Master class

Abstract: Contents: Prelude: the case for collaborative learning in higher music education, Helena Gaunt and Heidi Westerlund Part I Theoretical Perspectives and Research Studies: Mapping the research ground: expertise, collective creativity and shared knowledge practices, Kai Hakkarainen Learning from artistic and pedagogical differences between musicians' and actors' traditions through collaborative processes, Biranda Ford and John Sloboda The art of stepping outside comfort zones: intercultural collaborative learning in the international GLOMUS camp, Eva SA|ther Promoting professional and paradigm reflection amongst conservatoire teachers in an international community, Helena Gaunt Exploring dialogues in online collaborative contexts with music teachers and pre-service students in Australia, Julie Ballantyne and Tammie Olm-Madden Perspectives on the dynamics of power within collaborative learning in higher music education, Catharina Christophersen Designing the rhythm for academic community life: learning partnerships and collaboration in music education doctoral studies, Heidi Westerlund and Sidsel Karlsen Expanding the master-apprentice model: tool for orchestrating collaboration as a path to self-directed learning for singing students, Lotte Latukefu and IrinaVerenikina Using formal self- and peer-assessment as a proactive tool in building a collaborative learning environment: theory into practice in a popular music programme, Don Lebler Learning from one another's musicianship: exploring the potential for collaborative development of aural skills with pianists, Lotta IlomAki Exploring cognitive strategies and collaboration in master class settings, Marion Long Intersubjectivity in collaborative learning in one-to-one contexts, Paula Collens and Andrea Creech. Part II Practitioners' Reports and Narratives: 'I listen, I hear, I understand': students' collaborative research for criteria to empower constructive feedback in classical piano perform

Abstract: During the pursuit of learnables in vocal master classes, masters frequently produce lengthy clusters of directives, while students and accompanists orient to early opportunities for putting directives into practice. Participants are therefore faced with a continuous necessity to negotiate whether a directive is to be put into practice “now” or “not now.” Accompanists typically initiate musical (re)performances and are therefore the first to respond to a master's instruction completion, often preempting it early on in a master's potentially final turn constructional unit. Master class participants have to coordinate two action types: masters orient to giving instructions through talk; students and pianists orient primarily to restarting the musical performance.

Abstract: This is a 3,000 word review of Elizabeth Fox-Genovese and Eugene D. Genovese's monumental study of the intellectual life of the ante-bellum South entitled "The Mind of the Master Class: History and Faith in the Southern Slaveholders' Worldview "(Cambridge University Press, 2005) While acknowledging the book as an outstanding achievement in terms of the sheer comprehensiveness of its scope and the breadth of its coverage of southern intellectual culture it concludes that the authors' pre-existing methodological assumptions imposed severe limitations on how deeply they could penetrate into the philosophical spirit animating "The Mind of the South" prior to the onset of the Civil War.

Abstract: This study describes how the participants in a singers’ master class weekend collaborated with their teacher, an internationally renowned former opera singer in her mid-80s, to compensate for the difficulties in communication caused by her dementia. The workshop’s success was due to the teacher’s professionalism and personal dignity; the high esteem and affection in which she was held by the participants; the shared assumption that she had information to impart; her unimpaired musical abilities; the scope for singing, text recitation and gesture to convey complex ideas; and the legitimate formulaicity of the teaching activity. The nature and role of her predominantly formulaic language is examined from the perspective of its function in the very specific context of her teaching, with reference to features from Orange’s (2001) strategy framework for communicating successfully with people with dementia.