On the 14th and 15th of januari 2010 a group of researchers will come together (London, Stockholm, Oslo, Helsinki, The Hague) at a knowledge exchange meeting at the Royal Conservatoire of The Hague. The participants of the Innovative Conservatoire community who are not physically at the meeting on thursday and friday, are invited to share some thoughtson this topic on this blog.
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Headlines for the topic Masterclasses (Armin Zanner) by Stephanie Gericke and Marianne Hutchinson
The discussion of the masterclass-topic brought up some important issues which need to be researched:
- What are the advantages and disadvantages of public masterclass-learning?
- How can you prepare masterclasses to guarantee a maximum benefit?
- think about a theme/certain repertoire
- introducing and hosting a masterclass
- choosing the right students for the right master
- possibility to give and to get feedback (for students and master)
- a new role definition of the master, the public and also the student
The outcome of the research could be a document containing different models of masterclasses and guidelines to implement these models.
It would also be useful to include some (ethical) codes for everyone involved in the masterclass.
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Headlines for Inga’s session, made by Helena Gaunt
Inga is conducting action research, looking at how she can create a learning community within a group class for piano skills (realising chord progression, accompaniment, playing by ear and improvisation) within a teacher education programme. Her observation has been that the approach to teaching this class has tended to be that of teaching 1-2-1 but in a group setting. She was also stimulated to do this research because she found the class difficult to teach, particularly given her own learning experiences which were dominated by being taught piano 1-2-1.
This research is about half way through, but early outcomes are that the course assessment is now done as a group rather than individually, and the students have started to practise outside the lessons together. Examples of group teaching approaches she has used include getting the students to bring in the repertoire they are going to work on, and then the group deciding which to choose; facilitating the more advanced students in reflecting on teaching as they support the less advanced students.
This changes the dynamic of the course and curriculum, and stimulates students to take greater ownership and responsibility for their learning, as well as deepening peer learning.
There are clear implications coming from this research which will be important for learning and teaching in many areas of conservatoires. The issues of how to support students in becoming more independent as learners, and how to maximize the potential of the peer group are on so many people’s agendas!
How can Inga bring this research to wider audiences? She is already involved in a variety of in-service workshops and presentations. It was clear that demonstrating techniques, and showing video material of the teaching are helpful. It was suggested that some clips and links would be valuable to put on this website. It is also powerful that students themselves are involved in the research and so experience at a profound level the value and process of group learning, especially as they will be the next generation of teachers.
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Subject ‘Group piano pedagogy’ brought by Inga Rikandi - headlines by Marion Long:
We discussed the changing nature of the tertiary music education curriculum, particularly focussing on the opportunity given to students to design their own assessment and select their own repertoire. These students, who were being taught in a group setting, decided that group assessment was more appropriate than individual assessment. Debates surrounding the notion of ownership of learning were articulated through this discussion and we learned that the students showed greater awareness of peer learning in two ways. Firstly, vertical learning took place through peer interactions and secondly, students became more aware of the lack of coping strategies of certain students. Indeed they engaged with the issues associated with supporting vulnerable students - an important aspect of pedagogy. The researcher’s observations of these unfolding processes and subsequent forays into the literature have developed a fluid and organic framework. This approach relates directly to the interface between research and teaching.
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Subject ‘Practising in flow’ brought by Susan Williams and Rachael Beesley - headlines by Ana Sanchez Donate
-How to create or help create the optimal experience?: Learning to be in the moment, accepting oneself, focusing in the positive brings us closer to the joy of making music and to the desire to experience this joy again.
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Subject: “Practising in Flow” brought by Susan Williams & Rachael Beesley - headlines by Heidi Westerlund
- If sportsmen can benefit from psychological research in their training, why should not musician? This project uses psychologist Csikszenmichalyi’s theory of flow to help music students learn to be in the moment, trust on their feelings and body, ie. ‘mastering themselves’ instead of fearing for mistakes
- Important is to combine the relaxed authenticity to technique. Control is not enough for flow!
- Becoming a highstandard musician needs time and practice but it is important how you use the time!
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Subject ‘One to one tuition’ brought by Gerda van Zelm - headlines by Anja German
We discussed an interesting topic regarding teacher development in the context of one to one instrumental, or in this case, vocal teaching.
Gerda has for a period of three months organized special lessons with a group of seven vocal teachers at the Conservatorium. All the teachers involved were visiting each other’s private lessons, observing, and later sharing their comments in group meetings organized after these lessons.
In this specific case the interesting aspect is that the issue was addressed first from a practical point of view. Our discussion continued into how it would be important to turn this into a research topic, which could then of course be much more broadly applied and put into practice at conservatories for all instrumental one to one teaching. So far, it has already proven to be an extremely inspiring and helpful form of teaching for all the teachers who were involved in a so far small-scale project Organized by Gerda.
Gerda will further more explore how best to spread this particular topic amongst the Conservatoire staff and will perhaps use a Master student at the Conservatorium as an outside observer who could make a substantial report and inform as many people as possible about the outcomes.
