Effective Practice: An Investigation of Observed Practice Behaviors, Self-R...: EBSCOhost - 0 views
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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.
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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.
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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.
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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.
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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
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This suggests that teachers should guide students toward practicing with musical and/or technical goals in mind.
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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.
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This suggests students may need to be trained to distinguish between efficient and inefficient practicing.
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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.