Content uploaded by John Sloboda
Author content
All content in this area was uploaded by John Sloboda on Jan 14, 2022
Content may be subject to copyright.
The role of practice in the development of performing musicians
British Journal of Psychology
Abstract
Examined the role of practice in the development of 257 performing musicians (aged 8–18 yrs). Ss who had undertaken individual instrument tuition were interviewed about their performing history from the start of the playing and were divided into 5 groups, reflecting different levels of musical competence. 94 Ss also kept a practice diary for a 42-wk period. A strong relationship was found between musical achievement and the amount of formal practice undertaken. Weaker relationships were found between achievement and the amount of informal playing. There was no evidence that high achievers were able to gain a given level of examination success on less practice than low achievers. High achievers tended to be more consistent in their pattern of practice from week to week and tended to concentrate on technical practices in the morning. It is concluded that formal effortful practice is a principal determinant of musical achievement. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
... En las últimas décadas se ha desarrollado una amplia investigación sobre la práctica instrumental y vocal. Algunos investigadores han destacado el importante papel de la práctica sostenida como un factor determinante en el desarrollo de conocimientos, destrezas y habilidades (Ericsson et al., 1990;Sosniak, 1990;Sloboda et al., 1996). Sin embargo, las investigaciones también revelan que el logro y el crecimiento en la interpretación musical no sólo están relacionados a la cantidad de tiempo dedicado a la práctica de una pieza, sino también a la efectividad de la misma (Bonneville-Roussy y Bouffard, 2014;Da Costa, 1999;Duke et al., 2009;Hallam, 2001, Hallam et al., 2012Kostka, 2002). ...
... En el Capítulo 1, vimos cómo la mayor parte del tiempo los estudiantes practican solos y los profesores no tienen idea de lo que pasa en el salón de práctica (Gaunt, 2008;Miksza, 2006;Sloboda, Davidson, Howe y Moore, 1996). "El aprendizaje del estudiante no solo tiene lugar en las lecciones. ...
... El tema del tiempo en la práctica musical es una cuestión controversial. A pesar de que los estudios empíricos no han podido demostrar una relación directa entre tiempo de práctica y logro (Hallam, Varvarigou, Creech, Papageorgi, Gómes y Lanipekum, 2012;Williamon y Valentine, 2000), muchos investigadores están de acuerdo en que la práctica sostenida es fundamental en la adquisición de cualquier habilidad motora y en el desarrollo musical (Ericsson, Krampe y Tesch-Romer, 1990 y 1993; Sosniak, 1990;Sloboda et al., 1996). En un punto intermedio, Bonneville-Roussy y Bouffard (2014), entre otros, afirman que la cantidad de tiempo de práctica puede predecir el logro, sólo si es asociada con una práctica formal que incluya los constructos de práctica deliberada y autorregulación. ...
Este libro, tiene el propósito de contribuir modestamente al conocimiento de la práctica musical efectiva, desde la perspectiva de la investigación empírica. El primer capítulo proporciona un panorama de las investigaciones que sobre práctica efectiva se han llevado a cabo en los últimos años, y que podrían ser de
gran beneficio para los jóvenes estudiantes de música, así como para los maestros. El segundo, comparte los resultados obtenidos a través de un estudio que involucró seis escuelas de música, de seis universidades de la Región Centro Occidente de la Asociación Nacional de Universidades e Instituciones de Educación Superior (anuies), con respecto a la práctica efectiva, el sentido de autoeficacia de los estudiantes y su nivel de satisfacción con las sesiones de práctica. El tercer capítulo ofrece un modelo de práctica efectiva que podría ser de utilidad para
los estudiantes de música, sobre todo para aquéllos que tienen poca experiencia y que requieren de una guía para establecer una rutina de práctica diaria, sana y productiva. Finalmente, el capítulo número cuatro concluye con una reflexión sobre la responsabilidad que deben asumir instituciones, maestros y estudiantes
en atender este vital aspecto de la formación del músico profesional.
