Pub Date : 2022-05-10DOI: 10.1177/19484992221094813
Dijana Ihas
The purpose of this exploratory intrinsic case study was to delineate the mentoring practices of the preeminent violin pedagogue Miss Dorothy DeLay and to evaluate the transmission of these practices onto her mentees. The psychological and behavioral traits that influenced her mentoring style were also examined. Data sources included semi-structured interviews, field notes, and analysis of qualitative documents. The findings illuminated a broad range of mentoring practices that DeLay’s students were exposed to during their studies with her, including mentoring students at psychosocial and career levels as well as role-modeling. Of all of DeLay’s mentoring practices, however, capitalizing on the strengths of individual students and intentional socialization into the field appears to be the most beneficial to the development of young aspiring musicians. Her mentoring and teaching practices were transmitted to her mentees through processes of replication, mutation, and aspiration. DeLay’s personality traits, such as cognitive awareness of others and empathy, seemed to play a role in shaping her mentoring style.
{"title":"“She Gave Us the Courage to Explore”: Mentoring Practices of Miss Dorothy DeLay","authors":"Dijana Ihas","doi":"10.1177/19484992221094813","DOIUrl":"https://doi.org/10.1177/19484992221094813","url":null,"abstract":"The purpose of this exploratory intrinsic case study was to delineate the mentoring practices of the preeminent violin pedagogue Miss Dorothy DeLay and to evaluate the transmission of these practices onto her mentees. The psychological and behavioral traits that influenced her mentoring style were also examined. Data sources included semi-structured interviews, field notes, and analysis of qualitative documents. The findings illuminated a broad range of mentoring practices that DeLay’s students were exposed to during their studies with her, including mentoring students at psychosocial and career levels as well as role-modeling. Of all of DeLay’s mentoring practices, however, capitalizing on the strengths of individual students and intentional socialization into the field appears to be the most beneficial to the development of young aspiring musicians. Her mentoring and teaching practices were transmitted to her mentees through processes of replication, mutation, and aspiration. DeLay’s personality traits, such as cognitive awareness of others and empathy, seemed to play a role in shaping her mentoring style.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45402316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-10DOI: 10.1177/19484992221094817
John-Rine A. Zabanal
The purpose of this study was to examine participating orchestras and performed repertoire at the American String Teachers Association’s (ASTA) National Orchestra Festival from 2004 through 2020. Participating orchestras (N = 309) primarily consisted of string orchestras and high school–level orchestras with a majority originating from the Southern region of the United States. The most performed full orchestra pieces included Symphony No. 9, op. 95 by Dvořák and Symphony No. 2 by Tchaikovsky, and the most performed string orchestra piece was the Holberg Suite, op. 40 by Grieg. The most frequently cited composers were Dvořák for full orchestra and Mozart for string orchestra. The most frequently cited arrangers were Isaac for full orchestra and Dackow for string orchestra. Female composers and arrangers were highly underrepresented compared with males. Performed repertoire primarily consisted of pieces that conformed to European music traditions. Directors who are unfamiliar with orchestra literature could use these findings as a resource for commonly selected repertoire suitable for high-achieving school orchestras. In addition, findings could provide a catalyst for directors to select music that is more representative of their student population.
