This article presents some arguments in favour of a student-centred learning and teaching approach for higher music education (HME), with specific reference to conservatoire settings in the United Kingdom. In support of student-centred pedagogy, theoretical modelling is undertaken to offer a model of motivation accounting for both individual and group learning environments, thus drawing together diverse pedagogical research into learner “self-efficacy,” “distributive” classroom agency and partnership models of learning and teaching. Based on the author’s own teaching practice with MA Music students at Leeds Conservatoire, two student-centred classroom strategies are outlined: Critical Response Process (CRP) and practice as research. These strategies are evaluated via theoretical and, in the case of CRP, primary research data from a questionnaire presented to MA Music students reflecting on their experience. Finally, an overarching student-centred framework for HME course design is proposed, cross-mapping different learning activities, knowledge paradigms and forms of motivation based on the previous discussion.

Adaptation in contemporary performance takes on different forms and engages various strategies. In this article, Frank Camilleri explores the subject in terms of compositional devising via his practice as research in the area. He considers adaptation as a process of adjustment and modification that occurs at the level of format or organization, and which results from a change in context. He proposes terminological and structural frameworks, namely types, movements, modes, and phases of adaption. These taxonomies are then subsequently exemplified through three case studies from the author's performance and pedagogical work. Frank Camilleri is Associate Professor in Theatre Studies at the University of Malta, where he is Director of the School of Performing Arts and leads P21 (Performance 21), the research centre for Twenty-first Century Studies in Performance. He is Artistic Director of Icarus Performance Project and co-edits the Routledge/Icarus ‘Theatre as a Laboratory’ series.