Group items tagged

PBS Toopy and Binoo Bubbles—musical memory game DJ Games Music Matching–imitate melodies played on a solfege ladder Sousa Palooza–an interactive music map of a famous Sousa march turned into an asteroid-like game Note Pair–aural concentration game

Theta Music Trainer–many aural training games for everything from scales, intervals, chord progressions, rhythms, and more Music Memory–aural solfege training Music Teacher Games–many games for staff, piano key, rhythm, and aural recognition

Melody Mayhem 1–recognize a melody Storm Chasers–recognize melodic direction Catch the Coconut–aural interval recognition Good Ear–ear training exercises for intervals, chords, scales, cadences and more Echo Time with Annie–aural concentration game

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.