Hostname: page-component-5c6d5d7d68-thh2z Total loading time: 0 Render date: 2024-08-27T23:04:35.487Z Has data issue: false hasContentIssue false
  • English
  • Français

Control before shape - on mastering the clarinet: A case study on commonsense teaching

Published online by Cambridge University Press:  18 December 2008

Roland S. Persson
Get access Rights & Permissions [Opens in a new window]

Abstract

This article reports an exploratory study into applied music teaching at a tertiary level. The study was staged as a case study where the case comprises one performance lecturer of clarinet and eight of her students. The focus of the study is how a performance teacher with no formal teacher training fares in the training of musical performers, how students respond, and what are the particular successful or unsuccessful issues in ‘commonsense teaching’. The data were gathered through participant observation and questionnaires. The findings suggest that the distinction between the role of the pedagogue (skilled in the dynamics and principles of teaching and learning) and the role of the expert performer (skilled mainly in the domain of performance) is an essential distinction to make. However, it is also a distinction that traditional performance teaching at a tertiary level seldom makes. The article concludes by tentatively proposing some pedagogical considerations for applied music teaching, as drawn from the case study.

Type
Research Article
Information
British Journal of Music Education , Volume 11 , Issue 3 , November 1994 , pp. 223 - 238
Copyright
Copyright © Cambridge University Press 1994

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Brophy, J. (1981) Teacher praise: a functional analysis. In Review of Educational Research. 51, 1, 5–32.CrossRefGoogle Scholar
Camden, A. (1962) Bassoon Technique. London:Oxford University Press.Google Scholar
Faulkner, R. (1973) Orchestra interaction: some features of communication and authority in an artistic organization. In Sociological Quarterly. 14, 147–157.CrossRefGoogle Scholar
Guilford, J. P. (1975) ‘Creativity: a quarter century of progress’. In Taylor, I. A. & Getzels, J. W. (Eds), Perspectives in Creativity, pp. 37–59. Chicago: Aldine Publishing Co.Google Scholar
Gustafson, R. I. (1986) Effects of interpersonal dynamics in the student-teacher dyads on diagnostic and remedial content of four private violin lessons. Psychology of Music. 14, 130–139.CrossRefGoogle Scholar
Hamachek, D. (1991) Encounters With the Self (4th edition). London: Harcourt, Brace & Jovanovich College Publishers.Google Scholar
Hendrickson, L. (1986) ‘A longitudinal study of precocity in music’. Cropley, A. J., Urban, K. K., Wagner, H., & Wieczerkowski, W. (Eds), Giftedness: A Continuing Worldwide Challenge, pp. 192–203. New York: Trillium Press.Google Scholar
Hurford, P. (1988) Making Music on the Organ. Oxford: Oxford University Press.Google Scholar
Kazdin, A. E. (1977) Assessing the clinical or applied importance of behavior change through social validation. In Behavior Modification. 1, 427–451.CrossRefGoogle Scholar
Kingsbury, H. (1988) Music, Talent, and Performance: A Conservatory System. Philadelphia, PA: Temple University Press.Google Scholar
Kostka, M. J. (1984) An investigation of reinforcements, time use, and student attentiveness in piano lessons. Journal of Research in Music Education. 32, 2, 113–122.CrossRefGoogle Scholar
Luginbuhl, J. E. R. (1972) Role of choice and outcome on feelings of success and estimates of ability. In Journal of Personality and Social Psychology. 22, 1, 121–127.CrossRefGoogle ScholarPubMed
MacKworth-Young, L. (1992a) Joining forces. Music Teacher. 06, 20–21.Google Scholar
MacKworth-Young, L. (1992b) The root to success. Music Teacher. 08, 10–11.Google Scholar
MacKworth-Young, L. (1992C) Keeping in touch. Music Teacher. October, 16–17.Google Scholar
Manturzewska, M. (1990) A biographical study of the life-span development of professional musicians. Psychology of Music. 18, 2, 112–139.CrossRefGoogle Scholar
Martinek, J. T., Crowe, P. B. & Rejeski, W. J. (1982) Pygmalion in the Gym-Causes and effects of Expectations in Teaching and Coaching. West Point, NY: Leisure Press.Google Scholar
Morley-Pegge, R. (1973) The French Horn: some notes on the evolution of the instrument and of its technique (Second edition). London: Ernest Benn Ltd.Google Scholar
Necka, E. (1992) Creativity Training - A Guidebook for Psychologists, Educators and Teachers. Krakow, Poland: Universitas.Google Scholar
Persson, R. S. (1993a). You Have To Conform! A Closer Look at the Training of Musical Performers. Paper given at the Tenth World Congress on Gifted and Talented Education, 08 1993, Toronto, Canada.Google Scholar
Persson, R. S. (1993b) The Subjectivity of Musical Performance: An Exploratory Music-Psychological Real World Enquiry Into the Determinants and Education of Musical Reality. Unpublished doctoral thesis, The University of Huddersfield, Wetherby, W. Yorkshire: The British Library Document Supply Centre.Google Scholar
Persson, R. S. (1994) Concert musicians as teachers: on good intentions coming short. European Journal For High Ability. 5, 1, 79–91.CrossRefGoogle Scholar
Persson, R. S. & Robson, C. (in press) The limits of experimentation: on researching musicians and musical settings. In Psychology of Music.Google Scholar
Ribke, W. (1993) Uben [To practise]. In Bruhn, H., Oerter, R. & Rosing, H. (Eds), Musikpsychologie: Ein Handbuch, pp. 546–557. Hamburg: Rowohlt.Google Scholar
Robson, C. (1993) Real World Research-A Resource for Social Scientists and Practitioner-Researchers. Oxford: Blackwell.Google Scholar
Rogers, C. R. (1967) ‘Toward a theory of creativity’. Rogers, C. R. (Ed), On Becoming a Person -A Therapist's View of Psychotherapy, pp. 347–359. London: Constable.Google Scholar
Rovics, H. (1984) Musical development through personal growth. In Music Therapy. 4, 1, 39–46.CrossRefGoogle Scholar
Schmidt, C. P. (1989) Individual differences in perception of applied music teaching feedback. Psychology of Music. 17, 110–122.CrossRefGoogle Scholar
Shaughnessy, M. F. & Manz, A. F. (1991) Personological research on creativity in the performing and fine arts. In European Journal for High Ability. 2, 1, 91–101.Google Scholar
Sloboda, J. A. (1990) ‘Music as language’. In Wilson, F. & Roehmann, F. (Eds), Music and Child Development. St. Louis, MO: MMB Music.Google Scholar
Sosniak, L. A. (1990) ‘The tortoise, the Hare and the Development of Talent’. In Howe, M. J. A. (Ed), Encouraging the Development of Exceptional Skills and Talents, pp. 149–164. Leicester: The British Psychological Society.Google Scholar
Zorman, R. (1993). ‘Mentoring and role modeling programs for the gifted’. In Heller, K. A., Monks, F. J. & Passow, A. Harry (Eds), International Handbook of Research and development of Giftedness and Talent, pp. 727–741. Oxford: Pergamon Press.Google Scholar