Effective Music Practice. Equipping Students with the Tools to Succeed

Main Article Content

Raúl Wenceslao Capistrán-Gracia

Abstract

By showing their musical achievements in concerts, auditions, competitions and the like, music students are not only executing notes, but they are exhibiting their aspirations and exposing their affective dimension. Many times, their personal dreams, as well as their own professional future are put at a stake with the resulting social and affective consequences. This represents a great responsibility for teachers since, as educators, they must provide their students with the necessary tools to succeed in their endeavor. In this essay, the author provides an overview on different music practice strategies whose effectiveness have been tested in rigorous research studies or proved by experienced teachers. The author expects they may be helpful to teachers and students to overcome the musical challenges the learning of music and its public performance entails.  

Article Details

Section
Grenek Music Journal
Author Biography

Raúl Wenceslao Capistrán-Gracia, Conservatorio Nacional de Música

Raúl Capistrán received his bachelor's degree in Piano Performance from the Escuela Superior de Música y Danza de Monterrey in 1992, his Master of Music degree with distinction from Baylor University in 1999, and his Doctor of Musical Arts degree from Texas Tech University in 2005.He has been awarded scholarships by the Tamaulipas State Council for Culture and the Arts, Baylor University, Texas Tech University, the Southwestern Bell Company, and the Tamaulipas Program for the Encouragement of Artistic Creation and Development.His work as a performer, musicologist and educator has led him to perform in important forums in the United States of America, Mexico, South America and Europe. As a professor, he has worked for the Monterrey School of Music and Dance, Baylor University, Texas Tech University, Lubbock Christian University and the University of Texas at Brownsville. Dr. Capistrán currently works as a tenured research professor at the National Conservatory of Music.His production as a researcher includes book chapters and articles in peer-reviewed and indexed journals and popular journals. He has been coordinator and author of 10 collective books and individual author of the following books: Music Education and Psychological Well-being. Research Results, Intervention Design and Implications for Education, The Viceroyalty of New Spain and its Music for Keyboard Instruments, A Pedagogical Approach, Effective Musical Practice, Literature Review, Research Results and Methodological Proposal, Music Education: Approaches, Methods, Activities, and Panorama of Music for Keyboard Instruments in Mexico During the Colonial Period.

References

Alexander, L. & Dorow, L.G. (1983). Peer tutoring effects on the music performance of tutors and tutees in beginning band classes. Journal of Research in Music Education, 31(1), 33-47. https://doi.org/10.2307/3345108

Barry, N. & McArthur, V. (1994). Teaching strategies in the music studio: A survey of applied music teachers. Psychology of Music, 22, 44-45. https://doi.org/10.1177/0305735694221004

Barry, N. (1990). The effects of practice strategies, individual differences in cognitive styles, and sex upon technical accuracy and musicality of student instrumental performance [Doctoral Thesis]. University Microfilms International. (Order No. 9100056) https://doi.org/10.1177/03057356922020

Bernstein, S. (1981). With your own two hands. New York: G. Schirmer, Inc.

Berr, B. (2010). The end is where we start from. American Music Teacher, June-July, 56. http://web.a.ebscohost.com.dibpxy.uaa.mx/ehost/pdfviewer/pdfviewer?-vid=4&sid=9f22f677-c469-4675-a33b-8033bbbfebc0%40sessionmgr4010&hid=4206

Bonneville-Roussy, A. & Bouffard, T. (2015). When quantity is not enough: Disentangling the roles of practice time, self-regulation and deliberate practice in musical achievement. Psychology of Music, 43(5), 686-704. https://doi.org/10.1177/0305735614534910

Boucher, M., Dube, F. & Creech, A. (2017). The effect of video feedback on the self-assessment of a music performance by college level classical guitarists. In G. Hughes (Ed.), Ipsative assessment and learning gains: Case studies from international practitioners. Basingstoke, Hampshire: Palgrave Macmillan.

