Raising Standards in Performance
Robert
Davis and Mark Pulman
(28/11/2000)
Abstract
Over the past
few years, the area of instrumental performance has been subject to
considerable research in this journal
and elsewhere. A great deal of this research has concentrated on the
practice strategies and individual
lessons which most students undertake in preparing as a performer.
Little has been done on raising standards
of performance on a larger scale within the context of a large music
department. This paper describes
the outcomes of a two year programme undertaken with undergraduates
at Barnsley College. It
looks specifically at the scope for curriculum changes over that period
and the way the various individual
aspects of performance lessons are brought together through a weekly
class which focuses on the demands
of a public performance and the strategies required to prepare for
that event. Introduction
Many music students and teachers would agree with the view that performance should be central to the
development of a musical education. The National Curriculum ensures that all children are provided with
performing opportunities, while the Associated Board for over a century through their graded practical
examinations, has done so much to foster musical performance.
Instrumental teaching in schools, colleges and universities and is still predominantly based upon the one-to-
one single weekly lesson. Pressure of time can focus much of this teaching upon the preparation of pieces
for public examinations, assessments or the next concert, plus the learning of technical exercises and
studies. There is rarely enough time to learn a wider repertoire or to develop other performance
experiences. Students typically learn in a vacuum: one-to-one lessons and individual practice - usually a
solitary existence. These conditions are quite the opposite of what they are ostensibly being prepared for: a
public performance.
Of course students share their music making with others through playing in large ensembles and bands and
singing in choirs. While this enriches their experiences, the focus here is usually upon the ensemble rather
than on the individual; for example, what is being rehearsed for performance here is not normally the same
piece that is being learned in the student's individual lesson.
Similarly, we can also recognise the loneliness of the long distance visiting instrumental tutor: teach her
students individually, prepare each for an examination in which she has no input to the assessment process
and usually not present when the student takes the exam. Within a limited number of lessons she is required
to prepare her students for assessments often based upon a syllabus in which she has had no input. Her
absence of any involvement or ownership of the assessment process or performing context contributes to
her isolation. Not only is this an unsatisfactory position in terms of developing a team of staff to deliver a
coherent part of a degree syllabus, but, more importantly, it often leads to confusion on the part of the
student as staff either guess at examination requirements or provide interpretations of the syllabus which
did not reflect the philosophy of the department.
In this general overview of performance studies we looked closely at our own curriculum and attempted to
focus and develop the following themes as a way of improving provision:
a) If individual one-to-one instrumental lesson can lead to a feeling that learning is taking place in a
vacuum, we should be providing students with the means to share their learning and performing
experiences.
b) Creating a forum for improving the performance standard of our students not only in technical skills
but in the contextual act of performing to an audience would add a sense of realism in terms of a
performer’s preparation, presentation and communication.
c) Integrating our visiting instrumental tutors into the assessment process to provide students with a more
coherent message and clear understanding of aims and objectives of the course.
Context
Barnsley College currently has 240 undergraduate music students studying for the three-year BA in Popular
Music Studies, Band Studies and Creative Music Technology validated by the University of Sheffield as
well as an HND Creative Music Technology (Edexcel). A further 30 students pursue a four-year extended
degree designed for mature students or those who lack particular entry requirements. Upon successfully
completing their foundation year these students can automatically progress to year 1 of the three year BA.
Performance Techniques is a compulsory module in the foundation year and in year 1 for all Popular Music
and Band Studies students. It becomes optional for all students, including Creative Music Technology
students in year 2 and year 3. In practice, the majority of students include performance in their second and
third year degree programmes. They receive weekly 30 minute instrumental or vocal lessons given by
twenty distinguished tutors most of whom are part-time visiting staff. Students are expected to perform in
public concerts during the year. Assessments are held twice a year at the end of each Semester. In years 2
and 3 these assessments take place as public performances at out-of-College venues, an assessment strategy
which has developed over the past four years to make performances much more realistic and meaningful.
With the decision to focus upon public performance assessment, it became clear that a number of issues
had to be addressed in the concept of the Performance Techniques module. It emerged through tutorials that
several students were confused and sensed a lack of connection between their work in the individual
instrumental lesson and performing in public for their assessment. There seemed to be no forum for an
interchange of performing experiences and ideas. The content of the individual lesson was based upon
preparing students to learn to play the pieces and developing a secure technique. Playing or singing in front
of two examiners in private is different from giving a performance on the concert platform or in a local
club or pub. As well as experiencing the context of the performance (the venue, audience and purpose of
the performance) students and staff were rightly concerned with promoting and raising standards of
commitment and confidence towards performing in public. We all know what it is to go to watch and listen
to a musician performing music that inspires. Equally, we have all attended performances where this does
not happen. As music educators we generally understand what is meant by a technical performance as
opposed to a musical performance. Johnson (1997) asks of the performer who produces a technically
brilliant but uncommitted or unconvincing performance, the purpose of acquiring and demonstrating a good
technique if it cannot be applied to the demands of the music itself?
