Show simple item record

dc.contributor.convenorMichael Hannan
dc.contributor.authorCarey, Gemma
dc.contributor.editorMichael Hannan
dc.date.accessioned2017-05-03T12:17:14Z
dc.date.available2017-05-03T12:17:14Z
dc.date.issued2010
dc.date.modified2011-06-20T06:47:39Z
dc.identifier.refuriwww.isme.org
dc.identifier.urihttp://hdl.handle.net/10072/37163
dc.description.abstractStudent performance matters. While this is true across the entire spectrum of education, it is especially true for Conservatoire students. The ability to triumph in performative events - recitals, concerts, competitions - is the unequivocal marker of an excellent Conservatoire student, and by implication, the marker of excellent teaching of that student in their chosen place of learning. The excellent teacher, who 'produced' the excellent student, certainly in the logic of the traditional Conservatoire, is presumed to be one who is expert in introducing the student apprentice into the mysteries, rigours and pleasures of excellent performance by being themselves an excellent musical practitioner - a model of what it means to perform at the highest level. What follows in this paper is not a rejection of the value of performance or the value of master-apprentice pedagogy, but a reflection on the extent to which learning and performing may in fact stand in opposition to each other, particularly when performance is deemed to be the only measure of a successful education. I would like to highlight some recent research and scholarship that opens up this idea more fully, in order to understand what the implications might be for academic teaching in the Conservatoire and make a case that 'master-apprentice' teaching might take its place in a more diverse field of pedagogical practice rather than dominating that field.
dc.description.peerreviewedYes
dc.description.publicationstatusYes
dc.format.extent260217 bytes
dc.format.mimetypeapplication/pdf
dc.languageEnglish
dc.language.isoeng
dc.publisherInternational Society for Music Education (ISME)
dc.publisher.placeNedlands, Western Australia
dc.publisher.urihttps://www.isme.org/other-publications/ceprom-proceedings-2010
dc.relation.ispartofstudentpublicationN
dc.relation.ispartofconferencenameThe Musician in Creative and Educational Spaces of the 21st Century
dc.relation.ispartofconferencetitleThe Musician in Creative and Educational Spaces in the 21st Century. Proceedings from the 18th International Seminar of the Commission for the Education of the Professional Musician (CEPROM)
dc.relation.ispartofdatefrom2010-07-27
dc.relation.ispartofdateto2010-07-30
dc.relation.ispartoflocationShanghai, China
dc.rights.retentionY
dc.subject.fieldofresearchEducation not elsewhere classified
dc.subject.fieldofresearchcode139999
dc.titlePerformance or learning? Reflections on pedagogical practices within the Conservatoire
dc.typeConference output
dc.type.descriptionE1 - Conferences
dc.type.codeE - Conference Publications
gro.facultyArts, Education & Law Group, Queensland Conservatorium
gro.rights.copyright© 2010 ISME. The attached file is posted here with permission of the copyright owner for your personal use only. No further distribution permitted. For information about this conference please refer to the publisher's website or contact the author.
gro.date.issued2010
gro.hasfulltextFull Text
gro.griffith.authorCarey, Gemma M.


Files in this item

This item appears in the following Collection(s)

  • Conference outputs
    Contains papers delivered by Griffith authors at national and international conferences.

Show simple item record