Advanced Musical Performance: Investigations in Higher by Ioulia Papageorgi, Graham Welch

By Ioulia Papageorgi, Graham Welch

To arrive the top criteria of instrumental functionality, numerous years of sustained and centred studying are required. This calls for perseverance, dedication and possibilities to profit and coaching, frequently in a collective musical atmosphere. This ebook brings jointly a variety of enlightening present mental and academic learn to supply deeper insights into the mosaic of things and comparable stories that mix to nurture (and occasionally prevent) complex musical functionality. all of the book's 4 sections specialise in one point of song functionality and studying: musics in larger schooling and past; musical trips and academic reflections; functionality studying; and constructing services and professionalism. even supposing every one bankruptcy inside of its domestic part bargains a selected concentration, there's an underlying belief throughout the entire book’s contents of the achievability of complex musical functionality and of the real nurturing position that greater schooling can play, fairly if coverage and perform are evidence-based and draw at the most up-to-date overseas learn findings. The narrative deals an perception into the area of complex musicians, detailing their studying trips and the techniques keen on their quest for the improvement of craftsmanship and professionalism. it's the first ebook of its sort to contemplate functionality studying in larger schooling throughout quite a few musical genres, together with classical, jazz, renowned and folks musics. The editors have invited a global group of best students and function practitioners to give a contribution to this book, which pulls on meticulous examine and demanding perform. This assortment is a vital source for all musicians, educators, researchers and coverage makers who proportion our curiosity in selling the advance of complicated functionality talents and professionalism.

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Advanced Musical Performance: Investigations in Higher Education Learning

To arrive the top criteria of instrumental functionality, numerous years of sustained and centred studying are required. This calls for perseverance, dedication and possibilities to profit and preparation, frequently in a collective musical surroundings. This booklet brings jointly a variety of enlightening present mental and academic learn to provide deeper insights into the mosaic of things and similar stories that mix to nurture (and occasionally prevent) complex musical functionality.

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In addition, the dominant programme in many institutions, the performance programme, is not addressed at all as far as I know. The content of a performance programme, for instance the balance between performance courses and theory and history courses, obviously differs from institution to institution. The total time offered for performance courses and activities also differ. , to educate musicians for a continually changing society. How do programmes address learning and teaching tasks that develop students’ skill to cope with anxiety and stress, to prevent injuries and health problems, to manage a portfolio career and so on?

2010a, p. 57f). This study also indicated that female and undergraduate students had a larger gap between ‘ideal’ and ‘perceived’ musical skills and expertise, an observation that calls for attention from teachers and the institution. How students negotiate their identity as performers from perceived rank and status within a continually changing student body was illustrated by Juuti and Littleton (2010). A specific identity issue is the way music education students may feel ‘different’ from performance students (Conway 2010) and, at the same time, feel a conflict between an identity as music educator and performer (see for instance: Bouij 1998; Huhtanen 2008; Roberts 1993).

2010a, p. 57f). This study also indicated that female and undergraduate students had a larger gap between ‘ideal’ and ‘perceived’ musical skills and expertise, an observation that calls for attention from teachers and the institution. How students negotiate their identity as performers from perceived rank and status within a continually changing student body was illustrated by Juuti and Littleton (2010). A specific identity issue is the way music education students may feel ‘different’ from performance students (Conway 2010) and, at the same time, feel a conflict between an identity as music educator and performer (see for instance: Bouij 1998; Huhtanen 2008; Roberts 1993).

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