Which aspects of performance are involved here? What are the psychological, physiological or particular
contextual factors that are significant to the preparation of the performance and which might bear upon the
musician during her performance? What educational experiences could we provide which might promote a
better appreciation of the context of a performance that could support the content of individual instrumental
lessons?
The appointment of a lecturer in performance studies allowed for a significant reappraisal of performance
work within the department. As part of the annual review, student representatives at course committee level
had noted the decline in the number of opportunities for performance in recent years. Course co-ordinators
decided that it would be their aim to place performance at the centre of its activities as a way of not only
addressing student concerns but of providing a central focus for a range of courses which have a strong
vocational ethos. As part of the review, instrumental and vocal syllabi and assessment content were all
revised where necessary by the visiting tutors working in instrumental 'family teams' where appropriate. It
was felt that the existing assessment criteria which were used for performance were too generalised and not
particularly helpful in benchmarking performance standards across a range of instruments. After extensive
consultation with tutors and students the assessment criteria for each year were revised to become more
relevant to the aesthetic bases of performing music, taking into account technique and performance skills.
The performance class
In providing opportunities for students to develop further their performing experience in terms of preparing
for the performance context it became necessary to examine the most effective way of delivering an
appropriate curriculum which was already expensive in terms of student-staff ratios. We decided to create a
performance class session of 90 minutes each week for all students who had opted for the Performance
Techniques module in Year 2 and 3. Although attendance would be expected for all Performance
Techniques students the activities in the class would not count towards any formal student assessment.
The concept of the performance techniques class was based the following general principles:
a) Its activities should support the experience of performing. It should be a holistic programme which
would include issues such as the performing context and preparing to perform, confidence building,
controlling stage fright and other psychological and physiological aspects of performance. Many sessions
should have a forum where students could perform in front of their peers but within an informal
environment and supportive framework.
b) Students should input into the content and direction of the weekly class; it should develop upon a needs
basis, upon performing issues raised by the class.
c) It should complement and enhance the work of our visiting instrumental tutors, and wherever possible
visiting staff with interests in a particular aspect of performance should be directly involved in the class in
leading a workshop/demonstration/session.
d) The class should also allow for the achievement of objectives outlined in the syllabus which until this
point were given cursory lip service because of the time limitations of the one to one provision.
In 1998/99 we timetabled a combined class for BA2 and BA3 students in a team teaching context involving
the two writers. The classes were carefully structured with a scheme of work and clearly laid out syllabus
provided in a handbook. Also included at the beginning of the year were the assessment briefs which
outlined exactly what is required of the students in terms of assessment. The module guide also inlcuded
some guidance on what was required of the students in practical terms and notes on the delivery of the
module. For 1999/2000 the number of students who opted for performance was too large to accommodate
a joint class so we created separate second and third year classes. Nevertheless we decided to allow the
possibility of merger by timetabling the two classes to run simultaneously. Examples of the kind of
activities that took place in the performance classes of 99/00 are given below:
Practice and
rehearsal strategies
Management
skills (self management, time management, goal setting) Contextual studies: venues, audiences, assessments
Relaxation
techniques for performers
Controlling
stage fright An introduction to Alexander Technique
Visual aspects
of performance through videotapes of student and professional performances
Health and
Safety issues for the performing musician Criteria for the assessment of performance
Stage presence,
platform deportment, performance conventions and confidence building
Movement, choreography
and costume
Continuity
in performance; intros,segues,outros, audience communication
Isometrics
and finger fitness for instrumentalists
Repertoire
building or developing a ‘set’
Working with your sound engineer
Communication
with your accompanist
Peer assessment
Guest speakers
on special performance interests
Preparing programme
notes
The
classes also allowed for additional benefits in developing a language
whereby students could critically
analyse
performances (their own as well as others) and develop through discussion
critical skills that could
be
applied to their own performances.
The act of apprehending musical works aesthetically and otherwise
is
an experience that at best can only partly described in words.. Acquiring
critical verbal skills was
challenging
for many students and this is particularly formidable for music in
view of its considerable
capacity
for sensory abstraction and its remoteness from natural language.
