important in terms of providing a source of moral support, for exchanging ideas with
like-minded people and for forging performance relationships. Performance
opportunities, sometimes perceived as a matter of luck, were often found to be created
through engagement with peer networks. Membership of a musical community of
practice thus greatly contributed to reinforcing one’s self-concept as a musician, a
factor that was found by Burland et al. (2004) to be significant in negotiating
successful transitions.
Higher education music institutions face a tall order, taking responsibility for
equipping music students for facing the challenges of the music profession and also
for supporting those whose transition pathways lead to alternatives to a performance
career. However, if transition is treated as a process rather than an event (Hallam et
al., in press) then factors that facilitate this process may be addressed early in the
higher education experience. Institutions where many musical genres cohabit have an
ideal opportunity to broaden musical awareness amongst their students, providing
opportunities for multi-genre communities of practice to evolve which have the
potential to privilege musical versatility. Furthermore, music curricula need to have
support systems in place that foster self-confidence, interpersonal skills, perseverance
as well as musical responsibility and autonomy amongst students. In this vein, the
importance of mentoring is paramount. Performance students typically have a mentor
in the form of their instrumental/vocal teacher, and this relationship may have
profound consequences for transition into professional careers (Persson, 1996).
Institutions need to capitalize on the potential for positive influence from these
relationships and guard against negative ramifications by investing in the professional
development of those who occupy the role of instrumental/vocal teacher. In short,
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