Raising standards in performance

Davis, Robert; Pulman, Mark

doi:10.1017/s0265051701000341

Cited by 6 publications

(4 citation statements)

References 4 publications

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“…Performance, studio learning, and private practice all provided contexts for potential mastery experiences. Corresponding with Davis and Pulman (2001) and Marshall (2011), all participants reported that tangible evidence of performance success helped them feel confident in their progress, capability, and performance potential. Data highlighted, however, that the degree to which a participant’s vocal performance belief was affected by performance experiences was mediated by the individual’s perception of the performance event (see Bandura, 1997).…”

Section: Discussionmentioning

confidence: 61%

“It’s your body, it’s part of who you are!”: Influences upon collegiate vocalists’ performance self-efficacy beliefs

Lewis

Hendricks

2022

International Journal of Music Education

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Fostering accurate musical self-perceptions may be particularly challenging when developing singing technique, where self-assessment is complicated by the close physiological and emotional relationship between the performer and the body-instrument. The aim of the present study was to investigate how vocal students’ beliefs in their performance capabilities were influenced by the four sources of self-efficacy and other personal/contextual factors. Nine vocalists at a private university in the western United States completed the Vocal Performance Self-Efficacy Survey, participated in two follow-up interviews, and provided written reflections about experiences that fostered or hindered their performance belief. Participants reported that they moved from a reliance on external assessments of capability to self-appraisal as they (a) refined technique through practice and performance, (b) observed coping and master models, (c) managed feedback from others, (d) attuned to physiological and emotional sensations, and (e) exercised cognitive self-regulation. Eight of nine interview participants reported that physiological and affective states most affected their performance belief. Findings indicate the importance of nurturing vocal students’ performance beliefs by utilizing the four sources of self-efficacy, fostering qualities of persistence and resilience, teaching agentic causation, fostering productive student/teacher relationships, and creating emotionally safe learning and performance environments.

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Section: Discussionmentioning

confidence: 61%

“It’s your body, it’s part of who you are!”: Influences upon collegiate vocalists’ performance self-efficacy beliefs

Lewis

Hendricks

2022

International Journal of Music Education

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“…Participants iterated methods related to the development of mastery experiences, including drilling the basics, utilizing repetition, and focusing on technical ability through a process of scaffolding-strategies with the intent to improve performance in ways that are reflective of deliberate practice, as described by Ericsson et al (1993). In addition, participants indicated that teachers provided tools by which students might accurately self-assess, similar to findings of Daniel (2001), Davis andPulman (2001), andHirschorn (2011). In essence, when teachers provide students with information regarding productive practice and self-assessment, students may be better enabled to have mastery experiences independent of teacher assessments (see Nielsen, 2004).…”

Section: Belief-enhancing Teaching Methods-the Sources Of Self-efficacymentioning

confidence: 88%

Teaching methods that foster self-efficacy belief: Perceptions of collegiate musicians from the United States

Lewis

Weight

Hendricks

2021

Psychology of Music

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Self-efficacy belief is a strong predictor of successful performance. Developmental differences in the acquisition of self-beliefs have been attributed to myriad individual and contextual factors, including teacher influence. The aim of this mixed-method study was to examine collegiate music students’ perceptions of teaching methods that strengthened or weakened music performance belief. A questionnaire was sent to music students enrolled in their third or fourth years of highly competitive collegiate music programs in the United States ( N = 83). Analysis of variance revealed that students who reported studying with a teacher who “influenced them to become greater than they imagined possible” indicated significantly higher music performance self-efficacy beliefs than those who had not. Participants most frequently mentioned belief-enhancing methods associated with verbal/social persuasion (e.g., demonstrated belief in student potential, encouragement, high expectations, accountability, and personalized, logical instruction). Reported mastery experience methods were frequently coupled with verbal/social persuasion and encompassed a collaborative approach to selecting repertoire, tools for self-analysis and practice maximization, opportunities and encouragement to perform often, and goal setting. Over one in three participants conveyed studying with a teacher who “influenced them to become a weaker performer,” highlighting the need to educate music teachers in belief-enhancing pedagogical practices.

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“…Observation can also occur in managed contexts including group instrumental/vocal learning (Davis & Pulman, 2001;Daniel, 2004bDaniel, , 2006, peer assessment (Hunter & Russ, 1996;Blom & Poole, 2004;Daniel, 2004a) and self-assessment through video analysis (Daniel, 2001). In research by Hunter and Russ (1996), Daniel (2001Daniel ( , 2004a and Blom and Poole (2004), undergraduate students received instruction in what to consider while observing performance.…”

Section: O B S E R V a T I O N W I T H I N M U S I C A L S K I L L L mentioning

confidence: 99%

Observational learning in the music masterclass

Haddon

2013

Brit. J. Music. Ed.

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This article contributes to research on music masterclasses through examining learning through observation. It investigates how students are learning as observers in this context; whether and how they will transfer their masterclass learning to their own instrumental/vocal development, and whether they have discussed learning through observation. Data were gathered from higher education students observing two masterclasses. Their responses indicate observation of technical, musical, performative and pedagogic elements. However, they also suggest limited discussion of observation and of the processes involved in implementing observational learning within their own work. The findings suggest that there is scope for enhanced learning in the masterclass, including developing perception through facilitated engagement with systematic observation and consideration of processes of transferable learning. These may have positive implications for extending learning in other contexts.

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Raising standards in performance

Cited by 6 publications

References 4 publications

“It’s your body, it’s part of who you are!”: Influences upon collegiate vocalists’ performance self-efficacy beliefs

“It’s your body, it’s part of who you are!”: Influences upon collegiate vocalists’ performance self-efficacy beliefs

Teaching methods that foster self-efficacy belief: Perceptions of collegiate musicians from the United States

Observational learning in the music masterclass

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