Fresh perspectives on teaching and evaluating music performance in higher education are offered in this book. One-to-one pedagogy and Western art music, once default positions of instrumental teaching, are giving way to a range of approaches that seek to engage with the challenges of the music industry and higher education sector funding models of the twenty-first century. Many of these approaches – formal, informal, semi-autonomous, notated, using improvisation or aleatory principles, incorporating new technology – are discussed here. Chapters also consider the evolution of the student, play as a medium for learning, reflective essay writing, multimodal performance, interactivity and assessment criteria.
The contributors to this edited volume are lecturer-practitioners – choristers, instrumentalists, producers and technologists who ground their research in real-life situations. The perspectives extend to the challenges of professional development programs and in several chapters incorporate the experiences of students.
Grounded in the latest music education research, the book surveys a contemporary landscape where all types of musical expression are valued; not just those of the conservatory model of decades past. This volume will provide ideas and spark debate for anyone teaching and evaluating music performance in higher education.
Teaching and evaluating music performance at university: a twenty-first century landscape.
Diana Blom and John Encarnacao
Student experiences 1
Reassessing what we call music: investigating undergraduate music student response to avant-garde music through Annea Lockwood’s "Piano Burning".
Diana Blom and Raymond Strickland
Teaching approaches: student collaboration
All together now: Semi-autonomous ensemble building through collaboration.
Transformational insights and the singing-self: Investigating reflection and reflexivity in vocal and musical group learning.
The iPad Orkestra ensemble: Creative and collaborative learning.
Ian Stevenson and Diana Blom
Student experiences 2
Back to the future: A role for 1960s improvisatory scores in the 21st century undergraduate music performance program.
Diana Blom, Brendan Smyly and John Encarnacao
A professional development program to facilitate group music performance teaching.
Teaching approaches: Performance practice
Group teaching in music performance.
Introducing first year music students to the choral experience: Skills for lifelong enjoyment and for the portfolio career.
Free improvisation: What is it, can it be taught, and what are the benefits?
John Encarnacao, Brendan Smyly and Monica Brooks
Performativity and interactivity: Pre-paradigmatic performance.
Expanded practice: Facilitating the integration of visual media, theatricality and sound technology into music performance.
Ian Stevenson, John Encarnacao and Eleanor McPhee
Student experiences 3
Play as a medium for active learning in vocal education at university.
Lotte Latukefu and Irina Verenikina
Disciplinary perspectives on music performance through the lens of assessment criteria.
Engaging music performance students in practice-led reflective essay writing and video/recording analysis.
Eleanor McPhee and Diana Blom
Student experiences 4
Curriculum as catalyst: From rock guitarist to transcendent improvisation.
Adrian Barr and Diana Blom
Provocations for change in higher music education.
The ISME Global Perspectives in Music Education Series is one of two book series partnered by Routledge and the International Society for Music Education (ISME), with Senior Editor, Professor Margaret Barrett from University of Queensland. The collection reflects topics of broad and critical interest to music education. The themes are fluid, changing with time and responding to the contemporary issues and need of music educators worldwide.
Series Editor-in-Chief: Professor Dawn Bennett, Curtin University, Australia