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Unlocking Musical Potential: The Power of
Communities of Practice in Higher Music
Education
Author: Jörg Maria Ortwein, 2024-04-02
Abstract
This paper explores the applicability of the "Community of Practice" concept within the
broader context of higher education, with a particular focus on music academies. Introduced
in the early 1990s, this concept refers to a "practice-oriented community of individuals who
share similar tasks or interests" (Moskaliuk, 2014, p. 348). As a learning theory approach, it
describes how members of a community learn from each other through the exchange of
experiences and develop within this framework. The foundational idea, proposed by Jean
Lave and Étienne Wenger (1991), emphasises social processes within communities as central
factors for learning and knowledge acquisition.
The concept of a Community of Practice is highlighted as a significant explanatory approach
for teaching-learning processes in music education and masterclasses. Various studies are
cited to illustrate social learning processes, peer learning, and the development of professional
identity within music academies.
Overall, the paper underscores the importance of the Community of Practice concept in
fostering artistic and professional development within higher music education.
Key Points
• The concept of a Community of Practice is used in teacher education and music
academies to explain learning processes, such as masterclass teaching.
• Studies by Lebler (2007, 2008), Nerland (2007), and Hewitt (2009) highlight social
learning processes and interactions in music education, aligning with the Community
of Practice framework.
• Reid and Duke (2015) emphasise the importance of peer learning in music academies,
noting that students feel a sense of belonging and commitment within their
Community of Practice.
• Carey, Harrison, and Dwyer (2016) discuss social reflexivity and autonomous learning
in artistic instruction, while Johansen (2012) and Nielsen and Westby (2012) explore
the impact of the Community of Practice on teacher identity formation.
• Hanken (2008, 2011, 2015) and Creech et al. (2009) document the significance of
masterclasses in introducing students to the professional Community of Practice,
highlighting the role of observation and participation in artistic development.
• Long et al. (2012, 2014) emphasise the relevance of the Community of Practice
concept in conservatoires, noting the development of professional identity and the
expansion of individual skills through masterclasses.
• Recent studies by Bjøntegaard (2015), Gaunt and Westerlund (2013), and Virkkula
(2016) further illustrate the centrality of the Community of Practice concept in
understanding teaching-learning contexts in music academies.
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• The text also discusses the role of shared interests, relationships, and the adoption of
perspectives within a Community of Practice, highlighting the complexity of
interactions in learning processes.
• The development of expert knowledge within a community is characterised by
centripetal processes, as demonstrated by the expertise model proposed by Ericsson,
Krampe, and Tesch-Römer (1993).
• Ortwein (2019) examines the unique teaching and learning context of principal artistic
subject classes in music academies, demonstrating how the Community of Practice
framework shapes artistic identity, peer support, and mentorship. His findings
underscore the need for a student-centred didactic approach that fosters creative
development, reflective practice, and collaborative learning within higher music
education.
Unlocking Musical Potential: The Power of Communities
of Practice in Higher Music Education
Possibilities for transferring the concept of a Community of Practice to the general context of
higher education can be found—aside from early studies on online learning (cf. Arnold,
2001)—in current academic discussions (cf. Coenders & Prill, 2014; Wegner & Nückles,
2015; McDonald & Cater-Steel, 2017; May & Keay, 2017). The concept of a Community of
Practice is used as a research perspective in teacher education as well as in the teaching-
learning context of music academies, for example, as a significant explanatory approach to
masterclass teaching. However, international literature also includes various studies that
indicate a connection to situated learning or the concept of a Community of Practice without
explicitly referencing the publications of Jean Lave or Étienne Wenger.
