Teaching and evaluating music performance at university : a twenty-first century landscape

Research output: Chapter in Book / Conference PaperChapter

Abstract

![CDATA[The editors of this volume undertook undergraduate studies in the late 1960s (Blom) and early 1990s (Encarnacao). Notwithstanding that the late-Sixties /early-Seventies period was rich in experimentation in terms of composition, performance and the application of this experimentation to education (see Chapters 2 and 6), and that popular music was beginning to make its presence felt in the academy by the early 1990s, in each period there was a concentration on what was often called “principal study”. Most often your principal study was an orchestral instrument, if not piano or voice, pursued towards an end of excellence in the field of classical music. On the fringes were those whose principal study was composition or musicology. In all these cases, the assumption was of an acolyte/mentor relationship, the object being a performance career in an orchestra or chamber group, commissions for your compositions, or the alternation between dusty archives and university classroom. This is a simplistic and reductive image of course, and challenges to these traditional roles and relationships took place at different times in different places. While one-to-one teaching continues to thrive in some primary and secondary schools and in private studio practice, careers in classical music performance, composition and analysis have become a smaller fraction of the vocational possibilities available to school-leavers (if ever they were truly numerous) and much lower in terms of their aspirational priorities. At the same time that the capacity for conservatoria and universities to continue to deliver one-to-one tuition has been challenged by economic rationalism, research and practice have increasingly demonstrated the benefits to be gained from collaborative and group learning, whether in performance or other types of study. This book documents several approaches to teaching and evaluating music performance at university that, while looking forward rather than back, seek to be inclusive, rather than dismissive, of earlier forms of pedagogy.]]
Original languageEnglish
Title of host publicationTeaching and Evaluating Music Performance at University: Beyond the Conservatory Model
EditorsJohn Encarnacao, Diana Blom
Place of PublicationU.K.
PublisherRoutledge
Pages1-6
Number of pages6
ISBN (Electronic)9780429328077
ISBN (Print)9781138505919
DOIs
Publication statusPublished - 2020

Keywords

  • music
  • study and teaching (higher)
  • universities and colleges

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