Thank you for your interest in our workshop. This post houses information about the workshop, contact information for the presenters and our list of references.
Title: Master-less classes: Alternative models and learning outcomes in recurring studio masterclasses
Date: Thursday, Nov. 7, 2024
Location: College Music Society National Conference, Washington, D.C., USA
Presenters: Dr. Aaron Hodgson (ahodgson@uwo.ca), Gustavo Jimenez Pereira (gperei2@uwo.ca), Western University
References
Burwell, K. (2013). Apprenticeship in music: A contextual study for instrumental teaching and learning. International Journal of Music Education, 31(3), 276–291. https://doi.org/10.1177/0255761411434501
Burwell, K., Carey, G., & Bennett, D. (2017). Isolation in studio music teaching: The secret garden. Arts and Humanities in Higher Education, 18(4), 372–394. https://doi.org/10.1177/1474022217736581
Carlini Zorzal, R., & da Costa Coimbra, D. (2019). Mapping musical instrument master classes: A quantitative survey on teacher-studentperformance relationship within this teaching format: Mapeando master classes em instrumento musical: Um olhar quantitativo sobre as relações entre professor, aluno e performance nesse formato de ensino. Revista Música Hodie, 19, 1–14. https://doi.org/10.5216/mh.v19.52801
Creech, A., Gaunt, H., Hallam, S., & Robertson, L. (2009). Conservatoire students’ perceptions of Master Classes. British Journal of Music Education, 26(3), 315–331. https://doi.org/10.1017/S026505170999012X
Haddon, E. (2014). Observational learning in the music masterclass. British Journal of Music Education, 31(1), 55–68. https://doi.org/10.1017/S0265051713000223
Hanken, I. M. (2015). Listening and learning in a master class. Music Education Research, 17(4), 453–464. https://doi.org/10.1080/14613808.2014.930121
Hanken, I. M. (2017). The Role and Significance of Masterclasses in Creative Learning. In J. Rink, H. Gaunt, & A. Williamon (Eds.), Musicians in the Making: Pathways to Creative Performance. Oxford University Press.
Jørgensen, H. (2000). Student learning in higher instrumental education: Who is responsible? British Journal of Music Education, 17(1), 67–77. https://doi.org/10.1017/S0265051700000164
Long, M. (2013). Exploring Cognitive Strategies and Collaboration in Master Class Settings. In H. Gaunt & H. Westerlund (Eds.), Collaborative learning in higher music education (pp. 135–149). Ashgate.
Long, M., Creech, A., Gaunt, H., & Hallam. (2014). Conservatoire students’ experiences and perceptions of instrument-specific master classes. Music Education Research, 16(2), 176–192. https://doi.org/10.1080/14613808.2013.859659
Long, M., Creech, A., Gaunt, H., Hallam, S., & Robertson, L. (2012). Blast from the past: Conservatoire students’ experiences and perceptions of public master classes. Musicae Scientiae, 16(3), 286–306. https://doi.org/10.1177/1029864912458848
Long, M., Gaunt, H., Hallam, S., & Creech, A. (2011). Mapping master classes: Format, content and style. Higher Education Academy. https://www.academia.edu/download/30791296/mapping-masterclasses.pdf
Westney, W. (2003). The un-masterclass: Rethinking a tradition. In The perfect wrong note: Learning to trust your musical self (pp. 106–118). Amadeus Press.