Bugos, J. A. & High, L. (2009). Perceived versus actual practice strategy used by older adult novice piano students. Visions of Research in Music Education, 13. 1-26. https://digitalcommons.lib.uconn.edu/cgi/viewcontent.cgi?article=1078&context=vrme

Byo, J. & Cassidy, J. W. (2008). An exploratory study of time use in the practice of music majors self-report and observation analysis. Update: Applications of Research in Music Education, 27(1), 33-40. https://doi.org/10.1177/8755123308322272

Coffman, D. D. (1990). Effects of mental practice, physical practice, and knowledge of results on piano performance. Journal of Research in Music Education, 38, 187-196. https://doi.org/10.2307/3345182

Cremaschi, A. (2012). The effect of a practice checklist on practice strategies, practice self-regulation and achievement of collegiate music majors enrolled in a beginning class piano course. Research Studies in Music Education, 34(2), 223-233. https://doi.org/10.1177/1321103X12464743

Crothers, G. I. (2010) Heinrich Neuhaus: life, philosophy and pedagogy [Doctoral thesis]. Birmingham City University. https://www.open-access.bcu.ac.uk/4928/

Daniel, R. (2001). Self-assessment in performance. British Journal of Music Education, 18(3), 215-226. https://researchonline.jcu.edu.au/341/1/BJME_daniel.pdf

Duke, R. A., Simmons, A. L. & Davis Cash, C. (2009). It's not how much; it's how. Characteristics of practice behaviour and retention of performance skills. Journal of Research in Music Education, 56(4), 310-321. https://doi.org/10.1177/0022429408328851

Gieseking, W. & Leimer, K. (1972). Piano Technique. Dover Publications, Inc.

Gregg, M. & Clark, T. (2007). Theoretical and practical applications of mental imagery. International Symposium on Performance Science, 295-300. https://www.researchgate.net/publication/237116737_Theoretical_and_practical_applications_of_mental_imagery

Gregg, M., Clark, T. & Hall, C. (2008). Seeing the sound: An exploration of the use of mental imagery by classical musicians. Musicae Scientiae, 12(2), 231-247. https://doi.org/10.1177/102986490801200203

Hallam, S. (1997). What do we know about practising? Towards a model synthesising the research literature. In H. Jorgensen y A. Lehman (Eds.), Does Practice Make Perfect? Current Theory and Research on Instrumental Music Practice (pp. 179-231). Oslo: NMH-publikasjoner.

Hallam, S. (2001). The development of meta-cognition in musicians: Implications for education. The British Journal of Music Education, 18(1), 27-39. https://doi.org/10.1017/S0265051701000122

Hallam, S., Rinta T., Varvarigou, M., Creech, A. Papageorgi, L., Gomes, T. & Lanipekun, J. (2012). The development of practising strategies in young people. Psychology of Music, 40(5), 652-680. https://doi.org/10.1177/0305735612443868

Hargreaves, A. (1998). Profesorado, Cultura y Postmodernidad. Morata.

Herrera, M. & Cremades, R. (2014). Memorisation in piano students: A study in the Mexican context. Musicae Scientiae, 18(2), 216-231. https://doi.org/10.1177/1029864914527105

Holmes, P. (2005). Imagination in practice: A study of the integrated roles of interpretation, imagery and technique in the learning and memorisation processes of two experienced solo performers. British Journal of Music Education, 22(03), 217-235. https://doi.org/doi:10.1017/S0265051705006613

Johnson, R. (2011). Musical tempo stability in mental practice: A comparison of motor and non-motor imagery techniques. Research Studies in Music Education, 33(1), 3-30. https://doi.org/10.1177/1321103X11400501

Jorgensen, H. (2002). Instrumental performance expertise and amount of instrumental practice among students in a conservatoire. Music Education Research, 4(1), 105-119. https://doi.org/10.1080/14613800220119804

Jorgensen, H. (2004). Strategies for individual practice. In Williamon, A. (Ed.), Musical Excellence: Strategies and Techniques to Enhance Performance (pp. 85-104). Oxford: Oxford University Press.

Kim, S. J. (2008). Using a practice diary to promote self-regulated instrumental practice. American String Teacher, 58(3), 34-36. https://doi.org/10.1177/000313130805800306

Locke, E. & Bryan, J. (1965). Cognitive aspects of psychomotor performance: The effects of performance goals on level of performance. Journal of Applied Psychology, 50, 286-291. https://doi.org/10.1037/h0023550

Locke, E.A., Shaw, K.N., Saari, L.M. y Lathman, G.P. (1981). Goal Setting and Task Performance: 1969-1980. Psychological Bulletin, 90(1), 125-152. https://doi.org/10.1037/0033-2909.90.1.125

Maynard, L. (2006). The Role of Repetition in the Practice Sessions of Artist Teachers and Their Students. Bulletin of the Council for Research in Music Education, 167, 61-72. https://dialnet.unirioja.es/servlet/articulo?codigo=2308900

