Understanding what we mean by portfolio training in music

Although musicians have always had portfolio careers, the discourse in conservatoires around training musicians specifically for portfolio careers is relatively new. This is partly because of increasing opportunities in the workplace for entrepreneurial and multi-faceted musicians and partly – in the UK at least – because of educational policy and practice. This article incorporates narratives provided by professional portfolio musicians and students and teachers at a single conservatoire in the UK, to illustrate disjunctures between the expectations fostered by conservatoires undergoing changes in their culture and the lived experiences of teachers and students responding, in real time, to changes both within the conservatoire and in the wider society. One of the key findings of the research is that teachers and students have qualitatively different conceptions of what it means for students to be trained for portfolio careers. The paper concludes by considering the implications of their different understandings for initiatives to reform conservatoire curricula

Peer learning and reflection: strategies developed by vocal students in a transforming tertiary setting

The focus of this article is on the analysis of reflection and peer learning in the pedagogical environment. The research draws on findings from an Australian study, which aimed to develop and critically evaluate a model of vocal pedagogy influenced by socio-cultural theories. The model sought to position Vygotsky’s theories in the environment of university-level vocal instruction. To capture the developmental nature of this pedagogical project, a design-based development research methodology was employed. Central to this approach was flexibility of the design, multiple dependent variables and capturing social interaction. The students were not the subject of experimentation, but were co-participants in the design and analysis. The results of the study suggest that there is value in peer learning for both classical and non-classical singers at an undergraduate level. In particular, the data from the student journals in the present study also suggests that if the environment is arranged in such a way that peer learning is encouraged and purposely mediated, singing students find this extremely helpful as a learning strategy

New Australian Art Song for Low Voice

World Premieres were given of the following songs: Bitter Cold; The Ghost Road; Autumn Thoughts- composer- Larry Sitsky At the Triton\u27s Call- composer- May Howlet

Critical discernment of quality in singing: An approach to encouraging self-regulated singers through peer assessment

In 2008, as part of the ongoing development of a learning model for singing using sociocultural theories, peer assessment was introduced into the singing component of a tertiary level, undergraduate, creative arts performance course. The purpose of this exercise was to encourage students to become self-regulated learners capable of continuing with their learning after graduation. Falchikov (2007) has argued that peer involvement in assessment has the potential to encourage learning and develop assessment skills that will last a lifetime. The project investigated what effect changing the role of the actor/singer in an assessment has on the group and also the individual development of graduate qualities such as critical thinking and responsibility. It also looked at what process was involved in order to integrate peer assessment into the subject and what kind of support was needed to achieve this. The research found the main benefit that the students perceived from the exercise was that it helped them to reflect on their own practice by having to make the effort to interact with the criteria given in order to properly assess a peer. The added responsibility of having to assess other students encouraged them to interact more carefully with the descriptors of quality so that “discernment of quality becomes a key aspect of learning (Sadler, 2008, p.18).

Peer assessment in tertiary level singing: changing and shaping culture through social interaction

In 2008, peer assessment was introduced into the singing component of a tertiary level undergraduate creative arts performance course within an Australian regional university. The study investigated what effect changing the role of the actor/singer in an assessment has on the culture of the course as well as individual development of graduate qualities, such as critical thinking and responsibility. It also looked at what process was involved in order to integrate peer assessment into the subject, and what kind of support was needed to achieve this. Results suggested that students saw themselves as agents of their own assessment activities by taking control of assessment, and that having to think critically about other student performances made them reflect on how effective their own performances were

Learning contemporary P\u27ansori pieces by Atherton and Lee: a performer\u27s perspective

This collection of essays published by the Australian Music Centre tackles an often mentioned but surprisingly little analysed topic. Music of the Spirit - Asian-Pacific Musical Identity consists of 18 refereed papers by prominent composers, artists and academics. The subjects of individual essays range from the use of Asian-Pacific musics in composition in the primary school classroom, to reinterpreting shakuhachi traditions in a contemporary music context. There are also many analytical articles focusing on specific works by Australian composers, including Ross Edwards, Clare Maclean and Andrián Pertout, as well as texts written from a performer\u27s perspective. The essays in Music of the Spirit were written as part of a practice-based research project of the same name, realised in collaboration with the Aurora Festival 2008. The collection was edited by Bruce Crossman and Michael Atherton of the University of Western Sydney

Songs of Transience (Op.29 )

THE BOURBAKI ENSEMBLE songs from south and north: music for voice and strings Elgar Serenade for String Orchestra Delius Late Swallows Nielsen Bøhmisk–Dansk Folketone Svendsen Two Swedish Folk Melodies Bull S¨aterjentens Søndag Dixon Songs of Transience Lotte Latukefu, mezzo–soprano David Angell, conducto

The case studies: CHAT in use - Case study 13.1 Designing an effective undergraduate vocal pedagogy environment: A case of cultural-historical activity approach in a singing course

This chapter draws on six case studies of pedagogy with technology in Higher Education. The studies are chosen because they illustrate how the use of technology impacts on pedagogy in these contexts. While the cases are drawn from different levels of higher education (undergraduate to postgraduate) they are woven together by a shared framework: namely, the use of CHAT to explore pedagogical innovation with technology. One of the significant strengths of CHAT, all studies will argue, lies in its ability to situate goal-directed action within the larger context of a motive-directed activity. That is, its explanatory power lies in situating pedagogy (in the instances reported here) socially, taking it out of the realm of the teacher I student dyad to enable a more nuanced understanding of how learning actually happens as a complex activity

The constructed voice: a socio-cultural approach to teaching and learning singing

The present research study begins addressing the lack of empirical and systematic research on how students develop singing skills in an environment that is not the traditional one-to-one learning model. This study provides a conceptual explanation of how students learn singing in a socio-cultural environment by connecting theoretical and methodological considerations to the design of the teaching environment. Socio-cultural theories were incorporated into the design of a singing class environment that encouraged self-regulated learners who learn from social interaction with each other. The study also documents what kinds of strategies students develop as they try and understand the complex act of singing. It provides evidence supporting the theory that students benefit from the type of environment a socio-cultural approach provides. This includes peer interaction, reflection, introduction of scientific concepts concerning the voice and a philosophy of co-construction of learning with the teacher. The research used a qualitative approach, which endeavors to make sense of, understand and interpret the data. To capture the developmental nature of this pedagogical project, and the context in which it was carried out a design-based development research methodology was employed. Central to this approach was the flexibility of the design and capturing social interaction. Teaching strategies underpinned by Vygotsky’s theories of learning, were introduced into the course over a number of years. These strategies were evaluated and a variety of data types were analysed in order to address issues of trustworthiness of data, credibility of interpretation and believability of account. These data types included student and teacher reflective journals, surveys, focus groups and subject and teacher evaluations. The introduction of design-based research methodology into the field of singing offers a means with which other singing researchers can develop models of singing that are grounded in educational theories of learning. Finally educational principles emerged from the study that are transferrable to a similar context and can be used by teachers as part of curriculum renewal and review

Breaking through the frames of custom: A socio-cultural approach to learn singing

This volume draws together leading researchers and practitioners in voice pedagogy in Australia. The collection is designed to be an ongoing resource for singing teachers, and the publication is aligned with the Australian National Association of Teachers of Singing. The book serves as a snapshot of work in the field, and encompasses voice science, studio pedagogy and the role of the performer-teacher. It transcends genre boundaries and includes chapters on opera, music theatre, choral music, jazz, worship singing and cabare