The development of practising strategies in young people

Abstract

There has been considerable research considering how instrumental practice changes as expertise develops. Much of that research has been relatively small scale and restricted in the range of instrumentalists included. This paper aimed to explore the development of practising strategies and motivation to practise as expertise develops with a large sample of participants at different levels of expertise playing a wide range of different instruments. A total of 3,325 young people ranging in level of expertise from beginner to the level required for entry to higher education conservatoires completed a questionnaire which consisted of a number of statements relating to practising strategies, organization of practice, and motivation to practise with a seven-point rating scale. Data were analyzed in relation to nine levels of expertise. Factor analysis revealed seven factors: adoption of systematic practice strategies; organization of practice; use of recordings for listening and feedback and use of the metronome; use of analytic strategies; adoption of ineffective strategies; concentration; and immediate correction of errors. There were statistically significant linear relationships between grade level and four of the factors but not for organization of practice; use of analytic strategies; and concentration. The findings are discussed in relation to the educational implications.

‘Play it by ear’ – teachers' responses to ear-playing tasks during one-to-one instrumental lessons

“…Ear-playing has also been said to enhance aural development (Hallam, et al, 2012;Woody & Lehmann, 2010) and enjoyment through musical exploration (Harwood & Marsh, 2012;Priest, 1985). Currently there is a wealth of research in music education that explores the teaching and learning of popular music, including investigations of students responses to ear-playing tasks during the early stages of learning a classical instrument (McPherson, 1997(McPherson, , 2005; strategies employed by ear players to hear and play chord progressions when playing unfamiliar rock songs (Johansson, 2004); learner musicians ear-playing ability as a function of vernacular music experiences (Woody & Lehmann, 2010);…”

Assessment of instrumental music performance: definitions, criteria, measurement

“…This is manifested, for example, in the different marks received by students during the school exam. Noting this, Hallam introduced an additional criterion for determining musical accomplishments in instrument playing -the quality of performance (Hallam, 2013;Hallam et al, 2012). This dimension allows achievement to be differentiated with greater accuracy.…”

“…This was the division used, among others, by Susan Hallam in her research (2013;Hallam et al, 2012). Hallam used a rating scale according to the class for the level of performance, which allows for a more precise characterisation of musical achievement.…”

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

“…Asimismo, practicar lentamente y practicar con metrónomo son estrategias relacionadas con el logro y el crecimiento musical (Duke, et ál., 2009;Hallam, Rinta, Varvarigou, Creech, Papageorgi, Gomes y Lanipekun, 2012;Miksza, 2007Miksza, y 2011Nielsen, 2001).…”