REFERENCE No. RES-139-25-0101 Learning to Perform: instrumentalists a - PDF document

REFERENCE No. RES-139-25-0101 Learning to Perform: instrumentalists and instrumental teachers Dr Janet Mills, the Principal Investigator of Learning to Perform, died after a courageous battle with illness on 24 December 2007. This report is written on her behalf by Rosie Perkins, Research Officer, in consultation with Dr Jeremy Cox, Dean of the Royal College of Music. achievement (Allard and Starkes, 1991), expertise theory (Ericsson and Smith, 1991) can have limited impact on educational practice. In music, for example, students and teachers traditions of deliberate practice in genres of music such as western classical and popular, and interested in enhancing the quality of students learning (Mills, 2002). While expertise researchers have proposed general theoretical models that can be applied in many fields, Learning to Perform has the enhancement of music performance (Williamon, 2004) established the need to look situated learning (Lave and Wenger, 1991) to research teaching and learning at first longitudinal UK project to address the development of musical expertise through such a lens. It is also the first to place emphasis on student experience and outcomes.Situating the project within broader educational research, the theoretical and conceptual it sought to work from the data in order to reach new understandings that reflect the situated nature of learning, drawing on other research to inform this process. In particular, Bransford and Browns (2000) conceptualisation of expertise as tied with to learning was employed, encouraging the research to move beyond the notion of expertise as solely skill-based. Secondly, Fuller and Unwins (2003) concept learning experiences and outcomes that arise from education as a musician. Given participation in multiple communities of practice inside and outside the formal educational setting; opportunities to extend identity through boundary crossing (Fuller & REFERENCE No. RES-139-25-0101 The objectives of Learning to Perform were redefined following ESRCs division of the project into two work packages in February 2006 (see Activities and Achievement comparisons between musicians of different genres. While the original project objectives were changed as little as possible, the following implications were unavoidable: Comparative work across musical genres was transferred from Learning to in-depth study of western classical musicians at the RCM. For this reason, all exploration of popular, jazz, private practice and Scottish traditional musicians was removed from package one, and the objectives relate to western classical The Learning to Perform project team was substantially reduced. Expertise in interventions such as neuroscience and mental skills training was not included in package one, and this element of the project ceased as of February 2006. The main aim of the original project … to enhance the learning outcomes of music performance students and their teachers, and other learners … remained unchanged, and Objective one was addressed and met through quantitative research with a total of 276 students and longitudinal qualitative research with 31 students (117 in-depth interviews). As per the Package 1 proposal submitted in February 2006. . To clarify (through observation, interview, questionnaire and the results of routine institutional assessments) how students studying western classical music learn to be performers, as a result of personal qualities, instruction, practice and engagement in a learning culture How do classical musicians learn (in terms of process and outcomes) through instrumental tuition, and through engagement with a learning culture? How and why does this learning ebb and flow over courses of up to 4 years? education, teaching in higher education, or study that is concurrent with professional c) How and why does learning change when musicians graduate, and continue their instrumental studies through private lessons? d) In what ways do professional performers report that their performance is enhanced through their experience of teaching? REFERENCE No. RES-139-25-0101 Objective two was addressed and met through qualitative research within Learning to Perform, combined with complimentary RCM research with music teachers in higher Objective three was addressed and met through qualitative research with the 31 focus students, triangulated with quantitative data and institutionally held assessment scores. Conservatorium Griffith University allowed us to compare our sample with western Objective four was addressed and met through the 11 full-day advisory group meetings, at which representatives of visual art (2004-2005), mathematics (2004-2008) and sports expertise. A small scale comparative study with mathematics students was also conducted. See section 4.4. The research was conducted with two cohorts of RCM students, across two strands of interventions that are derived from recent research projects at the Royal College of Music, devised specially, or derived from provision in other institutions f) How do specially devised educational interventions, and interventions drawn from another setting, or another music, enhance learning? g) How can instrumental learning in HE be improved? . To address the application of the research findings to expertise in fields h) What can