The role of repetition in the practice sessions of artist teachers and their students

Bulletin of the Council for Research in Music Education

Volumn , Issue 167, 2006, Pages 61-72

  Maynard, Lisa M ^a  

^a JAMES MADISON UNIVERSITY   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60949903189     PISSN: 00109894     EISSN: None     Source Type: Journal    
DOI: None     Document Type: Article

References (48)

1. Barfield, R. (1981). Coaxing private students to practice. Music Educators Journal, 67, 48-49
2. Breamer, S. (1985). The parent-child relationship. Suzuki World, 4, 2-3
3. Barry, N. H., & McArthur, V. (1994). Teaching practice strategies in the music studio: A survey of applied music teachers. Psychology of Music, 22, 44-55
4. Bloom, B. S. (1985). Developing talent in young people. New York: Ballantine Books
5. Blum, B. E. (1982). Guiding instrumental practice sessions. The School Musician, 54, 4-5
6. Buckner, J. L. (1997). Assessment of Teacher and Student Behavior in Relation to the Accomplishment of Performance Goals in Piano Lessons. Unpublished doctoral dissertation, The University of Texas at Austin
7. Britt, M.E. (1997). The effects of computerized visual reinforcement on the development and enhancement of selected trombone techniques: A case study. Unpublished doctoral dissertation, Florida State University
8. Bruser, M. (1997). The art of practicing: A guide to making music from the heart. New York: Bell Tower, Harmony Books
9. Cavitt, M. E. (1998). A Descriptive Analysis of Error Correction in Expert Teachers' Instrumental Music Rehearsals. Unpublished doctoral dissertation, The University of Texas at Austin
10. Coffmann, 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
11. Colprit, E. J. (1998). Observation and Analysis of Suzuki String Teaching. Unpublished doctoral dissertation, The University of Texas at Austin
12. Davidson, J. W., Howe, M. J. A., & Sloboda, J. A. (1997). Environmental factors in the development of musical performance skill over the life span. In D. J. Hargreaves & A. C. North (Eds.), The social psychology of music (pp. 188-206). New York: Oxford University Press
13. Davidson, J. W., Sloboda, J. A., & Howe, M. J. A. (1995/1996). The role of parents and teachers in the success and failure of instrumental learners. Bulletin of the Council for Research in Music Education, 127, 40-44
14. Donner, N. (1987). The effect of daily practice time. Suzuki World, 6, 5
15. Duke, R. A. (1994). Bringing the art of rehearsing into focus: The rehearsal frame as a model for prescriptive analysis of rehearsal conducting. Journal of Band Research, 30 (1), 78-95
16. Duke, R. A. (1999). Teacher and student behavior in Suzuki string lessons: Results from the international research symposium on talent education. Journal of Research in Music Education, 47, 293-307
17. Duke, R. A. (2000). Measures of instructional effectiveness in music research. Bulletin of the Council for Research in Music Education
18. Eales, A. (1992). The fundamentals of violin playing and teaching. In R. Stowell (Ed.), The cambridge companion to the violin (pp. 92-121). NewYork: Cambridge University Press
19. Forbes, W. (1977). The daily dozen. The Strad, 88 (1051), 633-637
20. Galamian, I. (1985). On practicing. In I. Galamian. Principles of violin playing and teaching (pp. 93-104). Englewood Cliffs, New Jersey: Prentice-Hall, Inc
21. Geringer, J. M., & Kostka, M. J. (1984). An analysis of practice room behavior of college music students. Contributions to Music Education, 11, 24-27
22. Gruson, L. M. (1988). Rehearsal skill and musical competence: Does practice make perfect? In J. A. Sloboda (Ed.), Generative processes in music: the psychology of performance, improvisation, and composition (pp. 91-112). New York: Oxford University Press
23. Hallam, S. (1995). Professional musicians' approaches to the learning and interpretation of music. Psychology of Music, 23, 111-29
