Group items tagged

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.

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