Observational learning in the music masterclass

Abstract

This article contributes to research on music masterclasses through examining learning through observation. It investigates how students are learning as observers in this context; whether and how they will transfer their masterclass learning to their own instrumental/vocal development, and whether they have discussed learning through observation. Data were gathered from higher education students observing two masterclasses. Their responses indicate observation of technical, musical, performative and pedagogic elements. However, they also suggest limited discussion of observation and of the processes involved in implementing observational learning within their own work. The findings suggest that there is scope for enhanced learning in the masterclass, including developing perception through facilitated engagement with systematic observation and consideration of processes of transferable learning. These may have positive implications for extending learning in other contexts.

Teacher–student physical contact as an approach for teaching guitar in the master class context

“…In general, these experiences are backed by primary and secondary theoretical-musical references that complement their understanding of the musical text presented by the student. Such references may consider images of the context in which the work was composed; consultations to other possible versions of the work; recordings of various interpreters of the work performed by the student; recordings of works with a similar musical style; and use of bibliographic material, such as articles and books (Haddon, 2014).…”

Conservatoire leaders’ observations and perceptions on curriculum reform

“…Leaders observed that in group lessons, many teachers teach individually in front of a group, like in a master class setting (Gaunt, 2008). Haddon (2014) concluded that students attending master classes are generally not instructed in how to develop and apply observational learning skills and how to transfer these to their own learning. Thus, the development of teaching approaches specific for group lessons or master classes forms an important starting point in changing the one-to-one pedagogy and the competences of teaching staff.…”

Voicelikeness as discursive strategy: An instrumental masterclass case study

“…Masterclasses engender intense and highly focused learning environments (Atkinson et al, 2013) in which, in the presence of an audience, a student performer is observed, coached, and given spontaneous critical feedback on their musical performance by someone deemed "expert" in a specific skill area. In a particularly successful masterclass, learning occurs both for the student, for whom a certain, often very high, level of competence in their specialization is expected to have already been achieved, and for members of the audience (Haddon, 2014;Hanken, 2010Hanken, , 2015Hanken, , 2017, many of whom are also likely to be musicians at various stages of their development.…”