A Descriptive Analysis of the Images Observed on Music Department Web Sites

Turner, Mark

doi:10.1177/10570837040130020107

Cited by 1 publication

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“…This element of performance training is perceived as essential and part of the unique offer of the conservatoire; it is a ‘central and dominant facet of conservatoire life’ (Perkins, 2013b, p. 204), but there are researchers who argue that institutions weight the aesthetics of performance too strongly. Turner (2004), for example, claims that the conservatoire’s dominant ideology and value system is performance rather than learning (also see Carey, 2010; Ford, 2010) while López-Íñiguez and Bennett (2020) evidence that musicians who privilege learning over performance are more likely to thrive in the long term. This connects with the product–process debate suggesting conservatoires as sites of behaviourist principles (Carey et al, 2013) generating competitive environments and unequal opportunities (Perkins, 2013b).…”

Section: Findings and Discussionmentioning

confidence: 99%

Classical soloists’ life histories and the music conservatoire

Palmer

Baker

2021

International Journal of Music Education

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This article explores the life histories of virtuoso classical music soloists with particular reference to conservatoire provision. Detailed life-history interviews were conducted with six virtuosi between May 2018 and January 2019. These participants were three singers, two cellists and a concert pianist. Resultant qualitative data were stored in an NVivo software database and understood through a process of analytic induction. Key findings spotlight the significance of Higher Education, a connection between broad creative and cultural interest and musical excellence, and a significant role for conservatoires in diversifying their training and easing transition into the career. The soloists also warned of dangers relating to controlling teachers, loss of autonomy and a need to convey their career realities to students.

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