24. Jarvis, W.C. (1980). Say it to play it. Music Educators Journal, 67, 44
25. Krampe, R. T., & Ericsson, K. A. (1995). Deliberate practice and elite musical performance. In J. Rink (Ed.), The practice of performance: Studies in musical interpretation (pp. 84-104). London: Cambridge University Press
26. Lehmann, A. C. (1997). The acquisition of expertise in music: Efficiency of deliberate practice as a moderating variable in accounting for sub-expert performance. In I. Deliege & J. Sloboda (Eds.), Perception and cognition of music (pp. 161-187). New York: Oxford University Press
27. Madsen, C. K., & Geringer, J. M. (1981). The effect of a distraction index on improving practice and attentiveness and musical performance. Bulletin of the Council for Research in Music Education, 66-67, 46-52
28. Madsen, C. H., Jr. & Madsen, C. K. (1998). Learning through observation. In teaching/discipline: A positive approach for educational development (3rd ed., pp. 231-277). Raleigh: Contemporary Publishing Company
29. Manturzewska, M. (1979). Results of psychological research on the process of music practicing and its effective shaping. Bulletin of the Council for Research in Music Education, 59, 59-61
30. Miklaszewski, K. (1989). A case study of a pianist preparing a musical performance. Psychology of Music, 17, 95-109
31. Minahan, J.A. (1986). The art and science of practicing. Music Educators Journal, 72, 22-24
32. Pressing, J. (1988). Improvisation: methods and models. In J. A. Sloboda (Ed.), Generative processes in music: The psychology of performance, improvisation, and composition (pp. 129-178). New York: Oxford University Press
33. Raab, E. (1980). Students are their own pupils. Music Educators Journal, 67, 45
34. Ristad, E. (1982). A soprano on her head. Moab, Utah: Real People Press
35. Rosenthal, R. K. (1984). The relative effects of guided model, model only, guide only, and practice only treatments on the accuracy of advanced instrumentalists' musical performance. Journal of Research in Music Education, 32, 265-273
36. Ross, S. L. (1985). The effectiveness of mental practice in improving the performance of college trombonists. Journal of Research in Music Education, 33, 221-230
37. Rubin-Rabson, G. (1939). Studies in the psychology of memorizing piano music. I. A comparison of the unilateral and the coordinated approaches. Journal of Educational Psychology, 30, 321-345
38. Rubin-Rabson, G. (1940a). Studies in the psychology of memorizing piano music. II. A comparison of massed and distributed practice. Journal of Educational Psychology, 31, 270-284
39. Rubin-Rabson, G. (1941). Studies in the psychology of memorizing piano music. V. A comparison of pre-study periods of varied length. Journal of Educational Psychology, 21, 10-112
40. Sheppard, L. (1978). Practice makes...? The Strad, 89 (1058), 127-133
41. Shin, R. R. (1990). The mirror inversion piano practice method and the mirror music of Vincent Persichetti. Unpublished doctoral dissertation, University of Alabama
42. Smith, G.J. (1982). Practicing takes too much time. The School Musician, 54, 16-17
43. Stanfield, M.B. (1978a). The art of practicing. The Strad, 88 (1051), 637-639
44. Stanfield, M.B. (1978b). The art of practicing, II. The Strad, 88 (1054), 959-961
45. Starr, W. (1976). Goals of practice. In W. Starr, The Suzuki Violinist (p.138). Knoxville, Tennessee: Kingston Ellis Press
46. Vogt, D.K. (1983). Practice and the parent. Suzuki World, 2, 11 & 15
47. Younger, K. G. (1998). An observational analysis of instructional effectiveness in intermediate level band and orchestra rehearsals. Unpublished doctoral dissertation, The University of Texas at Austin
48. Zurcher, W. (1985). The effect of model-supportive practice on beginning brass instrumentalists. In C. K. Madsen, R. D. Greer, & C. H. Madsen, Jr. (Eds.), Research in music behavior: Modifying music behavior in the classroom (pp. 131-138). New York: Teachers College Press, Columbia University