[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-0-en-105":3,"doc-seo-593932-105":59,"doc-detail-593932-en":130},{"code":4,"msg":5,"data":6},0,"success",[7,13,18,23,28,33,38,43,48,51,55],{"id":8,"doc_module":4,"doc_module_name":9,"category_name":10,"show_sort_weight":11,"slug":12},1,"Document","Story & Novel",90,"story-novel",{"id":14,"doc_module":4,"doc_module_name":9,"category_name":15,"show_sort_weight":16,"slug":17},2,"Literature",80,"literature",{"id":19,"doc_module":4,"doc_module_name":9,"category_name":20,"show_sort_weight":21,"slug":22},4,"Exam",70,"exam",{"id":24,"doc_module":4,"doc_module_name":9,"category_name":25,"show_sort_weight":26,"slug":27},5,"Comic",60,"comic",{"id":29,"doc_module":4,"doc_module_name":9,"category_name":30,"show_sort_weight":31,"slug":32},6,"Technology",50,"technology",{"id":34,"doc_module":4,"doc_module_name":9,"category_name":35,"show_sort_weight":36,"slug":37},7,"Healthcare",40,"healthcare",{"id":39,"doc_module":4,"doc_module_name":9,"category_name":40,"show_sort_weight":41,"slug":42},8,"Research & Report",30,"research-report",{"id":44,"doc_module":4,"doc_module_name":9,"category_name":45,"show_sort_weight":46,"slug":47},9,"Religion & Spirituality",20,"religion-spirituality",{"id":46,"doc_module":4,"doc_module_name":9,"category_name":49,"show_sort_weight":46,"slug":50},"World Cup","world-cup",{"id":52,"doc_module":4,"doc_module_name":9,"category_name":53,"show_sort_weight":52,"slug":54},10,"Lifestyle","lifestyle",{"id":56,"doc_module":4,"doc_module_name":9,"category_name":57,"show_sort_weight":24,"slug":58},19,"General","general",{"code":4,"msg":60,"data":61},"ok",{"site_id":62,"language":63,"slug":64,"title":65,"keywords":66,"description":67,"schema_data":68,"social_meta":123,"head_meta":125,"extra_data":127,"updated_unix":129},105,"en","what-is-performance-and-why-should-we-teach-it","What is performance? And why should we teach it?","","This article examines the view that performances hinder real learning in music education and investigates what musicians understand by “performance” and why it often lies outside the curriculum or is treated as unreal work. It proposes a performance education model that addresses gaps in music teaching, responds to professional musicians’ resistance, and argues that learning to perform can strengthen genuine learning and broader musical growth.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":40,"@type":76,"position":81},"https://docshare.wps.com/document/research-report/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/what-is-performance-and-why-should-we-teach-it/593932/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/what-is-performance-and-why-should-we-teach-it/593932.png","ImageObject",300,407,{"name":92,"@type":93},"Franzy","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-11-01","2026-10-15",true,{"@type":102,"interactionType":103,"userInteractionCount":24},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"What problem does the article start from?","Question",{"text":112,"@type":113},"The article is inspired by a complaint that performances get in the way of real learning. It uses that complaint to question how performance is understood and why it is not treated as part of the curriculum.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How does the author frame the relationship between performance and real learning?",{"text":117,"@type":113},"The author argues against separating performing from learning. Performance should be integral to music education so that learning to perform becomes part of genuine learning.",{"name":119,"@type":110,"acceptedAnswer":120},"What research methods does the study use?",{"text":121,"@type":113},"The study uses qualitative and philosophical methods, including interviews and case studies, to clarify assumptions and interpret meanings in musicians’ experiences.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},593932,1792190224,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":39,"category_name":40,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":24,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":144,"read_time":41,"preview_page_count":4},2336478945519,"https://ap-avatar.wpscdn.com/davatar_085a072bc5b1113ac321206ff7593b45","What is performance? And why  \na u s t r a l i a n  \na  \ns o c i e t y  \ns  \nf o r m u s i c  \nm  \ne d u c a t i o n  \ne  \ni n c o r p o r a t e d  \nshould we teach it?  \nAmanda Cole  \nAdjunct Research Fellow, School of Education and Professional Studies, Griffith University  \nAbstract  \nThis article was inspired by a speaker at a music education conference who complained that performances get in the way of real learning. This complaint prompted me to ask what musicians understand performance to be and why performance is not considered part of the curriculum or ‘real’ work of a musician. I suggest a model of performance education that addresses several lacunae in music education and finish by giving a sample of the responses of professional musicians to this kind of training, offering ways around their initial resistance that lead to genuine learning and growth.  \nKeywords: Performance, Performance Coaching, Music Education  \nIntroduction  \nI once attended a paper given by an instrumental teacher1 who complained that performances during the school term kept getting in the way of‘real learning’. In this comment lay the inspiration for this article. My first response was to wonder why performing and learning should be perceived as mutually exclusive. I then wondered about the underlying beliefs revealed by this statement – beliefs about performance and how to teach it. The view that performances get in the way of ‘real work’or ‘real learning’ suggests that performance is not often seen as an essential part of music education.  \nThis view of learning prioritizes ‘music’ over‘performance’. Performance is relegated to a peripheral position in learning. This idea makes performing far more difficult than it needs to be, and raises questions about what does constitute the  \n1. I am aware that classroom music teachers must often depart from their carefully planned programs, without warning, to put on spontaneous performances of unplanned repertoire for school functions. This is not what I mean here. The comment was made by an instrumental tutor, rather than a classroom teacher. I am simply offering a different way of viewing and incorporating the teaching of performance, particularly in studio and conservatoire teaching.  \n‘real work’ of a musician, performer or music learner. I instead advocate a model where performance becomes integral to music education.  \nIn this paper I attempt to do three things. First, I ask what musicians understand by the concept of ‘performance’. I discuss how the lack of clarity about performance might create resistance to the teaching of performance or prejudice against performance coaching. Second, I present the outline of a model of performance coaching, or performance education, that argues for the integration of performance into the task of learning. Finally, I present the insights of two professional musicians (case studies), who have experienced the kind of performance coaching I advocate. I intend to show that performance doesn’t get in the way of ‘real learning’. On the contrary, I hope to convince readers that learning to perform (and the experience of performing) is part of real learning and can enhance every other aspect of music when integrated skilfully into the curriculum.  \nData and Methodology  \nTo illustrate my points I use qualitative data from:  \n• Interviews I conducted with 11 musicians for  \n46 52(2)  \nmy doctoral research, after they had worked with my own teacher, a senior teacher of drama and performance at the University of Washington in the graduate Professional Actor Training Program, Cathy Madden.  \n• Two case studies of professional musicians, one who took my first performance course in 2018 and one who studied with Madden for several years.  \n• Six interviews in 2018 with professional musicians with permanent academic or performance positions (in tertiary institutions or orchestras).  \nMy methods are philosophical and qualitative. As far as the philosophical method is concerne","cbCaiehKx6AJKjRu","https://ap.wps.com/l/cbCaiehKx6AJKjRu","pdf",214385,12,"English","# Abstract\n# Introduction\n# Data and Methodology\n## Qualitative data sources\n# The great omission\n# Conclusion","[{\"question\":\"What problem does the article start from?\",\"answer\":\"The article is inspired by a complaint that performances get in the way of real learning. It uses that complaint to question how performance is understood and why it is not treated as part of the curriculum.\"},{\"question\":\"How does the author frame the relationship between performance and real learning?\",\"answer\":\"The author argues against separating performing from learning. Performance should be integral to music education so that learning to perform becomes part of genuine learning.\"},{\"question\":\"What research methods does the study use?\",\"answer\":\"The study uses qualitative and philosophical methods, including interviews and case studies, to clarify assumptions and interpret meanings in musicians’ experiences.\"}]","What is performance? And why should we teach it? | PDF",1792078206]