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

Abstract

Historically, in the professional training of musicians, the master-apprentice model has played a central role in instilling the methods and values of the discipline, contributing to the rigorous formation of talent. Expert professional musicians advocate that certain thinking skills can be modelled through the master-apprentice model, yet its critics argue that independent learning, interaction and creativity are stifled. We studied responses to a questionnaire detailing students' experiences as performers and listeners in master classes and discovered that principal instrument and level of study usually determined the extent of performing experiences. However, approaches in arranging master classes differed between instrument departments. There were positive perceptions of instrumental master classes, but students' disclosure of negative experiences showed that females were more likely than males to find master classes to be intimidating and unfriendly. In discussing these outcomes, we consider the institution's role in helping students to negotiate social gradients of expertise and socialisation to a professional self-concept.

Keywords:

• master class
• talent
• self-concept
• community of practice
• socialisation
• gender

Notes on contributors

Dr Marion Long is a Researcher-Fellow at the Institute of Education, University of London. Her musical training in conservatoires spanned 10 years, beginning at the age of 12 as a Junior Exhibitioner. She later became a part-time post-graduate student, gaining her PhD while working as a professional musician. She has researched a range of topics with a variety of academics and institutions and has presented regularly at conferences. These studies range from musical identity development in children and young adults to development and evaluation of intervention programmes that aim to accelerate the academic attainment of disadvantaged children and disaffected young people.

Dr Andrea Creech is Reader in Education at the Institute of Education, London, where she leads a professional development programme for conservatoire teachers. Following an international orchestral career Andrea was director of a Community Music School, developing programmes for learners of all ages. Since completing her PhD in Psychology in Music Education, Andrea has been Co-director for several funded research projects relating to musical engagement across the lifespan, including a major research programme that focused on the role of music in supporting social, emotional, and cognitive wellbeing amongst older people. Andrea has presented at international conferences and published widely on topics concerned with musical development and lifelong learning in music. She is a Board member of the International Society for Music Education and is on several editorial boards for journals concerned with music education. In addition, Andrea is a Fellow of the Higher Education Academy, Secretary for the Education Section of the British Psychological Society and is a member of the Society for Education, Music and Psychology Research.

Dr Helena Gaunt is Assistant Principal at the Guildhall School of Music & Drama. Research interests include one-to-one instrumental/vocal tuition, professional devlopmnet in and through the performing arts, and orchestral musicians in the twenty first century. Alongside research, she is a professional oboist, and has been a member of the Britten Sinfonia. She is a member of the Editorial Board of the British Journal of Music Education, and chairs the Innovative Conservatoire (ICON).

Dr Susan Hallam is Professor of Education and Music Psychology at the Institute of Education, University of London. She pursued careers as both a professional musician and a music educator before completing her psychology studies and becoming an academic in 1991. Her research interests include disaffection from school, ability grouping and homework and issues relating to learning in music, practising, performing, musical ability, musical understanding and the effects of music on behaviour and studying. She is the author of numerous books including Instrumental Teaching: A Practical Guide to Better Teaching and Learning (1998), The Power of Music (2001) Music Psychology in Education (2005), and Preparing for success: a practical guide for young musicians (2012); editor of The Oxford Handbook of Psychology of Music (2009) and Music Education in the twenty-first century in the UK: Achievements, analysis and aspirations (2010); and has extensive other scholarly contributions. She is past editor of Psychology of Music, Psychology of Education Review and Learning Matters. She has twice been Chair of the Education Section of the British Psychological and is an Academician of the Learned Societies for the Social Sciences.