{"title":"An Examination of Orchestras and Repertoire Performed at the American String Teachers Association’s National Orchestra Festival (2004–2020)","authors":"John-Rine A. Zabanal","doi":"10.1177/19484992221094817","DOIUrl":"https://doi.org/10.1177/19484992221094817","url":null,"abstract":"The purpose of this study was to examine participating orchestras and performed repertoire at the American String Teachers Association’s (ASTA) National Orchestra Festival from 2004 through 2020. Participating orchestras (N = 309) primarily consisted of string orchestras and high school–level orchestras with a majority originating from the Southern region of the United States. The most performed full orchestra pieces included Symphony No. 9, op. 95 by Dvořák and Symphony No. 2 by Tchaikovsky, and the most performed string orchestra piece was the Holberg Suite, op. 40 by Grieg. The most frequently cited composers were Dvořák for full orchestra and Mozart for string orchestra. The most frequently cited arrangers were Isaac for full orchestra and Dackow for string orchestra. Female composers and arrangers were highly underrepresented compared with males. Performed repertoire primarily consisted of pieces that conformed to European music traditions. Directors who are unfamiliar with orchestra literature could use these findings as a resource for commonly selected repertoire suitable for high-achieving school orchestras. In addition, findings could provide a catalyst for directors to select music that is more representative of their student population.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49159369","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-10DOI: 10.1177/19484992221094818
B. Thompson
Offering music programs in prisons is one way that artists may contribute to the correctional system’s rehabilitative goals. To explore the role music may play in rehabilitating youth in detention, I developed a string program at a Youth Development Center. The purpose of this qualitative case study was to explore the outcomes of implementing the string program at the center. Eight of the program’s members, aged 13 to 17 from various cultural backgrounds, volunteered to participate in this study. Data collection included field notes and interviews with the youth and facility staff members. Results showed that the program was beneficial to students and the center. Although students learned to play string instruments, rehearse in an ensemble, and perform in public, they also reported feeling a sense of achievement and increased personal potential. In addition, students and staff members noted students’ improved communication skills, increased frustration tolerance, perseverance, and behavior regulation as a result of participating in the string program. Reported benefits to the center included pride in student success, community development within the center, the staff’s increased sense of making a difference, and positive press.
{"title":"Beyond the Corner: Introducing a String Music Program to Youth in Detention","authors":"B. Thompson","doi":"10.1177/19484992221094818","DOIUrl":"https://doi.org/10.1177/19484992221094818","url":null,"abstract":"Offering music programs in prisons is one way that artists may contribute to the correctional system’s rehabilitative goals. To explore the role music may play in rehabilitating youth in detention, I developed a string program at a Youth Development Center. The purpose of this qualitative case study was to explore the outcomes of implementing the string program at the center. Eight of the program’s members, aged 13 to 17 from various cultural backgrounds, volunteered to participate in this study. Data collection included field notes and interviews with the youth and facility staff members. Results showed that the program was beneficial to students and the center. Although students learned to play string instruments, rehearse in an ensemble, and perform in public, they also reported feeling a sense of achievement and increased personal potential. In addition, students and staff members noted students’ improved communication skills, increased frustration tolerance, perseverance, and behavior regulation as a result of participating in the string program. Reported benefits to the center included pride in student success, community development within the center, the staff’s increased sense of making a difference, and positive press.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47954483","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-01DOI: 10.1177/19484992211020735
Tawnya D. Smith, K. Hendricks, Ronald P. Kos, Andrew Goodrich
There is an expected increase in the need to provide adequate string-specific training for non-string specialists in the future and for preservice music teachers to develop the requisite pedagogical content knowledge to teach a variety of instruments. A multiyear instrumental lab ensemble university course was designed to help preservice music teachers integrate knowledge and skills in various instrument- and ensemble-specific areas. The purpose of this intrinsic evaluative study was to determine the extent to which the new course was successful toward these aims. Data included interviews of students and instructors, observations of lab classes, and reflective journals of teaching faculty and two external observers. Data were coded and then analyzed using the program goal statements found in the course syllabus. Findings indicated that students considered the lab format more authentic to their teacher preparation than their previous coursework, and that performance and pedagogy skills on secondary instruments elevated more rapidly than anticipated. Recommendations include the need for more explicit connection between course readings and lab activities, and improved guidelines for course teaching assistants.
