Studies in the psychology of memorizing piano music. IV. The effect of incentive.

Rubin-Rabson, Grace

doi:10.1037/h0061124

Cited by 20 publications

(12 citation statements)

References 9 publications

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“…Studies of teachers' encouragement of practice have suggested that negotiating individual practising contracts (Wolfe, 1987) and asking students to keep written practice reports (Wagner, 1975) can be effective. However, Rubin-Rabson (1941) found that extrinsic rewards and verbal encouragement were not necessarily effective ways to motivate students to practise, while Hallam (1983) found that the support of teachers and parents was important for encouraging practice in girls but that boys tended to be more in uenced by their peers. Overall, the most important attitudinal predictor of practising was the individual's own self-determination.…”

Section: Environmental Factorsmentioning

confidence: 95%

Musical Motivation: Towards a model synthesising the research

Hallam¹

2002

Music Education Research

112

105

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Section: Environmental Factorsmentioning

confidence: 95%

Musical Motivation: Towards a model synthesising the research

Hallam¹

2002

Music Education Research

112

105

View full text Add to dashboard Cite

“…The benefits cited for performing from memory include superiority of performance and positive influence on audience's ratings (Williamon, 1999). Silently perusing the score away from the instrument (Rubin-Rabson, 1941) and analysing the structure of the work (Reichling, 1989) have been found to be useful strategies for memorisation. This has been supported in more recent work of Ginsborg (2004) who highlights the role of structural analysis and phrase boundaries in developing musicians’ conceptual memory.…”

Section: Literature On Lesson Contentmentioning

confidence: 99%

Exploring the content of instrumental lessons and gender relations in Australian higher education

Zhukov

2008

Brit. J. Music. Ed.

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This observational study analysed the lesson content of 24 instrumental lessons (piano, strings and winds) using a gender-balanced sample (equal numbers of male/ female teachers and students) from five Australian higher education institutions to ascertain the priorities of topics in advanced applied music lessons in the Western Classical tradition. The results were analysed according to gender to determine differences of approach between male and female teachers and male and female students.Same-gender and different-gender pairings were also considered. Technique was found to be of the greatest importance, followed by Articulation and Expression. Some gender differences have emerged between the teachers, with the male teachers tending towards a more analytical approach and the female teachers adopting more balanced lesson content. The treatment of students showed some divergence, with greater emphasis on Expression in the lessons of female students, whereas the male students studied more Structure. The results demonstrate stereotypical gender behaviour among the teachers and towards their students not previously observed in this educational setting.In Australia higher education music institutions are named variously as Conservatoriums, Music Departments, Schools and Faculties of Music. While titles differ, all have been incorporated into larger Universities and, despite local variations, offer similar degrees in performance, composition, music education and musicology.This approach is different from UK and Europe where a greater divergence exists between the curricula of Conservatoriums and Universities. All Australian tertiary music students are given access to instrumental lessons as part of their degrees.

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“…Dividing the score into different parts was mainly ineffective but playing it in a whole without correcting any error was highly efficient. Rubin-Rabson (1939 , 1940a , b , 1941a , b , c , d ) can be seen as the first one to systematically investigate practice behavior of pianists ( Reichling, 1989 ), but the small sample size with nine pianists and the trial design with one and the same sample for related investigations and ignoring the learning-effect are highly questionable. Barry (1992) obtained significantly more improvement on melodic and rhythmic accuracy for 29 brass and woodwind students who practiced with step-by-step instructions and under supervision of an adult in contrast to 26 students practicing freely.…”

Section: Introductionmentioning

confidence: 99%

The Relationship Between Personality Traits, Flow-Experience, and Different Aspects of Practice Behavior of Amateur Vocal Students

2015

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Most of the existing studies on musical practice are concerned with instrumentalists only. Since singers are seldom considered in research, the present study is based on an online-sample of amateur vocal students (N = 120; 92 female, 28 male). The study investigated the correlations between personality traits, flow-experience and several aspects of practice characteristics. Personality was represented by the three personality dimensions extraversion, neuroticism and psychoticism, assessed by Eysenck’s Personality Profiler as well as the trait form of the Positive and Negative Affect Schedule. ‘Flow-experience,’ ‘self-congruence’ and ‘fear of losing control over concentration,’ assessed by the Practice Flow Inventory, served as variables for flow-experience. The practice motivation was measured by the Practice Motivation Questionnaire in four categories (‘self,’ ‘group,’ ‘audience,’ ‘teacher’). In addition, the Practice Behavior Questionnaire was used to provide an insight into the practice situation and behavior of singing students. The results show significant correlations: participants with high extraversion-scores experience significantly more flow than less extraverted persons, whereas lesser flow-experience seems to be related to high neuroticism-scores. Nevertheless, there is no influence in flow-experience concerning singing style (‘classical’ or ‘popular’). The longer the practicing time, the more likely students are to achieve flow-experience. However, older singers tend to have less flow-experience. Consequently, singers seem to differ in their personality and practice behavior compared to other musicians. Most of the findings show that having control over one’s instrument is decisive for achieving a performance of high quality, especially for singers. On the other hand, certainty in handling an instrument is essential to arouse a flow-feeling. However, flow-experience seems to be common mainly with amateur singers. In conclusion, this offers a starting point for new research on the psychology of vocalists in greater depth.

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Studies in the psychology of memorizing piano music. IV. The effect of incentive.

Cited by 20 publications

References 9 publications

Musical Motivation: Towards a model synthesising the research

Musical Motivation: Towards a model synthesising the research

Exploring the content of instrumental lessons and gender relations in Australian higher education

The Relationship Between Personality Traits, Flow-Experience, and Different Aspects of Practice Behavior of Amateur Vocal Students

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