we say about the theory of how expertise develops within, and also well beyond, music? REFERENCE No. RES-139-25-0101 Preliminary 2004-2005 2005-2006 2006-2007 Cohort 2004 (entered RCM in 2004) Pre-course Q BMus Y1 Postgraduate Cohort 2002 (entered RCM in 2002) BMus Y2 Into profession Strand 0 Quantitative Strand 1 Qualitative I1 I2 I3 I4 I5 I6 I7 I8 I9 Figure 1: Learning to Perform research design Strand 0 provided an overarching longitudinal strand, comprising a total of 276 reference item to explore students musical history and a specially-designed item to explore students identity. Aspects of this questionnaire have since been applied in three Australian music contexts and one American context. Q2 was built from iterative analysis of Strand 1 qualitative data, exploring students musical confidence, perceptions of their learning institution, self-efficacy and preferred teaching styles. The items were subjected to factor and content analysis and revised accordingly for Q4 and Q6. two cohorts. A total of 117 semi-structured interviews were conducted across the students. Each interview was recorded with permission and fully transcribedthe pre-course questionnaire), career aims, identity, short-term (termly) and longer-term (yearly) plans. As the project progressed, interviews were used to explore emergent themes. Strand 1 also included unstructured observation of focus students lessons, and Recruitment and retention of participants posed a challenge to the project, not least capacity became an early focus of the research, with multiple strategies being employed to encourage participation. Research instruments were designed to give students a voice, to test existing instruments but rather to explore the emic voice of students. Teachers across the UK were drawn into the early stages of the project through a special issue of the British Journal of Music Education authored by instrumental teachers in higher education and edited by the Principal Investigator of Learning to Perform. 276 was the total number of students involved over the seven questionnaires (pre-course questionnaire and Q1-Q6). The sample size for each individual questionnaire varies within this figure. With the exception of 25 interviews, which were partially transcribed. Q: Questionnaire, I: Interview REFERENCE No. RES-139-25-0101 Analysis was conducted iteratively throughout the project, allowing the team to build, project was praised by the external evaluator, Professor Jonathan Stephens, as allowing a as well as through factor analyses, t-tests and correlations. Coding was applied as considered necessary (i.e. to categorise hopes and fears) but was not regarded as the only way to analyse qualitative data; narrative was also used to express individual stories. Learning to Perform was conducted in accordance with the British Educational Research Associations Ethical Guidelines (2004). Participants were fully briefed before participating in the research, and were able to withdraw without reason or implication at any point. All data is stored anonymously in qualitative and quantitative datasets, and pseudonyms are always used. No unexpected ethical issues arose from the project. There are three key findings from Learning to Perform (see figure 2), each of which are Figure 2: key findings As the research progressed, it became clear that learning to perform also encompassed learning to be a musician. To separate the performance expertise development of career as a musician was not only ecologically valid but expanded the potential impacts of the project. To do so also fitted within current debate within the international Results comprising key finding one, then, are derived from three areas: students musical history, learning through a conservatoire education, and professional aspirations. Key finding 1: Learning to perform requires a complex balance between breadth and depth of learning. Musical expertise is not achieved solely through narrowing of focus Key finding 2: The transition from school to conservatoire is challenging. Student experience in the first term is crucial in establishing a positive learning trajectory from day Key finding 3: Conservatoire students expect and hope for a broad career. Students teach others while in higher education, and report that this enhances their own performance and career preparation REFERENCE No. RES-139-25-0101 4.1.1 Students musical history most frequently cited positive event in the students musical development is the first While students begin learning their current specialism at the average age of eight, some begin much later and some much earlier. The majority of students have engaged in two or more musical specialisms in the course of their musical development. Family characterise students musical development. Conservatoire students tend to have had positive musical histories, and do not Students are influenced by instrumental lessons and teacher. reflect the broad range of activities that they feel they engage in. professional aspiration. Instrumental teachers are eminent performers/composers and students aim to work in music (see 4.1.3). There are tensions within the learning Students who score highly in their music A level are more likely to score highly in their final degree classification than those who score highly in their performance-based audition for the conservatoire. This indicates that