This article examines how classical music students understand early twentieth-century recordings in higher music education. A qualitative research method was chosen to investigate the beliefs and self-reported practices of 16 students enrolled in a European conservatoire, whose attitudes were considered through the administration of a semi-structured questionnaire and an interview. Their responses identified seven main themes: 1) beliefs, 2) sources, 3) self-reported practices, 4) repertoires/performers, 5) educational implications, 6) limits and 7) benefits. Results show how much students value early twentieth-century recordings – especially when it comes to analysing the performance practices of the past and developing new interpretations – and how articulate their responses can be with regard to specific stylistic and technical issues. However, possibly due to informal learning strategies and the lack of curricular teaching activities focusing on listening to and analysing recorded interpretations, some responses highlighted a misrepresentation of our recent musical past and the need for a more structured curricular activity. This last should benefit from a vast body of scholarly literature whose relevance is still underestimated among music practitioners.

中文翻译：

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二十世纪初高等音乐教育的录音：学生观点的初步分析


本文探讨了古典音乐学生如何理解二十世纪早期的高等教育唱片。选择定性研究方法来调查欧洲音乐学院 16 名学生的信念和自我报告的实践，通过半结构化问卷和访谈来考虑他们的态度。他们的回答确定了七个主题：1）信仰，2）来源，3）自我报告的实践，4）曲目/表演者，5）教育意义，6）限制和7）好处。结果表明，学生们对二十世纪早期的录音有多么重视——尤其是在分析过去的表演实践和发展新的解释时——以及他们对特定风格和技术问题的反应如何清晰。然而，可能由于非正式的学习策略和缺乏专注于聆听和分析录音解释的课程教学活动，一些回应强调了对我们最近的音乐过去的歪曲以及对更加结构化的课程活动的需要。最后一点应该受益于大量的学术文献，这些文献的相关性在音乐从业者中仍然被低估。