... They cite self-belief; enjoyment and pleasure in musical activities and performance; the level of support from parents, teachers and friends; attitudes towards and perceptions of the value of playing an instrument; and beliefs about the importance of musical ability as important elements of motivation. Encouragement and support from family, teachers and peers; the child's expectations and motivation to become competent on the instrument; the joy of playing the instrument; and the self-regulatory strategies that the child acquires to improve instrument learning are highlighted by McPherson & Zimmerman (2002) and Sloboda et al. (1996) as key factors for playing an instrument. Pereira-Fradin & Dubois (2007) state that motivation and passion are essential for a child's musical performance and play a key role in musical development. ...
... However, the quality and quantity of practice (Da Costa & Lubart, 2016;Dai & Schader, 2001Davidson et. al., 1997;McPherson & McComick, 1999;Morrongiello, 1992;Reis, 2009;Sloboda et al., 1996;Williamson & Valentine, 2000) are crucial for achieving a level of expertise, which can influence an individual's musical perception (Ilari, 2002;Madsen & Madsen, 2002;Morrongiello, 1992;Trehub et. al., 1997). ...
Through a case study of the internationally renowned organist, Tea Kulaš, we aim to investigate the influence of 29 factors on the development of musical talent at different stages of life, from early childhood to early adulthood (i.e., 3-35 years of age). The results show that in childhood and earlier stages of life, the development of musical talent is significantly influenced by external factors, while the importance of the influence shifts to internal factors in later stages of life.
Ključne besede: giftedness, musical talent, factors of musical talent development, organ virtuoso, case study
... As professional conductors are highly experienced musicians, it is worthwhile to look into studies on musical expertise that have addressed various instrumentalists to shed light on professional practice methods. Sloboda et al. (1996) found that formal effortful practice (task-oriented practice and practice on the main instrument) was a strong predictor for musical achievement within the classical instrumental performance domain. Differences in practicing habits were apparent at a young age. ...
... Differences in practicing habits were apparent at a young age. Young musicians who were classified as high achievers tended to concentrate on practice in the morning and they indicated more day-to-day stability in practicing habits compared with low achievers (Sloboda et al., 1996). In an interview study, Hallam (1995) investigated differences in the practicing activities of freelance professional musicians and revealed that their approaches to practice were very diverse regarding regularity, extent and perceived need for practice, its content, motivation, and emphasis on technique and musicianship. ...
This study explored how professional conductors understand the role of individual (purposeful) practice and how they describe the contents of such practice. Twelve professional conductors were interviewed and content analysis was used to analyze the data. The results show that the participants understood conducting as a lifelong learning process. Through intensive individual practice, they had built up a significant repertoire of musical works. Being well prepared allowed them to impart knowledge, which helped them to achieve an authoritative and communicative relationship with musicians. While technical aspects such as baton technique had been important during early career stages, these were mostly no longer practiced. Studying the score was perceived as the most central practice activity aiming at performance improvement. It required disciplined, persistent, and goal-oriented learning, and thus carried the marks of purposeful practice. Individual activities during score study were mainly carried out mentally and in particular situations supported with external tools (e.g., piano, audio recordings). The findings shed light on differences in opinion and implicit tensions, especially regarding memorization and the use of tools.
... Segundo esses autores, necessita-se mais de 10.000 horas de estudo de repertório e prática para um refinamento da técnica instrumental. SLoBoDa et al. (1996), corroborando com os resultados obtidos por eRIcSSon, kRaMPe e teScH-RoMeR (1993), constataram através de um estudo longitudinal com 257 estudantes, de que é necessário um número consistente de horas acumuladas para que jovens instrumentistas adquiram progresso nas situações de prática: cerca de 2.500 horas acumuladas para idade de 13 anos, 6.500 horas para 17 anos e 10.000 horas para a idade de 21 anos. Segundo LaGe et al. (2002, p.18), a prática dita deliberada, consolida-se em estágio avançado de especialização instrumental, aproximadamente após 15 anos de prática. ...
... Para JØRGenSen e LeHMann (1997) MIKLAZEWVSKI, 1989CHAFFIN et al., 2002Constante auto-avaliação CHAFFIN et al., 2002McPHERSON e McCORNICK, 1999 Uso de estratégias flexíveis HALLAM, 1995;NIELSEN, 1999 Visualisar plano global (imagem artística) NEUHAUS, 2002CHAFFIN et al., 2003Williamon, 2004ERICSSON et al., 1993SLOBODA et al., 1996KRAMPE, 1997LAGE et al., 2002 ...
