ABSTRACT

Student-centredness is being advocated for in research on higher music education (HME), yet its perils have been largely neglected by scholars. While issues of employability are important to address in order for music graduates to thrive in a neoliberal world, this article asserts that the underlying power mechanisms that are being criticised for stifling creative development in students may continue to exist also within student-centred environments. By turning to a discourse-theoretical Foucauldian framework, the article presents empirical data from a comparative case study of two HME institutions. The findings suggest that there are four discourses (of employability, artistry, craftsmanship, and holism) on student-centredness in HME. Moreover, tension points between students, professors, study programmes, and discourses may be softened if student-centredness is allowed more nuances. Finally, the article discusses how the subject positions of music performance students and professors are transformed by student-centredness, and how this transformation is affecting HME institutions.

摘要

在高等音乐教育（HME）的研究中提倡以学生为中心，但其危害却在很大程度上被学者们所忽视。虽然为了让音乐毕业生在新自由主义世界中茁壮成长，解决就业能力问题很重要，但本文断言，被批评为扼杀学生创造性发展的潜在权力机制可能继续存在于以学生为中心的环境中。通过转向话语理论的福柯式框架，本文提供了来自两个 HME 机构的比较案例研究的经验数据。研究结果表明，有四种话语（就业能力、艺术性、工艺性和整体性）) 关于 HME 以学生为中心的问题。此外，如果允许以学生为中心的更多细微差别，学生、教授、学习计划和话语之间的紧张关系可能会得到缓和。最后，本文讨论了以学生为中心如何转变音乐表演学生和教授的学科定位，以及这种转变如何影响 HME 机构。