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Enhancing Music Education Through Research: A Case Study from Graz to London

This conference presentation by Richard Parncutt from the University of Graz explores the integration of research into post-secondary music performance teaching. Held on October 24, 2007, it discusses the academic needs and expectations of performance students, the importance of practice efficiency, psychological factors influencing performance, and evolving curricular balances in music institutions. Key topics include performance anxiety, music medicine, and effective teaching strategies. By understanding these elements, academies can improve educational efficiency and prepare students for future success.

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Enhancing Music Education Through Research: A Case Study from Graz to London

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Presentation Transcript

  1. Practice as Research: case study Centre for the Study of Composition for Screen Incorporating research into post-secondary performance teaching Richard Parncutt University of Graz, Austria Video conference from Graz to Royal College of Music, London on 24 October 2007

  2. Possible academic units at music academies(post-secondary music institutions) • Music history, music theory/analysis • Introduction to music psychology and performance research • Physics, physiology, psychology of own instrument • Efficient practice • Expression: Structural and emotional communication • Sight reading and improvisation • Performance anxiety and music medicine • Educational and developmental psychology • Psychology of theory/analysis/composition

  3. Why? • Who benefits? • What do they get? • What do they want?

  4. What performance students want • Interesting, useful information • enjoyable, meaningful participation • Plausible, authoritative presentation • teachers who also perform • Employment prospects • transferable skills

  5. What administrators want Success indicators • reputation of academy • future funding • good entry students • based on academy’s reputation • successful graduates  (inter-) national performers

  6. What the general public wants(taxpayers, politicians) a rich cultural life • across social groups and stata • age, sex, income… a stable, bright future • excellent, forward-looking institutions • active, capable, caring young people

  7. Success indicators of music academies visible: • (inter-) nationally known performers concealed: • indirect contributions to cultural life  aims of academy  aims of artistic and academic teaching

  8. Changing contexts of music academies Academic context • pressureto give degrees and do research • explosion of performance research Political & economic context • transparent „mission“ • cost efficiency Social & market context • changing musical technologies and functions • flexibility of musicians/educators

  9. Improving educational „efficiency“ efficiency = output / input • input = time, effort, cost • invested by teachers, students, state • output = graduate achievement • graduates (career, personal development) • society (cultural activities)

  10. Planning students‘ time Performance skill depends primarily on practice time • common knowledge • expertise research • Little time left for academic work

  11. Curricular balance The optimal ratio of performance to academic work depends on… • the institution • history, orientation, culture • the individual student • career aims, personality, learning style

  12. Piano: physics, physiology, psychology Timbre: mechanics and psychology • key velocity, noise, pedals, balance, onset timing Fingering: physiology and psychology • constraints: physical, anatomic, motor, cognitive • dependencies: expertise, interpretation Expression of structure and emotion • with limited expressive possibilities

  13. Voice: physics, physiology, psychology VoceVista: Visual feedback for instruction in singing www.vocevista.com

  14. Efficient practice Diversity of approaches • analysis of scores, recordings, concerts • mental versus physical practice Metacognition • organization, goal orientation • intrinsic motivation Timing and concentration • short morning sessions with breaks • duration depends on task, alertness

  15. Expression: structural communication Structural analysis • phrasing, meter, melody, harmony Accentuation in performance • performed accents reinforce immanent accents Analysis for performance • direct link between the two

  16. Expression: emotional communication Emotional cues: size & variation of… tempo, dynamic, articulation (attack / duration), timbre, durational contrast, intonation/vibrato • Redundancy and ambiguity of message • Relation to structural analysis • Effectiveness of feedback training (Patrik Juslin)

  17. Performance anxietyHigh incidence, low awareness, little treatment Causes • personality, mastery, situation • perfectionism and control • optimal arousal versus panic Prevention and cure • physical relaxation • cognition (realism, desensitization, restructuring) • combinations (Yoga, hypnotherapy, Alexander) • self-efficacy

  18. Music medicineHigh incidence, low awareness, little treatment Common problems • chronic tension, reduced elasticity • pelvis, lower spine, back of neck Student musicians need • knowledge • strategies • treatments

  19. Improvisation Psychological theory of creativity • roles of knowledge, risk, evaluation, motivation, flow • group versus individual creativity Stepwise approach to skill acquisition • set limits: dynamics, articulations, pitches, durations • expression first: syntax through semantics (Johann Lassnig-Walder)

  20. Strategies to promote teaching of performance research Administration • interact to build support • maintain excellence by innovation, interdisciplinarity Students • involve in research, empower • incorporate repertoire, issues Staff • inform, involve in research • expand, diversify

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