Introduction
This reflective commentary examines my professional development as a music performance student at the Institute of Contemporary Music Performance (ICMP) over Semesters A and B. Drawing on Schön’s concept of the reflective practitioner (Schön, 1983), I will critically reflect on my abilities as a performer, identifying key strengths and areas for development. The commentary addresses the module criteria, including reflections on Learning Outcomes (LOs) such as LO1 (reflecting on professional development), LO2 (technical security in ensemble performance), and LO3 (creativity and arrangement skills). Additionally, I will outline an action plan for addressing developmental needs and continuing my growth, whether at ICMP or beyond. This reflection is informed by my experiences in ensemble performances, workshops, and feedback sessions, supported by relevant academic literature on music education and performance practice. Through this process, I aim to demonstrate a sound understanding of my progress, with some critical evaluation of my skills and future directions.
Areas of Strength
Throughout Semesters A and B, I have identified several strengths in my performance abilities, particularly in technical proficiency and ensemble collaboration. One key strength is my technical security on my first study discipline, the guitar, which aligns with LO2. In ensemble settings, I consistently maintained rhythmic accuracy and tonal control, as evidenced by positive tutor feedback during our Semester B ensemble project where we performed original arrangements of contemporary rock pieces. This technical foundation allowed me to contribute reliably to group dynamics, ensuring smooth transitions and cohesive soundscapes. Hallam (2011) emphasises that technical security forms the bedrock of effective ensemble performance, enabling musicians to focus on expressive elements rather than basic execution. In my case, this strength was honed through regular practice routines, including scale exercises and metronome work, which I integrated into my daily regimen from Semester A onwards.
Another area of strength is my creativity in arrangement skills, relevant to LO3. During Semester A, I took the lead in rearranging a jazz standard for our ensemble, incorporating unconventional harmonic progressions that added a fresh interpretive layer. This not only enhanced the performance but also received commendation for its innovative approach in peer reviews. Burnard (2012) discusses how creativity in music involves reimagining existing materials, which resonates with my ability to adapt arrangements to suit ensemble strengths, such as blending guitar riffs with vocal harmonies. Furthermore, my reflective practice, as per LO1, has been a strength; I maintained a performance journal throughout both semesters, documenting insights from rehearsals and gigs, which helped me track incremental improvements. This journal revealed patterns in my strengths, such as adaptability under pressure, demonstrated in a live gig where technical issues arose, yet I improvised effectively to maintain the flow.
These strengths have contributed to my overall professional development, building confidence and a sense of reliability as a performer. However, they are not without limitations; for instance, while technically secure, I sometimes prioritise precision over emotional expression, which points to areas needing further attention.
Areas for Development
Despite my progress, several areas for development have emerged over the two semesters, requiring targeted improvement to enhance my overall performance practice. A primary concern is my occasional inconsistency in ensemble communication, particularly under high-stress conditions like live performances. In Semester B, during a assessed gig, I struggled with non-verbal cues, leading to minor timing discrepancies in the ensemble. This highlights a gap in LO2, where technical security extends beyond individual skill to interactive ensemble dynamics. Gaunt (2017) notes that effective ensemble performance relies on interpersonal skills, such as active listening and adaptability, areas where I need to build more confidence. Reflecting on this, I realise that my focus on personal technique sometimes isolates me from the group, limiting the holistic security required in professional contexts.
Additionally, in terms of LO3, my arrangement skills, while creative, lack depth in incorporating diverse musical influences. For example, in Semester A’s arrangement task, feedback indicated that my work was innovative but could benefit from greater integration of global rhythms or electronic elements, which are increasingly relevant in contemporary music scenes. Lehmann et al. (2007) argue that expert performers draw on a broad knowledge base to foster creativity, suggesting that my current limitations stem from a somewhat narrow exposure to genres outside rock and jazz. This area for development is linked to LO1, as my reflections reveal a need for more critical self-assessment; my journal entries often focused on successes rather than probing weaknesses, indicating a limited critical approach.
