CRITICAL ANALYSIS 1

Critical Analysis

Conservatoire Students' Perceptions of the Characteristics of Effective Instrumental and

Vocal Tuition

Student’s name

Course

Lecturer’s name

Date

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 CRITICAL ANALYSIS 2

One of the most important aspects of undergraduate music education at the UK's nine

conservatoires is the thousands of private lessons offered each week during the academic

year. The purpose of the study was to find out what aspects of private instrumental or vocal

instruction students think are most effective. Since students' experiences as learners are likely

to influence the teaching they may conduct as undergrads or during their career, it has

relevance beyond the conservatoire. The primary sources of information on higher

education's instrumental and vocal training are the recollections of famous musicians who

attended a conservatoire, as well as the findings of the Quality Assurance Agency of the

Higher Education Funding Council for England (QAA), its counterparts in Wales and

Scotland, and the Further Education Funding Council. A practical learning experience is most

likely to be achieved when an individual or a small group of students receives one-on-one or

small-group performance instruction as an essential element of their overall educational plan.

There are some interesting insights on the teaching methods that are beneficial or inefficient

at various universities in England, Wales, and Scotland. This report will critically review the

Conservatoire Students' Perceptions of the Characteristics of Effective Instrumental and

Vocal Tuition article methodology, the findings, and discussion (Mills, 2002).

Methodology

The research began with examining the course assessment forms filled out by BMus

students at a conservatoire at the end of the academic year 1999-2000. Individual tuition was

one of the aspects of the course that had been included in the questionnaire for evaluation.

From Year 1 to Year 4, the percentage of pupils who responded to the questionnaires that

were pro-increased considerably. The component of the course assessment questionnaire that

deals with individual tuition was changed for the academic year 2000-2001 to improve the

feedback the conservatoire obtains from students and offer a naturalistic framework for the

research. After some preliminary testing, students were asked two research-related questions

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 CRITICAL ANALYSIS 3

concerning their tuition—first, the elements of instrumental instruction that work for

the students. Secondly, regarding an instrumental lesson or class that went well for them,

what was the session's focus that made the sessions very effective? (Mills, 2002). At the

completion of a June 2001 written exam, all students in Years 1 and 2 were given

questionnaires to complete and return before leaving the classroom. After this discussion with

two senior course leaders, she was able to proceed with her research on her results and some

replies she had previously gathered from students (Mills, 2002). Additionally, the article

indicate the respondents provided consent for participation in the study also the article

provide the sampling techniques and the sample size as a representation of the population and

therefore consider the methodology sufficient.

Results

The investigation included responses from 102 Year 1 students and 80 Year 2 students,

with 98% and 86% completion rates. There were around 20 words for each question in Year

1, while Year 2 students submitted about 16 words per question. Students' answers to the first

question (the effective ingredients of instrumental teaching) had a recurring theme. For

students to feel that they've made progress in their technique and musicality and their practice

skills and confidence, they need genuinely inspirational instructors who love teaching,

engage in their students' musical and personal growth, are firm when required, and who

provide constructive criticism (Mills, 2002). Beyond that, the students' use of grammar in

their descriptions of these elements reveals a variety of widely accepted teaching approaches:

First is the transmission approach, in which the teacher instructed the students in a step-by-

step manner. Secondly, the collaboration approach, where the teacher and the student worked

together on how to improve. And finally, induction strategy where the teacher instructed

students on becoming musicians. Almost all of the students gave examples to support their

answers to questions 1 and 2 in their responses; for example, they experimented with

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 CRITICAL ANALYSIS 4

different color combinations while learning a piece they enjoyed playing. Their previous

method of creating sounds was based on imagining what they wanted and hoping it would

come to fruition. Some students, mainly those who appeared to have been taught by

transmission, characterized an event other than a single lesson as being significant because it

provided a distinct perspective on their job; for instance, every student present was asked to

discuss what they thought of the presentation publicly (Mills, 2002). This was a valuable

experience and something great.

Discussion

The study results revealed how some conservatory students view the criteria of

excellent instrumental or vocal instruction. These traits align with what QAA assessors found

in the most effective lessons they evaluated. The students' decision of character traits is

consistent with them becoming efficacious teachers down the road. Few would argue that

teachers should seek to secure students' advancement in technique, musicality, practice skills,

and confidence. Teachers should also show their love of teaching and inspire students. The

teachers' reflective practitioners are likely to use Schon's cycle of diagnosis, planning,

instruction, and assessment, but it is not clear if this cycle is being introduced to students in a

received teaching style or range of received teaching styles, which could be applied

effectively in younger students, who are less advanceable. Students in conservatoires should

be allowed to learn how to teach instruments on a more systematic basis.

There are a variety of concerns about Year 2 students' lower return rates and a lack of

detail and quantity in their writing. Some of their writing was superficial, even though the

Year 2 students had written significantly more on their course assessment questionnaires

compared to Year 1, despite the fact that they had written significantly more than Year 1.

Students in Year 1 will be vital in providing an explanation if they respond positively to the

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 CRITICAL ANALYSIS 5

course review form they will get at the conclusion of Year 2. Therefore the article is sound for

study utilisation in the music education.

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 CRITICAL ANALYSIS 6

References

Mills, J. (2002). Conservatoire students' perceptions of the characteristics of effective

instrumental and vocal tuition. Bulletin of the Council for Research in Music

Education, 78-82.

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