Research in instrumental practice has shown some trends that express certain aspects of calculated rationality, and point out to a pragmatic regime of personal commitment during practice. The systematization of the intentional procedures of the performer in order to improve and to refine one’s music expertise level is present in research as well as in the concepts of instrumental practice. Thus, the present article discusses the nature and the goals of the procedimental conditions implicit in the concepts and research results in instrumental practice. Procedimental implications are also present in the discussion of the role of quantity and quality in the practice and justify the existence of different levels of instrumental expertise in the practice. This article also raises the relationship between procedures and strategies of practice.
... Inúmeros educadores musicais e músicos-pesquisadores reconhecem a relevância de um estudo instrumental balanceado que integre ambas as abordagens de aprendizado. Discussões que promovem reflexões sobre o tema têm sido oferecidas por educadores tais como PAYNTER (1992,1997,2000); KOELLREUTTER (1985KOELLREUTTER ( , 1997; SWANICK e TILLMAN (1986); SLOBODA et al (1996); CAMPBELL (1998); BURNARD (1999BURNARD ( , 2000BURNARD ( , 2002; BURNARD e YOUNKER (2002); GREEN (2001); BROPHY (2002); FRANÇA e BEAL (2003); SOUZA et al (2003). ...
... Além deste estudo, pode-se encontrar um corpo bem estabelecido de pesquisa sobre o aprendizado e estudo instrumental, que investiga a relação existente entre as estratégias de estudo adotadas por diferentes instrumentistas e o nível de performance musical alcançada por eles (por exemplo, LEHMANN, 1997;GRUSSON, 1988;COSTA, 1999;BARRY, 1992;SLOBODA et al, 1996;PITTS, DAVIDSON e McPHERSON, 2000;WILLIAMON e VALENTINE, 2000;HALLAM, 2001aHALLAM, , 2001bNIELSEN, 2001;MCPHERSON e RENWICK, 2001;JØRGENSEN, 2001JØRGENSEN, , 2002. Estes estudos apresentam algumas das estratégias típicas que caracterizam a prática deliberada no estudo instrumental, tais como: o uso de metrônomo; o estudo rítmico (por exemplo, com contagem em voz alta e palmas); a análise prévia da obra a ser estudada; o estudo repetido de pequenas seções da peça; o estudo silencioso e o estudo mental da obra; o estudo lento, com aumento gradual do andamento; a identificação e correção de erros, principalmente através do estudo lento; a verbalização de ordens durante o estudo e; a marcação do dedilhado na partitura. ...
This article discusses the relevance of integrating two approaches of instrumental practice in music - the deliberate practice and the informal practice. The discussion includes viewpoints of researchers on instrumental practice as well as opinions of four Brazilian piano pedagogues. Additionally, it discriminates the informal practices developed by the musicians of Grupo UAKTI. The article concludes that both deliberate and formal practices can be seen as complementary and suggests that the pedagogical strategy integrating both approaches would bring great benefits to instrumental players.
... Berlatih alat musik (practicing musical instrument) merupakan jenis aktivitas pembelajaran yang mengarah pada akuisisi keterampilan instrumental-misalnya, keterampilan teknis (technical skills), interpretasi (interpretation), bermain dari telinga (ear) atau dari ingatan (memory), improvisasi (improvising), latihan (rehearsing), dan tampil (performing) dengan musisi lain (Jørgensen & Hallam, 2016). Istilah "praktik yang disengaja" atau 'deliberate practice' (Ericsson, Krampe, & Tesch-Römer, 1993) atau "praktik formal" atau 'formal practice' (Sloboda, Davidson, Howe, & Moore, 1996) digunakan untuk merujuk pada aktivitas terstruktur (latihan) yang dilakukan untuk meningkatkan tingkat kinerja individu. Berlatih alat musik memerlukan penetapan tujuan khusus untuk mengatasi kelemahan dan memantau kinerja secara cermat untuk mengetahui apa yang masih perlu ditingkatkan. ...
