Educating the Reflective Practitioner

1. Educating the Reflective Practitioner Dr Mary Lennon DIT Conservatory of Music & Drama Dublin

2. Overview • Instrumental Pedagogy Focus on Student Learning Focus on Process • Learning to Perform: The Role of Reflection Reflecting on Performance Reflecting on Practice • Educating the Reflective Performer

3. A Shifting Pedagogical Discourse……. • Student (Teacher) • Process (Product) • Learning (Teaching)

4. Focus on Student Learning • Independence • Self-correction • Self-evaluation and appraisal

5. Focus on Student Learning • Self-reflection • Self-directed learning • Self-efficacy

6. Focus on the Process of Performance By and large, performers will say they do not really know how they do what they do when they function, by their own lights, properly…the hidden knowledge is called ‘artistry’, and a fear of losing it is built into the core of Western musical life. Dunsby, 1995: 35

7. Focus on the Process of Performance “Performer’s Analysis” The performers who do tell us about performance tend to record their views, as we have seen, at the thin end of the wedge, naturally preferring to concentrate on the fleeting goal, the product, rather than on the journey, the substantial process by which they arrive at the goal (Rink, 2002: 234)

8. Learning to Perform: The Role of Reflection • BMus Performance Discussion Seminar • MMus Analysis and Performance Practice

9. Reflecting on Performance Focus on Process • give a general response to the performance • comment on the piece and any particular technical and interpretative challenges it may present • comment on how the performance might be improved • identify difficulties/problems and diagnose possible causes • suggest ways of addressing problem • describe the approach to practice

10. Reflecting on Performance Focus on Student Feedback • critical listening skills • ability to express and articulate musical views • wide range of repertoire • different viewpoints • opportunities to perform • increased confidence

11. Reflecting on Performance Besides becoming familiar with a large repertoire, I learned how to listen critically and gained an idea of what people look for in a performance. This helps when I am practising as I know what aspects to concentrate on. By commenting on my peers’ performance I feel more capable to express and articulate my points of view and this washes over into other parts of the course. I become more confident in my own opinions and the way I express them

12. Reflecting on Performance At first I had very little to say about any performance and found it difficult to comment, but I feel a lot more capable now of commenting on any performance and being able to think of ways that it could be improved. There is a huge difference! …I have learned to listen differently when I am listening to CDs and I can understand much more how I would like to hear certain piano pieces interpreted and what I like and what I don’t like.

13. Reflecting on Performance We often learn different ways of practising our pieces in our classes and in watching other people's classes, we also learn new technique. We have discussions about how to practise or other helpful topics. These all influence the way I practise and I've become better at knowing from the beginning of getting a new piece, how to set out practising in an organised way and to always listen from the early stages.

14. Learning to Perform: The Role of Reflection • MMus Analysis and Performance Practice

15. Reflecting on Practice • how the performance emerges • the issues addressed in practice • interpreting the score • the influence of factors outside the score • preparing for performance

16. Reflecting on Practice • instrumental/vocal concerns • general approach • analysis, background and context • technical issues • nature of interpretation and role of the performer • recordings • teachers, repetiteurs

17. Reflecting on Practice General Approach Technical, musical and contextual aspects come together to help break down and restructure the piece in performance. I was also interested at the number of resources I used. Things like books, teachers, repetiteurs, other musicians, recording etc. all contributed to the learning experience.

18. Reflecting on Practice Analysis, Background and Context Experiment with various tempi. How relevant is the ‘Andante’ marking? Is this original or editorial? What speed works best for the text and the music? Context might help this question. This piece is from Act 111 of Samson……..An Israelite woman sings joyfully of the angels united in their praise of Samson – they welcome him and rejoice at this heroic life. This context adds to the joyful and exuberant interpretation I was moving towards anyway.

19. Reflecting on Practice Technical Issues The start of line two proved awkward to produce effectively as the low C needs slight flattening and more air than the shapes really allow. I had to break each one up and blew through on the mouthpiece as glisses, then slowly on trumpet as tenuto to force accurate note changes and links, then at pace but omitting problem notes and so on.

20. Educating the Reflective Performer Our knowing is ordinarily tacit, implicit in our patterns of action and in our feel for the stuff with which we are dealing. It seems right to say that our knowing is in our action Schon, 1983: 49 The performance of a piece of music is…the actualization of an analytic act - even though such analysis may have been intuitive and unsystematic Meyer, 1973: 2

21. Educating the Reflective Performer • Reflective Practice • Focus on Musical Processes • “Performer’s Analysis” • “Informed Intuition” • Ways of Thinking • Expanded View of Knowledge