For example, Lebler (2007; 2008) describes social learning processes such as interactions,
peer learning, and self-directed learning in an Australian conservatoire. Nerland (2007)
examined social interactions in one-to-one tuition at a Norwegian music academy. Hewitt
(2009), in his study on the teaching of musical styles at music academies, identifies elements
of the Community of Practice concept. He suggests that music students should be expected to
navigate the domains of pedagogical practice, artistic practice, and the practice of mediation
through legitimate peripheral participation from the moment they enter the institution (cf.
ibid., pp. 330f.). Reid and Duke (2015) studied piano and saxophone students at an Australian
conservatoire, drawing on the Community of Practice concept to highlight the importance of
peer-learning processes for student learning: "Where the idea of peer learning could
legitimately be considered a learning activity, these activities are part of a broader
environment, a community of practice" (ibid., p. 225). They summarise that "the music
students were a part of a community of practice that enabled them to share an overall view of
the sphere in which they are learning and working, bringing with it a sense of belonging and
commitment" (ibid., p. 331).
Carey, Harrison, and Dwyer (2016) report on social reflexivity and autonomous learning
processes in artistic instruction in their studies on the use of learning journals in a
conservatoire setting. The application of the Community of Practice concept as an explanatory
framework and foundation for higher music education pedagogy is further demonstrated in
contributions to music teacher education by Johansen (2012) as well as Nielsen and Westby
(2012). Johansen (2012) presents findings from a research and development project on teacher
competence development between university studies and practical school phases, focusing
particularly on the impact of the Community of Practice perspective on teacher identity
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formation. He highlights the importance of participation in various Communities of Practice
both within and beyond the higher education institution. Similarly, Nielsen and Westby
(2012), in their contribution to the research report Educating Music Teachers in the New
Millennium – Multiculturalism, Professionalism and Music Teacher Education in the
Contemporary Society, explore the connections between music teacher education and the
Community of Practice concept in shaping teacher identity. They conclude that the
development of professional teaching identity is closely linked to teachers' participation in
different Communities of Practice (cf. ibid., p. 150).
The significance of the Community of Practice concept in explaining teaching-learning
processes within masterclasses at music academies is documented in studies by Hanken
(2008; 2011; 2015), Creech et al. (2009), and Long et al. (2012; 2014). In her foundational
paper on the importance of masterclasses as an established teaching-learning format in
Western classical higher music education, Hanken (2008) argues that masterclasses should be
understood as a form of gradual introduction of students into the Community of Practice of
professional musicians (cf. ibid., p. 33). She explains that students in masterclasses are
confronted with the current standards of the Community of Practice (cf. ibid.). Participation in
this Community allows students to assume varying degrees of responsibility within the
community of musicians (cf. ibid., p. 34). Moreover, masterclasses provide students with an
opportunity to assess whether they can meet the current standards of the Community. They
also offer a chance to acquire a recognised position within the Community of Practice.
Creech et al. (2009) examined the significance of masterclasses from the students' perspective
at a British conservatoire. In their questionnaire study involving 37 students, participants
reported their experiences with masterclasses. Although the authors do not explicitly
reference Lave or Wenger, their use of the term Community of Practice in presenting their
findings is notable: "The students considered Master Classes to offer valuable performance
opportunities, fresh ideas for approaching musical interpretation and technique and access to a
professional community of practice" (ibid., p. 315). Their theoretical framework draws on
Jorgensen (1995), who also investigated the teaching-learning context of masterclasses.
Creech et al. (2009) particularly emphasise the role of masterclasses in the transition to
professional musicianship, suggesting that they create a context where students can work with
professional musicians while being perceived as part of the professional community. They
propose that formal recognition and development of masterclasses within conservatoire
curricula should be considered, given their role in facilitating entry into the Community of
Practice of professional musicians (cf. ibid., p. 330).
Hanken (2011), in a study involving former masterclass participants, demonstrates that
teachers, actively participating students, and even passive observers can all be considered
members of a Community of Practice. Passive participants, in particular, learn through
observing the teaching-learning context and gain inspiration for their own artistic
development (cf. ibid., p. 158). Furthermore, she argues that masterclasses serve not only as
teaching and learning spaces but also as arenas for defending positions within existing
hierarchies in the musical community (cf. ibid.). Participation in masterclasses is also linked
to the acquisition of cultural capital in the sense of Pierre Bourdieu (1983), as participation
signals a certain level of quality to other members of the Community of Practice, depending
on the teachers involved (cf. Hanken, 2011, p. 158).
