Participation in a master class: experiences of older amateur pianists

Abstract

Although many amateur performers enjoy participating in master classes, we know little about what it means to them. The aim of this paper is to investigate learning in a master class with amateur pianists from an emic perspective in order to increase knowledge and understanding about older music learners engaging with instrumental tuition. The master class participation of six older adults including the researcher was recorded on mini-disc, and qualitative data were gathered mainly using stimulus recall techniques. Although there was much use of the masterÁapprentice model of teaching and learning, it was modified by the interaction between the participants and their tutor. All seemed satisfied with the way they were taught despite there being a fair degree of compliance. There is evidence that the participants took their learning very seriously and that it contributed to their musical motivation and identity construction as part of their growth and self-fulfilment as mature adults.

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

“…Arguably students', especially brass players' identification of these benefits indicated a socialisation of their musical selfconcept beyond the conservatoire as well as the creation of patterns of relationships that socially and culturally legitimate participation in a community of practice (Lave and Wenger 1991). The findings are consistent with previous studies where musical training (Burland and Davidson 2002), particularly master classes (Creech et al 2009;Lalli 2004;Taylor 2010) were perceived by students as opportunities to test and extend their musical self-concept. These findings suggest that attitudes towards learning can be strongly influenced by the values at the sub-culture level of an institution, which in turn appear to positively empower students' capacity to flourish in testing learning environments such as master classes.…”

“…This, a notion that describes feelings of security, includes sharing cross-generational traditions, beliefs and practices, promoting not only a sense of identity with a community but also a sense of belonging to a community. Accounts of amateur pianists identifying with a wider community of pianists (Taylor 2010) and advanced student violinists identifying with elite performing violinists (Goto 2004) illustrate this phenomenon.…”

Do prior experience, gender, or level of study influence music students’ perspectives on master classes?

“…This finding appears to be consistent with reports of vicarious learning by listening in formal master classes (McCoy, 2008), and in the context of amateur musicians' learning (Taylor, 2010). However, the findings also implied that students with more extensive levels of prior performing experience were more likely to report these as motivational and inspiring learning experiences.…”

Continuity, change and mature musical identity construction: Using ‘Rivers of Musical Experience’ to trace the musical lives of six mature-age keyboard players

“…But he did not identify strongly with those groups. It was not until he retired and returned to piano tuition with others in a piano workshop and also joined a local music club where he could perform and take part in master-classes (see Taylor, 2010) Yet music was also painfully associated with Paula's husband with whom she had played the clarinet and shared her music listening. When she left him at the age of 49, she lost her voice and developed ME (chronic fatigue syndrome).…”