Isolation in Music Studio Teaching: Response
This article opened up my eyes to a different understanding to studio teaching. I never really considered how many factors go into the education of my applied lessons that are not directly associated with my vocal production, intonation, expression, breathing, etc. There is so much more to it that exists on a psychological, historical, and cultural level that is important for anyone who partakes in private to understand.
The biggest theme throughout this was the idea of isolation and the pros and cons. I never really thought about the fact that isolated music lessons had such an impact. I, personally, always enjoyed private lessons because it was one-on-one time with my studio teacher where I didn’t have to worry about feeling insecure with my voice because I knew that they are there to make me improve. However, there is lots to consider because it could also mean that I have become too accustomed to perform in a small environment where my studio teacher and coach/accompanist are the only person who are present in the room. However, this is also important because, as the article states, it is valuable to look up to your studio teacher as they take pride and announce themselves professionally and in such a manner that one should also replicate when they go into the world of performance or even studio teaching. It was interesting, whoever, to read that it seems that some undergraduate students don’t receive as much performance opportunity. At Western, and I’m sure at other institutions, they implement masterclasses often enough to replicate these performances which aids for the lack of performance time. Another interesting point that I read was the idea that in higher music education, most studio teachers feel less apprehensive and insecure about their pedagogical knowledge, however may feel insecure that their teaching methods and ideology may not reach to their students well or equally. This is interesting because this is a fear that I generally worry about as I begin to ease into the idea of becoming a teacher; worrying that I will not be enough for my students, not necessarily that I am not worthy or good enough. However, it is to be noted that studio lessons are not just teacher directed. The article states that it is essential that the student also carry the burden of taking initiative and directing the lesson to some extent. The culture of studio lessons and how the isolation could be bad is one about interconnecting all the different skills and courses we take as musicians. The article mentions how sometimes students will feel like they are just preparing for “the next performance” whereas they should be taking music education along with performance to help them understand. This is really interesting and re-assuring for me to hear because one of my biggest music education philosophies is that one must have experience learning and performing in order to teach and gain other skills. The amalgamation of both performance and non-performance skills are important as they are always carried through whether we consciously realize it or not.
I wonder how and when this article was formulated, because although I can understand where there thoughts and research comes from, it also seems that many of the issues that they have come across have been addressed in some way, shape, or form, or that we have adapted to make sure they are addressed for the general public. That being said, it was very interesting to look at many of the deeper connotations of studio teaching as I am only working as a product of studio teaching, whereas I will, in the future, need to create a product under the ideology of modern applied lessons.
References
Burwell, K., Carey, G., & Bennett, D. (2017). Isolation in studio music teaching: The secret garden. Arts and Humanities in Higher Education, 1474022217736581.