Abstract
Within the three-year period of an Australian undergraduate music degree, a music performance major student can explore a variety of musical interests. And when an honours fourth year plus doctoral study are added to the curriculum time-period, this seven-year development can intensify and become transformative. The chapter charts, through a collaborative autoethnographic approach in 2014, the journey of Adrian Barr from undergraduate rock guitarist to experimental improviser and arts administrator. This journey is different from, yet has many similarities with, that identified by Naomi Cooper (2016) in her journey from classical guitarist to choir director. Cooper’s chapter in this book (see Chapter 9) examines one aspect of her current choral teaching. Both Barr and Cooper were influenced by specific musical performing experiences in high school or early university years, both used the university curriculum to explore a musical path and through honours and post-graduate study, emerged as professionals in their music-making and beyond. Barr’s developmental journey draws together many of the topics discussed in this book. The chapter identifies key curriculum aspects and pedagogical strategies, plus experiences and personal thinking in his development from rock guitarist to improviser, scholar, teacher, parent and arts administrator.
Original language | English |
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Title of host publication | Teaching and Evaluating Music Performance at University: Beyond the Conservatory Model |
Editors | John Encarnacao, Diana Blom |
Place of Publication | U.K. |
Publisher | Routledge |
Pages | 227-236 |
Number of pages | 10 |
ISBN (Electronic) | 9780429328077 |
ISBN (Print) | 9781138505919 |
DOIs | |
Publication status | Published - 2020 |
Keywords
- autoethnography
- education, higher
- music
- universities and colleges