Christophe de Bezenac

Bio: Christophe de Bezenac is an academic researcher from University of Liverpool. The author has contributed to research in topics: Epilepsy & Medicine. The author has an hindex of 9, co-authored 21 publications receiving 399 citations. Previous affiliations of Christophe de Bezenac include Walton Centre & University of Salford.

From music student to professional: the process of transition

Abstract: This article addresses the question of whether higher education music courses adequately prepare young musicians for the critical transition from music undergraduate to professional. Thematic analyses of interviews with 27 undergraduate and portfolio career musicians representing four musical genres were compared. The evidence suggests that the process of transition into professional life for musicians across the four focus genres may be facilitated when higher education experiences include mentoring that continues after graduation, the development of strong multi-genre peer networks, the provision of many and varied performance opportunities and support for developing self-discipline and autonomy in relation to the acquisition of musical expertise. Implications for higher education curricula are discussed.

Investigating musical performance: commonality and diversity among classical and non-classical musicians

Abstract: The research project ‘Investigating Musical Performance: Comparative Studies in Advanced Musical Learning’ was devised to investigate how classical, popular, jazz and Scottish traditional musicians deepen and develop their learning about performance in undergraduate, postgraduate and wider music community contexts. The aim of this paper is to explore the findings relating to attitudes towards the importance of musical skills, the relevance of musical activities and the nature of musical expertise. Questionnaire data obtained from the first phase of data collection (n=244) produced evidence of differences and similarities between classical and non-classical musicians. While classical musicians emphasised the drive to excel musically and technically and prioritised notation-based skills and analytical skills, non-classical musicians attached greater importance to memorising and improvising. Regardless of genre, the musicians all considered practical activities such as practising, rehearsing, taking lessons ...

Music and affordances

Abstract: This paper explores the extent to which ideas developed in The Senses Considered as Perceptual Systems and further refined in The Ecological Approach to Visual Perception (Gibson, 1966; 1979) can b...

Perceptions and predictions of expertise in advanced musical learners

Abstract: The aim of this article was to compare musicians’ views on (a) the importance of musical skills and (b) the nature of expertise. Data were obtained from a specially devised web-based questionnaire completed by advanced musicians representing four musical genres (classical, popular, jazz, Scottish traditional) and varying degrees of professional musical experience (tertiary education music students, portfolio career musicians). Comparisons were made across musical genres (classical vs. other-than-classical), gender, age and professional status (student musicians vs. portfolio career musicians). Musicians’ ‘ideal’ versus ‘perceived’ levels of musical skills and expertise were also compared and factors predicting musicians’ self-reported level of skills and expertise were investigated. Findings suggest that the perception of expertise in advanced musical learners is a complex phenomenon that relates to each of four key variables (gender, age, musical genre and professional experience). The study also shows t...

Institutional culture and learning II: inter-relationships between perceptions of the learning environment and undergraduate musicians' attitudes to performance

Abstract: This paper, following on from our previous paper focusing on findings regarding students’ approaches to learning, explores students’ approaches to performance with particular focus on musical self-efficacy beliefs and experiences of performance anxiety in solo and group performances. The research design included a large questionnaire survey followed up by 13 case study interviews and six focus groups. Survey participants were 170 undergraduate musicians studying in three distinctively different higher education institutions, encompassing classical, popular, jazz and Scottish traditional music genres. Findings suggest that the context of music performance learning and the prevailing institutional culture relate to students’ approaches to performance. By statistically controlling for gender and genre biases across the three institutions, we were able to observe both similarities and differences between students’ self-reported self-efficacy beliefs, as well as experiences, perceived causes and strategies use...

The Perception of the Visual World. By James J. Gibson. U.S.A.: Houghton Mifflin Company, 1950 (George Allen & Unwin, Ltd., London). Price 35s.

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The Cambridge Handbook of Expertise and Expert Performance

Abstract: This is the first handbook where the world’s foremost “experts on expertise” review our scientific knowledge on expertise and expert performance and how experts may differ from non-experts in terms of their development, training, reasoning, knowledge, social support, and innate talent. Methods are described for the study of experts’ knowledge and their performance of representative tasks from their domain of expertise. The development of expertise is also studied by retrospective interviews and the daily lives of experts are studied with diaries. In 15 major domains of expertise, the leading researchers summarize our knowledge of the structure and acquisition of expert skill and knowledge and discuss future prospects. General issues that cut across most domains are reviewed in chapters on various aspects of expertise, such as general and practical intelligence, differences in brain activity, self-regulated learning, deliberate practice, aging, knowledge management, and creativity.

The Senses Considered As Perceptual Systems

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The Anthropology of Music

Abstract: Main emphases: European explorers' accounts (from late 15th c. onwards) of non-Western peoples and cultures provided basis for development of anthropology and ethnomusicology, and provided most ethnographic information until development of anthropological fieldwork in late 19th-early 20th c. (see Fieldwork, below). Recent historical and critical work in anthropology and cultural studies has stressed influence of colonialism, but earliest ethnographies were pre-colonial, seeking information as defensive response to invasions by Mongol and Turkish armies, reflecting European weakness rather than hegemonic power. Emphasis shifted during colonial era to European superiority, although early ethnographic writings treated some non-European cultures as potentially equal competitors, or even (as in pre-19th c. writings on China) as more advanced and/or powerful than Europe. Colonial emphasis on acquisition of knowledge, including cultural and musical knowledge, among other spoils of conquest.