In this way the curriculum
developed
in a more academic way, allowing students time to reflect on the nature
of performance and
what
was required of them in giving a performance. This is not to say that
classes were prescriptive:
popular
music students are especially critical of any enforced doctrine. Guidelines
were drawn from a
number
of performance practices and distilled so that the essential elements
could be assimilated and
ultimately
incorporated into the performance context. It was recognised that
at some point a certain level of
knowledge
is required for students to excel in performance. Through these sessions
it was hoped that
students
could take responsibility for their own independent improvement, and
that as staff we could
encourage
values which would have an impact on motivation and standards.
Where certain topics were not thought to be relevant to particular students it was agreed to make that
session voluntary for them. Some classes took place at out-of-College venues where we could take
advantage of the facilities of a stage set-up and a ready audience such as in local pubs and clubs.
An additional regular feature (which has become known as ‘The Rota’) is a semi-structured forum in which
usually four students perform prospective public performance pieces to the rest of the class. Staff and
students all strive to create an informal and supportive atmosphere for the rota through which much useful
discussion and feedback has been obtained and experience gained. Typically the whole performance is
evaluated: the presentation, as well as the music being played or sung. Evaluation often follows a pattern:
Student
performance®performer’s
immediate ‘gut’ self evaluation®student
audience feedback®tutor
feedback®discussion
by student with instrumental tutor→learning experience
raised→preparation for next
performance
Support for instrumental tutors
Many visiting instrumental tutors have contributed to the development of their syllabus, to the assessment
process and to the content of the performance class. This has contributed much towards integration within
the performance techniques module. Several staff however are not in College at the time of the
performance class. The problem of how to improve communication and create a sense of involvement
(particularly visiting staff who might teach for just a couple of hours or so each week) needed to be
addressed. As a first practical step, it was decided to develop a performance techniques teaching file which
was individual for each member of the instrumental staff. These portable files were introduced in 1999 and
at present each contains the following:
The register of their instrumental students
The appropriate instrumental syllabus
Course regulations and assessment details/criteria for each year/course
The performance class scheme of work for each year
The performance techniques module guide for each year and course
A brief write-up of each weekly lesson for every student
Student absence and cause-for-concern procedure
Calendar of music department activities
The files remain in the department office when not being used by the instrumental staff. They are regarded
as a helpful and practical means of improving communication between all music staff and for providing
ready information about the progress of performance techniques students when required by academic or
pastoral tutors.
The performances
With our attention focused upon the context of performance it was necessary to promote performing
experience in a variety of situations. Most student performances now take place across a large number of
out-of-college public venues. The majority of performance assessments are now held in local clubs and
pubs for Popular Music and Creative Music Technology, or in Barnsley Parish Church for Band Studies
students. During the 1999 academic year the department mounted some 100 concerts in out-of-college
venues – something of a milestone for us. Both the number and quality of rock bands in Popular Music
Studies has risen. The recently established Barnsley Spring Music Festival – a celebration of music-making
in partnership with schools, amateur groups, the business community and our music department has led to
some interesting performing contexts – including street busking (which is now an assessed assignment
within Popular Music Studies). Some of our part-time staff are able to be involved in these activities thus
furthering integration.
Increasing the opportunities for performing in public however, has posed problems for us on an
organisational and logistical level. There has been a shortage of students experienced in live sound
engineering and this is currently being addressed through additional PA training across courses.
Further developments
We are examining the relevancy of the work in performance techniques towards the employability ethos of
our institution and the vocational aims of the degree courses. The kinds of performance experiences in
terms of the performance context are partly being documented for portfolio purposes through video and CD
recordings. Students also keep a diary recording their preparations for performing. Additional ways of
building a portfolio or of developing promotional material for prospective performers to interest concert
promoters, agencies and record companies are being considered. Hunter and Russ (1996) describe the many
possible benefits to be obtained from peer assessment in performance. We are currently working on peer
assessment of group-based performances and further
work in this area is required.
Conclusions
This paper grew out of our reflections on the programme we have developed at Barnsley to enhance student
experience in Performance at Barnsley College. In many ways the programme was underlined not only by
our determination to improve standards but also by the students’ determination to improve their own
performance. Attendance at the sessions has been very good and participation in all aspects of the
programme has also been very good.
What was particularly encouraging was that recent research has indicated a number of important
considerations that the course was already addressing. Peter Cope (1998) argued that while active learning,
the acquisition of skills through practice or repetition, is important for instrumentalists and that the
‘capacity to acquire physical skills is extraordinary’ for those motivated sufficiently to practise it will not
allow for higher-order learning.
In higher-order learning, the outcome is understanding, rather than competence, and acquisition
requires reflection through the medium of discourse, rather than repeated practice.
