Performance teachers' identity and professional knowledge in advanced music teaching

Triantafyllaki, Angeliki

doi:10.1080/14613800903568254

Cited by 29 publications

(23 citation statements)

References 32 publications

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“…Due to the multi-site nature of the research, and as the 'workplace landscape' shifted, so the researcher's identity was re-negotiated. University staff viewed the researcher as a 'doctoral student/academic' and Conservatoire staff as a 'musician/conservatoire graduate' (see also Triantafyllaki, 2010).…”

Section: Pa R T I C I P a N T S A N D R E S E A R C H P R O C E D U R Ementioning

confidence: 99%

‘Workplace landscapes’ and the construction of performance teachers' identity: the case of advanced music training institutions in Greece

Triantafyllaki¹

2010

Brit. J. Music. Ed.

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This paper draws on the metaphor of 'workplace landscape' to highlight the role of institutional values, evidenced within a Greek University Music Department and a MusicConservatoire, in the construction of musical performance teachers' professional identity. Underpinned by a social constructionist framework and within an ethnographic case study approach, the findings revealed that, on the one hand, participating teachers were constrained by the 'cultural scripts' within their workplaces, and on the other, that they utilised and appropriated these cultural tools in constructing their professional identity and practice. The findings imply that advanced music training institutions should engage more radically in a critical rethinking of their 'workplace landscapes' as settings for professional identity construction in order to ensure that musical identities are most effectively nurtured. I n t r o d u c t i o nPerformance teachers (i.e. those who engage in teaching musical performance students at an advanced level) could be considered advanced music training institutions' greatest assets, as they stand at the interface of the transmission of knowledge and values. On the one hand, instrumental teaching practices are organised as a one-to-one contact that has been likened to a 'master-apprentice' approach to teaching (Jørgensen, 2000;Nerland, 2007), where the teacher becomes the 'significant other' for the students involved (Froehlich, 2002, p. 153). To this end, previous research has described and analysed, developed and evaluated teaching models, approaches and strategies within music lessons (Young et al., . On the other hand, and within the context of advanced music training, the significance of this professional role is realised also through the high positions teachers occupy on account of their artistic endeavours as performing artists in music communities beyond the institution (Kingsbury, 1988;Nielsen, 1999). Research indicates that performance teachers consider themselves as being more 'musicians' than 'teachers', thereby focusing on 'performerteachers' careers (Mills, 2004a'performerteachers' careers (Mills, , 2004b, and seeking to reveal the impact of professional discourses on the teaching practice itself (Nerland, 2007).

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Section: Pa R T I C I P a N T S A N D R E S E A R C H P R O C E D U R Ementioning

confidence: 99%

‘Workplace landscapes’ and the construction of performance teachers' identity: the case of advanced music training institutions in Greece

Triantafyllaki¹

2010

Brit. J. Music. Ed.

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“…She has been teaching vocal studies at the academy for 20 years. She combines performing with teaching, which is common in the conservatoire tradition (Triantafyllaki, 2010), and wrote a bachelor thesis in music education based on this study from an action research perspective (Härstedt, 2010) during the course of the SOL-project. She can be expected to function as a role model for the students in individual, one-to-one situations.…”

Section: Methodsmentioning

confidence: 99%

Undergraduate students' ownership of musical learning: obstacles and options in one-to-one teaching

Johansson¹

2013

Brit. J. Music. Ed.

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This paper describes a longitudinal, collaborative case study, made in the framework of the project Students' Ownership of Learning (SOL) during one academic year with one vocal teacher and two female students. The aim of the study was to relate the interaction between the teacher's and the students' intentions and expectations to the institutional level as well as to the rules and ‘real-life’ practice of the musical profession that the students are trained for. In the study, one-to-one tuition in higher music education was theorised as a culturally and historically grounded activity system consisting of relationships between musicians, instruments, music-making traditions and audiences. The concept of contradiction was used as a tool when analysing individually experienced obstacles for musical learning. The results describe how learning obstacles such as conflicting views on the purpose of the activity may be articulated, confronted and transformed into options through collaborative work. By linking the individual and collective levels of knowledge and by using professional practice as a developmental transfer, all aspects of the ‘conservatoire tradition’ may be seen as holding potential for development and expansion.

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“…Many orchestral musicians perform, teach, and some find work outside the music field (Bennett). It is the responsibility of music faculty members to prepare undergraduate music majors for the career options available to them, including developing the identities of both a performer and a teacher because that is the reality that most graduates will face (Bennett 2008;Bernard 2004;Isbell 2008;Pellegrino 2009;Triantafyllaki 2010).…”

Section: Music Careersmentioning

confidence: 99%

University-level group piano instruction and professional musicians

Young¹

2013

Music Education Research

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Group piano courses for undergraduate music majors have been charged with developing the piano skills used by professional musicians; however, the only information available on the use of piano skills by professional musicians has been limited to one profession: public school music teachers. No one has attempted to identify the piano skills used by faculty members, performers or private music teachers. The purpose of this study was to gather information about professional musicians' development and use of piano skills in their careers. A questionnaire was distributed to (N 0393) faculty members, professional performers and private music instructors. The survey gathered information about their careers, piano training, use of piano skills and proposals for the piano training of undergraduate music majors in their field. In total, 109 musicians completed the study: faculty members (n 043), performers (n 038) and teachers (n 028). The results of this study showed faculty members, performers and teachers generally performed similar musical activities had comparable piano training, used similar piano skills and agreed with each other about their suggestions for undergraduate piano training. There were, however, subtle differences among the three groups in the frequency with which they used certain piano skills.

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Performance teachers' identity and professional knowledge in advanced music teaching

Cited by 29 publications

References 32 publications

‘Workplace landscapes’ and the construction of performance teachers' identity: the case of advanced music training institutions in Greece

‘Workplace landscapes’ and the construction of performance teachers' identity: the case of advanced music training institutions in Greece

Undergraduate students' ownership of musical learning: obstacles and options in one-to-one teaching

University-level group piano instruction and professional musicians

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