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Stephen Hull

Effective Practice: An Investigation of Observed Practice Behaviors, Self-R...: EBSCOhost - 0 views

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Structured practice

shared by Stephen Hull on 05 Oct 14 - No Cached
  • Although it exists in the larger context of music practice in general, the concept of deliberate practice requires sustained concentration and effort and is therefore somewhat distinct from unstructured activities engaged in for the sake of playing for fun.
  • Deliberate practice encompasses effortful, goal-directed, and intentionally structured activities.
  • When taken together, the findings suggest that those who took a more strategic approach toward practicing (e.g., breaking parts down and putting them back into context, identifying difficult spots) also achieved the highest performance scores.
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  • Although several lines of research (e.g., deliberate practice, mental practice, modeling, self-regulation) have begun to show links between general practicing approaches and achievement, relatively little is known about which specific behaviors are most effective in eliciting performance gains. Information regarding which behaviors are beneficial to school-age musicians is especially needed, given their often limited formal training and the scarcity of studies with this population. The purpose of this study was to examine relationships among observed practice behaviors, self-reported practice habits, and the performance achievement of high school wind players.
  • In general, the results of this study have shown that the quality of practicing that takes place may be more crucial to improvement than the quantity of time spent playing.
  • The results also have practical implications for music educators. Although the findings cannot be considered causal, the correlations between performance achievement and the behaviors repeat section, slowing, whole-part-whole, and skipping directly to or just before critical musical sections of the étude indicate that these may be particularly useful strategies for making improvement.
  • It may be that those who were more accustomed to practicing with specific musical or technical goals in mind were able to practice more effectively during the study
  • This suggests that teachers should guide students toward practicing with musical and/or technical goals in mind.
  • This could be done by assigning specific musical passages to students or by asking students to practice applying specific musical concepts (dynamic contrasts, vibrato, expressive tempo manipulation, etc.) to various pieces when working alone.
  • This suggests students may need to be trained to distinguish between efficient and inefficient practicing.
  • For example, teachers could demonstrate characteristics of inefficient practicing, such as repetition of errors and physical and/or mental fatigue, and warn students to guard against them. Conversely, teachers could also highlight characteristics of efficient practice, such as focusing on problematic passages and taking appropriate amounts of rest.
  • Stephen Hull on 05 Oct 14
     
    Well structured practice is the key to improvement
lucymos

ClassDojo - 0 views

www.classdojo.com

Management Behavior classroom parents education

shared by lucymos on 23 Sep 15 - No Cached
  • Jonathan Valentine on 23 Sep 15
     
    ClassDojo is a classroom management website that allows the teacher to create a profile for each student to give them positive and negative feedback on behavior. Parents can log in at any time to see how their students are doing in class!
  • lucymos on 30 Jun 17
     
    Excellent tool to use, especially when classroom teachers are already using it. It is like a FaceBook page for your class. You can easily message parents, post videos and updates, and keep track of behavior (positive and negative).
lemason

Performance: Low Brass - SBO - 0 views

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performance beginning band low brass #ufmue

shared by lemason on 28 Sep 15 - No Cached
  • It’s important to step back and think about how educators have influenced you, because your teaching philosophy depends on it
  • in the first stage, everyone teaches exactly as they had been taught. In the second stage, instructors adjust their style based on other expert teachers they’ve borrowed ideas from
  • I realized the students’ ability to read music or not read music was ultimately the teacher’s fault
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  • the students’ enthusiasm fuels two purposes: bravado and attention-seeking behavior.
  • Left uncorrected, this rowdy behavior can be a pain in a band director’s side.
  • One example of the use of fear would be my weekly summer camp challenges
  • The challenge could occur in any section of any piece and this was a very effective tool at getting me to practice
  • Over experience and time, after attending numerous workshops, reading about this subject, and conducting research, I’ve come to the conclusion that students can be pushed to learn out of desire rather than fear
  • calm classroom rather than a happy classroom
  • A calm classroom has a lot of structure in place: the procedures are practiced and understood, there are rules and consequences for inappropriate behavior, and students are aware that learning is often a messy business.
  • The secret to developing a mature attitude comes from a love of sharing music and teaching patience.
  • Students need to be reminded why they’re doing what they’re doing.
  • When we develop our procedures and rules for the year, I make it a deliberate point to explain why the items were deemed important.
  • Treat your students as young adults. Another way to think of it would be to treat them as you’d like to be treated
  • lemason on 28 Sep 15
     
