112


Clare Carr, Clare Maxwell, Ania Rolinska and Jennifer Sizer


where practitioners can continue to share experiences, ideas and practice.


MUSIC


Wingate (2015) has highlighted the improvements in discipline-specific literacy instruction which could be achieved by drawing upon the expertise of writing and subject specialists. A range of sample tasks set as part of the first two years of an undergraduate Music degree and some accompanying teaching resources being developed by an EAP practitioner, in close collaboration with colleagues from the Music department, were used as a medium through which to discuss the workshop’s guiding questions. The tasks discussed are used in an in-sessional context with ‘home’ and ‘international’ undergraduates. As observed in discussions at the Design table, attendees noted that Music students are expected to engage in a variety of text types while completing written assignments. Across the pathways of the Music degree, written assessments require traditional ‘academic’ and ‘pedagogic’ genres, such as essays and literature reviews, as well as some ‘professional’ genres such as design specifications (Nesi & Gardner, 2012). Attendees also commented on the use of metalanguage and specialist terminology in some of the teaching materials, e.g., ‘anthropomorphisation’: this language was used in explanations in the department and needed clarifying to students. The importance of being embedded in a department as an EAP practitioner, in order to develop a shared understanding of the discipline’s practices and expectations, and the language used to effectively communicate these practices and expectations, was discussed.


The multimodal nature of some tasks was also noted; for example, in some cases, the response to tasks required the integration of analysed musical citations. Another task required the production of a critical edition of a work by an 18th-century composer with accompanying text to justify the decisions made in the production of that edition. The range of genres, writing cultures across pathways and use of evidence raised the question of whether students working in creative arts such as Music were required to write a wider range of genres than for other disciplines and how best to ensure that students were equipped with the knowledge, writing skills and language they needed in order to excel.


DISCUSSION AND CONCLUSION


The workshop discussions and the opportunity to share experiences of teaching EAP in a variety of creative arts contexts allowed attendees to explore and compare how these differences are manifested: be it through the different temporal and spatial aspects of teaching or the overwhelming diversity and often experimental nature of the written and spoken genres students are required to produce. The discussions highlighted some of the key distinctive features of creative arts pedagogy and practices, most notably work/practice-based orientation, studio-based and object-based learning, multimodality, and the use of a wide variety of professional and/or hybrid genres, often co-existing alongside more traditional academic practices. This contributes to a different dynamic in the relationship between the creative arts and academic disciplines. At the same time, in terms of ways of being, doing, thinking and using the language, much variation was observed


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