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Subject ‘Intensity of Interaction in Instrumental Music Lessons, brought and headlines by Tapani Heikinheimo
The introduction and application of the concept Intensity of Interaction in Instrumental Music Lessons provided both methods in exploring musical activities such as instrumental music pedagogy and understanding of this multilayered work.
How did this research meet with our practice?
- Through participating in the research project the teachers and students started to rethink their own work.
- The methods of data collection, video recordings with stimulated recall interviews and intensity ratings, can be applied in teacher development programs and pedagogical education.
- The method of voices, applied in this research, expands the perspective and articulates details and the emerging tensions, which potentially deepen the reflections and understanding of instrumental teaching and learning.
- discussions on intensity in relation to concepts like flow, involvement, engagement, jamming, cover some core topics of teaching and learning of instrumental music education
- Learning through flow as an optimal experience in relation or in contrast to learning through solving problems, tensions and crises. Both approaches are related to Intensity of Interaction.
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Subject ‘One tot one tuition brought by Gerda van Zelm, headlines by Gerard Boeters
We should be interested in what other teachers are doing.
Collaborate with someone you never colleborated with.
At the start of their employment, teachers have to start a pedagogy project together, this gives also feed-back on the proces.
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Subject “Dramatic intensity and interaction between teacher and student” brought by Tapani Heikinheimo, headlines by Gerard Boeters
Is high intensity always effectfull? -The low part is also important.
Intensity can be inversely proportional to attention.
Teachers and students start to think differently about their collaboration.
INVITATION TO CONTRIBUTE FROM BART VAN ROSMALEN
How can we construct bridges between new (or existing) research and the living practice of the teachers in institutions? How can we find ways to catalyse collaboration between researchers and teachers? How can teachers become more research oriented? These questions are the central issues in a small scale international meeting in The Hague on 14 and 15 january. Let’s share some thoughts in our ‘innovative conservatoire’ network as well!!
- do you have an example that works?
- what knowledge is interesting to you?
Please add something on these questions even if it is just two lines!! It is experimenting with our website as well.
Best wishes Bart.
(I will be checking the website next days every moment - hope to find responses! - How could we use tools like the website, library?)
I find the ‘re’ re-produces and re-news itself:
re-searching re-freshes ideas for me and for my students. Re-visiting known topics in new ways; re-invigorating & re-energising traditional (and somewhat tired?) practice; re-finding the pleasure of a piece of music through re-listening in new ways; re-treading old ground in new, comfortable shoes (a size larger nowadays), re-vealing alleyways not noticed before … the list is endless!
My interest is mainly in the way our brain impulses govern our emotions. Some of the new brain research give imortant answers to how we and our student react in stressful environments, like in a masterclass or a concert. The importance of mental training is vital.
A special interest I have as a singing teacher is how the brain impulses give a person immediate contact with shaping a sound, reaching the exact pitch and also the feelings behind . That I can use to give the student the kinetic feeling of how it could be felt when I show it to them, rather than explaining in words. That comes later.
I find it very important in my work as a voice teacher to get
information about how the voice as an instrument really works. We
haven’t had that kind of research for long. It is so good to have a
concrete bases for all the traditional terms used every day when
teaching singing. What happens when a singer has a “inhalare” feeling
when singing, what happens in vocal chords on certain tones and
ranges…
Tapani Heikinheimo’s new thesis is also very interesting view inside
the synergy-energy-etc. happening during the music lesson.
A very interesting book regarding ‘brain and emotions’,and therefore important to us as teachers, is:
The Emotional Brain
by
Joseph LeDoux
The Mysterious Underpinnings of Emotional Life
Published by Simon&Schuster in 1996
I am presently reading The Emotional Brain that Marianne recommended and am finding it extremely relevant, especially considering my teaching in the subject of Stage Presence.
In general, I appreciate relevant research, of course. At the conferences called The Reflective Conservatoire at Guildhall many examples were presented.
However, I would like to point out that not all research in the arts needs to have a utilitarian point of departure. This may be too limiting for some researchers. Some research based on an individual’s initiative may turn out to be very relevant or interesting indeed, though from the start it may not have appeared to be too practical.
The widening interest in the whole notion of Research at the Guildhall School (thanks to Helena) is having some wonderful effects. Among them:
- people who did not know each other before are meeting and starting to work together
- people whose wonderful teaching has been hidden away in the classroom are finding it’s welcome and possible to share what they do
- and people are beginning to see that experimentation or even ‘re’-thinking (a word Pamela would approve) their work can be the beginning of far more than a private project
I think we need to put a lot of effort into the research which goes on in the (new) Master curriculums of our conservatories and music academies. This is in my opinion the right place to develop practice-based research which can actually be relevant for music performers. Our students and teachers need to take this research very seriously, and discover together how it can help change our ways of teaching and learning music.
Also what as a result?
Yes, really. It was and with me. We can communicate on this theme. Here or in PM.
In it something is. Many thanks for the help in this question.
Earlier I thought differently, thanks for an explanation.
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