Helena Gaunt

One-to-one tuition in a conservatoire: the perceptions of instrumental and vocal students:

This paper analyses the perceptions of 20 students in a conservatoire in the UK about one-to-one tuition, and forms part of research also investigating the perceptions of the students’ teachers. Findings suggested that these students had significantly different experiences of one-to-one tuition in terms of frequency and length of lessons. Nevertheless all were enthusiastic about their relationship with their current teacher(s), and the individual attention which one-to-one tuition offered. Tension emerged between trust in a single teacher and ways in which having several teachers encouraged students to become more responsible for their own learning. Furthermore, the dynamics of power in this relationship, though rarely discussed, seemed to have considerable impact on the students, at times hampering their development. Those who had experienced difficulties in the past with teachers also expressed anxiety about personal and professional repercussions. Although students had clear aspirations, for example to be professional performers, these were not usually translating into focused strategic efforts to develop work. This was surprising particularly as their teachers were themselves usually active in the music profession. It was clear that the development of planning and reflective strategies relating to either learning processes or career development were rarely prioritized.

Active music making: a route to enhanced subjective well-being among older people.

Aims: This research explored the relationship between active music making and subjective well-being, in older people’s lives. The research focused on how participation in making music might enhance older people’s social, emotional and cognitive well-being, through meeting the basic psychological needs identified in earlier research. Method: The research comprised three case studies, each offering a variety of musical activities to older people. In each case study a sample of older people were asked to complete questionnaires and psychological needs scales related to autonomy, competence, relatedness and self-realisation before and after a substantial period of active engagement with music. Results: Principal components analysis (PCA) of responses to the CASP-121 and the Basic Needs Satisfaction scale2 revealed three factors: purpose (having a positive outlook on life; autonomy and control; and social affirmation (positive social relationships, competence and a sense of recognised accomplishment). Comparisons of those engaged in music making with those participating in other activities revealed statistically significant differences on all three factors with the music groups giving more positive responses. Conclusions: The enhanced subjective well-being found among participants in music may have been due to the potential for music to provide a sense of purpose through progression in music and creative expression. Control and autonomy may be supported by the holistic nature of musical engagement, whereby meeting new musical challenges involves physical and cognitive engagement. Finally, social affirmation may be supported through social interaction; giving and receiving peer support; and performance, which confers status, a sense of giving something back to the community, pride and opportunities for positive reinforcement. Further research needs to identify the mechanisms through which music is able to achieve these effects.

Conservatoire students' perceptions of Master Classes

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.

Blast from the past: Conservatoire students’ experiences and perceptions of public master classes

It has been said that participation in master classes provides an initiation into a community of practice (Hanken, 2008; Creech et al., 2009) and that contemporary practices in higher music education are strongly informed by those of the past (Froehlich, 2002, cf. Heikinheimo, 2009). This is certainly true of public master classes which provide students with the opportunity to perform in public and to receive feedback on their performance from a high-profile master musician. In terms of expertise, the master musician is perceived to possess an exceptional blend of musical knowledge derived first from rigorous training in the values and methods of a particular tradition (or traditions) of musical performance, and second from their own career as a high-profile performer. In this study we investigated conservatoire students’ experiences and perceptions of public master classes as articulated through the instrument they study, their gender and year in college. The findings revealed a significant main effect for the instrument studied and a statistically significant interaction effect between instrument studied, gender and year at college. The findings suggested that perspectives on the concept of musical excellence were articulated through gender. Further, having examined students’ performing and listening experiences and perceptions of public master classes, we concluded that these were to some extent determined by intrinsically exclusive or inclusive attitudes towards music, originating in the eighteenth and nineteenth centuries respectively. We discuss these mechanisms in terms of implicit transmission during years of training in the students’ principal instrument of study.

Do prior experience, gender, or level of study influence music students’ perspectives on master classes?

The cyclic process of self-regulated learning has been identified as a predictor of achievement in musical skill acquisition and musical performance. Meta-cognition, intrinsic to the self-regulation process, develops as the student takes greater responsibility for their own learning. From this perspective we consider music students’ responses to a questionnaire exploring the value and purpose of master classes. Overall, students valued the opportunity to perform in master classes, to receive relevant expert advice and to engage with ideas about interpretation and style. Students with prior experience of performing in master classes were more likely than those lacking performing experience to learn by listening to their peers, to regard master classes as motivational and as an opportunity to perform. In addition, significantly more female than male students listened to master classes, used peer-learning strategies while listening and were more likely to report negative perceptions of the content of the master class. Large effect sizes were found for level of study on the extent of experience as a performer, as a listener and for overall experience in master classes. These findings are discussed in terms of making a successful transition from conservatoire music student to young professional musician.