McPherson, G.E. & McCormick, J. (1999). Motivational and self-regulated learning components of musical practice. Bulletin of the Council for Research in Music Education, 17(141), 98-102. https://www.jstor.org/stable/40318992

Miklaszewski, K. (1989). A Case Study of a Pianist Preparing a Musical Performance. Journal of Psychology of Music, 17(2), 95-109. https://doi.org/10.1177/0305735689172001

Miksza, P. (2007). Effective practice: An investigation of observed practice behaviors, self-reported practice habits, and the performance achievement of high school wind players. Journal of Research in Music Education, 55(4), 359-375. https://www.jstor.org/stable/27639201

Miksza, P. (2011). Relationships among achievement goal motivation, impulsivity, and the music practice of collegiate brass and woodwind players. Psychology of Music, 39(1), 50-67. https://doi.org/10.1177/0305735610361996

Neuhaus, H. (1973). The Art of Piano Playing. Praeger Publishers.

Nielsen, S. (2001). Self-regulating learning strategies in instrumental music practice. Music Education Research, 3(2), 155-167. https://doi.org/10.1080/14613800120089223

Nuki, M. (1984). Memorization of piano music. Psychologia: An International Journal of Psychology in the Orient, 27(3), 157“163. https://psycnet.apa.org/record/1985-27176-001

O'Brien, C. C. (1943). Part and whole methods in the memorization of music. Journal of Educational Psychology, 34(9), 552“560. https://doi.org/10.1037/h0058435

Reybrouck, M. (2009). Musical imagery between sensory processing and ideomotor simulation. In R. I. Godoy & H. Jorgensen (Eds.), Studies on New Musical Research: Musical Imagery (pp. 117-136). New York: Taylor and Francis.

Ross, S. L. (1985). The effectiveness of mental practice in improving the performance of college trombonists. Journal of Research in Music Education, 33(4), 221-230. https://doi.org/10.2307/3345249

Rubin-Rabson, G. (1941). Studies in the psychology of memorizing piano music. VI: A comparison of two forms of mental rehearsal and keyboard overlearning. Journal of Educational Psychology, 32(8), 593“602. https://doi.org/10.1037/h0058481

Santana, E. L. (1978). Time-efficient skill acquisition in instrumental music study [Doctoral Thesis]. The Florida State University. https://www.proquest.com/openview/515e22083090fd2324f843226c6608df/1?pq-origsite=gscholar&cbl=18750&diss=y

Sheldon, D. A. (2001). Peer and cross-age tutoring in music. Music Educators Journal, 87(6), 40-50. https://go.gale.com/ps/i.do?id=GALE%7CA75246558&sid=googleScholar&v=2.1&it=r&linkaccess=abs&issn=00274321&p=AONE&sw=w&userGroupName=anon%7Ee2ac554a&aty=open-web-entry

Shockley, R. P. (1997). Mapping Music: For Faster Learning and Secure Memory - A Guide for Piano Teachers and Students. A-R Editions.

Silveira, J. & Gavin, R. (2015). The effect of audio recording and playback on self-assessment among middle school instrumental music students. Psychology of Music, 1-13.

Swanson, R. & Law, B. (1993). Whole-part-whole Learning model. Performance Improvement Quarterly, 6(1), 43-53. https://doi.org/10.1111/j.1937-8327.1993.tb00572.x

Teixeira-Dos Santos, R.A. & Hentschke, L. (2011). Praxis and poiesis in piano repertoire preparation. Music Education Research, 13(3), 273-292. https://doi.org/10.1080/14613808.2011.603042

Theiler, A.M. &Lippman, L.G. (1995). Effects of mental practice and modeling on guitar and vocal performance. The Journal of General Psychology, 122(4), 329-343. https://doi.org/10.1080/00221309.1995.9921245

Vispoel, W.P. & Austin, J.R. (1993). Constructive response to failure in music: the role of attribution feedback and classroom goal structure. British Journal of Educational Psychology, 63, 110-129. https://doi.org/10.1111/j.2044-8279.1993.tb01045.x

Westney, W. (2006). The Perfect Wrong Note. Amadeus Press.

Williamon, A. & Valentine, E. (2000). Quantity and quality of musical practice as predictors of performance quality. British Journal of Psychology, 91, 353-376. https://doi.org/10.1348/000712600161871.

Zimmerman, B. J. (2008). Investigating self-regulation and motivation: Historical background, methodological developments, and future prospects. American Educational Research Journal, 45(1), 166-183. https://doi.org/10.3102/0002831207312909