Foundations for Flow: A Philosophical Model for Studio Instruction

Abstract

The need for a new approach to studio instruction becomes evident when the current state of the profession and the effects of typical teaching methods are considered. In a profession with relatively little demand for a large supply of candidates for professional employment, realistically very few undergraduate music performance majors will achieve success as either orchestral players or as soloists. Extreme competitiveness and the political hierarchy common in a typical music studio setting can squelch creativity and hinder a student's possibility to attain optimal experience in performance. Such an environment can pose a threat to a student's self-image and motivation, possibly becoming detrimental to the success of the student in any chosen occupation, whether ultimately within music or outside the profession.1 As Roland Persson notes, studio teachers are generally hired primarily for their performance accomplishments and place in the historic lineage of their instrument's pedagogy without much regard for previous training in educational theories.2 With a lack of training in instructional methods or developmental theories, college music teachers tend to conduct lessons in the manner in which they were taught. Thus, little attention may be paid to individual differences or developmental issues.3 Studio instruction has also traditionally been approached