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首页> 外文OA文献 >The conductor-teacher, conductor-learner:udAn autoethnography of the dynamicudconducting/teaching, learning process of anudadvanced level wind ensemble conductor
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The conductor-teacher, conductor-learner:udAn autoethnography of the dynamicudconducting/teaching, learning process of anudadvanced level wind ensemble conductor

机译：指挥老师，指挥学习者： ud动态 ud的自传进行/教学，学习过程高级风合奏指挥

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摘要

This study aimed to examine the nature of the work of a conductor-music educator,udmore specifically my lived experience as a music educator, conductor and performerudas I worked with a community music program in regional Tasmania, Australia. Theudstudy was conceived from a desire to better understand my own practice as a musicudeducator and conductor. It is through this desire that I examine the nature of theudconductor-music educator‘s work through my eyes and the eyes of members of anudensemble I conduct. A number of research studies have examined music educators‘udwork and the conducting practice.udTo assist in the understanding of the complex work of the conductor-music educatorudit was important to gain an understanding of the development of the largeudinstrumental ensemble performance and within music education in Tasmania,udAustralia. To achieve this it was necessary to explore the international (UnitedudStates of America and United Kingdom) influences on Australian music education.udIt was also necessary to review literature pertaining to the work of the musicudeducator and skills and the work of the conductor within an educational context.udAn autoethnographic approach was taken to facilitate an understanding my practiceudas a conductor-music educator. This approach provided opportunities for me toudreflect upon how I became the musician, music educator and conductor I am today.udData were generated through my reflexive writings, journaling, rehearsal plans,udrehearsal video footage, concert video footage, ensemble participant interviews andudvideo-stimulated interviews. The rich data generated provided an insight into myudwork as a conductor-music educator. These data are considered in relation to the literature the work of the music educator, the development and art and craft of audconductor, and the work of the conductor-music educator.udThe findings from this study suggest that the nature of the conductor-musicudeducator‘s work is multifaceted and multi-layered. The relationship betweenudrepertoire (music pedagogical texts) selection and preparation, rehearsal planning,udrehearsal implementation and rehearsal reflection is inextricably linked; it is a cyclicudprocess where one stage informs the next stage. Fundamentally a conductor-musicudeducator never stops teaching and during rehearsals they must engage ensembleudmembers‘ fingers (technique) and musicianship (brain). This engagement comesudthrough the planning and implementation of meaningful experiences which empowerudensemble members to learn.udThe findings of this study highlight the need for pre-service music education coursesudto provide future conductor-music educators with a good understanding of theudchoreography of conducting. However, it is important for pre-service musicudeducation students to also learn how teach for musical understanding through the useudof meaningful and effective teaching strategies and the art and craft of conducting.udMost importantly is the realisation that the conductor-music educator never stopsudteaching and learning.
机译：这项研究旨在考察指挥音乐教育家的工作性质，尤其是我作为音乐教育家，指挥和表演者的生活经历。我曾在澳大利亚塔斯马尼亚州的一个社区音乐计划中工作。学习是出于对更好地了解自己作为音乐教育家和指挥的实践的渴望。正是出于这种愿望，我通过自己的眼睛和我所从事的 udensemble成员的眼光来审视 udconductor-music eduator的工作性质。许多研究研究了音乐教育工作者的 udwork和指挥实践。 ud为了帮助理解指挥音乐教育者的复杂工作 udit对于理解大型 instrumental乐团的发展很重要澳大利亚塔斯马尼亚州的音乐表演和音乐教育。为此，有必要探讨国际（美利坚合众国和英国）对澳大利亚音乐教育的影响。 ud也有必要审查与音乐教育工作者的工作，技能和音乐创作有关的文献。 ud人种志方法被用来促进对我的实践的理解 uda指挥音乐教育家。这种方法为我提供了机会反省我成为今天的音乐家，音乐教育者和指挥的程度。 ud数据是通过我的反身著作，日记，排练计划， udhhearsal视频录像，音乐会录像，合奏参与者访谈产生的和 udvideo刺激的采访。生成的丰富数据为我作为指挥音乐教育家的工作提供了见识。这些数据被认为与音乐教育工作者的工作，音乐指挥家的发展，艺术和手艺以及指挥音乐教育家的工作有关。 ud这项研究的发现表明，指挥家的性质-音乐教育工作者的工作是多方面的和多层次的。音乐剧教材的选择与准备，演练计划，演练实施与演练反映之间的关系密不可分；这是一个循环 udprocess，其中一个阶段通知下一个阶段。从根本上说，指挥，音乐教育家永远都不要停止教学，并且在排练期间，他们必须让合奏 udmember's的手指（技巧）和音乐人（大脑）参与进来。 ud通过计划和实施有意义的经验使 udensemble成员能够学习而进行的参与。 ud本研究的结果突显了需要音乐前音乐教育课程 ud以使未来的指挥音乐教育者对舞蹈的编排。但是，对于学前音乐教育的学生来说，也必须通过使用 udof有意义和有效的教学策略以及指挥的技巧和技巧来学习如何进行音乐理解教学。 ud最重要的是认识到指挥音乐教育者永不停止学习和学习。

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