Focus on practice-relationships between lessons on the primary instrument and individual practice in conservatoire education

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

“…Desgraciadamente, en las lecciones de instrumento, muchos profesores se centran principalmente en los resultados finales de interpretación, tal como lo describen algunos autores en sus investigaciones (Gaunt, 2008;Koopman, Smith, de Vugt, Deneer y den Ouden, 2007;Kostka, 2002;Young, Burwell y Pickup, 2003). Por lo que se limitan generalmente a abordar aspectos técnicos y expresivos de las piezas que están tocando los estudiantes, sin involucrarse en el proceso de aprendizaje del alumno (Duke, Simmons y Cash, 2009;Gaunt, 2008;Jorgensen, 2000;Koopman et ál., 2007, Laukka, 2004.…”

An Examination of Methods Used to Teach Practice Strategies in the College Voice Studio

“…The lesson format used by the studio instructor has been found to influence how students spend their practice time (Barry, 2007). When structured practice was not enforced during lessons, the college-aged students became less structured during their actual practice time (Koopman, Smit, de Vugt, Deneer, & den Ouden, 2007). The teacher's role during the lesson is therefore instrumental in shaping students' practice.…”

“…The style of the teacher should accommodate each student's individual personality and musical goals in order to find the best method for teaching students how to practice most effectively. Teaching styles vary depending on the philosophy of the teacher, but the existing research tends to favor a student-centered learning environment in order to achieve success in studio instruction (Bathgate et al, 2011;Beheshti, 2009;Koopman, Smit, de Vugt, Deneer, & den Ouden, 2007;Mackworth-Young, 1990;Zarro, 2003). When comparing traditional teachers to constructivist teachers in the applied music studio, Zarro (2003) found that students who were taught using the constructivist (student-centered) approach were more able to think independently and creatively than students taught under the traditional model (teacher-centered).…”

“…Extant literature emphasizes the positive potential of journals, practice sheets, portfolios, and/or contracts as assessment tools when incorporated into studio instruction, (Barry & Hallam, 2002;Bathgate et al, 2011;Boyd, 2013;Brändström, 1995Brändström, /1996Johnson, 2009;Koopman et al, 2007Mackworth-Young, 1990Oare, 2011;Peterson, 2001;Wolfe, 1984;Zarro, 2003) although it must be noted that these types of tools can be de-motivating if used inappropriately (i.e., tracking minutes or other non-musical goals) (Smeltz, 2012). In order to determine the most appropriate self-report measure of self-regulated practice behaviors of beginning and intermediate instrumentalists in grades six through eight, Miksza (2012) tested the reliability and validity of several factors to incorporate into practice questionnaires.…”

“…Despite the potential benefits of a student-centered teaching style, many studio instructors rely upon traditional teaching based on the master-apprentice method, in which the teacher is in control of the goals and procedures of each lesson, and is the primary facilitator of feedback (Koopman et al, 2007;Mackworth-Young, 1990;Zarro, 2003). There are some negative outcomes of this teacher-directed environment.…”