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Integrating theory and practice in conservatoires: formulating holistic models for teaching and learning improvisation

  • Catherine Parsonage (a1), Petter Frost Fadnes (a1) and James Taylor (a1)
  • DOI: http://dx.doi.org/10.1017/S0265051707007590
  • Published online: 01 November 2007
Abstract

Academic study has become a more significant part of a conservatoire education in recent times, but it has not always informed performance as effectively as it might. There is a need for further development of an academic curriculum that is specifically relevant to performers, in which the links between theory and practice are made explicit rather than expecting students to construct these for themselves. This article reports on research into the integration of theory and practice at Leeds College of Music, UK, using jazz improvisation as a case study. Pilot teaching sessions within two modules explored ways in which students can be encouraged to engage actively with an appropriate academic curriculum that is embedded within a holistic learning experience.

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This list contains references from the content that can be linked to their source. For a full set of references and notes please see the PDF or HTML where available.

P. Berliner (1994) Thinking in Jazz: The Infinite Art of Improvisation. Chicago: University of Chicago Press.

J. Mills (2004) ‘Working in Music: becoming a performer-teacher’, Music Education Research, 6, 3, 245–61.

T. Whyton (2006) ‘Birth of the school: discursive methodologies in jazz education’, Music Education Research, 8, 1, 6581.

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British Journal of Music Education
  • ISSN: 0265-0517
  • EISSN: 1469-2104
  • URL: /core/journals/british-journal-of-music-education
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