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    Higher music education and the need to educate the whole musician: Musicians’ work in early-, mid- and late career

    Access Status
    Open access via publisher
    Authors
    Bennett, Dawn
    Date
    2019
    Type
    Conference Paper
    
    Metadata
    Show full item record
    Citation
    Bennett, D. 2019. Higher music education and the need to educate the whole musician: Musicians’ work in early-, mid- and late career, in Pike, P. (ed), Proceedings of the 22nd International Seminar of the ISME Commission on the Education of the Professional Musician (CEPROM): The Musician’s Career Lifespan, Jul 11–13 2018. Almaty, Kazakhstan: ISME.
    Source Title
    The Musician’s Career Lifespan
    Source Conference
    21st International Seminar of the Commission for the Education of the Professional Musician (CEPROM),
    Additional URLs
    https://www.isme.org/other-publications/proceedings-ismes-ceprom-commission-2018
    ISBN
    978-0-6481219-8-5
    Faculty
    Faculty of Humanities
    School
    School of Education
    URI
    http://hdl.handle.net/20.500.11937/79352
    Collection
    • Curtin Research Publications
    Abstract

    Whilst recent research has begun to expose the early career experiences of graduate musicians, few studies have looked at musicians’ work across the career lifespan. This short article reports from a study that analysed the work of musicians in early, mid and late-career. The study used lifespan perspective theory to understand how musicians select and optimise their opportunities, the strategies they employ to maintain their desired level and type of work, and the impact of career decision making on their musician identities. The findings suggest that when higher music education fails to develop the practice of student musicians — to educate the whole musician — musicians’ financial, emotional and physical well-being are negatively impacted not just in early career but across the career lifespan. Opportunities for changing higher music education programs include engaging students in work integrated-learning (WIL) experiences; recognising and fostering the existing and previous practice of student musicians; and modelling the “protean” musician career as the career norm throughout history rather than as a new phenomenon.

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