Effects of Different Practice Conditions on Advanced Instrumentalists' Performance Accuracy

Abstract

The purpose of this study was to examine the relative effects of five practice conditions on instrumentalists' performance of a musical composition. The authors assigned 60 college music students to one of five practice conditions and asked them to perform the composition after a brief practice session. Practice conditions were modeling, singing, silent analysis, free practice, and control. The authors evaluated each subject's performance in terms of correct notes, rhythms, phrasing or dynamics, articulation, and tempo. The authors found significant differences among the practice techniques in subjects' performance of correct rhythms, phrasing or dynamics, and tempo and nonsignificant differences among subjects' performances of correct notes and articulation. Further analysis demonstrated that modeling and practice were most effective in facilitating mastery of the selection. Singing and silent analysis were, in general, no more effective than sight-reading, with the exception of subjects in the silent analysis group, who were more accurate in their performance of the rhythms of the selection.

Teaching strategies and gender in higher education instrumental studios

“…This suggests that direct teacher modelling, without verbal comments, may be the most effective teaching strategy to improve the accuracy of student playing. Rosenthal, Wilson, Evans, and Greenwalt (1988) reached similar conclusions, when they examined the relationship of five practice conditions (modelling, singing, silent analysis, free practice and control-practice) to the performance accuracy of advanced wind players. In more recent studies Linklater (1997) found that students improved more in home practice after watching the model videotape than after listening to the audio model or the accompaniment part only, and Hewitt (2001) showed that listening to a model improved student playing in the areas of tone, rhythm and interpretation, but not intonation or accuracy.…”

“…Another practice strategy is practising away from the instrument without moving a muscle. Research has shown that mental rehearsal is effective (Rosenthal et al, 1988;Pace, 1992) and can improve memory and heighten sensory awareness (Connoly & Williamon, 2004;Tannhauser, 1999).…”

An Examination of Methods Used to Teach Practice Strategies in the College Voice Studio

“…Modeling was credited with improving pitch accuracy, although not significantly, and participants who engaged in silent practice scored higher than the model group for rhythmic accuracy (Rosenthal et al, 1988). In another study that involved the use of practice tapes with high school instrumentalists, Henley (2001) determined that the students who used modeling tapes were better at learning rhythms and mastering tempo, but results about pitch discrimination were inconclusive.…”

“…Mental practice has been considered as an effective practice strategy by a few authors (Barry & Hallam, 2002;Barry & McArthur, 1994;Connolly & Williamon, 2004;Rosenthal et al, 1988). Several researchers have discovered that mental practice may be the most effective when combined with physical practice (Brooks, 1995;Coffman, 1990;Ross, 1985).…”

“…Many researchers have explored the usefulness of modeling as a practice tool, with varied results (Anderson, 1981;Daughery & Brunkan, 2012;Dickey, 1992;Folts, 1973;Henley, 2001;Hewitt, 2001;Linklater, 1997;Puopolo, 1971;Rosenthal, 1984;Rosenthal et al, 1988;Zurcher, 1975). While not consistent throughout all the literature, studies have indicated that modeling can help students gain achievement in specific musical techniques.…”