In his discussion, Cope recognises the importance of physical and cognitive skills underpinned by
declarative knowledge in playing an instrument. Yet the case for ‘declarative knowledge’ (facts) seems
restricted to music theory and related only to reading music. While there is little argument against what
Cope says, the declarative knowledge involved in performance has been sadly missing from music teaching
in any systematic way. One of the essential aspects of our course has been to provide the critical tools for
analysis and to raise awareness of the many aspects of the context of performance. By providing a strong
underpinning theory or rationale we hope to raise motivation and purpose and thereby stimulate individual
responsibility for learning.
Jørgensen’s (2000) article addresses the institution’s role in student learning as part of a discussion of
instrumental tuition in Higher education. His discussion points to research from Norway which indicates
that instrumental teachers felt that the
Development of a student’s independence as a musician was an important developmental task.
With ‘independence’, most of them associated the students’ ability to assume responsibility for
their own learning and development.
This idea of independence is built into our institution’s Learning and Teaching Policy, which suggests that
by level 3 students should be capable of independent learning. It raises questions about the responsibility of
an institution to provide the right environment for this to take place, especially given the time constraints of
instrumental tuition. By providing a structured and systematic course we hope to equip students with the
understanding, experience and opportunity for reflection which will equip them with the necessary skills
for developing independent thought based on theoretical understanding or rationale for what they are doing.
Recognising that most of the learning is done away from the teacher we have to recognise the role of the
institution in supporting instrumental staff and students in attaining this goal of independence. The
emphasis within the class is not upon product but upon process.
It is these aspects which Jørgensen questions, especially the
Dysfunctional aspect of life of many institutions: their neglect of the institutional responsibility for
the development of the students as independent, responsible musicians and learners.
By addressing the issues which were constantly raised in performance feedback to students, we feel that we
have moved somewhere towards the functional by providing a programme of study which encourages
independence of learning We can no longer write on feedback forms ‘take care with presentation skills’ or
‘not a secure performance’ and expect the student to work out what we were talking about - skills they had
never been taught. More importantly we no longer teach these skills by failing students or by responding
negatively to their efforts in assessments. Our approach is centred on the knowledge that there will be a
public performance and that we have to prepare our students for that event. Through our review of the
course we have seen performance standards rise, technically through the re-writing of individual
instrumental syllabi and contextually through the active and academic exploration of the art of
performance. There is a clear understanding of what is required at different levels of the course
and as students move from level one of the degree to level three, there is a clear shift in emphasis from
technical skill to contextual skill, from getting through a musical piece to performing a piece to a high
standard in front of an audience with all that that implies. The integration of instrumental staff has been
essential in this venture, and their contribution to the assessment process has strengthened the credibility of
assessments with students. Finally, the project has been delivered in a cost-effective way with the teaching
of around 60 performance students devolved to 3 members of staff.
It
would be foolhardy to suppose that this is a unique experiment in
raising standards of performance,
especially
since group activities and the emphasis on public performance has
been addressed in different
ways
by different institutions as well as by lower level courses such as
the Edexcel National Diploma in
Popular
Music. What we offer here is our departmental answer to what we perceived
to be a significant
problem
which may become all the more problematic as benchmarking begins to
take effect in HEIs. We
believe
that as an institution we have taken a proactive and responsible approach
to an important issue of
raising
achievement in performance. We also recognise that there is no room
for complacency: each new
assessment
period brings with it new issues which have to be considered for future
years as students
explore
the performance context more and more, integrating live electronics,
DJs and performance art into
their
final programme. Raising the
expectations of performances does bring its own difficulties: students
develop
creative and innovative ways of presenting their final performances
as they respond to the demands
of
the course and the demands of what they perceive to be performance
practice in the real world, some
of
which
may actively challenge our concepts of performance in an academic
or institutional environment.
We
are confident that our approach provides an effective forum for discussion
on the changing nature of
performance. This ensures that as an academic institution
we can be responsive to a dynamic, changing art,
and
by addressing issues of standards through discussion and dialogue
with students we can ensure that
students
can respond effectively to the expectations and demands of the course
team.
ReferencesCOPE, P (1998) Knowledge, meaning and ability in musical instrument teaching and learning. British Journal of Music Education, 15, 3. 263-270.
HUNTER, D. & RUSS, M. (1996) Peer Assessment in Performance Studies. British Journal of Music Education, 13, 1
JOHNSON, P (1997) Performance as Experience: the problem of assessment criteria. British Journal of Music Education, 14, 3, 279
JÆRGENSEN (2000) Student learning in higher instrumental education: who is responsible? British Journal of Music Education, 17,1, 67-77.
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