Hostname: page-component-586b7cd67f-t7czq Total loading time: 0 Render date: 2024-11-23T19:11:31.645Z Has data issue: false hasContentIssue false
  • English
  • Français

Understanding what we mean by portfolio training in music

Published online by Cambridge University Press:  03 September 2018

Lotte Latukefu  and
Jane Ginsborg
Lotte Latukefu
Affiliation:
Excelsia College 69-71 Waterloo Road, Macquarie Park, NSW 2113, [email protected]
Jane Ginsborg
Affiliation:
RNCM, 124 Oxford Road, Manchester M13 [email protected]
Get access Rights & Permissions [Opens in a new window]

Abstract

Although musicians have always had portfolio careers, the discourse in conservatoires around training musicians specifically for portfolio careers is relatively new. This is partly because of increasing opportunities in the workplace for entrepreneurial and multi-faceted musicians and partly – in the UK at least – because of educational policy and practice. This article incorporates narratives provided by professional portfolio musicians and students and teachers at a single conservatoire in the UK, to illustrate disjunctures between the expectations fostered by conservatoires undergoing changes in their culture and the lived experiences of teachers and students responding, in real time, to changes both within the conservatoire and in the wider society. One of the key findings of the research is that teachers and students have qualitatively different conceptions of what it means for students to be trained for portfolio careers. The paper concludes by considering the implications of their different understandings for initiatives to reform conservatoire curricula.

Type
Research Article
Information
British Journal of Music Education , Volume 36 , Issue 1 , March 2019 , pp. 87 - 102
Copyright
Copyright © Cambridge University Press 2018 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