the broad skills required for A-level Students continue to place emphasis on the importance of their one-to-one instrumental lessons. Students like their instrumental teachers to be passionate about high expectations of them, to teach them how to think/learn independently and to At Queensland Conservatorium Griffith University (QCGU) REFERENCE No. RES-139-25-0101 encourage them to discuss their own musical ideas. Females prefer their teacher to Students display both in-depth learning (concentrated practice/instruction) and Crucially, broad learning leads to new approaches to in-depth learning. Students seeking musical expertise should be encouraged to pursue diverse activities alongside and within their specialism that will help them create their own expansive learning environment. or working as teachers, and most students aim to work in more than one activity in their Students have mixed views on what success is for a musician, but recognise that the music profession is competitive. Musicians are under pressure from early in their By their third year of study, music students are broadening their perspectives and beginning to look at a career in music that does not solely comprise performance. The transition from school to conservatoire is challenging, with students frequently reporting feeling like a small fish in a big pond. The transition forces many students to but express anxiety about the high standards that such an environment will demand. central to students ongoing positive development. The first term is central to ensuring that students establish a positive learning REFERENCE No. RES-139-25-0101 in developing a broad identity as a musician and in redefining and widening their teachers. 55% of the first year students teach, or have taught, their instrument to others. Conservatoire students look forward to including work as an instrumental teacher in their portfolio career. Females in particular have a positive … and contemporary … Participating as an instrumental teacher links with effective preparation for a career teaching others enhances their own technique and practice skills as developing performers, and encourages a self-sufficient approach to learning. There are no significant differences in assessment scores between those who have and those who have Alumni returning to the conservatoire as instrumental teachers notably shift their Engaging in conversation with alumni provided students with real life experience expertise. Students engage in activities outside music in order to enhance their academic musical work is irrelevant to them. Female students are more likely to engage in expansive practices. RCM students emerge as more expansive than their peers in a similar Four focus students were trained and employed as student researchers on the Working in Music project, which has explored the careers of 1300 conservatoire alumni. [I aim to] do as much as possible to prepare myself for a career in music because having worked in the research project, I realise how difficult that is. [Researcher: do you think you learned a lot from the research project?] Very much, yes, and somebody actually commented on it and said, 'It just gets very different talking to you compared to the other first year violinists because they all go around saying that they are going to be professional soloists, whereas you kind of go … In order to do this I need to get to know this person and talk to him a bit and maybe I will get these contacts. So I think I am more realistic about what to expectŽ (First year violinist, December 2004) REFERENCE No. RES-139-25-0101 Students develop their own ways of enhancing their expertise. This is strengthened through opportunities to teach others and to engage with alumni. allow students to develop the professional skills that they need, at the time that they feel they need them. 4.4 Applying research findings to expertise in fields other than music (objective The results reported in sections 4.1-4.3 have been collated to shape an emergent model of musical expertise. While high-quality deliberate practice and instrumental teaching are essential to learning to perform, they do not explain musical expertise fully. Rather, breadth of learning. Successful development of musical expertise may be about knowing when to focus on depth and knowing when to focus on breadth, both of which can be musician and forge a successful career, and should not be separated from this. Learning to Perform challenges the notion that musical expertise is best developed through an intensive and narrow focus of attention (see figure 3). Throughout the project the findings were critiqued by specialists outside of music. While resonated with the subject specialists on the advisory group, and imply the need for further exploration of the role of breadth in developing expertise in any specialism. Expansive approach to breadth and depth processes and curriculum Grounded, broad and flexible goals Figure 3: developing musical expertise REFERENCE No. RES-139-25-0101 students in other disciplines who need to hone precise skills while at the same time 5. Activities Since March 2004, 28 project papers have been presented at 21 national and international conferences. Papers have been given in the UK, Norway, Portugal, Brazil, Malaysia, Hanoi, Italy, USA and Australia. Comparative work with institutions in of the ESRCs Social