Zoekresultaten

Lifelong learning as a challenge

Peak performance & reducing stage fright

Stage fright among musicians and music students is a severe problem, and a problem moreover that is not easily talked about. This researchreport is a reflection of the project Peak Performance & Reducing Stage Fright, in which six students of the Prince Claus Conservatoire got the opportunity to take the HeartMath training. A training developed by de GGZ Heerenveen. The research, which is described in this report, was aimed at the usefulness of this training for professional music students.

First year’s tastes

In this paper the first phase of a descriptive research project on musical preferences and music listening habits of first year’s conservatoire students is presented. The paper presents the background of the research project, the construction of a survey and the first results of this survey, which indicate that musical preferences and music listening habits of first year’s conservatoire students are highly varied. Possible refinements for the survey are discussed.The paper ends with first notions on how to not only use the findings for descriptive ends but also put them in the broader perspective of more general research on musical preferences.

Learning cultures and the conservatoire

As educational institutions, conservatoires remain largely unresearched and, crucially, relatively unchallenged. In particular, research has paid little attention to in-depth studies of culture, so that not enough is known of the cultural practices that characterise and shape a conservatoire education. This article addresses this gap through seeking to understand the constructed nature of the ‘learning cultures’ - the cultural practices through which students learn - of a UK conservatoire. Working within an ethnographically-informed case study, multiple qualitative methods were employed to collect in-depth data. Key findings from a four-phased analysis procedure reveal that the conservatoire’s learning cultures are constructed across four intertwined features: (1) learning cultures of performing specialism, (2) learning cultures of social networking, (3) learning cultures of musical hierarchiesand (4) learning cultures of vocational position taking. Implications of the study are discussed, and recommendations made for the introduction of creative and reflective spaces for learning in the conservatoires of the future.

Hierarchies and learning in the conservatoire

This article explores the intersection between institutional hierarchies and learning at a UK conservatoire. Conceptualizing learning as a social practice situated in a hierarchical social space, the article draws on the theorization of Bourdieu to understand how students are positioned in the conservatoire field and what this means in terms of their learning. Working within a social constructionist framework, the study adopted qualitative research with two case students, making use of a trilogy of methods: semi-structured interviews, participant self-documentation and participant-verification interviews. Findings reveal that as students participate in the conservatoire field they appear to learn their position in the conservatoire’s hierarchies, and that their position relates to what and how they learn. The conservatoire’s hierarchical organization can thus be considered an important factor in shaping student learning, illuminating the need for further research to explore how learning experiences and opportunities can be maximized for all conservatoire students.

Innovative Conservatoire