Teaching and Evaluating Music Performance at University: Beyond the Conservatory Model

Contents

• 1. Teaching and evaluating music performance at university: a twenty-first century landscape
• John Encarnacao and Diana Blom
• PART II Student experiences 1
• 2. 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
• 3. All together now: semi-autonomous ensemble building through collaboration
• Eleanor McPhee
• 4. Transformational insights and the singing-self: investigating reflection and reflexivity in vocal and musical group learning
• Diane Hughes
• 5. The iPad Orkestra ensemble: creative and collaborative learning
• Ian Stevenson and Diana Blom
• PART II Student experiences 2
• 6. 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
• Professional development
• 7. A professional development program to facilitate group music performance teaching
• Annie Mitchell
• Teaching approaches: performance practice
• 8. Implementing group teaching in music performance
• Annie Mitchell
• 9. Introducing first year music students to the choral experience: skills for lifelong enjoyment and for the portfolio career
• Naomi Cooper
• 10. Free improvisation: what is it, can it be taught, and what are the benefits?
• John Encarnacao, Brendan Smyly and Monica Brooks
• 11. Performativity and interactivity: pre-paradigmatic performance
• Ian Stevenson
• 12. Expanded practice: facilitating the integration of visual media, theatricality and sound technology into music performance
• Ian Stevenson, John Encarnacao and Eleanor McPhee
• PART III Student experiences 3
• 13. Play as a medium for active learning in vocal education at university
• Lotte Latukefu and Irina Verenikina
• Evaluating performance
• 14. Disciplinary perspectives on music performance through the lens of assessment criteria
• Ian Stevenson
• 15. Engaging music performance students in practice-led reflective essay writing and video/recording analysis
• Eleanor McPhee and Diana Blom
• PART IV Student experiences 4
• 16. Curriculum as catalyst: from rock guitarist to transcendent improvisation
• Adrian Barr and Diana Blom
• CONCLUSION
• 17. Provocations for change in higher music education
• Glen Carruthers