Science Week. The event included performances by four Learning students and a question and answer session. Approximately 50 people attended; of those who completed the evaluation form, 94% were very satisfied with the overall event. Learning to Perform was a participant project for the TLRP Virtual Research Learning to Perform participated fully in the Research Capacity Building Networks events. The Research Officer was invited to form part of a group of contract researchers that informed the RCBNs programme in August 2004, facilitated at the conference for early career researchers in December 2004 and attended the early career researcher conference in February 2007. In November 2004, the Royal College of Music hosted a The project hosted two Open Meetings for users in 2004. Subsequent engagement with users was linked to the seminar series Music Education: Research, Policy, Practice. Eight seminars were held during the period of the award, attracting delegates including school teachers, research students, music students, performing musicians, academic researchers, and figures from the music industry. Representatives brought into the Music; DCSF; ViVA; the Association of British Orchestras; Musical Futures; the Music Schools of Music; Yamaha Kemble Music Ltd.; The Dalcroze Society, Wigmore Hall, Royal Philharmonic Orchestra, the Sage Gateshead, Spitalfields Festival, and the Royal Opera House. also Annex 1). Publications targeted at an academic readership have included music-Educational Research JournalCENTRELINK, the magazine of the centre for education and industry, Becoming a musician video … REFERENCE No. RES-139-25-0101 to be hosted on the ESRC website, , Learning to Perform Research Briefing and Outputs Posterthe award: Music in the School (Oxford University Press, 2005) and Instrumental a music conservatoire. examining the attributes of commencing conservatoire students. International Out in the Real World: International Perspectives on the Working Lives of Classically trained Musicians. Quantitative and qualitative datasets (117 in-depth interviews) have been offered for deposit with the Economic and Social Data Service.performers, teachers, other musicians, students, music industries, policy makers and action plans geared towards realising the RCMs Vision Statement 2017. This document RCM 2017 is a place where vocational and artistic elements are held in balance They benefit from musical inspiration, receive a learning experience that is genuinely transformative and undertake academic courses that add value, nourish They are encouraged to become self-critical, independent musical leaders, RCM Strategic Plan 2007-17. REFERENCE No. RES-139-25-0101 The College is currently formalising its approach to Quality Enhancement, placing at its between members of the Learning to Perform team and a teacher of Alexander collaboration is underway with the Course Leader of the Creative Leadership Project findings on the transition from school to conservatoire have informed The project has had links with DCSF since its inception. Project findings have been disseminated at the meeting of the Music and Dance Scheme Expert Panel and at the meeting for Music and Dance Centres for Advanced Training. The Research Briefing is the National Music Education Forum, the Executive of the Music Education Council, the Music Education: Research, Policy, Practice seminars (see section 5.5) and the National Association of Music Educators (NAME). The research briefing and website 7.4 Impact internationally Project findings are due to be disseminated at the Association of European the interviews made me voice out hopes, feelings, ambitions that would otherwise have remained unspoken. Interview after interview it made me think about what my aspirations or fears at a given point were. It then where I was heading to etc. In short it hasƒ made me be in touch with myself more. The effect of AT [Alexander Technique] plus LTP [Learning to Perform] was also to make me simply more open-minded … realizing how much one can benefit from integrating this type of work in ones practice and more importantly in ones lifeŽ. (Final year focus student, July 2008). REFERENCE No. RES-139-25-0101 Project findings have formed the basis of two chapters currently under review for an edited book (see section 6.3) aimed at preparing conservatoire students and early career musicians for their career. than music, in particular sports men and women, which aligns with the work of Developing expertise theory further to include, refine and continue to test the 5,000 words Allard, F. and Starkes, J. (1991) Motor-skill expertise in sports, dance and other domains. Toward a General Theory of Expertise: Prospects and Fuller, A. and Unwin, L. (2003) Learning as apprentices in the contemporary UK Mills, J. (2002) Conservatoire students' perceptions of the characteristics of effective Bulletin of the Council for Research in Music Education, Nerland, M. and Hanken, I. M. (2002) Academies of music as arenas for education: some (Oslo, Norges Musikhøgskole). Nielson, K. N. (2006) Apprenticeship at the Academy of Music, International Journal of Ritterman, J. (2000) Learning what it is to perform: a key to peer learning for musicians. Peer Learning in Music REFERENCE No. RES-139-25-0101 Creating a Land With Music: the Work, Education and Training of Professional Musicians in the 21st