    This articles contains thoughts on developing rules and procedures in the beginning band classroom. It discusses possible tactics to get the most out of your beginning band students.
  • lemason on 28 Sep 15
     
    This articles contains thoughts on developing rules and procedures in the beginning band classroom. It discusses possible tactics to get the most out of your beginning band students.
Stephen Hull

It's Not How Much; It's How: EBSCOhost - 1 views

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practice

shared by Stephen Hull on 05 Oct 14 - No Cached
  • Irrespective of the pedagogical implications of the more recent studies of practice behavior, making practice assignments in terms of time practiced instead of goals accomplished remains one of the most curious and stubbornly persistent traditions in music pedagogy
  • In fact, informal reviews of private teachers' instructions for practice reveal that teachers commonly assign only what to practice and how long to practice, with little attention given to specific proximal goals to be accomplished each day.
  • This is in stark contrast to assignments in many academic disciplines in school, where students are given sets of problems to solve, chapters to read, or essays to write, and the time devoted to homework is determined by the time required to complete the problems, read the chapters, or compose the essays. It seems readily accepted in other disciplines by teachers and students alike that all students will not devote the same amount of time to assignments, because individual learners work at different rates and different learners will not require the same amount of time to complete each assignment. How long one works depends on how long it takes to accomplish the assigned goals.
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  • This seems an indication that the nature of the practice defined in our observations was more determinative of retention test performance than was the amount of practice.
  • Our results show that, among our sample of performers, the strategies employed during practice were more determinative of their retention test performances than was how much or how long they practiced.
  • Thus, it seems that the actions taken subsequent to the discovery of errors were major determinants of the effectiveness of practice.
  • The most effective way that the participants corrected errors was by making judicious changes in performance speed that facilitated the maintenance of accuracy following the correction of a given error.
  • These results point to the importance of developing in young musicians effective approaches to correcting errors — procedures that preclude errors' persistence.
  • There is no doubt that most students have heard their teachers demonstrate good playing, but it is probably also true that few have observed their teachers encountering performance problems and advantageously addressing them.
  • Stephen Hull on 05 Oct 14
     
    Meeting of practice goals more important than just measuring time spent
bassmagic13

Home - Beth's Notes - 0 views

www.bethsnotesplus.com

ufmue kodaly blog songs

shared by bassmagic13 on 07 Feb 19 - No Cached
  • hollybf514 on 07 Feb 19
     
    Beth's Music Notes is another great blog to follow that includes tons of songs and most free if you join. I like to follow her blog to find new songs to bring to the classroom.
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  • navarrosnotes on 10 Feb 19
     
    I find that a visit to Beth's Notes sometimes helps me organize my thoughts around selecting concepts to teach or practice using traditional folk songs in the elementary general music setting.
  • heather3728 on 10 Feb 19
     
    This blog incorporates a multitude of songs and lessons to go with different every day musical concepts. There are lessons and posts regarding rhythmic concepts, melodic concepts, Orff arrangements, and recorder songs. Songs on the website are organized into different categories so they are easy to look through and extra resources are linked to help with sub plans, lesson plans, assessments, and even behavior.
  • bassmagic13 on 11 Feb 19
     
    A blog, shop, and resource for music teaching. Primarily offers songs, resources, and games in the Kodaly methodology. Posts and songs are searchable by date, grade, and other criteria. Songs and resources are available for purchase.
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