Historical performance and the modern performer

Walls, Peter

doi:10.1017/cbo9780511811739.003

Cited by 44 publications

(2 citation statements)

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“…Bach (1753Bach ( , 1762 and L. Mozart (1756) works that are still frequently cited. Contemporary works that provide much relevant historical information on performance are Hudson (1994), the thesis by Humair (1999) and articles by Kopiez (1996), Lawson (2002), Lehmann and Ericsson (1998b), and Walls (2002).…”

Section: A L F G a B R I E L S S O N U P P S A L A U N I V E R S I T Y S W E D E Nmentioning

confidence: 99%

Music Performance Research at the Millennium

Gabrielsson

2003

Psychology of Music

187

115

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Empirical research on music performance has increased considerably during recent decades. This article updates the review of the research up to 1995 published by the current author in 1999. Covering about 200 papers from 1995 up to 2002, this article confirms the impression that music performance research is in a very active stage. As in the previous review, the majority of papers are on measurement of performance, but there is a rapidly increasing number of contributions concerning models of performance, performance planning and practice. Although fewer in number, there are also many new contributions within each of the remaining areas of performance research analysed in this review.

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Section: A L F G a B R I E L S S O N U P P S A L A U N I V E R S I T Y S W E D E Nmentioning

confidence: 99%

Music Performance Research at the Millennium

Gabrielsson

2003

Psychology of Music

187

115

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“…In terms of general teaching, empiricism encapsulates the notion that all pedagogical knowledge, concepts, and beliefs are shaped through personal experiences and observation (Lincoln, Lynham, & Guba, 2011). Violin instructors in all teaching capacities convey their pedagogical genealogy through the influences of their previous teachers and the acquisition of personal teaching/learning models of instruction (Kennell, 2002; Walls, 2002). Kennell (2002) described the teaching environment as an “instructional laboratory” (p. 250), where instructors make unique decisions for each individual student based on subjective standards, weekly goals, expectations for practicing, and assigned repertoire.…”

Section: Review Of the Literaturementioning

confidence: 99%

The Need for Remedial Pedagogy in Undergraduate Violin Instruction: A Case Study of Postsecondary Instructors’ Perceptions

Mio

2019

Update: Applications of Research in Music Education

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Postsecondary violin instructors often implement remedial pedagogy with first-year performance/music education students to holistically nurture individual artistic goals and overall well-being. Using a qualitative multiple case study research design, 10 postsecondary violin instructors from across North America were interviewed to investigate their perceptions of why remedial pedagogy is often required for incoming first-year students. The interview data and external data sources were analyzed through the lens of empiricism, attribution theory, and teacher attribution scaffolding theory. The results indicated that some secondary instructors may require further knowledge in terms of effective communication and pedagogical approach with individual students. Other factors may be equally critical throughout the learning process, including student motivation, resistance, and parental support. The pedagogical expertise presented in this research can inform violin instructors about the factors/challenges that may affect teaching and learning as students prepare for higher education.

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Music Performance Assessment

2022

An Introduction to Audio Content Analysis

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Historical performance and the modern performer

Cited by 44 publications

References 4 publications

Music Performance Research at the Millennium

Music Performance Research at the Millennium

The Need for Remedial Pedagogy in Undergraduate Violin Instruction: A Case Study of Postsecondary Instructors’ Perceptions

Music Performance Assessment

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