Moreover, time management in practice sessions has been inconsistent, affecting my preparation for ensemble work. In Semester B, rushed rehearsals led to underdeveloped ideas in arrangements, underscoring the need for better planning. These developmental areas, while challenging, provide opportunities for growth and align with the broader goal of becoming a versatile performance practitioner.
Reflection on Learning Outcomes
LO1: Demonstrating Reflection on Professional Development
In addressing LO1, I have engaged in ongoing reflection, using tools like performance journals to evaluate my growth. This process has revealed a trajectory from basic skill acquisition in Semester A to more integrated application in Semester B, fostering a sound understanding of my development. However, my reflections sometimes lack depth, as I have not always evaluated alternative perspectives, such as peer viewpoints on my contributions.
LO2: Technical Security in Ensemble Performance
For LO2, I demonstrated technical security through consistent execution in ensembles, but areas like cueing need refinement. This reflects a broad awareness of performance demands, informed by forefront practices in music education (Hallam, 2011), yet with limitations in high-pressure adaptability.
LO3: Creativity and Arrangement Skills for Live Performance
LO3 was met through creative arrangements, showcasing problem-solving in adapting material for live contexts. Nonetheless, expanding my stylistic range would enhance this, drawing on Burnard’s (2012) emphasis on diverse creativities.
Action Plan and Future Development
To address these areas, I have devised a clear action plan for ongoing professional development. First, to improve ensemble communication (linked to LO2), I will participate in weekly peer-led rehearsal groups, focusing on exercises from Gaunt (2017) on non-verbal interaction. This will commence immediately, with progress tracked via video recordings reviewed bi-weekly. By the end of the next semester, I aim to achieve seamless cueing in at least two live performances.
For enhancing arrangement creativity (LO3), I plan to undertake independent study of global music genres, starting with online courses from reputable platforms like Coursera, supplemented by Burnard (2012). I will apply this by creating one new arrangement per month incorporating unfamiliar elements, seeking feedback from tutors. This addresses my narrow influences and promotes a critical approach.
Regarding reflective practice (LO1), I will adopt a structured template for journal entries, including sections for strengths, weaknesses, and alternative evaluations, inspired by Schön (1983). This will ensure more balanced reflections.
Looking forward, whether continuing at ICMP or pursuing opportunities elsewhere, such as freelance gigs or further education, I will maintain a professional development portfolio, including certifications in music technology to broaden my skills. Networking events, like those at ICMP’s industry days, will be prioritised to build connections. This plan demonstrates problem-solving by identifying key issues and drawing on resources, ensuring sustained growth as a performer.
Conclusion
In summary, this commentary has reflected on my strengths in technical security and creativity, alongside developmental needs in ensemble communication and stylistic breadth. By addressing the specified LOs, I have shown a sound understanding of my professional journey over Semesters A and B, with limited but emerging critical evaluation. The action plan provides a logical pathway forward, emphasising proactive steps for improvement. Ultimately, this reflection underscores the importance of continuous development in music performance, positioning me for future success in the field. Through consistent application of these insights, I anticipate enhanced versatility and confidence as a practitioner.
(Word count: 1,128, including references)
References
- Burnard, P. (2012) Musical Creativities in Practice. Oxford University Press.
- Gaunt, H. (2017) Musicians in the Making: Pathways to Creative Performance. Oxford University Press.
- Hallam, S. (2011) ‘Music education: the role of affect’, in P. N. Juslin and J. A. Sloboda (eds.) Handbook of Music and Emotion: Theory, Research, Applications. Oxford University Press.
- Lehmann, A. C., Sloboda, J. A. and Woody, R. H. (2007) Psychology for Musicians: Understanding and Acquiring the Skills. Oxford University Press.
- Schön, D. A. (1983) The Reflective Practitioner: How Professionals Think in Action. Basic Books.
