Praxis and poiesis in piano repertoire preparation

Santos, Regina Antunes Teixeira dos; Hentschke, Liane

doi:10.1080/14613808.2011.603042

Cited by 5 publications

(5 citation statements)

References 8 publications

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“…In accordance with the findings of Dos Santos and Hentschke (2011), personal skills, interests, values, and educational experiences seemed to guide the musicians' orientation to their repertoire. Terry's creative-narrative and Kim's aural-atmospheric perspectives could perhaps be characterized as more intuitive approaches focusing on "artistic image" of the music (see Héroux & Fortier, 2014;Neuhaus, 1993).…”

Section: Discussionsupporting

confidence: 80%

“…Héroux, 2018), and may be drawn more to one or the other. We tentatively traced some aspects of the pianists' practice perspectives, through their self-reports, to their reported imagery skills and tendencies, practice habits, and the skills and preferences they had developed through their professional activities and education (see also Dos Santos & Hentschke, 2011;Héroux, 2018). An obvious limitation of the study was that it only involved four participants.…”

Section: Discussionmentioning

confidence: 99%

“…Musicians can, for example, choose a reproductive approach, seeing the score as a normative document, or take a more exploratory approach, relying on their own judgments of expressive conventions (Hultberg, 2000); the musician's choice of approach may depend on their personal values (see Héroux, 2018). One musician might prefer to focus on the structure of the music, while another will approach the same piece through emotion and symbolic thinking (Dos Santos & Hentschke, 2011; see also Héroux, 2016). However the musician prefers to approach the notated score, their practice perspective is likely to be manifest in their practice strategies-that is, in the musician's thoughts and actions while preparing a piece for a performance.…”

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confidence: 99%

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Expert pianists’ practice perspectives: A production and listening study

Loimusalo

Huovinen

2021

Musicae Scientiae

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The purpose of this study was to investigate how professional pianists practice music for a concert, and whether their individual cognitive orientations in such practice processes can be identified accurately from the resulting performances. In Study I, four pianists, previously found to be skilled music memorizers, practiced and performed a short piece by André Jolivet over the course of two weeks, during which their practice strategies were studied using semi-structured interviews, and analyses of practice diaries, practice activities, and eye-movement data. The results indicate that the pianists used similar basic strategies but had different cognitive orientations, here called “practice perspectives,” consistent with each individual, in that they focused on different kinds of information while practicing. These practice perspectives may be related to skills and habits in using imagery and music analysis, as well as to professional and educational background. In Study II, 34 piano teachers listened to recordings of the concert performances and evaluated them against 12 statements representing the four practice perspectives identified in Study I. The results did not support the prediction that practice perspectives would be correctly detected by listeners. Nonetheless, practice perspectives can be used to highlight potentially vast differences between the ways in which individual professional classical musicians conceptualize music and make it meaningful to themselves and others. They could be used in the context of music education to increase musicians’ knowledge of different practice strategies and the ability to develop their own preferred working methods.

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Section: Discussionsupporting

confidence: 80%

Section: Discussionmentioning

confidence: 99%

mentioning

confidence: 99%

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Expert pianists’ practice perspectives: A production and listening study

Loimusalo

Huovinen

2021

Musicae Scientiae

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“…Nevertheless, for advanced musicians, task strategies ( M = 1.22) are the most associated with level of expertise, whereas for beginners, the closest ties exist with intrinsic interest and self-experimentation ( M = 1.20). Dos Santos and Hentschke (2011) provide numerous instances of advanced musicians’ task strategies including the harmonic reduction of pieces to better understand a piece’s structure, writing in fingerings and intense repetition of motoric patterns. Meanwhile, Bartolome (2009) and Upitis et al (2010) describe motivated beginners who incorporate improvisation and composition into their practice schedules.…”

Section: Resultsmentioning

confidence: 99%

“…More relationships are observable among advanced musicians but several of these are negative: adaptive behavior, intrinsic interest ( M = −0.25) and notably self-satisfaction ( M = −1.00). University-level musicians expressed negative affect in response to competitive structures within orchestras (Smith, 2002), felt unsupported, confused or held back by teachers (Dos Santos & Hentschke, 2011) and dissatisfied with their ranking at an institutional setting (Chung, 2006). However, general instruction among advanced musicians also seems to be positively related to strategic planning ( M = 0.50) and, in particular, task strategies ( M = 0.75), with Dos Santos and Hentschke (2011) observing that all members in their study employed ‘approaching’ and ‘deepening’ phases when practicing, attributing this to the norms of western classical music instruction.…”

Section: Resultsmentioning

confidence: 99%

Self-regulation and music learning: A systematic review

Varela

Abrami

Upitis

2014

Psychology of Music

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Recent research into how individuals achieve their musical goals has been enriched by studies investigating music practice through the lens of self-regulation, or the goal-orientated planning, cyclical adaptation, and reflection of an individual’s thoughts, feelings and actions. The article aims to review the available empirical evidence in order to identify the relationship between processes contained within Zimmerman’s (2000) model of self-regulation and specific music learning variables. It also attempts to discover how self-regulatory behavior relates to both general music instruction and interventions designed to enhance self-regulation. Findings indicate weak, positive relationships with the variables of interest, but suggest self-regulation instruction is the most strongly related variable. The discussion proposes that future research may benefit from investigations of self-regulation within a broader spectrum of musicians and an exploration of participant-driven understandings of self-regulation theory.

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A systematic review of Stimulated Recall (SR) in educational research from 2012 to 2022

Zhai,

Chu,

Wang

et al. 2024

Humanit Soc Sci Commun

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Stimulated Recall (SR) has long been used in educational settings as an approach of retrospection. However, with the fast growing of digital learning and advanced technologies in educational settings over the past decade, the extent to which stimulated recall has been effectively implemented by researchers remains minimal. This systematic review reveals that SR has been primarily employed to probe the patterns of participants’ thinking, to examine the effects of instructional strategies, and to promote metacognitive level. Notably, SR video stimuli have advanced, and the sources of stimuli have become more diverse, including the incorporation of physiological data. Additionally, researchers have applied various strategies, such as flexible intervals and questioning techniques, in SR interviews. Furthermore, this article discusses the relationships between different SR research items, including stimuli and learning contexts. The review and analysis also demonstrate that stimulated recall may be further enhanced by integrating multiple data sources, applying intelligent algorithms, and incorporating conversational agents enabled by generative artificial intelligence such as ChatGPT. This article provides a comprehensive analysis of SR studies in the realm of education and proposes a promising avenue for researchers to proactively apply stimulated recall in investigating educational issues in the digital era.

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Praxis and poiesis in piano repertoire preparation

Cited by 5 publications

References 8 publications

Expert pianists’ practice perspectives: A production and listening study

Expert pianists’ practice perspectives: A production and listening study

Self-regulation and music learning: A systematic review

A systematic review of Stimulated Recall (SR) in educational research from 2012 to 2022

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