{"title":"Balancing String Instruction in an Instrumental Lab Setting: An Intrinsic Evaluative Case Study","authors":"Tawnya D. Smith, K. Hendricks, Ronald P. Kos, Andrew Goodrich","doi":"10.1177/19484992211020735","DOIUrl":"https://doi.org/10.1177/19484992211020735","url":null,"abstract":"There is an expected increase in the need to provide adequate string-specific training for non-string specialists in the future and for preservice music teachers to develop the requisite pedagogical content knowledge to teach a variety of instruments. A multiyear instrumental lab ensemble university course was designed to help preservice music teachers integrate knowledge and skills in various instrument- and ensemble-specific areas. The purpose of this intrinsic evaluative study was to determine the extent to which the new course was successful toward these aims. Data included interviews of students and instructors, observations of lab classes, and reflective journals of teaching faculty and two external observers. Data were coded and then analyzed using the program goal statements found in the course syllabus. Findings indicated that students considered the lab format more authentic to their teacher preparation than their previous coursework, and that performance and pedagogy skills on secondary instruments elevated more rapidly than anticipated. Recommendations include the need for more explicit connection between course readings and lab activities, and improved guidelines for course teaching assistants.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/19484992211020735","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49517907","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-01DOI: 10.1177/19484992211021012
David A. Pope, J. Mick
The purpose of this study was to examine the assigned ratings, interrater reliability, and possible influences of school level and instrumentation on adjudicators’ evaluations of orchestra performances at a national-level adjudicated music festival. Data consisted of the overall ratings assigned to orchestra performances (N = 55) at the 2017, 2018, and 2019 American String Teachers Association’s National Orchestra Festival (NOF). Analysis revealed that 83.64% of all participating orchestras earned a I/Superior or II/Excellent overall rating. A logistic regression model revealed that both school level and instrumentation were not significant predictors of earning a I/Superior overall rating. Individual members of each three-judge adjudication panel assigned identical ratings to 61.82% of orchestra performances and possessed a mean internal consistency of .90. Orchestra teachers can use the results of this study to weigh the educational benefits of participating in the NOF.
{"title":"An Analysis of Ratings and Interrater Reliability at the American String Teachers Association’s National Orchestra Festival","authors":"David A. Pope, J. Mick","doi":"10.1177/19484992211021012","DOIUrl":"https://doi.org/10.1177/19484992211021012","url":null,"abstract":"The purpose of this study was to examine the assigned ratings, interrater reliability, and possible influences of school level and instrumentation on adjudicators’ evaluations of orchestra performances at a national-level adjudicated music festival. Data consisted of the overall ratings assigned to orchestra performances (N = 55) at the 2017, 2018, and 2019 American String Teachers Association’s National Orchestra Festival (NOF). Analysis revealed that 83.64% of all participating orchestras earned a I/Superior or II/Excellent overall rating. A logistic regression model revealed that both school level and instrumentation were not significant predictors of earning a I/Superior overall rating. Individual members of each three-judge adjudication panel assigned identical ratings to 61.82% of orchestra performances and possessed a mean internal consistency of .90. Orchestra teachers can use the results of this study to weigh the educational benefits of participating in the NOF.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/19484992211021012","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47559628","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-01DOI: 10.1177/19484992211020767
David S. Miller, R. MacLeod, J. S. Walter
The purpose of this study was to examine K–12 instrumental music education in North Carolina. Specifically, we investigated course offerings, teacher demographics, teaching responsibilities, and music program funding. We administered a survey to the members of the North Carolina Music Educators Association listserv who indicated band or orchestra as their teaching area. Participants identified themselves as teachers of orchestra (n = 44), band (n = 173), or a hybrid of both (n = 17). Of schools that offered instrumental music, 95% offered band and 36% offered orchestra. More than 20% of orchestra teachers were “very likely to retire within 5 years.” The majority of teachers relied on fundraising to provide adequate music education for students. Results of this study were analyzed and compared to national averages reported in the Give a Note Foundation’s 2017 report: The Status of Music Education in United States Public Schools. Implications for orchestra teachers, music programs, music teacher preparation curriculum, and future research are discussed.
