Exploring music practice among sixth-grade band and orchestra students

Abstract

The purpose of this study was to describe the practice motivation and regulation of sixth-grade instrumentalists (11–12 years of age). A sample of 224 US band and orchestra students, representing 85 elementary schools, completed a 36-item practice inventory and produced two narratives depicting a typical practice session and a practice episode involving a difficult piece of music. Factor analysis of practice inventory responses demonstrated that motivation and self-regulation are distinct dimensions of music practice. While orchestra students reported significantly higher levels of practice motivation, there were no significant differences between band and orchestra students' self-reports for frequency of practice, amount of practice, or practice regulation. Practice motivation and regulation were associated with the quality of home environment in which students typically practice. Written narratives revealed that some students employ a range of practice and regulatory strategies, while others follow practice routines that cannot be considered strategic. Practice motivation was reflected in student comments about personal interest, effort, and emotional responses experienced while practicing.

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

“…Several researchers made connections between the self-regulatory abilities of students and the number of practice strategies used. In a survey of sixth-grade musicians, researchers found that students who were able to use more practice strategies had higher selfregulation skills than students who only reported using one strategy for practicing a difficult piece of music (Austin & Berg, 2006). Using a greater number of practice strategies was linked to higher self-regulation skills in a similar study conducted by Rohwer and Polk (2006).…”

“…Although the key to self-regulation has been identified as the ability to use a variety of practice strategies, many young musicians are still unable to self-regulate successfully (Austin & Berg, 2006;Hallam, 2001;McPherson & Renwick, 2001;Pitts, Davidson, & McPherson, 2000;Pritchard, 2012;Stambaugh, 2010). Through many observational studies, researchers have found that beginning music students often chose from a limited bank of practice strategies, and were unable to correct their mistakes (Leon-Guerrero, 2004;Lisboa, 2008;McPherson & Renwick, 2001;Miksza, 2007;Miksza, Prichard, & Sorbo, 2012;Rohwer & Polk, 2006).…”

Um estudo sobre a autorregulação da prática instrumental de músicos instrumentistas

“…A aprendizagem autorregulada pode ser definida como um processo ativo e construtivo no qual aprendizes estabelecem objetivos para si próprios buscando monitorar, regular e controlar sua cognição, motivação e comportamento com o intuito de alcançar estes objetivos (Pintrich, 2000 apud Austin;Berg, 2006 …”

“…No entanto, mais do que envolver-se em uma atividade específica sem refletir sobre ela, uma sessão de prática precisa ser planejada e organizada para que seja produtiva, eficiente e direcionada aos objetivos que se quer alcançar. Prática eficiente relaciona-se com metacognição ou habilidade para organizar e regular a própria aprendizagem, um dos fatores essenciais para a performance (Austin;Berg, 2006;Woody, 2004 Para finalizar, deve-se considerar que somente a intenção não basta para causar as transformações necessárias em função de uma prática instrumental mais eficiente. Portanto, o instrumentista pode exercer controle sobre a própria aprendizagem ao aplicar o processo de autorregulação em sua prática diária e, assim, direcionar intencionalmente o seu comportamento aos objetivos que espera alcançar.…”

VEMUS: An Integrated Platform to Support Music Tuition Tasks

“…Music education through the use of ICT seems to be a demanding and multifaceted process involving both the instructional methodology and approach of the teacher as well as the involvement, participation and learning from the part of the students [1], [2], [3], [4]. Extensive research has been carried out on the impact of ICT in music education as well as commercial development of software for music composition targeted at a range of users from novice students to professional musicians.…”