CenturyMusical excellence: strategies and techniques to enhance performance REFERENCE No. RES-139-25-0101 Learning to Perform: instrumentalists and instrumental teachers Dr Janet Mills, the Principal Investigator of Learning to Perform, died after a courageous battle with illness on 24 December 2007. This report is written on her behalf by Rosie Perkins, Research Officer, in consultation with Dr Jeremy Cox, Dean of the Royal College of Music. achievement (Allard and Starkes, 1991), expertise theory (Ericsson and Smith, 1991) can have limited impact on educational practice. In music, for example, students and teachers traditions of deliberate practice in genres of music such as western classical and popular, and interested in enhancing the quality of students learning (Mills, 2002). While expertise researchers have proposed general theoretical models that can be applied in many fields, Learning to Perform has the enhancement of music performance (Williamon, 2004) established the need to look situated learning (Lave and Wenger, 1991) to research teaching and learning at first longitudinal UK project to address the development of musical expertise through such a lens. It is also the first to place emphasis on student experience and outcomes.Situating the project within broader educational research, the theoretical and conceptual it sought to work from the data in order to reach new understandings that reflect the situated nature of learning, drawing on other research to inform this process. In particular, Bransford and Browns (2000) conceptualisation of expertise as tied with to learning was employed, encouraging the research to move beyond the notion of expertise as solely skill-based. Secondly, Fuller and Unwins (2003) concept learning experiences and outcomes that arise from education as a musician. Given participation in multiple communities of practice inside and outside the formal educational setting; opportunities to extend identity through boundary crossing (Fuller & REFERENCE No. RES-139-25-0101 The objectives of Learning to Perform were redefined following ESRCs division of the project into two work packages in February 2006 (see Activities and Achievement comparisons between musicians of different genres. While the original project objectives were changed as little as possible, the following implications were unavoidable: Comparative work across musical genres was transferred from Learning to in-depth study of western classical musicians at the RCM. For this reason, all exploration of popular, jazz, private practice and Scottish traditional musicians was removed from package one, and the objectives relate to western classical The Learning to Perform project team was substantially reduced. Expertise in interventions such as neuroscience and mental skills training was not included in package one, and this element of the project ceased as of February 2006. The main aim of the original project … to enhance the learning outcomes of music performance students and their teachers, and other learners … remained unchanged, and Objective one was addressed and met through quantitative research with a total of 276 students and longitudinal qualitative research with 31 students (117 in-depth interviews). As per the Package 1 proposal submitted in February 2006. . To clarify (through observation, interview, questionnaire and the results of routine institutional assessments) how students studying western classical music learn to be performers, as a result of personal qualities, instruction, practice and engagement in a learning culture How do classical musicians learn (in terms of process and outcomes) through instrumental tuition, and through engagement with a learning culture? How and why does this learning ebb and flow over courses of up to 4 years? education, teaching in higher education, or study that is concurrent with professional c) How and why does learning change when musicians graduate, and continue their instrumental studies through private lessons? d) In what ways do professional performers report that their performance is enhanced through their experience of teaching? REFERENCE No. RES-139-25-0101 Objective three was addressed and met through qualitative research with the 31 focus students, triangulated with quantitative data and institutionally held assessment scores. Conservatorium Griffith University allowed us to compare our sample with western Objective four was addressed and met through the 11 full-day advisory group meetings, at which representatives of visual art (2004-2005), mathematics (2004-2008) and sports expertise. A small scale comparative study with mathematics students was also conducted. See section 4.4. The research was conducted with two cohorts of RCM students, across two strands of interventions that are derived from recent research projects at the Royal College of Music, devised specially, or derived from provision in other institutions f) How do specially devised educational interventions, and interventions drawn from another setting, or another music, enhance learning? g) How can instrumental learning in HE be improved? . To address the application of the research findings to expertise in fields h) What can we say about the theory of how expertise develops within, and also well beyond, music? REFERENCE No. RES-139-25-0101 Preliminary 2004-2005 2005-2006 2006-2007 Cohort 2004 (entered RCM in 2004) Pre-course Q BMus Y1 BMus Y2 BMus Y3 Postgraduate study Cohort 2002 (entered RCM in 2002) BMus Y2 BMus Y3 BMus Y4 Into profession Strand 0 Quantitative 276 students Q1 Q2 Q3 Q4 Q5 Q6 Strand 1 Qualitative 31 students I1 I2 I3 I4 I5 I6 I7 I8 I9 Figure 1: Learning to Perform research design Strand 0 provided an overarching longitudinal strand, comprising a total of 276 reference item to explore students musical history and a specially-designed item to explore students identity. Aspects of this questionnaire have since been applied in three Australian music contexts and one American context. Q2 was built from iterative analysis of Strand 1 qualitative data, exploring students musical confidence, perceptions of their learning institution, self-efficacy and preferred teaching styles. The items were subjected to factor and content analysis and revised accordingly for Q4 and Q6. two cohorts. A total of 117 semi-structured interviews were conducted across the students. Each interview was recorded with permission and fully transcribedthe pre-course questionnaire), career aims, identity, short-term (termly) and longer-term (yearly) plans. As the project progressed, interviews were used to explore emergent themes. Strand 1 also included unstructured observation of focus students lessons, and Recruitment and retention of participants posed a challenge to the project, not least capacity became an early focus of the research, with multiple strategies being employed to encourage participation. Research instruments were designed to give students a voice, to test existing instruments but rather to explore the emic voice of students. Teachers across the UK were drawn into the early stages of the project through a special issue of the British Journal of Music Education authored by instrumental teachers in higher education and edited by the Principal Investigator of Learning to Perform. 276 was the total number of students involved over the seven questionnaires (pre-course questionnaire and Q1-Q6). The sample size for each individual questionnaire varies within this figure. With the exception of 25 interviews, which were partially transcribed. Q: Questionnaire, I: Interview REFERENCE No. RES-139-25-0101 Analysis was conducted iteratively throughout the project, allowing the team to build, project was praised by the external evaluator, Professor Jonathan Stephens, as allowing a as well as through factor analyses, t-tests and correlations. Coding was applied as considered necessary (i.e. to categorise hopes and fears) but was not regarded as the only way to analyse qualitative data; narrative was also used to express individual stories. Learning to Perform was conducted in accordance with the British Educational Research Associations Ethical Guidelines (2004). Participants were fully briefed before participating in the research, and were able to withdraw without reason or implication at any point. All data is stored anonymously in qualitative and quantitative datasets, and pseudonyms are always used. No unexpected ethical issues arose from the project. There are three key findings from Learning to Perform (see figure 2), each of which are Figure 2: key findings As the research progressed, it became clear that learning to perform also encompassed learning to be a musician. To separate the performance expertise development of career as a musician was not only ecologically valid but expanded the potential impacts of the project. To do so also fitted within current debate within the international Results comprising key finding one, then, are derived from three areas: students musical history, learning through a conservatoire education, and professional aspirations. Key finding 1: Learning to perform requires a complex balance between breadth and depth of learning. Musical expertise is not achieved solely through narrowing of focus Key finding 2: The transition from school to conservatoire is challenging. Student experience in the first term is crucial in establishing a positive learning trajectory from day Key finding 3: Conservatoire students expect and hope for a broad career. Students teach others while in higher education, and report that this enhances their own performance and career preparation REFERENCE No. RES-139-25-0101 4.1.1 Students musical history most frequently cited positive event in the students musical development is the first While students begin learning their current specialism at the average age of eight, some begin much later and some much earlier. The majority of students have engaged in two or more musical specialisms in the course of their musical development. Family characterise students musical development. Conservatoire students tend to have had positive musical histories, and do not Students are influenced by instrumental lessons and teacher. reflect the broad range of activities that they feel they engage in. professional aspiration. Instrumental teachers are eminent performers/composers and students aim to work in music (see 4.1.3). There are tensions within the learning Students who score highly in their music A level are more likely to score highly in their final degree classification than those who score highly in their performance-based audition for the conservatoire. This indicates that the broad skills required for A-level Students continue to place emphasis on the importance of