Introduction
Cognitive aspects of learning are associated directly with the acquisition of knowledge and the development of the ability to reason, interpret and communicate ideas. Cognitive learning is underpinned by the formation of dispositions or habits of learning that rely on questioning, critical reflection and experimentation, enabling the extrapolation new ideas from what has been learned. Cognitive aspects are perhaps the most apparent characteristics of the learning process.
Building new ideas requires not just foundational knowledge and the understanding of the underlying principles, but exploration of a range of new possibilities through experimentation and considering information from different perspectives (Jefferson & Anderson 2021, p.67).
This exploration of ‘what if’ underpins the development of creative thinking and problem solving (Jefferson & Anderson 2021, p. 92). In a learning environment such as a musical ensemble, this process is often led by the conductor introducing new repertoire, focussing on the learning of musical elements by members of the ensemble, but also shaping a creative and shared vision for a collective musical interpretation that extends far beyond the notation on the page.
A key part is experimenting with technical aspects such as colour, timbre, phrasing and articulation, in what may be ‘trial and error’ in order to land on the most successful new approach. For the players this can promote creativity in musical interpretation beyond the ensemble setting, and result in a radical extension of the techniques and skills that they already possess, as they apply and experiment with what they know to realise their own ideas.
The music ensemble experience models a form of guided learning as students encounter new ideas, seeing in action the process of experimentation and the enacting of a larger scale vision. On an individual level, the players explore and find creative solutions to technical and interpretative problems posed by a wide range of musical repertoire, providing a springboard for new ideas.
The directors of the ensembles reflected on the learning opportunities presented by chosen repertoire and ways in which different perspectives on the music and different approaches could be shared, particularly during a period in which COVID-19 was impacting rehearsal and performance processes, and rapid changes could be required.
Consequently, players were exposed to a wider range of repertoire than just the concert programme, due to the necessity for backup plans. This enabled greater experimentation and opportunities for players to apply performance techniques in different contexts. Some took the opportunity to work specifically on addressing technical weaknesses or rhythmic insecurities to strengthen the foundation for realisation of a shared creative vision in performance.
The close connection between the youth orchestra and the Tasmanian Symphony Orchestra enabled the youth orchestra players to be exposed to new perspectives on practice and performance, through sectional rehearsals with professional players, and invitations to attend rehearsals and free tickets for performances of the symphony orchestra.
What our participants said
“Specialisation is the process of achieving a mastery of a specific set of techniques to that point where you are given a generalisation moment when you are able trial your newly acquired technique in an actual performance. It is imperative that you get the sequence timing between these two events correct.” Nicholas (conductor)
“I have decided to experiment with more vertical conducting. Although this is slightly contrary to the emotional expression of the score it will be interesting to see if a stricter beat will give the players more security for their own expression.” (David, conductor).
“When I prepare a score, I assign parts depending on the player’s strengths or weaknesses; sometimes I assign parts of a piece specifically to players’ weakness. It is how they grow and learn to be versatile. It is very easy for a player and a conductor to pander to strengths, but to target weaknesses, in the right situations, is educating.” Sandra (conductor)
“To take the sectionals...most of the time we opted for...TSO players...it’s very, I think, inspirational for the young musicians to be able to work so closely with professional musicians.” Ben (conductor)
Exemplar
Both students and staff referred to the importance of developing efficient practice techniques as an investment in establishing strong technical foundations, but the importance of modelling behaviours of experimentation in a rehearsal setting. Identifying problems and encouraging the players to find solutions gave opportunities for the application of knowledge and technical skill to underpin the building of new ideas when arriving at individual and group solutions. One of the conductors would regularly recommend recordings of works for students to listen to in order to gain a more holistic sense of the composition and interplay between parts: “the goal, essentially, is not to mimic the recordings but to help understand their role in the greater context.” (Ben, conductor). Such models provided exposure to different interpretations of the same work, and expand the possibilities for the formulation of new ideas.
What does this mean for me?
- Give links to multiple recordings of the same work to challenge notions of there being a single ‘correct’ interpretation. You can use some these ideas as a basis for experimentation in rehearsals.
- Where there are different versions of a work made by a composer, explain the differences and why one version has been chosen.
- Identify ambiguities in musical notation, or editorial phrasing or articulations as a starting point.
- Ask players to work with the same passage at different tempi, or using different articulations, phrasing or tone colours. Explain why you believe one solution might be better, or more reliable than another.
- How often do you say, “What if we try…”? You can make some radically different choices in repertoire, exposing students to new ideas and new ways of applying their skills and techniques, or you could experiment with the structure of rehearsals.
- Experimenting with placement of players or sections within an ensemble can foster awareness of the role of a player or section in the musical work as a whole.
- Sectional rehearsals are often used to iron out technical issues and provide greater unity of playing, but the players themselves could be given scope to try out different ideas (fingerings, bowings) and come to an agreed solution.
- Outside of the formal rehearsal, players can be encouraged to experiment and find their own solution for a single issue.
- Encourage players to embrace other genres and experiment with the possibilities of their instrument to broaden conceptions and spark new ideas.