Group lessons like these can help the students along on the path towards becoming independent and self-aware performers with ownership of their artistic identity.

The bulk of the work still takes place in the practise room, in the singing lessons, together with various music coaches and accompanists, and in masterclasses. Yet the group lessons allow the participants to act as equals, as peers. The focus in collaborative learning situations is on contributing to each other’s growth and development. The students on this project said they enjoyed being in a situation where they could focus on other artistic and communicative elements than those they were working on in their more traditional vocal training.

They said that peer learning had allowed them to build a trustful learning community that helped improve their self-confidence as singers. The fact that positions and status were equalised – both between teacher and students and between new and more experienced students – was a key element in this context. The group project also resulted in better social relationships between the classical voice students on the music education programme and has made them support and encourage each other in other performance settings such as concerts and masterclasses. At the same time the students stressed that such group lessons can never replace the lessons with their principal instrument teacher and accompanist:

«But I wouldn’t have swopped my singing lessons for these lessons, because there are some things I want to work on one-to-one. It’s a good forum for sharing experiences and giving each other tips, but if we were to… if it were about specific, technical things, then that would be too personal.»

It was pointed out that learning CRP was a challenge but that the process, once they had entered it, offered a respectful space in which to work. They came together to share something, and the students were greatly appreciative of being able to help their peers make progress. They found it equally meaningful to be both responders and artist, and many of them said that it was good to not always have to offer suggestions and say straight out what they were thinking, and that asking questions was a good way of approaching the others. They felt that they also learnt from not having to say something:

«I’ve benefited a lot from the lessons because I’m learning to keep quiet. I tend to talk a lot, including when I teach. I can take this on board in my own teaching. I’m in a process where I’m learning and developing as a singer. Things can get very muddled until I find the answer. Then I need to talk about it in order to learn. I can’t bring that to this process. It’s good for me to finish the thought process before entering into a discussion.»

They found that the attitudes enshrined in the method are also a way in which to interact with other people in general. CRP thus became important to them in their own artistic work, when they taught others, and when they were spending time with friends and family.

The project has been very significant for me as a teacher. My teaching, both one-to- one vocal teaching and in larger groups on other topics, has changed. I have gained a broader repertoire in terms of how I approach the students. In some contexts, it is clearly appropriate for me to take an instructive approach, provide clear feedback and work systematically on making technical and musical changes. However, I have come to realise that open questioning can take the student both closer and faster to their desired goal. When I am able to ask questions based on my expertise, yet give the students permission to be equal partners in the process, it engenders stronger motivation and greater belief in their own abilities. It makes the students ask relevant questions back and creates a space in which we can make new and unexpected discoveries.