Self-regulating Learning Strategies in Instrumental Music Practice

Nielsen, Siw Graabræk

doi:10.1080/14613800120089223

Cited by 152 publications

(214 citation statements)

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“…Nielsen (2001) conducted a case study with two advanced-level organists to examine the behavioral aspects occurring in the initial study of a repertoire focusing on how these instrumentalists self-regulate the use of strategies during practice. The results corroborate those of Chaffin and Imreh (1997) and Miklaszewski (1989), confirming that the technical-motor difficulties to be resolved are influenced by the formal structure of the piece and self-assessment of this practice by use of metacognitive strategies (NIELSEN, 2001: 164).…”

Section: Discussionmentioning

confidence: 99%

The “Artistic Image” Concept Applied to a Fugue at the Early Stage of Piano Practice: An Observational Study

Barros

Carvalho

Borges

2017

OPUS - Rev. Elet. Anppom

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Section: Discussionmentioning

confidence: 99%

The “Artistic Image” Concept Applied to a Fugue at the Early Stage of Piano Practice: An Observational Study

Barros

Carvalho

Borges

2017

OPUS - Rev. Elet. Anppom

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“…Por lo que respecta a estrategias involucradas en la fase de control de ejecución, se ha comprobado que practicar una sección a la vez es una estrategia propia de es-tudiantes con altos niveles de autorregulación (Miklaszewski, 1989;Nielsen, 2001). Del mismo modo, aislar los pasajes difíciles para practicarlos por separado es una de las estrategias más efectivas, no sólo para vencer dificultades técnico-musicales, sino también para memorizar la música (Maynard, 2006).…”

Section: Marco Teóricounclassified

“…Practicar de manera "piramidal" (estrategia de tipo aditivo en donde se aprende una sección o frase por vez y se van uniendo hasta aprender un todo), es propio de estudiantes con alto nivel de auto-regulación (Nielsen, 2001). Lo mismo podría decirse de otras variantes de esta estrategia, tales como practicar la última frase, luego la penúltima y luego la antepenúltima hasta aprender una sección completa (Berr, 2010), o practicar partiendo de una sección del centro e ir añadiendo frases antes y después.…”

Section: Marco Teóricounclassified

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¿Cómo enseñan nuestros maestros de instrumento musical? Situación de la enseñanza de estrategias de práctica efectiva en seis escuelas de música en México

Gracia

2017

Rev. Electrón. Complut. Investig. Educ. Music.

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Resumen. Este artículo presenta los resultados de un estudio exploratorio que tuvo como objetivo determinar el nivel de enseñanza de estrategias de práctica efectiva por parte de 84 profesores de instrumento en seis departamentos universitarios de música en México. A través de la técnica de la encuesta, los profesores respondieron un cuestionario que incluyó preguntas contextuales y preguntas con escalas tipo Likert y opción múltiple para determinar su nivel de compromiso para enseñar estrategias de practica efectiva, la manera de monitorizar la práctica de sus estudiantes, el grado de satisfacción con su desempeño, su opinión respecto a los recursos que podrían mejorar el proceso de enseñanza y aprendizaje instrumental, la manera como se mantienen actualizados y su filosofía de enseñanza. Los datos fueron capturados y analizados con la ayuda del programa de computación Statistics Package for the Social Sciences IBM SPSS 2.0. Los resultados sugieren que los profesores encuestados poseen un alto nivel de compromiso; sin embargo, se detectaron algunos aspectos mejorables, tales como deficiencias en la enseñanza de estrategias relacionadas con el control de ejecución y la autoevaluación, falta de monitorización efectiva de la práctica de sus estudiantes, así como falta de interés en fundamentar su práctica docente en resultados de investigación. Adicionalmente, los resultados indican que las instituciones se preocupan poco por promover la impartición de cursos de pedagogía del instrumento. El investigador propone algunas recomendaciones en las secciones de discusión y conclusiones. Palabras clave: práctica efectiva; autorregulación; metacognición; monitorización de la práctica; formación profesional.[en] How do our professors teach playing musical instruments? Situation of effective practice strategies teaching in six music schools in MexicoAbstract. This article presents the results of an exploratory study that aimed to determine the level of teaching of effective practice strategies by 84 instrument teachers in six university music schools in Mexico. Through the survey technique, teachers answered a questionnaire that included contextual questions as well as questions with Likert scales and multiple choice answers to identify some aspects related to their teaching, such as their level of commitment to teach effective practice strategies, the way they monitored the practice of their students, the level of satisfaction with their performance, their opinion concerning what resources would improve the teaching-learning process, the way they kept updated, as well as their teaching philosophy. Rev. electrón. complut. inves. educ. music. 14, 2017: 239-265 214 identified such as: deficiencies in teaching strategies in the dimension of control of execution and self-evaluation of practice, lack of effective monitoring of their students´ practice, as well as lack of interest to support their practicum on research results. In addition, results suggested institutions are not concern on promoting courses on pedagogy of th...

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“…Self-regulation is especially important for effective practice of musical instruments (Bartolome, 2009;McPherson & Renwick, 2001;2011). Less-skilled musicians have not developed the self-regulatory habits of advanced musicians (McPherson & Zimmerman, 2011;Nielsen, 2001;Oare, 2011) and often do not know how to structure their practices between lessons (McPherson & Renwick, 2001;2011). McPherson and Zimmerman (2002) name six student characteristics that support self-regulated learning in music: (a) Students are motivated to set goals; (b) students possess methods to practice on their own; (c) students plan and manage their time; (d) students self-monitor and evaluate their performance behaviour; (e) Students structure physical environments for optimal learning; and (f) students use social connections to seek help.…”

Section: Literaturementioning

confidence: 99%

Enhancing Music Learning With Digital Tools: A Case Study of a Student Using iSCORE

Upitis¹,

Brook²,

Abrami³

2014

JLAS

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iSCORE is a digital tool, available without charge, which was designed for students who take lessons from independent music teachers. One of the challenges of this learning format is that students must develop strategies to practice on their own between lessons. iSCORE can help meet that challenge by supporting students as they develop strategies for self-regulation to enhance their goal-setting, practice strategies, and abilities to reflect and critique their progress. This paper describes a case study of a 15-year-old pianist who learned to play a difficult piece of repertoire by using iSCORE to archive and compare performances, develop strategies, and reflect on his learning.

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Self-regulating Learning Strategies in Instrumental Music Practice

Cited by 152 publications

References 10 publications

The “Artistic Image” Concept Applied to a Fugue at the Early Stage of Piano Practice: An Observational Study

The “Artistic Image” Concept Applied to a Fugue at the Early Stage of Piano Practice: An Observational Study

¿Cómo enseñan nuestros maestros de instrumento musical? Situación de la enseñanza de estrategias de práctica efectiva en seis escuelas de música en México

Enhancing Music Learning With Digital Tools: A Case Study of a Student Using iSCORE

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