Reflection and the classical musician

Abstract

Reflective practice takes on a particular shape in classical music. The aim of this chapter is to identify some elements of classical music that distinguish it from other genres of music, and to consider how these elements may affect the kind of reflection in which classical musicians—and classical musicians-in-the-making—engage. The chapter, which is partly based on student practice diaries and interviews with professional musicians, argues that the distinguishing elements of classical music performance are a focus on interpretation, interest in following the composer’s intentions, concern about excessive demonstration of the performer’s ego, and a respect for the printed score as the ultimate repository of truth about the work. These elements seem to encourage musicians to frame their choices either with little acknowledgement of their own agency or in terms that reflect some tension between what they feel and what they perceive as the composer’s intentions. Much work remains to be done on the ways in which these self-abnegations or uncertainties play out, but by bringing their underlying ideologies to the surface young performers in particular could fruitfully harness as well as challenge them.

Autonomous or controlled interpreters? Model of Werktreue internalization for classical musicians

“…In the 21st century, the Werktreue ideology has continued to regulate musicians’ interpretation. Hunter and Broad (2017) identified three characteristics of the ideology in the current classical music world: “to do justice to (or ‘respect’) ‘the composer’s intentions,’” avoidance of “overt intrusion of ‘ego’ in performance and interpretation,” and the score as “the ultimate arbiter of interpretative limits” (pp. 255–257).…”

“…In the professional world, just playing notes is insufficient; however, playing a note not written on a score may also be criticized ( Kingsbury, 1988 ). Conservatory students felt anxious about changing notes ( Hunter and Broad, 2017 ) or deviating from scores, as it implied “a violation of the composer’s wishes” ( Wise et al, 2017 , p. 158). Nevertheless, how rigidly professional musicians follow scores varies.…”

“…Students regarded teachers as “trustworthy authorities,” and they rarely rejected the teacher’s ideas, with one student describing it as “betraying the teacher” (p. 158). This implies that while composers’ intentions and scores are the ultimate authorities in the classical music field ( Hunter and Broad, 2017 ), for some students, teachers are the most influential authorities, and composers and scores are seen as secondary.…”

“…In those opportunities outside the school, she could “make mistakes and learn,” unlike performances in school (p. 206). Considering students are pressured to make appropriate interpretative decisions within conservatories ( Hunter and Broad, 2017 ) and competitions ( McCormick, 2015 ), these opportunities outside the classical music field offer a valuable space for students. Without being pressured to succeed, students can explore interpretive possibilities through interactions with a wider audience.…”

Ethnomusicology, entrepreneurialism and the Western classical music student

“…Prevailing ideologies and practices that surround Western classical music have been identified as potentially stifling to the development of the creative, social and musical skillsets integral to the formulation of entrepreneurial strategies and mindsets. These include the privileging of the ontological status of scores and composers that, it is argued, undermines the creativity of performers (Hunter & Broad, 2017;Leech-Wilkson, 2016, 2021, one-to-one teaching that generates overreliance on individual teachers (Haddon, 2011), the emphasis on formal education ahead of informal learning (Burnard & Haddon, 2016), restricted performer-audience interaction, especially in traditional concert halls (Clarke, 2002), as well as individualised practice routines (Bull, 2019). Authors have subsequently argued for radical changes to the types of education provided in music colleges.…”