Please use this identifier to cite or link to this item: http://hdl.handle.net/1959.14/154316
77 Visitors82 Hits0 Downloads
Expressing artistic development and intent : creative and educational pedagogy for msuic theatre studies
ISME Commission for the Education of the Professional Musician. International Seminar (18th : 2010) (27 - 30 July 2010 : Shanghai, China)
Hannan, Michael. The Musician in creative and educational spaces of the 21st century [electronic resource] : proceedings of the 18th International Seminar of the Commission for the Education of the Professional Musician (CEPROM) : Shanghai Conservatory of Music July 27-30, 2010, p.59-64
This paper discusses the exploration of sound and movement as performative constructs in Music Theatre studies. In a series of workshops, participants explored conceptual, thematic and artistic components of sound and movement. At the conclusion of the workshops, the students were allocated time to refine a Music Theatre pelformance piece. The research process involved data collection from workshop participants prior to and at the conclusion of the workshop series. The findings presented in this paper represent Stage 1 of the research and focus on the workshop process rather than on an assessed performance piece. In particular, the findings focus on the improvised and creative elements of sound explored in the workshop series. The study found that the participants developed an understanding of the creative application of the musical elements explored in the workshops. While many of the musical elements such as rhythm, vocal sound, melody, phrasing, harmony, form and methods of notation had been explored in the workshops, the participants' inclusion of expression and the process of musical development revealed a greater depth in participant understanding. Musical Theatre and music pe1jormance studies typically reflect expressivity of a composer's intent. While artistry is embodied within expressivity, developing artistry and performance intent can be bypassed in education when the focus is primarily on replication of the musical score or on Musical Theatre characterisation. In the education of musicians, facilitating an understanding of performative constructs may provide a balance to what is often prescriptive intent. For these reasons, it is envisaged that the development of pedagogical strategies, in conjunction with the research findings discussed in this paper, will have wider educative relevance and application.