ARGYRIS, C., PUTNAM, R. & McLAIN SMITH, D. (1985) Action Science. San Francisco: Jossey–Bass.Google Scholar
BARRIE, S. (2004) A research-based approach to generic graduate attributes policy. Higher Education Research & Development, 23 (3), 262–275.Google Scholar
BARRIE, S. (2006) Understanding what we mean by the generic attributes of graduates. Higher Education, 51, 215–241.Google Scholar
BENNETT, D. E. (2007) Utopia for music performance graduates. Is it achievable, and how should it be defined. British Journal of Music Education, 24 (2), 179–189.Google Scholar
BENNETT, D & STANBERG, A, (2007) Musicians as teachers: Developing a positive view through collaborative learning partnerships. International Journal of Music Education, 26 (3), 219–231.Google Scholar
BENNETT, D. E. (2009) Academy and the real world: Developing realistic notions of career in the performing arts. Arts and Humanities in Higher Education, 8 (3), 309–327.Google Scholar
BOUD, D. (2010) Relocating reflection in the context of practice. In Bradbury, H., Frost, N., Kilminster, S. & Zukas, M. (eds.) Beyond Reflective Practice: New Approaches to Professional Lifelong Learning (pp. 25–36). London and New York: Routledge.Google Scholar
BRAUN, V. & CLARKE, V. (2006). Using thematic analysis in psychology. Qualitative Research in Psychology, 3, 77–101.Google Scholar
CLANDININ, D. J. & CONNELLY, F. M. (2000) Narrative Inquiry: Experience and Story in Qualitative Research. San Francisco: Jossey–Bass.Google Scholar
CREECH, A., PAPAPEORGI, I., DUFFY, C., MORTON, F., HADDON, E., POTTER, J. & WELCH, G. (2008) From music student to professional: The process of transition. British Journal of Music Education, 25 (3), 315–331.Google Scholar
DAYKIN, N. (2005) Disruption, dissonance and embodiment: Creativity, health and risk in music narratives. Health: An Interdisciplinary Journal for the Social Study of Health, Illness and Medicine, 9 (1), 67–87.Google Scholar
GAUNT, H., CREECH, A., LONG, M. & HALLAM, S. (2012) Supporting conservatoire students towards professional integration: One-to-one tuition and the potential of mentoring. Music Education Research, 14 (1), 25–43.Google Scholar
HUHTANEN, K. (2004) Once I had a promising future (facing reality as an ex-promising pianist). Australian Music Forum, 10 (3), 21–27.Google Scholar
HUHTANEN, K. (2008) Constructing a conscious identity in instrumental teacher training. In Bennett, D. & Hannan, M. (eds.), Inside, Outside, Upside Down: Conservatoire Training and Musicians’ Work (pp. 1–22). Perth, Australia: Black Swan.Google Scholar
JONES, A. (2009) Generic attributes as espoused theory: The importance of context. Higher Education, 58 (2), 175–191.Google Scholar
KRAMER, M. & USHER, A. (2011) Work-Integrated Learning and Career-Ready Students: Examining the Evidence. Toronto: Higher Education Strategy Associates.Google Scholar
LATUKEFU, L., BURNS, S., O'DONNELL, M. & WHELAN, A. (2014) Enabling music and journalism students to respond positively to adversity in work after graduation: A reconsideration of conventional pedagogies. Journal of University Teaching & Learning Practice, 11 (1).Google Scholar
MacDONALD, R. A. R., HARGREAVES, D. J. & MIELL, D. E. (eds.) (2002) Musical Identities. Oxford, UK: Oxford University Press.Google Scholar
NSS. (2005) https://www.officeforstudents.org.uk/advice-and-guidance/student-information-and-data/national-student-survey-nss/.Google Scholar
NORTH, A. C. & HARGREAVES, D. J. (2008) The Social and Applied Psychology of Music. Oxford, UK: Oxford University Press.Google Scholar
PARKES, K. A. & JONES, B. D. (2011) Students’ motivations for considering a career in music performance. Update: Applications of Research in Music Education, 29, 20–28.Google Scholar
PENUEL, W. R. & WERTSCH, J. V. (1995) Vygotsky and identity formation: A sociocultural approach. Educational Psychologist, 30 (2), 83–92.Google Scholar
POLIFONIA. (2010) Instrumental and Vocal Teacher Education: European Perspectives. Utrecht, the Netherlands: AEC. Retrieved from http://www.aec-music.eu/userfiles/File/aec-handbook-instrumental-vocal-teacher-education-european-perspectives-en.pdfGoogle Scholar
RENSHAW, P. (2009) Lifelong learning for musicians: The place of mentoring. Lectorate Lifelong Learning in Music & the Arts. (Lectorate Lifelong Learning in Music, Prins Claus Conservatoire Groningen and Royal Conservatoire, The Hague) www.lifelonglearninginmusic.org.Google Scholar
SMILDE, R. (2005) Proceedings of the NASM annual meeting 2005 in Boston November 20, 2005. Lifelong Learning for Musicians. (Lectorate Lifelong Learning in Music, North Netherlands Conservatoire, Groningen and Royal Conservatoire, The Hague.) www.lifelonglearninginmusic.orgGoogle Scholar
SMITH, J. A. (1995) The search for meanings: Semi-structured interviewing and qualitative analysis. In Smith, J. A., Harré, R. & Langenhove, L. Van (eds.), Rethinking Methods in Psychology (p. 214). London: SAGE.Google Scholar
SYKES, C. & DEAN, B. A. (2013) A practice-based approach to student reflection in the workplace during a Work-Integrated Learning placement. Studies in Continuing Education, 35 (2), 179–192.Google Scholar
TEACHING EXCELLENCE FRAMEWORK. (2017) https://www.gov.uk/government/collections/teaching-excellence-framework.Google Scholar
WOODCOCK, T. (2015) Benjamin Franklin and the reflective conservatoire Huffington Post – The Blog. Retrieved April 8, 2015 from http://www.huffingtonpost.com/tony-woodcock/benjamin-franklin-and-the_b_6924072.htmlGoogle Scholar
WOODHOUSE, D. (1999) Quality and quality assurance. In Quality and Internationalisation in Higher Education, Programme on Institutional Management in Higher Education. Paris: OECD.Google Scholar
YANOW, D. & TSOUKAS, H. (2009) What is reflection-in-action? A phenomenological account. Journal of Management Studies, 46 (8) 133–134.Google Scholar