Fresh perspectives on teaching and evaluating music performance in higher education are offered in this book. One-to-one pedagogy and Western art music, once default positions of instrumental teaching, are giving way to a range of approaches that seek to engage with the challenges of the music industry and higher education sector funding models of the twenty-first century. Many of these approaches – formal, informal, semi-autonomous, notated, using improvisation or aleatory principles, incorporating new technology – are discussed here. Chapters also consider the evolution of the student, play as a medium for learning, reflective essay writing, multimodal performance, interactivity and assessment criteria.

The contributors to this edited volume are lecturer-practitioners – choristers, instrumentalists, producers and technologists who ground their research in real-life situations. The perspectives extend to the challenges of professional development programs and in several chapters incorporate the experiences of students.

Grounded in the latest music education research, the book surveys a contemporary landscape where all types of musical expression are valued; not just those of the conservatory model of decades past. This volume will provide ideas and spark debate for anyone teaching and evaluating music performance in higher education.

chapter 1|6 pages

Teaching and evaluating music performance at university

A twenty-first century landscape
ByJohn Encarnacao, Diana Blom

part |74 pages

Part I

section |19 pages

Student experiences 1

chapter 2|17 pages

Reassessing what we call music

Investigating undergraduate music student response to avant-garde music of the 1960s–early 70s through performing Annea Lockwood’s “Piano Burning”
ByDiana Blom, Raymond Strickland

section |52 pages

Teaching approaches

chapter 3|22 pages

All together now

Semi-autonomous ensemble building through collaboration
ByEleanor McPhee

chapter 4|13 pages

Transformational insights and the singing-self

Investigating reflection and reflexivity in vocal and musical group learning
ByDiane Hughes

chapter 5|16 pages

The iPad Orkestra ensemble

Creative and collaborative learning
ByIan Stevenson, Diana Blom

part |99 pages

Part II

part |15 pages

Student experiences 2

chapter 6|14 pages

Back to the future

A role for 1960s improvisatory scores in the 21st century university music performance program
ByDiana Blom, Brendan Smyly, John Encarnacao

section |17 pages

Professional development

section |63 pages

Teaching approaches

chapter 8|13 pages

Implementing group teaching in music performance

ByAnnie Mitchell

chapter 9|13 pages

Introducing first year music students to the community choir experience

Skills for lifelong enjoyment and for the portfolio career
ByNaomi Cooper

chapter 10|9 pages

Free improvisation

What is it, can it be taught, and what are the benefits?
ByJohn Encarnacao, Brendan Smyly, Monica Brooks

chapter 11|13 pages

Performativity and interactivity

Pre-paradigmatic performance
ByIan Stevenson

chapter 12|13 pages

Expanded practice

Facilitating the integration of visual media, theatricality and sound technology into music performance
ByIan Stevenson, John Encarnacao, Eleanor McPhee

part |42 pages

Part III

section |13 pages

Student experiences 3

chapter 13|11 pages

Play as a medium for active learning in vocal education at university

ByLotte Latukefu, Irina Verenikina

section |26 pages

Evaluating performance

part |26 pages

Part IV

section |12 pages

Student experiences 4

chapter 16|10 pages

Curriculum as catalyst

From rock guitarist to transcendent improvisation
ByAdrian Barr, Diana Blom

section |12 pages


chapter 17|10 pages

Provocations for change in higher music education

ByGlen Carruthers