The importance of peer learning as a key component of student participation within a
Community of Practice is highlighted by Hanken (2015) in her paper Listening and Learning
in a Master Class. She further notes that integration into the professional community, the
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development of self-confidence, and the cultivation of reflective abilities are essential
characteristics of Communities of Practice in the context of music academies (cf. ibid., p.
462).
Long et al. (2012) emphasise the fundamental relevance of the Community of Practice
concept for conservatoires, pointing to the professional exchange facilitated by shared
technical vocabulary and common working methods, as well as the development of
professional identity among students and teachers (cf. ibid., p. 287). In their quantitative study
at a British conservatoire, Long et al. (2014) conclude that the masterclass format
demonstrates how individual skills can be expanded, different teaching methods explored, and
networking with artistic experts within the Community of Practice established (cf. ibid., p.
190). While students in masterclasses are initially subject to the dominance of teachers, they
ultimately benefit from the opportunity for legitimate peripheral participation within the
Community of Practice (cf. ibid., p. 185). They also identify differences between various
instrumental groups within the conservatoire (cf. ibid., p. 189).
Recent studies further illustrate how central the Community of Practice concept has become
to understanding teaching-learning contexts in music academies (Bjøntegaard, 2015; Gaunt &
Westerlund, 2013; Virkkula, 2016).
In a community in the sense of the concept of a Community of Practice, members pursue
shared interests and support one another. The prerequisites for this include relationships
among members and a willingness to adopt each other’s perspectives. George Herbert Mead
(1934) emphasises in his discussions that the development of individual identity must always
be seen in relation to the social environment.
The application of this concept to artistic and musical processes within principal artistic
subject classes suggests that artistic development processes, while individual and autonomous
on the one hand, simultaneously unfold in a dialectical relationship among all participants.
This underscores the high significance of social exchange for the development of an artistic
identity within a principal artistic subject class. In this context, musical role models—such as
one's principal subject teacher—also play a particularly important role.
Fundamentally, the concept of a Community of Practice highlights the overall complexity of
interactions between individuals and their environment in learning processes (cf. Lave &
Wenger, 1991). Mead (1934) further specifies this aspect by suggesting that multiple
attitudes, represented as the "me," synthesise into a social object. Mead refers to this process
as the "generalised other," which in collaborative processes can serve as a shared objective for
action. Applied to the community of a principal artistic subject class, for example, the
collaborative development of a chamber music piece could represent such a shared objective.
This collaborative process may lead to a common perspective, which in turn reflects back on
the individual’s own "me." Ideally, this process results in the continual updating of artistic
attitudes and values among those involved—both teachers and students (cf. Jörissen, 2010, p.
101).
Another aspect of George Herbert Mead’s discussions is also taken into account in the
development of the guideline. In connection with the adoption of roles and perspectives (cf.
Abels, 1998, p. 30), Mead attributes significance to developmental processes (cf. Jörissen,
2010, p. 104), which are particularly relevant for understanding individual interpretative
approaches as well as for collaborative ensemble work within the community of a principal
artistic subject class.
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Closely linked to the dimension of community in the concept of a Community of Practice are
also findings related to the development of expert knowledge, particularly the expertise model
proposed by Ericsson, Krampe, and Tesch-Römer (1993). This model demonstrates that the
acquisition of shared practical knowledge within a community is characterised by centripetal
processes (cf. ibid., pp. 68f.).
Ortwein (2019) examines the teaching and learning context of principal artistic subject classes
at music academies, highlighting their distinctiveness within the European higher music
education landscape. Employing the concept of "Community of Practice," he analyses the
structures and dynamics of artistic tuition. Interviews with 18 students from four German-
speaking music academies reveal that artistic identity, passion, and mutual support are central
elements. His research underscores the importance of a student-centred approach to higher
education didactics, fostering creative development, reflection, and individual artistic growth.
Masterclasses, ensemble projects, and performance opportunities play a crucial role in this
process. Educators are encouraged to adopt a mentoring role, cultivate a constructive
feedback culture, and promote collaborative learning. Ortwein advocates for a well-defined
higher education didactics framework with transparent curricula and institutional support
structures. His findings provide valuable insights for future research on quality assurance and
internationalisation in music academy education.
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