their one-to-one instrumental lessons. Students like their instrumental teachers to be passionate about high expectations of them, to teach them how to think/learn independently and to At Queensland Conservatorium Griffith University (QCGU) REFERENCE No. RES-139-25-0101 encourage them to discuss their own musical ideas. Females prefer their teacher to Students display both in-depth learning (concentrated practice/instruction) and Crucially, broad learning leads to new approaches to in-depth learning. Students seeking musical expertise should be encouraged to pursue diverse activities alongside and within their specialism that will help them create their own expansive learning environment. or working as teachers, and most students aim to work in more than one activity in their Students have mixed views on what success is for a musician, but recognise that the music profession is competitive. Musicians are under pressure from early in their By their third year of study, music students are broadening their perspectives and beginning to look at a career in music that does not solely comprise performance. The transition from school to conservatoire is challenging, with students frequently reporting feeling like a small fish in a big pond. The transition forces many students to but express anxiety about the high standards that such an environment will demand. central to students ongoing positive development. The first term is central to ensuring that students establish a positive learning REFERENCE No. RES-139-25-0101 in developing a broad identity as a musician and in redefining and widening their teachers. 55% of the first year students teach, or have taught, their instrument to others. Conservatoire students look forward to including work as an instrumental teacher in their portfolio career. Females in particular have a positive … and contemporary … Participating as an instrumental teacher links with effective preparation for a career teaching others enhances their own technique and practice skills as developing performers, and encourages a self-sufficient approach to learning. There are no significant differences in assessment scores between those who have and those who have Alumni returning to the conservatoire as instrumental teachers notably shift their Engaging in conversation with alumni provided students with real life experience expertise. Students engage in activities outside music in order to enhance their academic musical work is irrelevant to them. Female students are more likely to engage in expansive practices. RCM students emerge as more expansive than their peers in a similar Four focus students were trained and employed as student researchers on the Working in Music project, which has explored the careers of 1300 conservatoire alumni. [I aim to] do as much as possible to prepare myself for a career in music because having worked in the research project, I realise how difficult that is. [Researcher: do you think you learned a lot from the research project?] Very much, yes, and somebody actually commented on it and said, 'It just gets very different talking to you compared to the other first year violinists because they all go around saying that they are going to be professional soloists, whereas you kind of go … In order to do this I need to get to know this person and talk to him a bit and maybe I will get these contacts. So I think I am more realistic about what to expectŽ (First year violinist, December 2004) REFERENCE No. RES-139-25-0101 Students develop their own ways of enhancing their expertise. This is strengthened through opportunities to teach others and to engage with alumni. allow students to develop the professional skills that they need, at the time that they feel they need them. 4.4 Applying research findings to expertise in fields other than music (objective The results reported in sections 4.1-4.3 have been collated to shape an emergent model of musical expertise. While high-quality deliberate practice and instrumental teaching are essential to learning to perform, they do not explain musical expertise fully. Rather, breadth of learning. Successful development of musical expertise may be about knowing when to focus on depth and knowing when to focus on breadth, both of which can be musician and forge a successful career, and should not be separated from this. Learning to Perform challenges the notion that musical expertise is best developed through an intensive and narrow focus of attention (see figure 3). Throughout the project the findings were critiqued by specialists outside of music. While resonated with the subject specialists on the advisory group, and imply the need for further exploration of the role of breadth in developing expertise in any specialism. Expansive approach to breadth and depth processes and curriculum Grounded, broad and flexible goals Identity formation Figure 3: developing musical expertise REFERENCE No. RES-139-25-0101 students in other disciplines who need to hone precise skills while at the same time 5. Activities Since March 2004, 28 project papers have been presented at 21 national and international conferences. Papers have been given in the UK, Norway, Portugal, Brazil, Malaysia, Hanoi, Italy, USA and Australia. Comparative work with institutions in of the ESRCs Social Science Week. The event included performances by four Learning students and