ABSTRACT

This article reports on a pilot project exploring the viability of a teaching-through-playing approach in chamber music instruction in higher music education. Literature suggests that teaching traditions such as the one-to-one setting need renewal, and socio-cultural theories of learning propose that collaboration and participation are a way forward. To explore this new approach, a multiple case study of four chamber music groups with teachers as playing participants was set up in two institutions in Australia and Norway. Participants were interviewed to examine their attitudes, use of teaching and learning strategies, and perceived challenges and benefits of the approach. The findings suggest that working with professionals in a community of practice in a real-life setting intensifies and broadens learning of musical, social and general skills relevant for chamber music performance. However, the study revealed challenges regarding power relations that need to be resolved. In conclusion, the approach seems to be a promising supplement to existing teaching traditions. The master-apprentice model is through this approach re-imagined as a master-apprentice relationship of guided participation. The guidance comes from social partners’ feedback and from the hands-on involvement in and observation of the action culture of chamber music performance demonstrated as a professional practice.

摘要

本文报告了一个试点项目，该项目探索了在高等音乐教育中室内乐教学中通过演奏教学方法的可行性。文献表明，一对一设置等教学传统需要更新，学习的社会文化理论提出合作和参与是前进的道路。为了探索这种新方法，在澳大利亚和挪威的两个机构中建立了以教师为参与者的四个室内乐团体的多案例研究。参与者接受了采访，以检查他们的态度、教学和学习策略的使用以及感知的挑战和方法的好处。研究结果表明，在现实生活环境中与实践社区中的专业人士合作可以加强和拓宽音乐学习，与室内乐表演相关的社交和一般技能。然而，该研究揭示了需要解决的权力关系方面的挑战。总之，该方法似乎是对现有教学传统的有希望的补充。师徒模式正是通过这种方式重新设想为一种引导式参与的师徒关系。该指导来自社会伙伴的反馈以及对室内乐表演的行动文化的亲身参与和观察，作为一种专业实践。师徒模式正是通过这种方式重新设想为一种引导式参与的师徒关系。该指导来自社会伙伴的反馈以及对室内乐表演的行动文化的亲身参与和观察，作为一种专业实践。师徒模式正是通过这种方式重新设想为一种引导式参与的师徒关系。该指导来自社会伙伴的反馈以及对室内乐表演的行动文化的亲身参与和观察，作为一种专业实践。