The purpose of this study was to examine the visions of teacher educators of instrumental pedagogy (n = 12) in higher music education regarding "good" teaching and instrumental student teacher preparation. The theoretical basis for the study was research on teachers' visions (Hammerness, 2006): teachers' own conceptions of…

This article contributes to research on music masterclasses through examining learning through observation. It investigates how students are learning as observers in this context; whether and how they will transfer their masterclass learning to their own instrumental/vocal development, and whether they have discussed learning through observation.…

Participation in an ensemble is a significant aspect of tertiary music experience. Learning and assessment practices within ensembles have rarely been investigated in Australia and the perceptions of staff and students as to how they learn and are assessed within ensembles remain largely unexplored. This paper reports on part of a larger project…

The purpose of this investigation is to evaluate whether or not the allocation of time proposed in the Music Study Guide, adapted from the European Higher Education Area (EHEA) guidelines, is consistent and adequate for students with minimal musical knowledge. The report takes into account the importance of students' previous knowledge and the…

Social activism and education have been associated with hip-hop since it emerged in New York City 38 years ago. Therefore, it might not be surprising that universities have become interested in hip-hop. This article aims to highlight this "hip-hop academisation" and analyse the discursive mechanisms that manifest in these academisation…

The purpose of this study was to explore why highly trained musicians choose to teach in higher education. An international population from nine countries of music instrument teachers was sampled via online survey, to determine their reasons for teaching in higher education. Motivational constructs from the expectancy-value framework were used,…

The importance of personal practice for instrumentalists and vocalists is well established among researchers, and axiomatic for practitioners. This paper reports on a phase of an action research project, investigating student approaches to personal practice. Following a preliminary questionnaire study, a residential clinic was conducted by…

This paper describes a longitudinal, collaborative case study, made in the framework of the project Students' Ownership of Learning (SOL) during one academic year with one vocal teacher and two female students. The aim of the study was to relate the interaction between the teacher's and the students' intentions and expectations to…

The study investigates criteria chosen by music students for peer and self assessment of both the rehearsal process and performance outcome of their rock groups. The student-chosen criteria and their explanations of these criteria were analysed in relation to Birkett's skills taxonomy of "soft" and "hard" skills. In the rehearsal process, students…

I am a composer, producer, pianist and part-time music lecturer at a Further Education college where I teach composing on Music Technology courses at levels 3 (equivalent to A-level) and 4 (Undergraduate/Foundation Degree). A "Music Technology" course, distinct from a "Music" course, often attracts applicants from diverse musical backgrounds; it…

I enjoy composing and feel able to write songs that I like and which feel significant to me. This has not always been the case and the change had nothing to do with my school education or my degree. Composing at secondary school did not move beyond Bach and Handel pastiche. I did not take any composing courses during my degree. What did influence…

Guided by three theoretical frameworks in vocational psychology, (i) theory of work adjustment, (ii) two factor theory, and (iii) value discrepancy theory, the purpose of this study was to investigate Turkish pre-service music teachers' values and the role of fit between person and environment in understanding vocational satisfaction. Participants…

This paper explores the concept of instrumental/vocal learning when studying the same instrument or voice with more than one concurrent teacher. In this context, teachers may be working as a team, or one or both teachers may not know of the other's contribution to a student's learning. Qualitative data from music students and teachers at the…

This paper explores recent developments in relation to doctoral research training in music. Drawing on the findings of a case-study of a recently established practice-led doctorate at an Australian conservatoire, we offer insights into the attributes of its expanding cohort. We interrogate a blended research training structure of academic…

The power of one-to-one tuition in Higher Music Education is evidenced by its continuing place at the heart of conservatoire education. The need to examine this student-teacher relationship more closely has been emphasised in the last decades by increasing understanding of processes of student learning in Higher Education as a whole, and in…