a question and answer session. Approximately 50 people attended; of those who completed the evaluation form, 94% were very satisfied with the overall event. Learning to Perform was a participant project for the TLRP Virtual Research Learning to Perform participated fully in the Research Capacity Building Networks events. The Research Officer was invited to form part of a group of contract researchers that informed the RCBNs programme in August 2004, facilitated at the conference for early career researchers in December 2004 and attended the early career researcher conference in February 2007. In November 2004, the Royal College of Music hosted a The project hosted two Open Meetings for users in 2004. Subsequent engagement with users was linked to the seminar series Music Education: Research, Policy, Practice. Eight seminars were held during the period of the award, attracting delegates including school teachers, research students, music students, performing musicians, academic researchers, and figures from the music industry. Representatives brought into the Music; DCSF; ViVA; the Association of British Orchestras; Musical Futures; the Music Schools of Music; Yamaha Kemble Music Ltd.; The Dalcroze Society, Wigmore Hall, Royal Philharmonic Orchestra, the Sage Gateshead, Spitalfields Festival, and the Royal Opera House. also Annex 1). Publications targeted at an academic readership have included music-Educational Research JournalCENTRELINK, the magazine of the centre for education and industry, Becoming a musician video … REFERENCE No. RES-139-25-0101 to be hosted on the ESRC website, , Learning to Perform Research Briefing and Outputs Posterthe award: Music in the School (Oxford University Press, 2005) and Instrumental a music conservatoire. examining the attributes of commencing conservatoire students. International Out in the Real World: International Perspectives on the Working Lives of Classically trained Musicians. Quantitative and qualitative datasets (117 in-depth interviews) have been offered for deposit with the Economic and Social Data Service.performers, teachers, other musicians, students, music industries, policy makers and action plans geared towards realising the RCMs Vision Statement 2017. This document RCM 2017 is a place where vocational and artistic elements are held in balance They benefit from musical inspiration, receive a learning experience that is genuinely transformative and undertake academic courses that add value, nourish They are encouraged to become self-critical, independent musical leaders, RCM Strategic Plan 2007-17. REFERENCE No. RES-139-25-0101 The College is currently formalising its approach to Quality Enhancement, placing at its between members of the Learning to Perform team and a teacher of Alexander collaboration is underway with the Course Leader of the Creative Leadership Project findings on the transition from school to conservatoire have informed The project has had links with DCSF since its inception. Project findings have been disseminated at the meeting of the Music and Dance Scheme Expert Panel and at the meeting for Music and Dance Centres for Advanced Training. The Research Briefing is the National Music Education Forum, the Executive of the Music Education Council, the Music Education: Research, Policy, Practice seminars (see section 5.5) and the National Association of Music Educators (NAME). The research briefing and website 7.4 Impact internationally Project findings are due to be disseminated at the Association of European the interviews made me voice out hopes, feelings, ambitions that would otherwise have remained unspoken. Interview after interview it made me think about what my aspirations or fears at a given point were. It then where I was heading to etc. In short it hasƒ made me be in touch with myself more. The effect of AT [Alexander Technique] plus LTP [Learning to Perform] was also to make me simply more open-minded … realizing how much one can benefit from integrating this type of work in ones practice and more importantly in ones lifeŽ. (Final year focus student, July 2008). REFERENCE No. RES-139-25-0101 Project findings have formed the basis of two chapters currently under review for an edited book (see section 6.3) aimed at preparing conservatoire students and early career musicians for their career. than music, in particular sports men and women, which aligns with the work of Developing expertise theory further to include, refine and continue to test the 5,000 words Allard, F. and Starkes, J. (1991) Motor-skill expertise in sports, dance and other domains. Toward a General Theory of Expertise: Prospects and Fuller, A. and Unwin, L. (2003) Learning as apprentices in the contemporary UK Mills, J. (2002) Conservatoire students' perceptions of the characteristics of effective Bulletin of the Council for Research in Music Education, Nerland, M. and Hanken, I. M. (2002) Academies of music as arenas for education: some (Oslo, Norges Musikhøgskole). Nielson, K. N. (2006) Apprenticeship at the Academy of Music, International Journal of Ritterman, J. (2000) Learning what it is to perform: a key to peer learning for musicians. Peer Learning in Music REFERENCE No. RES-139-25-0101 Creating a Land With Music: the Work, Education and Training of Professional Musicians in the 21st CenturyMusical excellence: strategies and techniques to enhance performance