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4. Teaching Musical Performance from an Artistic Research-Based Approach: Reporting on a Pedagogical Intervention in Portugal

Chapter of: Teaching Music Performance in Higher Education: Exploring the Potential of Artistic Research(pp. 107–132)

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Metadata
Title4. Teaching Musical Performance from an Artistic Research-Based Approach
SubtitleReporting on a Pedagogical Intervention in Portugal
ContributorGilvano Dalagna(author)
Jorge Salgado Correia(author)
Clarissa Foletto(author)
Ioulia Papageorgi(author)
DOIhttps://doi.org/10.11647/obp.0398.05
Landing pagehttps://www.openbookpublishers.com/books/10.11647/obp.0398/chapters/10.11647/obp.0398.05
Licensehttps://creativecommons.org/licenses/by-nc/4.0/
CopyrightGilvano Dalagna, Jorge S. Correia, Clarissa Foletto, and Ioulia Papageorgi
PublisherOpen Book Publishers
Published on2024-05-27
Long abstractThis book chapter reports on a pedagogical intervention consisting of a new artistic research-based approach to teaching and learning music performance. Such an approach was offered as an extracurricular course (REACT training school) promoted by a strategic partnership, funded by ERASMUS+, involving 5 European higher music institutions. The chapter is structured in four parts. The first outlines the current paradigm of music performance education in European higher education institutions. This section explores the consequences of the values and expectations established in the context of the nineteenth-century Western Conservatoire model along with a summary of the career demands of professional music performers. From the insights arising from the issues discussed above, connections are drawn with the current state of artistic research in order to launch new pedagogical strategies. In the second part, the implementation of the REACT training school at a Portuguese university is described. Details about topics included in the programme, selection of participants, data collection and data analysis are presented. In the third part, the results of the data analysis are dealt with, considering the students' perspectives regarding their participation and the training school itself. In section 4, the theoretical and pedagogical implications of the study are discussed, with reference to the state of the art presented in section two, also addressing methodological limitations of the study itself, finally proposing possible directions for future research.
Page rangepp. 107–132
Print length26 pages
LanguageEnglish (Original)
Contributors

Gilvano Dalagna

(author)
Assistant Professor at University of Aveiro
Invited Lecturer at Alfonso X el Sabio University
https://orcid.org/0000-0001-9123-1733

Gilvano Dalagna is invited Assistant Professor at the University of Aveiro (Portugal), invited lecturer at the Alfonso X El Sabio University (Spain) and integrated researcher at the Institute of Ethnomusicology/Center of Studies in Music and Dance (Portugal). He concluded a European PhD (Music, with Honours and distinction) at the University of Aveiro, including an Erasmus-funded period at the University College of London Institute of Education. His current research focuses on the links between performance (as creative practice) and music education. Between 2017 and 2019 he was postdoctoral fellow at the Instituto de Etnomusicologia/Centro de Estudos e Dança (SRFH/BPD/UI72/8071/2018) and invited lecturer at the Escola de Música e Artes do Espetáculo/Instituto Politécnico do Porto. Gilvano is currently a member of the coordinating team, quality manager and phase leader for the project REACT: Rethinking Music Performance in European Higher Education Music Institutions.

Jorge Salgado Correia

(author)
Associate Professor of Musical Performance and Artistic Creation at the Department of Communication and Art at University of Aveiro
https://orcid.org/0000-0002-2255-2063

Jorge Salgado Correia is Associate Professor of Musical Performance and Artistic Creation at the Department of Communication and Art of the University of Aveiro. He received his doctorate in 2003 for a dissertation on musical performance as embodied socio-emotional meaning construction. In 2007, he became an integrated researcher at the Institute of Ethnomusicology/Center of Studies in Music and Dance (Portugal) coordinating, from then until July 2022, the research group “Creation, Performance and Artistic Research”. Jorge is a leading Flautist specialised in the performance of contemporary music but regularly playing other music genres like Portuguese popular music, Tango or Brazilian Chôro. As a soloist and chamber music player, he has participated in more than 12 CDs and toured all over Europe, Latin America, (Brasil, Colombia, Costa Rica), USA, Asia (Macau, Shanghai), and Africa (Mozambique). As one of the 3 artistic directors and founders of Performa Ensemble, a leading Portuguese ensemble for contemporary music, Jorge has collaborated extensively with the most prominent Portuguese composers from 2010 until today, playing and recording the première of dozens of new compositions. As conductor and artistic director he founded in 2019 the project FLUTUA, a flute orchestra which has already commissioned about 12 new compositions for its specific formation and its transdisciplinar performance approach (music, dance and staging). Jorge is currently Editor-in-Chief of ÍMPAR-Online Journal for Artistic Research and the Coordinator of the project REACT: Rethinking Music Performance in European Higher Education Music Institutions, a strategic partnership involving five countries and financed by ERASMUS+. Jorge is Director of the Doctoral Program in Artistic Creation at the University of Aveiro, Portugal and president of the Portuguese Flute Association.

Clarissa Foletto

(author)
Junior Researcher at the Instituto de Etnomusicologia – Centro de Estudos em Música e Dança (INET-md/UA) at University of Aveiro
https://orcid.org/0000-0003-4301-4114

Clarissa Foletto is a junior researcher (CEECIND/03404/2017) at the Instituto de Etnomusicologia – Centro de Estudos em Música e Dança (INET-md/UA), in Portugal. She is the institutional coordinator of the project DigiMusi (Digital transformation in elementary music education) and a member of the coordinating team of the project REACT: Rethinking Music Performance in European Higher Education Music Institutions, both financially supported by the European Commission–Programme Erasmus+. She holds a European PhD in Instrumental Teaching from the University of Aveiro and completed a traineeship at the Institute of Education, University College of London. Her research focus is on innovative approaches to instrumental teaching and learning, teacher and student communication, strings pedagogy, digital transition in music education, and early childhood in music education.

Ioulia Papageorgi

(author)
Professor and the Associate Dean of the School of Humanities and Social Sciences at University of Nicosia
https://orcid.org/0000-0001-8566-2457

Ioulia Papageorgi (FHEA, CPsychol, AFBPsS) is a Professor and the Associate Dean of the School of Humanities and Social Sciences at the University of Nicosia. Ioulia is the Convenor of the Board of Educational Affairs of EFPA, and an elected Committee member of SEMPRE. She currently serves on the Cyprus National Bioethics Committee (President of the Review Bioethics Committee for Biomedical Research). Ioulia has served on the Board of Cyprus Psychologists’ Association (Vice-President, Treasurer). Her research interests include music performance anxiety, the development of expertise, the association between music training and cognitive development, psychometric testing, and teaching and learning in psychology. She has authored multiple publications in peer-reviewed journals, book chapters and she has co-edited three books.

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