Purpose: This study aims to examine student self-efficacy in the use of "live video" in learning counter bass in the Music Education Study Program (PSPM), Faculty of Teacher Training and Education (FKIP), University of Lampung (Unila). In recent years, there has been a growing interest among academics and practitioners in exploring the factors that contribute to students' declining awareness of learning music, including students' self-efficacy in selfpractice of musical instruments, as traditional self-practice without supervision is no longer effective, so teachers are looking for ways to optimize it using technology. Methods: The qualitative research method used was observations and unstructured interviews of doublebass class students and qualitative interviews to explore their perceptions. Students engaged in video learning for one semester, where video sessions were used for performance demonstrations and independent practice. Each development was observed in weekly live meetings, and progress videos were collected. Results and Discussion: The results illustrate that using "live video" as a stimulus for students' self-efficacy in understanding counter bass techniques and learning stages had a significant impact. In addition, the quality of the interactive process of practising the instrument independently promoted confidence and understanding of performance details. Conclusion: "live video" supports the emergence of efficacy in the double-bass learning experience. At the same time, it also requires further infrastructure development and training for its optimization. The implications of this study point towards online learning as a means to fulfill the needs of self-directed learning through platforms, while still considering the aspect of student engagement.
... En el campo musical, también se han observado beneficios en el rendimiento musical del aprendizaje autorregulado y la práctica deliberada (Boneville-Roussy y Bouffard, 2015; Kaleli, 2021;López-Íñiguez y McPherson, 2020;Sloboda, Davidson, Howe y Moore, 1996). En consecuencia, parece importante que los músicos en formación reciban instrucción en estrategias y habilidades para el establecimiento adecuado de objetivos, así como en habilidades metacognitivas que les conduzca a un aprendizaje eficaz y eficiente (Blanco-Piñeiro, 2021). ...
Resumen Los músicos están sometidos a constante evaluación, desde el inicio de su formación musical en incipientes etapas de su desarrollo evolutivo. Este sometimiento a permanentes juicios críticos tiene repercusiones en sus niveles de motivación, autoeficacia, autoestima, y en la formación de su autoconcepto. La literatura científica señala a la evaluación formativa, cuya finalidad principal es guiar y estimular el aprendizaje, como la más eficaz. Por el contrario, la evaluación sumativa, principalmente basada en la calificación numérica, conlleva multitud de problemas y promueve actitudes más relacionadas con la necesidad de demostrar resultados. Este trabajo presenta una reflexión crítica sobre los desafíos que presenta la incorporación de la evaluación formativo-formadora a la enseñanza musical. Se discute la inutilidad de instrumentos y estrategias innovadoras-si no se sustentan en la convicción de que el principal objetivo de la evaluación es el aprendizaje y no la certificación-; el efecto de la instrucción y modelado en estrategias de evaluación; el uso compartido, colaborativo, reflexivo y crítico de instrumentos y recursos para una retroalimentación cualitativa de calidad. Se concluye que únicamente unos profundos cambios estructurales permitirán una auténtica evaluación formativa encaminada al desarrollo de habilidades autoevaluativas y la promoción del aprendizaje autorregulado. Abstract (Inglés) Musicians are constantly under evaluation, from the beginning of their musical training in incipient stages of their evolutionary development. This subjection to continuous critical judgments has repercussions on their levels of motivation, self-efficacy, self-esteem, and on the formation of their self-concept. The scientific literature highlights formative assessment, whose main purpose is to guide and stimulate learning, as the most effective. On the contrary, summative evaluation, mainly based on numerical grading, entails a multitude of problems and promotes attitudes more related to the need to demonstrate results. This paper presents a critical reflection on the challenges presented by the incorporation of formative assessment in music education. It discusses the uselessness of innovative tools and strategies-if they are not based on the conviction that the main objective of assessment is learning and not certification-; the effect of instruction and modelling in assessment strategies; the shared, collaborative, reflective and critical use of tools and resources for a good-quality qualitative feedback. It is concluded that only profound structural changes will allow for an authentic formative assessment aimed at the development of self-assessment skills and the promotion of self-regulated learning.
