During their studies, musicians transition to work-readiness, develop a professional persona and graduate from skills acquisition in a traditional master-mentor relationship towards heterarchical collaboration in ensembles. Over the final year of an undergraduate program in performance, students, faculty/industry mentors and course coordinators…

This article reports on a pilot project exploring the viability of a teaching-through-playing approach in chamber music instruction in higher music education. Literature suggests that teaching traditions such as the one-to-one setting need renewal, and socio-cultural theories of learning propose that collaboration and participation are a way…

Formed in 1965, and now including around 150 players and seven ensembles, the Tasmanian Youth Orchestra (TYO) is the oldest state-based youth orchestra in Australia. This paper presents the findings from a 2018 survey of TYO participants, as one part of a broader qualitative pilot project into the perceived benefits of participation in TYO. Using…

For musicians, learning to improvise requires individual and collaborative skill and knowledge that in experts is acquired over years of immersion and enculturation. Learning formally, informally or a combination of both, improvisers 'learn to learn' by evolving meta-cognitive capabilities necessary to develop and refine improvisational expertise.…

The provision of musical experiences for youth, especially in low socio-economic areas (SES), requires funded support and imaginative resourcing. This paper presents data from the Penrith (NSW Australia) Youth String Program offered in partnership by the Australian Chamber Orchestra (ACO), Penrith Symphony Orchestra (PSO) and The Joan Sutherland…

Informal learning practices, based on Lucy Green's research into how popular musicians learn, offer students in the music classroom the opportunity to explore collaborative, aural-based learning that is guided, rather than directed, by the teacher. Over a period of five years, informal learning projects were included in the music curricula of two…

The 2006 ISME Commission for the Education of the Professional Musician (CEPROM) provided a unique forum for a number of important debates surrounding the preparation of young musicians for a professional career in the performing arts. One such debate considered the imperative of ensuring young professional musicians graduated from tertiary music…

This qualitative study focuses on the intrinsic value of musical understanding and how it is influenced by socio-cultural and educational factors shaping the development of a gifted adolescent. Using Gross's (1993) model of case studies of exceptionally gifted children, the student was identified for her innate abilities, and studied using the…

Current theories of learning hold dominant assumptions about the type and scope of knowledge and skills taught in formal courses that prepare novices for professional practice at work. In performing arts educational contexts, a common emphasis continues to hone individual performance skills in order to gain technical mastery and to differentiate…

Purpose: This paper aims to examine the nature of learning discovered by recent graduates participating in a symphony orchestra-initiated development program that is designed to nurture them through the transition to becoming professional orchestral musicians. Design/methodology/approach: Using a qualitative case study approach, the authors…