本研究的目的是考察北卡罗来纳州的K-12器乐教育。具体而言，我们调查了课程设置、教师人口统计、教学责任和音乐项目资金。我们对北卡罗来纳州音乐教育家协会listserv的成员进行了一项调查，他们表示乐队或管弦乐队是他们的教学区域。参与者认为自己是管弦乐队（n=44）、乐队（n=173）或两者的混合体（n=17）的老师。在提供器乐的学校中，95%提供乐队，36%提供管弦乐队。超过20%的管弦乐队教师“很可能在5年内退休”。大多数教师依靠筹款为学生提供足够的音乐教育。这项研究的结果与Give a Note Foundation 2017年的报告《美国公立学校音乐教育现状》中报告的全国平均水平进行了分析和比较。讨论了对管弦乐队教师、音乐课程、音乐教师预备课程和未来研究的启示。
{"title":"Status of Band and Orchestra Programs in North Carolina","authors":"David S. Miller, R. MacLeod, J. S. Walter","doi":"10.1177/19484992211020767","DOIUrl":"https://doi.org/10.1177/19484992211020767","url":null,"abstract":"The purpose of this study was to examine K–12 instrumental music education in North Carolina. Specifically, we investigated course offerings, teacher demographics, teaching responsibilities, and music program funding. We administered a survey to the members of the North Carolina Music Educators Association listserv who indicated band or orchestra as their teaching area. Participants identified themselves as teachers of orchestra (n = 44), band (n = 173), or a hybrid of both (n = 17). Of schools that offered instrumental music, 95% offered band and 36% offered orchestra. More than 20% of orchestra teachers were “very likely to retire within 5 years.” The majority of teachers relied on fundraising to provide adequate music education for students. Results of this study were analyzed and compared to national averages reported in the Give a Note Foundation’s 2017 report: The Status of Music Education in United States Public Schools. Implications for orchestra teachers, music programs, music teacher preparation curriculum, and future research are discussed.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/19484992211020767","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46877035","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-01DOI: 10.1177/19484992211020686
John M. Geringer, Katarzyna Bugaj, Katie A. Geringer
This report is a summary of two studies. In the first, we compared examples of Irish fiddle performances with Western classical violin performances. Acoustical analyses showed that both classical examples produced average spectral centroids higher in frequency, higher harmonic to noise ratios, more use of vibrato, more disjunct intervals, and less ornamentation. Expert listeners described the classical examples as resonant, ringing, and brighter. Tone in the Irish examples was characterized as varied, gritty, and full-bodied. In the second study, we asked 72 music majors to listen to different recordings and respond in two ways. The first section consisted of extremely brief examples of four different solo violin styles: classical, jazz, old-time fiddle, and Irish. The second section consisted of longer examples of either Irish or classical performances. The listeners were asked to describe salient features of each. They frequently identified the following characteristics of the Irish excerpts: grace notes, double stops, ornamentation, and dance-like. In contrast, classical extracts were described using the terms: vibrato, melody, intervals, and extended technique. Implications for music listening are discussed.
{"title":"Irish Fiddle and Western Classical Violin: Listener Perceptions and Acoustical Differences","authors":"John M. Geringer, Katarzyna Bugaj, Katie A. Geringer","doi":"10.1177/19484992211020686","DOIUrl":"https://doi.org/10.1177/19484992211020686","url":null,"abstract":"This report is a summary of two studies. In the first, we compared examples of Irish fiddle performances with Western classical violin performances. Acoustical analyses showed that both classical examples produced average spectral centroids higher in frequency, higher harmonic to noise ratios, more use of vibrato, more disjunct intervals, and less ornamentation. Expert listeners described the classical examples as resonant, ringing, and brighter. Tone in the Irish examples was characterized as varied, gritty, and full-bodied. In the second study, we asked 72 music majors to listen to different recordings and respond in two ways. The first section consisted of extremely brief examples of four different solo violin styles: classical, jazz, old-time fiddle, and Irish. The second section consisted of longer examples of either Irish or classical performances. The listeners were asked to describe salient features of each. They frequently identified the following characteristics of the Irish excerpts: grace notes, double stops, ornamentation, and dance-like. In contrast, classical extracts were described using the terms: vibrato, melody, intervals, and extended technique. Implications for music listening are discussed.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49216762","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-01DOI: 10.1177/19484992211020746
Maia Giesbrecht, B. Andrews
This article presents the findings of a study that explored the composition of Canadian educational music. Particularly, the authors focus on the analyses of composers’ scores on creating new string compositions for young musicians within the New Sounds of Learning Project. On a macro level, the composers predominantly composed multiple movements (three to four), using single section (A), binary (AB), ternary, or variation forms (A, A’, A”, A”’, etc.), and they adopted simple meters throughout. At the micro-level, the majority of the compositions also included a technical element that was used to further skill development, that is, lack of meter to focus attention, syncopation to develop rhythmic fluency, interactive rhythms between parts to promote player coordination, modular structure to address varied skill levels, or free rhythm to promote imaginative thinking. The findings will be of interest to those members of the music profession who promote or would like to promote the dissemination of new music for strings within educational settings in Canadian music classrooms.
