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Other researchers have found that novice adolescent musicians tend to exhibit inconsistent practice habits. Rohwer and Polk (2006) categorized the practice tendencies of students as holistic/noncorrective, holistic/corrective, analytic/reactive, or analytic/proactive. They described analytic practicers as those who were prone to remediate sections of their music both proactively and reactively, and they found that these students made significantly more gains than did the holistic practicers. Barry (1990, 1992) focused on the use of structured practice time and supervision in middle school instrumental students and found that the students were significantly more able to prepare a musical etude when practice was carefully structured and supervised. Like McPherson and Renwick (2001), Barry found that students who engaged in unstructured practice tended to play their music faster, use a metronome less, use fewer mental practice strategies, and self-assessed less than those who engaged in structured and supervised practice.

Barry and Hallam (2002) argue that this is because novices who have not yet developed strong aural schemata are often unaware of their own errors, whereas more capable musicians are more aware of their strengths and weaknesses.

The ability to self-regulate, or self-teach, is a learned skill requiring individuals to make a number of decisions related to goal setting, self-efficacy, attention, strategy use, and assessment.

In order for teachers to improve the way in which they teach their students to practice, it seems apparent that they must first understand the ways in which their students think during practice.

retrospective think aloud protocol. Ericsson and Simon (1993) describe this method of data collection as a process in which subjects are asked to describe their thoughts immediately after performing a given task.

Though they stated that they knew which pieces needed work, they did not have a specific idea of what aspects of the music needed work.

When students encountered difficulty, they reacted in one of three ways. First, although each student exhibited different levels of tolerance for frustration, at some point they each demonstrated the tendency to move on to a new activity when something began to cause frustration.

Second, students would retreat to easier passages when things became too difficult.

Finally, student ability to maintain focus over the span of the practice period also affected motivation.

Although the ability to maintain attention and self-efficacy may be beyond a teacher's realm of direct influence because of the unique personalities of the children, it appears that teachers can improve student motivation by providing students goals for improvement rather than simply recording practice time.

The ability to clearly define goals that are specific, proximal (short term), and moderately challenging is a major component of effective practice (

The factors influencing the use of practice strategies can be broken down into three categories: strategy repertoire, appropriate use, and motivation. Using the metaphor of having a "practice toolbox," students need to have a number of tools from which to draw on, but they also need the knowledge and skill to use them appropriately and the motivation and self-discipline to make the effort to take the tools out of the box.

Educational leaders commonly emphasize the importance of teaching students how to critically think and learn on their own. Musical practice is an important way in which music teachers can provide their students with these opportunities.

It seems to follow that helping instrumental music students develop self-regulation would result in improved ensembles and more efficient rehearsals. Methods for teaching practice skills to middle school and high school students must be developed through continued research and best practice in order to develop independent musicians.

I emailed the list to their teacher and asked their teacher to line them up in that order (so the four students in group 1 are first, followed by group 2 and so on....) the next time they came to music.

played" each center one or two turns

On my computer, I had the zip file that contained all of the PDFs for each file pulled up so that as I was going through them with the whole group, if I wanted them to be able to see something better, I could show them the PDF version instead of the  tiny cards I was holding for some of the centers.

they were all in the right order.

I had directions for each center posted at each center in case they forgot or were absent when we went over the centers, but there seemed to be no issues with students knowing what to do at each center.

Do you have other ideas that I haven't thought of? Share below!

This is a really fun practice game for upper elementary and middle school! I also love this game for older beginners because it is an easy way to take those easy ta and titi rhythms and really make a more challenging game.

This could be done as an ostinato pattern that is repeated, or you could rotate through a set of cards for the students to play.

Use rhythm flashcards to create a song that the students know well. Have the students clap and read the rhythms and see if they can figure out the mystery song.

Then students work to find the flashcards they need to match the rhythms of that song.

I Have, Who Has game cards