Conservatoire students' perceptions of Master Classes

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.

Managing performance anxiety and improving mental skills in conservatoire students through performance psychology training: a pilot study

“…Yet, there is no firm evidence for improvements in managing MPA. Performance anxiety can be a barrier to learning in conservatoire students (Creech et al 2009) and is at the highest level in young professionals just starting their careers (Kenny et al in press). This evidence signals the need to further investigate methods which can equip tertiarylevel music students with the necessary psychological skills to manage MPA, improve performance confidence, resilience and psychological wellbeing during their music performance training.…”

Participation in a master class: experiences of older amateur pianists

“…Exceptions include the violinist, Midori (Goto 2004) who briefly reviews her experience of master class participation as an advanced conservatoire student as well as master tutor, and Creech et al (2009) who report mixed feelings about the value of master classes as a learning context amongst conservatoire students. The student perspective needed for greater understanding of what might be involved in master class participation and what might motivate students to engage with master class tuition is therefore largely missing.…”

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

“…However, the rigour of the high standards and the competitive environment can be perceived as threatening rather than supportive; and students have described coping strategies for managing a strong sense of musical self-concept under these testing conditions (Burland and Davidson 2002;Creech et al 2009). …”

“…In expertise theory, the 'monotonic benefit assumption' states that relative gains diminish with increasing effort and skill (Krampe and Ericsson 1995, 87;cf Jorgensen 2002). So, the catalysing impact of a visiting master has the potential to renew and sustain the impetus for practice among advanced students (Creech et al 2009;Long et al 2012a). In a master class, there is an expectation that the master will transmit musical wisdom, distilled and focused by many years of personal musical experiences, including interactions with other musicians of the highest musical calibre.…”

“…In addition, the transmission of this knowledge forges a legitimising link between the advanced students and a distinguished lineage of current and former expert musicians. The interaction between a visiting master and advanced students typically involves interpretation and identification of problems and provision of relevant expert knowledge (Creech et al 2009;Long et al 2012b;Goto 2004;Agus 2001).…”