Desert Skies: Innovation in recurring studio music masterclasses

Thank you for attending our presentation!

Click here for a copy of our slides.

Bibliography

Aho, H. (2013). “I Listen, I Hear, I Understand”: Students’ Collaborative Search for Criteria to Empower Constructive Feedback in Classical Piano Performance. In H. Westerlund (Ed.), Collaborative learning in higher music education. Ashgate.

Atkinson, P., Watermeyer, R., & Delamont, S. (2013). Expertise, authority and embodied pedagogy: Operatic masterclasses. British Journal of Sociology of Education, 34(4), 487–503. http://dx.doi.org/10.1080/01425692.2012.723868

Bandura, A. (1977). Social learning theory. Prentice-Hall.

Biggs, J. (1996). Enhancing teaching through constructive alignment. Higher Education, 32(3), 347–364. https://doi.org/10.1007/BF00138871

Bjøntegaard, B. J. (2015). A combination of one-to-one teaching and small group teaching in higher music education in Norway – a good model for teaching? British Journal of Music Education, 32(1), 23–36. https://doi.org/10.1017/S026505171400014X

Bloom, B. S., & Sosniak, L. A. (1985). Developing talent in young people (1st ed.). Ballantine Books.

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

Campbell, P. S., Myers, D., & Sarath, E. (2016). Transforming Music Study from Its Foundations: A Manifesto for Progressive Change in the Undergraduate Preparation of Music Majors. College Music Symposium, 56, 1–22.

Carey, G., Grant, C., McWilliam, E., & Taylor, P. (2013). One-to-one pedagogy: Developing a protocol for illuminating the nature of teaching in the conservatoire. International Journal of Music Education, 31(2), 148–159. https://doi.org/10.1177/0255761413483077

Carey, T. L. (2010). A Look at the Studio Class: An Efficient Use of Time. American String Teacher, 60(2), 32–35. https://doi.org/10.1177/000313131006000222

Cosby, L. L. (2011). Master classes for the high school private studio. Journal of Singing, 68(2), 195–198.

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

Duke, R. A., & Simmons, A. L. (2006). The Nature of Expertise: Narrative Descriptions of 19 Common Elements Observed in the Lessons of Three Renowned Artist-Teachers. Bulletin of the Council for Research in Music Education, 170, 7–19. JSTOR.

Gaunt, H. (2008). One-to-one tuition in a conservatoire: The perceptions of instrumental and vocal teachers. Psychology of Music. https://doi.org/10.1177/0305735607080827

Gaunt, H., & Westerlund, H. (Eds.). (2013). Collaborative learning in higher music education. Ashgate.

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. (2016). Peer learning in specialist higher music education. Arts and Humanities in Higher Education, 15(3–4), 364–375. https://doi.org/10.1177/1474022216647389

Helding, L. (2010). Master class syndrome. Journal of Singing, 67(1), 73–79.

Jorgensen, E. R. (1995). Music Education as Community. Journal of Aesthetic Education, 29(3), 71–84. https://doi.org/10.2307/3333542

Knecht, M. (2024). Developing a studio/group class toolbox of ideas for advanced string students: Best Practices of Master Teachers. American String Teacher, 74(4), 17–24. https://doi.org/10.1177/00031313241282765

Lave, J., & Wenger, E. (1991). Situated Learning: Legitimate Peripheral Participation. Cambridge University Press. https://doi.org/10.1017/cbo9780511815355

Long, M., Creech, A., Gaunt, H., & Hallam, S. (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 (p. 183). Guildhall School of Music & Drama. https://www.academia.edu/download/30791296/mapping-masterclasses.pdf

Long, M., Hallam, S., Creech, A., Gaunt, H., & Robertson, L. (2012). Do prior experience, gender, or level of study influence music students’ perspectives on master classes? Psychology of Music, 40(6), 683–699. https://doi.org/10.1177/0305735610394709

Mitchell, H., & Benedict, R. (2017). The moot audition: Preparing music performers as expert listeners. Research Studies in Music Education, 39(2), 195–208. https://doi.org/10.1177/1321103X17709631

Myers, D. E., Campbell, P. S., & Sarath, E. W. (2016). Redefining Music Studies in an Age of Change: Creativity, Diversity, and Integration. Taylor and Francis. https://doi.org/10.4324/9781315649160

Ramsay, M., & Wong, T. (2023). Creating and Supporting Student Leadership Opportunities. The Canadian Music Educator, 65(2), 28–32.

Sætre, J. H., & Zhukov, K. (2021). Let’s play together: Teacher perspectives on collaborative chamber music instruction. Music Education Research, 23(5), 553–567. https://doi.org/10.1080/14613808.2021.1979499

Schön, D. A. (1987). Educating the reflective practitioner: Toward a new design for teaching and learning in the professions (1st ed.). Jossey-Bass.

Taylor, A. (2010). Participation in a master class: Experiences of older amateur pianists. Music Education Research, 12(2), 199–217. https://doi.org/10.1080/14613801003746576

Wang, H. (2018). The Application of Flipped Classroom in Colleges and Universities Piano Collective Classes. Creative Education, 9(7), Article 7. https://doi.org/10.4236/ce.2018.97075

Zhukov, K., & Sætre, J. H. (2022). “Play with me”: Student perspectives on collaborative chamber music instruction. Research Studies in Music Education, 44(1), 205–218. https://doi.org/10.1177/1321103X20974804