Learner autonomy in music performance practices

Abstract

The language of music shares a number of basic processing mechanisms with natural languages, yet studies of learner autonomy in music education are rare. This study aims to assess the effectiveness of fostering music students’ learner autonomy in performance practice through a series of curriculum changes. A mixed-methods approach, including a questionnaire survey and semi-structured interviews, was used to investigate two cohorts of music education students (N = 74) from Hong Kong. The analysis reveals the students’ autonomous learner characteristics, including the ability to formulate their own learning strategies, identify both musical and non-musical weaknesses and take appropriate steps to improve their performance skills.

Application of Lightweight Deep Learning Model in Vocal Music Education in Higher Institutions

“…Wacker [ 5 ] explored the views of music education major students on curriculum planning in college courses. Cheng et al [ 6 ] argued that music and natural language share many basic processing mechanisms. They evaluated the effectiveness of cultivating music majors' autonomous learning in performance practice through a series of curriculum reforms.…”

[Retracted] Development of University Music Education Based on Neural Network and the Reform of Music Education in Normal University under the Environment of Ability Education

“…Since the development of instructional assessment in universities, many universities have accepted the instructional assessment according to their own actual situation, and the instructional assessment in universities has also received extensive attention from everyone, which has aroused great attention from relevant social scholars. Teaching is a nonlinear classification problem, which brings great difficulties to comprehensive assessment [ 7 ]. With its unique properties of nonlinear processing, adaptive learning, and high fault tolerance, NN has been widely applied in many types of assessment problems.…”

Reflexões sobre a autonomia de estudantes de graduação em piano nos estágios iniciais de preparação da Sonata K. 271 de D. Scarlatti

“…No contexto de estudantes de graduação em música, diversos aspectos têm sido investigados a fim de entender como se dá o aprendizado e a preparação do repertório instrumental. Dentre eles estão componentes comportamentais da prática (ROSTRON;BOTTRIL, 2000, p. 51-53;DUKE;SIMMONS;CASH, 2009, p. 315-317;MANTOVANI, 2018, p. 132-200), estratégias utilizadas para desenvolver a interpretação musical (HUTBERG, 2008, p. 13-21), aspectos contemplados no aprendizado em diferentes pontos do semestre (GONÇALVES, 2014, p. 127-157), mobilização de conhecimentos musicais (DOS SANTOS, 2018, p. 433-443), criação de uma imagem artística da obra (BARROS, CARVALHO, BORGES, 2017, p. 13-19), estratégias para o fomento à autonomia de estudantes instrumentistas (MCPHAIL, 2013, p. 160-172;SZCZEPEK REED, 2017, p. 175-190;CHENG;WONG;LAM, 2020, p. 234-246), relação da autopercepção de competência e de aspectos afetivos e motivacionais com a prática autorregulada (SMITH, 2005, p. 42-51;BONNEVILLE-ROUSSY;BOUFFARD, 2015, p. 691-701;ANTONINI PHILIPPE et al, 2020, p. 4-8), além da aplicação de estratégias autorregulatórias na prática através de intervenções (MIKSZA; BLACKWELL; ROSETH, 2018, p. 300-316;OSBORNE et al, 2020, p. 3-16;BOUCHER;CREECH;DUBÉ, 2020, p. 435-444;KEGELAERS;OUDEJANS, 2020, p. 3-11).…”