本文介绍了一项研究的结果，探讨了加拿大教育音乐的组成。特别是，作者着重分析了作曲家在新声音学习项目中为年轻音乐家创作新的弦乐作品的分数。在宏观层面上，作曲家主要创作多个乐章(三到四个)，使用单声部(a)，二声部(AB)，三声部或变奏形式(a, a '， a '， a '等)，他们自始至终采用简单的节拍。在微观层面上，大多数作品还包含了用于进一步技能发展的技术元素，即缺乏集中注意力的节拍，切分音以发展节奏流畅性，部分之间的互动节奏以促进玩家的协调，模块化结构以解决各种技能水平，或自由节奏以促进想象力。这些发现将对那些在加拿大音乐教室的教育环境中促进或想要促进新弦乐音乐传播的音乐专业人士感兴趣。
{"title":"Hidden Ground: Exploring an Approach to Educational Music for Strings","authors":"Maia Giesbrecht, B. Andrews","doi":"10.1177/19484992211020746","DOIUrl":"https://doi.org/10.1177/19484992211020746","url":null,"abstract":"This article presents the findings of a study that explored the composition of Canadian educational music. Particularly, the authors focus on the analyses of composers’ scores on creating new string compositions for young musicians within the New Sounds of Learning Project. On a macro level, the composers predominantly composed multiple movements (three to four), using single section (A), binary (AB), ternary, or variation forms (A, A’, A”, A”’, etc.), and they adopted simple meters throughout. At the micro-level, the majority of the compositions also included a technical element that was used to further skill development, that is, lack of meter to focus attention, syncopation to develop rhythmic fluency, interactive rhythms between parts to promote player coordination, modular structure to address varied skill levels, or free rhythm to promote imaginative thinking. The findings will be of interest to those members of the music profession who promote or would like to promote the dissemination of new music for strings within educational settings in Canadian music classrooms.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/19484992211020746","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43049568","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-16DOI: 10.1177/1948499220924419
A. Strietelmeier
The pedagogical literature strongly suggests that when a musician works on a specific piece of repertoire, one should choose practice strategies tailored to the challenges presented by that material. Such a behavioral choice could represent an instantiation of focused and deliberate practice, a critical aspect of the relationship between experience and the acquisition of expertise. However, most of the literature investigating individual practice has used a single stimulus for all participants, or else has employed surveys or other proxy measures of practicing behavior. In this study, participants of three different experience levels (high school, collegiate, or professional violinists) practiced three excerpts, each featuring a different signature challenge. Results suggest that practice is highly idiosyncratic, that participants do adjust their approaches to the challenges of the material, but that individuals of differing experience levels identify remarkably similar problems within the material.
{"title":"Alterations in Violinists’ Practice Behaviors in Response to Differing Technical Demands in the Material","authors":"A. Strietelmeier","doi":"10.1177/1948499220924419","DOIUrl":"https://doi.org/10.1177/1948499220924419","url":null,"abstract":"The pedagogical literature strongly suggests that when a musician works on a specific piece of repertoire, one should choose practice strategies tailored to the challenges presented by that material. Such a behavioral choice could represent an instantiation of focused and deliberate practice, a critical aspect of the relationship between experience and the acquisition of expertise. However, most of the literature investigating individual practice has used a single stimulus for all participants, or else has employed surveys or other proxy measures of practicing behavior. In this study, participants of three different experience levels (high school, collegiate, or professional violinists) practiced three excerpts, each featuring a different signature challenge. Results suggest that practice is highly idiosyncratic, that participants do adjust their approaches to the challenges of the material, but that individuals of differing experience levels identify remarkably similar problems within the material.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1948499220924419","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44474515","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-16DOI: 10.1177/1948499220926170
G. Barnes
This article is based on a speech that Barnes presented at a meeting of the Collegiate Roundtable at the American String Teachers Association 2019 National Conference in Albuquerque, New Mexico.
{"title":"American String Teachers Association Research Award 2019","authors":"G. Barnes","doi":"10.1177/1948499220926170","DOIUrl":"https://doi.org/10.1177/1948499220926170","url":null,"abstract":"This article is based on a speech that Barnes presented at a meeting of the Collegiate Roundtable at the American String Teachers Association 2019 National Conference in Albuquerque, New Mexico.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/1948499220926170","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47928047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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