The role of musical possible selves in supporting subjective well-being in later life

There is now an accepted need for initiatives that support older peoples well-being. There is increasing evidence that active engagement with music has the potential to contribute to this. This paper explores the relationship between musical possible selves and subjective well-being in later life. The research reported here formed part of a larger project that focused on how active music-making could support positive cognitive, social and emotional outcomes. The research comprised three UK case study sites, each offering diverse musical activities. A sample aged 50+ (total N = 398), some of whom were novices and others who are more experienced, was recruited to complete questionnaires that included open questions and measures of well-being. In addition, individual interviews (n = 29) and focus groups (n = 15) were carried out, where participants in musical activities reflected on the meaning and function of music-making in their lives. The interpretation presented here suggests that through music many older people found a means by which they were able to formulate well-understood and highly esteemed versions of their possible future selves. This, in turn, may have been a significant factor in helping to navigate the process of ageing in later life with enhanced subjective well-being, including a sense of purpose, a significant degree of autonomy and a strong sense of social affirmation.

Does active engagement in community music support the well-being of older people?

Background: There is considerable evidence that participating in music making can have benefits for children and young people. This research explored how participation in making music might support the social, emotional and cognitive well-being of older people. Methods: Comparisons were made between older people participating in a wide range of musical and other activities in relation to their responses to questionnaires and psychological needs scales (the CASP-12 and the Basic Needs Satisfaction Scale; Deci & Ryan, 2000). Comparisons were also made between those older people participating in the musical activities who were in the third and fourth ages. Results: Factor analysis of responses revealed three factors: purpose (having a positive outlook on life); autonomy and control; and social affirmation (positive social relationships, competence and a sense of recognised accomplishment). Comparisons between those participating in the music groups and those participating in other activities revealed statistically significant differences on all three factors with the music groups giving more positive responses. There was also no deterioration in responses in the music groups between those in the third and fourth ages as might have been expected except in relation to purpose. Conclusions: Actively participating in making music has beneficial effects on the well-being of older people. Further research is needed to identify the mechanisms through which music is able to achieve these effects.

Scaffolding, organizational structure and interpersonal interaction in musical activities with older people

The research reported here focuses on the organizational structure and facilitator strategies observed in musical activities with older people. The observations formed one part of the Music for Life Project, funded by the ESRC New Dynamics of Ageing Programme (http://www.newdynamics.group.shef.ac.uk/), which investigated the social, emotional and cognitive benefits of participation in community music making, amongst older people. Three hundred and ninety eight people aged 50+ were recruited from three case study sites offering diverse musical activities. Observations of 33 groups were analysed. Approximately half of the observed time was spent with participants engaged in practical music-making, supported by facilitators who sang or played along, conducted or accompanied. Facilitators spent a relatively small amount of time providing non-verbal modelling and very little participant discussion or facilitator attributional feedback was observed. The findings suggested that facilitators could develop their practice by a) making more extensive use of non-verbal modelling; b) creating space for open questioning and discussion, where participants are encouraged to contribute to setting goals; c) making more extensive use of attributional feedback that empowers learners to control their own learning; and d) vary the organizational structure and style in order to meet a range of diverse needs within groups of older learners.

Musical and social communication in expert orchestral performance

Research on orchestral musicians has predominantly used survey methods to measure stress and/or work satisfaction; studies have seldom used in-depth interviews to ask orchestral musicians to reflect on their own practice and have neglected to elicit musicians’ perceptions of the processes involved in expert orchestral performance. Using semi-structured interviews, this research aimed to investigate 20 musicians’ experiences of working in a major London orchestra, focusing in particular on the skills and qualities they feel are required, and on how they negotiate challenges and sustain their careers. The interviews were analysed thematically using a grounded theory approach. The sample emphasized a set of skills which they considered vital for achieving excellence in the orchestral context, encompassing listening to, communicating with, and adapting to those around them at all times during rehearsal and performance. Strong social and interpersonal skills were also cited as important for orchestral work, with participants stressing the significance of maintaining good social relationships with colleagues in order to foster a conducive environment to achieving excellence on stage. These findings are considered in light of their potential implications for conservatoire training and their contribution to research on co-performer communication and collaboration.

Breathing and the oboe: playing, teaching and learning

Breathing and breath control are central to playing the oboe, yet few detailed educational resources are available to support their teaching and learning. This paper presents a review of existing knowledge and expertise in the field. It highlights common ground and points of controversy, and indicates some key areas for consideration. It points to the need for further research to establish both a more detailed picture of the anatomy and physiology of breathing practices in playing and effective teaching and learning strategies.