... Although the use of metacognitive and self-regulatory habits in consistent practice on the part of the student is what will help them progress, it is ultimately the responsibility of the teacher to utilize various instructional strategies specifically designed to develop these skills in the student (Zimmerman, 2000). According to a systematic review conducted by Varela et al. (2016), there is a vast body of work defining the characteristics of effective practice (e.g., Ericsson, 2008;Krampe & Ericsson, 1996;Lehmann & Ericsson, 1997), highlighting different models for the integration of self-regulated strategies into one's own practice (Hallam, 1997;Jørgensen, 2004), and evidence that suggests self-regulated practice has a positive impact on the performances of musicians at various ages and levels (e.g., McPherson & Renwick, 2011;Sloboda et al., 1996). ...
The purpose of this study was to develop and test a framework for teaching self-regulatory skills during private violin lessons. The framework consists of a five-step thinking-action sequence that will allow musicians to evaluate their own playing during practice and equips them to enact necessary changes to their technique to bring their playing closer to a more proficient result. We used microanalysis with a cross-case comparative design to test the efficacy of the proposed framework with two participants (cases), both of similar ages and levels of playing ability, in weekly private lessons over 4 weeks. Trends from the case comparison suggest that this framework has good potential for increasing the use of self-regulatory habits and metacognitive self-reflection skills in students.
This volume summarises the results of the annual conference of the International Leo Kestenberg Society (IKG) in May 2022 at the University of Luxembourg in French and German. The focus is on the topic of ‘Learning and teaching music’ from a comparative perspective. In addition to historical perspectives, the dialogue between the contrasting fields of research and teaching practice, which shed light on the methods used in teaching and learning processes, as well as artistic perspectives were at the heart of this exchange. In order to preserve the authenticity of the philosophies in the 14 contributions, the respective essays are published in their respective native languages.
This experiment compared several theories of expertise and exceptional performances in cognitive psychology. One current conception assumes that experts in a specific domain have developed a long-term working memory, which accounts for the difference in memory performance between experts and novices. The principal characteristics of this memory are the speed with which processes of storage and retrieval function and the existence of retrieval structures that allow a temporary activation of the knowledge store in long-term memory. Other authors such as Vicente and Wang argue this notion does not account for memory performance that is not intrinsic to the domain of expertise. We attempt to clarify the two viewpoints and to focus on this debate by testing the hypothesis of long-term working memory using soccer as the domain of expertise and by comparing the cognitive performance of participants who have different expertise (novices, supporters, players, and coaches). 35 male participants were administered a new version of the Reading Span test to assess their long-term working memory according to two conditions. In the first condition (structured condition), the last word of each sentence was related to the soccer domain, and these words were related to each other in such a manner that they represented a part of the game. In the second condition (unstructured condition), the last word of each sentence was related to soccer but these words did not represent part of the game. Analysis showed that the sentence span increased as a function of expertise for the structured condition but not for the unstructured condition. The results were interpreted in the framework of the constraint attunement hypothesis proposed by Vicente in 1992 and the long-term working memory hypothesis proposed by Ericsson and Kintsch in 1995.
This article reports further qualitative findings of an interview study involving 42 students ( aged 10–18 ) attending a specialist music school, and parents of half of them. The students were encouraged to talk about events and experiences that influenced their progress in learning musical instruments. Observations by the children and their parents concerning perceptions of instrumental teachers, various aspects of practising activities, and attitudes towards performing. These insights complement previous quantitative and qualitative findings ( Sloboda and Howe, 1991; Howe and Sloboda, 1991 ) and contribute descriptive knowledge of the precursors of musical accomplishments.
Memory for skill Applied Problems in Developing Talent in Young People Studies on the telegraphic language. The acquisition of a hierarchy of habits
- J Annett
Annett, J. (1979). Memory for skill. In M. M. Gruneberg & P. E. Morris (Eds), Applied Problems in Bloom, B. S. (Ed.) (1985). Developing Talent in Young People. New York: Ballantine. Bryan, W. L. & Harter, N. (1899). Studies on the telegraphic language. The acquisition of a hierarchy of habits. Pycbological Review, 6, 345-375.