirty-seven UK Conservatoire students responded to a questionnaire, providing information about their prior experiences of Master Classes, the factors that they considered to be important in a successful Master Class and any possible barriers to learning in Master Classes. The students considered Master Classes to offer valuable performance opportunities, fresh ideas for approaching musical interpretation and technique and access to a professional community of practice. Performance anxiety was noted as a barrier to learning for those who performed in Master Classes and students raised several issues relating to the problematic notion of ‘participation’ as an audience member. Whilst the sample was clearly limited, these findings contribute to an understanding of how students might best be facilitated in capitalising on the opportunity to learn in Master Class contexts.

Type
Research Article
Information
British Journal of Music Education , Volume 26 , Issue 3 , November 2009 , pp. 315 - 331
Copyright
Copyright © Cambridge University Press 2009

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

AGUS, A. (2001) ‘Master Class: Heifetz as I knew him’, American String Teacher, 51 (4), 29–30.CrossRefGoogle Scholar
BERG, G. (2008) ‘Christa Ludwig: the birthday edition’, Journal of Singing, 65 (1), 119–122.Google Scholar
COOK-SATHER, A. (2009). ‘From traditional accountability to shared responsibility: The benefits and challenges of student consultants gathering midcourse feedback in college classrooms’, Assessment and Evaluation in Higher Education, 34, 231–241.CrossRefGoogle Scholar
COOPER, P. & MCINTYRE, D. (1993) ‘Commonality in teachers’ and pupils’ perceptions of effective classroom learning’, British Journal of Educational Psychology, 63, 381–399.CrossRefGoogle Scholar
GAUNT, H. (2008) ‘One-to-one tuition in a Conservatoire the perceptions in instrumental and vocal teachers’, Psychology of Music, 36, 215–245.CrossRefGoogle Scholar
GOTO, M. (2004) ‘Master Class: I will be a learner for life’, American String Teacher, 54 (1), 37–38.CrossRefGoogle Scholar
HOWELL, D. (1997). Statistical Methods for Psychology. Boston: PWS-Kent Publishing Company.Google Scholar
JORGENSEN, E. R. (1995) ‘Music education as community’, Journal of Aesthetic Education, 29 (3), 71–84.CrossRefGoogle Scholar
JORGENSEN, H. (2000) ‘Students learning in higher instrumental education: who is responsible?’, British Journal of Music Education, 17, 67–77.CrossRefGoogle Scholar
LALLI, R. (2004) ‘Master plan: how to get the most out of a master class’, Opera News, 69, 24–26.Google Scholar
MCCOY, S. (2008) ‘Voice pedagogy – getting wired: a new twist on the voice master class’, Journal of Singing, 64 (3), 329–332.Google Scholar
PURSER, D. (2005) ‘Performers as teachers: exploring the teaching approaches of instrumental teachers in conservatoires’, British Journal of Music Education, 22, 287–298.CrossRefGoogle Scholar
RAMSDEN, P. (2003). Learning to Teach in Higher Education. Oxon: Routledge Falmer.CrossRefGoogle Scholar
SILVERMAN, D. (2000) Doing Qualitative Research: A Practical Handbook. London: Sage Publications.Google Scholar
SOSNIAK, L. (2006) ‘Retrospective interviews in the study of expertise and expert performance’, in Ericsson, K. A., Charness, N., Feltovich, P. & Hoffman, R. (Eds.), The Cambridge Handbook of Expertise and Expert Performance (pp. 287–301). New York: Cambridge University Press.CrossRefGoogle Scholar
TAYLOR, A. (2009). Understanding older amateur keyboard players: Music learning and mature adult musical identity. Unpublished PhD Thesis, University of London: London.Google Scholar
WAGNER, M. (2005) ‘Dee Dee's pearls of wisdom: very practical advice from a master class with jazz vocalist Dee Dee Bridgewater’, Jazz Education Journal, 37 (6), 42–44.Google Scholar