Conservatoire students' experiences and perceptions of instrument-specific master classes

Abstract

Historically, in the professional training of musicians, the master-apprentice model has played a central role in instilling the methods and values of the discipline, contributing to the rigorous formation of talent. Expert professional musicians advocate that certain thinking skills can be modelled through the master-apprentice model, yet its critics argue that independent learning, interaction and creativity are stifled. We studied responses to a questionnaire detailing students' experiences as performers and listeners in master classes and discovered that principal instrument and level of study usually determined the extent of performing experiences. However, approaches in arranging master classes differed between instrument departments. There were positive perceptions of instrumental master classes, but students' disclosure of negative experiences showed that females were more likely than males to find master classes to be intimidating and unfriendly. In discussing these outcomes, we consider the institution's role in helping students to negotiate social gradients of expertise and socialisation to a professional self-concept.

Evaluating motivational characteristics in vocational music education within the perspective of self-determination theory

“…In music institutions, many kinds of master classes and instrumental clinics are organized. In them, a visiting professional musician shows his/her skills and gives certain chosen students feedback on their music-making (Long et al 2014). The difference between a traditional master class and the workshop method employed in this research is in the activation of students, their interaction and their reflection, as well as in the role of the professional musician (Green 2001(Green , 2008.…”

Encouraging reflective practice in conservatoire students: a pathway to autonomous learning?

“…It is but one way through which students can assume ownership of their learning. This approach appears to address, at least in part, some of the concerns raised in the literature about issues of power in the student-teacher dyad (Burwell 2013;Author 2008;Long et al 2014). Through collaborative learning and shared clarity of purpose, there is potential for power imbalances to be mediated.…”

“…Other concerns relating to the approaches of learning in this environment include the generalizability of the learning that often takes place (e.g. Mills 2004; Author & Non-Author 2015), and issues of power that can arise between teacher and learner (Burwell 2013;Author 2008;Long et al 2014). This research has highlighted the need to challenge and improve practices that impede students' autonomy and their capacity for life-long learning.…”

“…Teachers and students engaged in one-to-one learning and teaching widely agree that the benefits are significant (Author and Non-Author 2015;Gaunt 2008;2011;Author 2004), and there is now a growing body of evidence that draws attention to the ways in which effective learning and teaching is facilitated in the one-to-one environment (Burwell 2005;Author et al 2013a;2013b;Zhukov 2007), as well as the ways it may be supported by other types of learning experiences such as lessons with groups of students and student-student peer learning (Daniel 2006;Latukefu and Verenikina 2013;Long et al 2014;Thorgensen 2013).…”

Creating a career as a woman composer: Implications for music in higher education

“…A further gendered concern within higher music education is that of competition. Long et al's (2014) analysis of masterclass experiences reveals that female students are more likely than males to attend masterclasses as observers rather than performers, and significantly more likely to perceive masterclass performance experiences as unfriendly or intimidating. Long et al (p. 190) conclude that learning and engagement behaviours ‘are subliminally driven by stereotypical male orientations, particularly in definitions of artistic excellence and cultural power’.…”