Trumpet performance reflection
Follow-up readings we really like
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. Available to read online through Western Libraries.
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
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. Available to read online through Western Libraries.
Bibliography
Bandura, A. (1977). Social learning theory. Prentice-Hall.
Bandura, A. (1986). Social foundations of thought and action: A social cognitive theory. Prentice-Hall.
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
Daniel, R. J., & Parkes, K. A. (2015). Assessment and critical feedback in the master-apprentice relationship: Rethinking approaches to the learning of a music instrument. Assessment in Music Education: From Policy to Practice, 107–124.
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.
Jorgensen, E. R. (1995). Music Education as Community. Journal of Aesthetic Education, 29(3), 71–84. https://doi.org/10.2307/3333542
Lebler, D., Carey, G., & Harrison, S. D. (Eds.). (2015). Assessment in critical feedback in the master-apprentice relationship: Rethinking approaches to the learning of a music instrument. In Assessment in Music Education: From Policy to Practice (Vol. 16, pp. 107–124). Springer International Publishing. https://doi.org/10.1007/978-3-319-10274-0
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
Nielsen, K., & Kvale, S. (1997). Current issues of apprenticeship. Nordisk Pedagogik, 17(3), 160–169.
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.