Reedmaking is as integral to oboists’ skills as performers and teachers as any other element of their musical study. Reeds regulate almost all aspects of oboists’ music making, including pitch, line, and tone. But reedmaking is also the part of oboists’ professional training least integrated with their overall music education. Currently available resources on oboe reedmaking are written for the practitioner, and tend to be technical rather than pedagogical in nature. They do not cater to oboists’ varying backgrounds in reedmaking; nor do they take into account a given student’s unique physiology, technique, or variations in the instruments themselves. Indeed, techniques for teaching reedmaking have barely changed since the oral tradition of the nineteenth century. Given these shortcomings, there is great opportunity for instructional reexamination and intervention in the teaching of reedmaking. This dissertation blends reedmaking’s pedagogical traditions with principles from L. Dee Fink’s theory of “significant learning” into a useful, task-based guide for oboe professors in modern collegiate settings. First, it surveys historical writings on reedmaking and reedmaking pedagogy from the invention of the oboe to present day. It then examines relevant data and narratives about typical modern reedmaking pedagogy in the context of higher education. Third, it envisions reedmaking curricula based on significant learning principles. Finally, it explores broader implications for the oboe studio, other performance studios, and the expansion of a literature of reedmaking pedagogy.

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This study presents the outcomes of an exploration of the ways in which instrumental music teachers (IMTs) engaged to teach in UK university departments experience their work and interpret their role. It provides the basis for realistic steps for enriching their contribution to and relationship with the department in which they are situated. The area of activity was examined through a qualitative research approach within a single case study design that highlights the particularities and complexities of the case and of its context. It progressed through semi-structured interviews, document review, job-shadowing and a research diary that engaged participants in an iterative process aimed at generating rich descriptions of the situation and increasing the veracity of its subsequent interpretation. The findings echo the isolated location found in earlier studies of IMTs in HE (Burwell, 2005; Haddon, 2009; Purser, 2005, Young et al, 2003) but note that they did not display the secretive or isolationist tendencies previously espoused. Instead there was a narrative of neglect and exclusion by the employer that contributed to a low sense of entitlement from these employees who occupy a peripheral and static position at the margins of departmental operations. It concludes that IMTs do not form a convenient organisational sub-unit (Weick and Orton, 1990) or a community of practice (Lave and Wenger, 1991) that would respond in a uniform fashion. Instead, they experience their engagement with the university in an individual manner framed by their personal and professional environment or umwelt (Uexküll, 1985) and interpreted according to their particular interests, needs and priorities. Finally it suggests that the employing department must recognise this diversity and facilitate greater participation of its IMTs through the creation of permeable boundaries that permit but do not require involvement in curriculum design and assessment, teaching innovations and research into instrumental pedagogy.

Dass gerade im Fach Gehörbildung negative Stimmungslagen bei Studierenden besonders kontraproduktiv für die angestrebten Bildungsziele sind, ist bekannt. Motivierend ist das Wissen, mit Hilfe fachspezifischer Gehörbildung Fähigkeiten zu erwerben, die Hilfestellungen für die spätere Berufspraxis darstellen. Das Unterrichtsprojekt Fachspezifische Gehörbildung wurde an der Hochschule für Musik und Theater München praktisch erprobt. Es basiert auf einer intensiven, interdisziplinären und zeitaufwändigen Kooperation von Kolleginnen und Kollegen der künstlerischen Fächer, der Gehörbildung und der Musiktheorie. Exemplarisch werden ausgewählte Aspekte zur fachspezifischen Gehörbildung anhand der künstlerischen und pädagogischen Hauptfachstudiengänge Violine und Klavier vorgestellt. Vor diesem Hintergrund zeigt sich auch ein dringender Bedarf an Seminaren zur Didaktik der Gehörbildung im Instrumentalunterricht für die Studienpläne von Instrumental- und Gesangspädagogik-Studiengängen (IGP) an deutschen Musikhochschulen. Seit dem Jahr 2004, als dieser Vortrag beim 4. Kongress der Gesellschaft für Musiktheorie (HfMT Köln) zu hören war, ergaben sich auf hochschulpolitischer Ebene und in informationstechnologischer Hinsicht bedeutende Veränderungen. / It is common knowledge that a negative attitude from students is particularly counterproductive for the intended educational goals, particularly in the subject ear training. Yet it is motivating for students if one presents the advantages of specific ear training skills for professional practice. The educational project Fachspezifische Gehörbildung was tested out practically at the Hochschule für Musik und Theater München. The project is based on an intensive, interdisciplinary, time-consuming cooperation between colleagues in artistic fields, ear training, and music theory. Select aspects of field-specific ear training will be presented in the context of the artistic and pedagogical majors of violin and keyboard. Against this backdrop the dire need for seminars in Didactics of Ear Training in Instrumental Instruction in the curricula of instrumental and vocal pedagogy majors in German conservatories becomes apparent. Since 2004, when this article was presented at the Gesellschaft für Musiktheorie anual meeting in Köln, significant changes have taken place at the conservatory level and regarding information technology.

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