I thoroughly enjoyed this article, I felt enlightened and educated in the art of studios and masterclasses. I was surprised to see how much the studio impacts a student, that students are more influenced by their studio teachers than their Dean or other “social configurations in the institution”- students depend on their studio teacher to get them to the best of their ability especially high school students who need to be at a certain level to be able to progress into higher education.
The article has shown me to approach studio teaching with caution, my goal in the future is to be a private singing teacher as a second job, the section within the article that shows how much fear a teacher can install in a student and comparing it to the likes of a prisoner stating that they will behave as if the oppressor is always present from their intense monitoring was shocking and scary. What truly surprised me was the mix of factors that can affect a student’s progress in a studio session; where a teacher places themselves within the room, how the room is decorated, the size of the room or even if the door is open or closed, similar factors can determine the outcome of a performance whether it is in a concert hall, pub or open public space.
Reading this article had me reflecting on my past studio experiences, when in smaller spaces with no resonance meaning my voice would not travel, dynamics would be harder to hear, and I would feel more frustrated if I was having a bad singing day, as I felt like I was being judged. However, in my most recent university studio back home the bigger space that is filled with mirrors and has a lovely resonance makes me feel calmer, almost like its only myself in the room therefore I’m less frustrated with myself and tend to not overthink what I am doing even though there is a teacher present.
I have also seen a similarity in this studio session with my choir rehearsals here, in some previous choirs (mostly when it was all girls) there was a competitive atmosphere amongst the singers because whoever was being ‘most heard’ would get the solos etc. reflecting back on this made me question whether it was the teachers influence on us that made us feel that choir was a competition and not a ‘family’ per say. I’ve noticed the difference since coming to university, with my chamber choir at home but mostly with university singers here- we’re a family, singing in mixed formation and having a conductor that trusts you enough to sing without them present or without conducting is a level of trust I aspire to have with my students, it allows us to be free and calm meaning we can connect with the song itself, the space around us and it allows us to be present and in the moment.
The article was relatable for me in many ways, I’ve been in studio sessions since I was ten years old with various teachers and there has been one reoccurring factor in each. The teaching focuses mostly on “getting ready for the next performance” rather than “music education through performance” I had never reflected on this until reading this article, throughout my musical career I have always trained in songs I am learning for the next performance, recital or exam I’ve never learnt performance techniques through music education only through studio sessions. This article has allowed me to think differently when approaching studio sessions and music education and has required me to think how I will teach studio sessions knowing now how much the space alone will affect my student- overall it has made me more aware of my influence on future student and how much influence my past teacher have had on me and my progress within musical performance.
Bibliography:
Tobias, E. S. (2013). Toward Convergence Adapting Music Education to Contemporary Society and Participatory Culture. Music Educators Journal, 99 (4), 29-36.
Comments:
Laura- "I'm interested in your comment “getting ready for the next performance” vs. “music education through performance”. Why do you think, as music educators, we often tend to be so focused on preparing for performance after performance rather than focusing on the music learning present within performances? And what does this indicate about our Western classical music focus? How could we begin to shift this?"
Answer: I believe within music and the education system the next exam/performance is the next goal, educators and students put a huge amount of pressure on themselves to get the next qualification and the next grade instead of taking time to think of how they got to that stage. Especially within our society today, people are always so keen to move onto the next thing without appreciating what they have right now. In todays western classical music, the focus is on how many qualifications you have rather than your talent alone- nourishing your talent is something that is needed to grow as a musician... not the amount of certificates you have. I do not know where we would start to shift this as there are so many components that imput to “getting ready for the next performance” vs. “music education through performance” ultimately it boils down to the education system and it's politics- immense amounts of pressure are put on students and teachers to make their students the ''best of the best' without teaching them how to really know their instrument which is saddening. The whole education system would need a reboot in order for this to ever change, but I am hopeful that in the future it could.