Session description
This session explored ways to sharpen masterclass programming in conservatoires. How can we improve the student experience? We explored the concept of a masterclass and its different meanings:
· any event where there is a visiting professor from outside the conservatoire;
· an event on a stage, where the performing level is good enough to have a public audience;
· in contrast with workshops which are more interactive and exploratory.
We considered research, undertaken at the Guildhall School, about student experiences of masterclasses. This has identified significant issues relating to for example gender, and differences between instrumental disciplines. We agreed that
a successful masterclass opens the minds of participants; and an essential question is how masterclasses are different from regular teaching.
Masterclass strategies - How can we improve students’ experience?
1. Consider how masterclasses can benefit all parties: students, staff, master, institution, public.
2. Identify a definite theme, repertoire, style or a focus on performance issues, e.g. orchestral auditions, overcoming performance anxiety, stage presentation, etc.
3. Consider different formats of masterclasses for varying levels of expertise and levels of learning development.
4. Prepare the design of the masterclass with the ‘master’. Will an audience be involved? Who might the audience be? What preparatory literature would be useful? Would it be helpful to a person for the session to facilitate potential discussion?
5. Offer to inform the master about the individual students who will be performing in the masterclass and their expectations and goals. (Invite student performers to identify what kind of information about themselves is appropriate here).
6. Provide advance notice of repertoire being performed so that students and audience can become more actively involved.
7. Invite both performing and observing students to suggest goals for the masterclass.
8. Help students to set realistic and attainable goals in advance, to be open-minded and receptive to new ideas. This could be explored in individual lessons or in masterclass preparation sessions.
9. Foster an environment where there is more collaboration and less sense of competition amongst students.
10. Recommend that one-to-one teachers attend masterclasses.
11. Consult with teachers in deciding who will be invited to do masterclasses.
12. Return to issues resulting from masterclass in subsequent lessons for performers and listeners.
13. Film masterclasses so that teachers and students can access the material.
14. Include a concert performance (either before or after) as part of the masterclass design.
15. Ask students to reflect (verbally or in writing) upon the masterclass, so that the experience becomes more meaningful.
16. Enable informal contact between ‘master’ and students.
We had a very good discussion on masterclasses. This is reflected in the 16 points mentioned as the outcome of our meeting. The challenge is now to start using this outcomes in allday life! Although none of the points seems very hard to bring into practice, to really do them will ask for some time and attention. Lets see what we (I) can do with it.