(Dis)Similarities in music performance among self-regulated learners: an exploratory study

Santos, Regina Antunes Teixeira dos; Gerling, Cristina Capparelli

doi:10.1080/14613808.2011.632085

Cited by 13 publications

(14 citation statements)

References 45 publications

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“…The feedback that teachers give, whether in response to recordings or playing in lessons, is crucial for improving the quality of learning outcomes (Colprit, 2000; Duke & Henninger, 1998, 2002; Hallam, 2006; Kennell, 2002). Even when learners can meet technical requirements unaided, they frequently do not have the vision or knowledge to fulfil their potential musically (Dos Santos & Gerling, 2011). Learners need expert guidance in developing a secure technique, ensuring that the quality of the sound produced is pleasing and playing musically.…”

Section: Discussionmentioning

confidence: 99%

“…As practice progresses the sections are linked together (Chaffin, Imreh, Lemieux, & Chen, 2003; Hallam, 1995a, 1995b). Research on the practice of those studying music in higher education in conservatoires or universities has shown that they tend adopt similar strategies to professionals (e.g., Dos Santos & Gerling, 2011; Miksza, 2011), although they do not always implement them effectively (e.g., Nielsen, 1999, 2001).…”

Section: Introductionmentioning

confidence: 99%

“…In a study conducted over a 16-week period where graduate and undergraduate students prepared a short Brazilian piano piece without guidance from teachers, Dos Santos and Gerling (2011) found that students exhibited different performance outcomes although they were similar in their levels of self-regulation. Hallam (2011), researching school-aged students, similarly found no relationship between the practising strategies adopted and the quality of performance at particular levels of expertise.…”

Section: Introductionmentioning

confidence: 99%

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The development of practising strategies in young people

Hallam

Rinta

Varvarigou

et al. 2012

Psychology of Music

172

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There has been considerable research considering how instrumental practice changes as expertise develops. Much of that research has been relatively small scale and restricted in the range of instrumentalists included. This paper aimed to explore the development of practising strategies and motivation to practise as expertise develops with a large sample of participants at different levels of expertise playing a wide range of different instruments. A total of 3,325 young people ranging in level of expertise from beginner to the level required for entry to higher education conservatoires completed a questionnaire which consisted of a number of statements relating to practising strategies, organization of practice, and motivation to practise with a seven-point rating scale. Data were analyzed in relation to nine levels of expertise. Factor analysis revealed seven factors: adoption of systematic practice strategies; organization of practice; use of recordings for listening and feedback and use of the metronome; use of analytic strategies; adoption of ineffective strategies; concentration; and immediate correction of errors. There were statistically significant linear relationships between grade level and four of the factors but not for organization of practice; use of analytic strategies; and concentration. The findings are discussed in relation to the educational implications.

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Section: Discussionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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The development of practising strategies in young people

Hallam

Rinta

Varvarigou

et al. 2012

Psychology of Music

172

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“…While there is considerable similarity between the metacognitive strategies used by experts during formal practice, researchers note that young professionals vary in their effectiveness or use of deliberate practice techniques (Hallam, 1997;Nielsen, 1997Nielsen, , 2001. Studies of music students in higher education indicate that while they can discuss ways to practice (Santos & Gerling, 2011), there is variability in the effectiveness of practice and students are not necessarily being instructed in how to develop successful and practical strategies at the undergraduate level (Hallam, 1997;Pike, 2014Pike, , 2016. However, those students who learn how to practice deliberately meet with more success during performance throughout their degree programs (Nielsen, 1997;Pike, 2014) and effective practice among professionals improves with age (Araujo, 2016).…”

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confidence: 99%

Self-regulation of teenaged pianists during at-home practice

Pike

2017

Psychology of Music

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Professional musicians employ self-regulation and deliberate practice strategies when learning music. Although self-regulation is difficult for beginners, presumably students practice deliberately as music becomes more difficult and they develop musical skills. It is not clear to what extent intermediate piano students self-regulate during learning. This study explored practice strategies used during at-home practice of nine intermediate-level teenaged piano students. Over a two-month period, piano students recorded three videos of themselves practicing. Data were triangulated from coded video, teacher interviews, and student questionnaires regarding practice habits, strategy use, and perceived challenges. Students regularly practiced under less-than-ideal circumstances and had limited attention spans, but skill level was not an indicator of self-regulation. Nine practice strategies were observed and reportedly employed. While six of the students mostly played through repertoire, three participants were motivated to deliberately use practice strategies and they attempted to self-regulate when practicing without a teacher present.

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“…Studies in the literature on instrumental practice by music students have included practice goals (Nielsen, 1999, 2008; Kostka, 2002); motivational factors – that is, self-efficacy and self-regulation (McCormick & McPherson, 2003; McPherson & McCormick, 2006; Kokotsaki & Hallam, 2007; Jones & Parkes, 2008; Leon-Guerrero, 2008; Santos & Gerling, 2011); practice strategies (Pitts & Davidson, 2000; Rohwer, 2002; Daniel, 2006; Koopman, Smit, De Vugt, Deneer, & Den Ouden, 2007; Zhukov, 2007; Cahn, 2008; Hultberg, 2008; Leon-Guerrero, 2008; Özmentes, 2008; Beheshti, 2009); the transition from student to professional musician (Creech et al, 2008); and the role of musical analysis in practice (Vaughan, 2002). Thus the singular aspects of personal knowledge in relation to the specific demands of musical practice become target subjects for investigation.…”

Section: Introductionmentioning

confidence: 99%

Ways of knowing and types of knowledge: How do students approach a new piece of music?

Santos¹,

Gerling

2012

International Journal of Music Education

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In an exploratory study lasting more than 16 weeks, 15 undergraduate and graduate piano students prepared a short piece by the Brazilian composer Guarnieri, Ponteio no. 22, without guidance from their piano teachers. The data that were collected included their performances, interviews pertaining to their practice and stimulated recall interviews. These data were analyzed in terms of the ways of knowing and types of knowledge that are articulated in Davidson and Scripp’s (1992) matrix of cognition skills in music. The data were qualitatively and quantitatively analyzed. The production of representation (outside the actual performance) showed a structural relationship with the local and global information about the piece. In terms of perception, cognitive skills were essentially dependent on expertise levels. Concerning the ways of knowing as reflection, a number of students were able to identify problems outside of their own performance. However, the solutions to these problems were less often planned. In summary, graduate students tended to rely on procedural knowledge, while the undergraduates generally used declarative knowledge. The results suggest that graduate students are more likely to make tacit decisions rather than verbal decisions.

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(Dis)Similarities in music performance among self-regulated learners: an exploratory study

Cited by 13 publications

References 45 publications

The development of practising strategies in young people

The development of practising strategies in young people

Self-regulation of teenaged pianists during at-home practice

Ways of knowing and types of knowledge: How do students approach a new piece of music?

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