The professional learner and performer: investigating the field of higher education and expertise development for learning and performing the double bass - a global survey

Main Article Content

Florian Pertzborn
Universidade Católica Portuguesa, Research Centre for Science and Technology of the Arts; Instituto Politécnico de Porto, Escola Superior de Música; Orquestra Sinfónica do Porto Casa da Música
https://orcid.org/0000-0001-7760-9058

Abstract

This study investigates the field of higher education and expertise development for learning and performing the double bass. The aim is to draw a picture of how the double bass is currently learned and performed by the learning student, the supervising professor and the performer working in a symphony orchestra, to find out whether if there were any significant differences between the three groups in their approaches to practice and performance. Results indicated that the achievement of expertise on the double bass is multifaceted and implies the development of multiple tasks and skills which soon have to be fostered and experienced in the field of learning and performing. Significant differences between the three groups were detected in the area of demography, experiences, knowledge, and their approaches to practice. Recommendations and implications for further investigation indicate that a wider perspective of learning, practice, self-evaluation in combination of the usage of technology for practice support and feedback should be taken into account for enhancing performance ability for the double bass.

Keywords: Double bass, Skill, Practice, Pre-professional learning, Expert performance

Downloads

Download data is not yet available.

References

Bastian, H. (1989). Leben für Musik: eine Biographie - Studie über musikalische (Hoch-) Begabungen. Mainz: Schott.

Biggs, J. & Moore, P. (1993). The Process of Learning. New York: Prentice Hall.

Brun, P. (2000). A New History of the Double Bass. Villeneuve: P. Brun Productions.

Carmo, H. & Ferreira, M. (2008). Metodologia de Investigação: Guia para Auto-Aprendizagem. Lisboa: Universidade Aberta.

Davidson, J. (2004). The Music Practitioner: Research for the Music Performer, Teacher and Listener. Hunts: Ashgate. https://doi.org/10.4324/9781315085807

Hallam S. (1997). What do we know about practicing? In Jørgenson, H. and Lehmann, A. (Eds.). Does practice make perfect? (pp.179-231). Oslo: NMH.

Jørgensen H. (2000). Student Learning in Higher Education: Who is responsible? British Journal of Music Education, 17 (1), pp. 67-77. https://doi.org/10.1017/S0265051700000164

Langner, D. (2003). Flawed Expertise: The Case of the String Players. In Davidson, J. (Ed.). The Music Practitioner (pp. 251-259). Hunts: Aschgate.

Pertzborn F. (2007). Motor Control and Learning: The basics to skilled instrumental performance. In Williamon A. & Coimbra D. (Eds). Proceedings of the International Symposium on Performance Science (pp. 115-120). Utrecht: Association Européene des Conservatoires, Academies de Musique e Musikhochschulen (AEC).

Planyavsky, A. (1984). Die Geschichte des Kontrabasses. Tutzing: Schneider.

Smith, J. A. (1995). Semi-structured Interviewing and Qualitative Analysis. In Smith, J.A., Harre, R. & Van Langenhove, L. (Eds.). Rethinking Methods in Psychology (pp. 9-26). London: Sage. https://doi.org/10.41359781446221792.n2

Williamon, A. (2004). Musical Excellence: Strategies and Techniques to Enhance Performance. Oxford: Oxford University Press. https://doi.org/10.1093/acprof:oso/9780198525356.001.0001