Hostname: page-component-78c5997874-94fs2 Total loading time: 0 Render date: 2024-11-04T21:02:39.918Z Has data issue: false hasContentIssue false

Professional Musicians' Orientations to Practice: Implications for Teaching

Published online by Cambridge University Press:  18 December 2008

Abstract

The purpose of this study was to investigate the ways in which professional musicians practise. Semi-structured interviews were conducted with 22 freelance musicians spanning a wide range of age and experience and encompassing most of the instruments of the traditional orchestra. The interviews revealed considerable individual diversity in the ways in which the musicians approached and undertook their practice. The findings are discussed in terms of their educational implications.

Type
Research Article
Copyright
Copyright © Cambridge University Press 1995

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Appelbaum, S. & Appelbaum, S. (1972) The way they play. New Jersey: Paganiniana Publications.Google Scholar
Bloom, B. S. (1985) Developing talent in young people. New York: Balletine.Google Scholar
Ericsson, K. A., Tesch-Romer, C. & Krampe, R. (1990) The role of practice and motivation in the acquisition of expert-level performance in real life. In Howe, M. J. A. (Ed.), Ecouraging the development of exceptional skills and talents. Leicester: BPS Books.Google Scholar
Gruson, L. M. (1981) Investigating competence: a study of piano practising. Paper presented at the 89th Annual Convention of the American Psychological Association, Los Angeles.Google Scholar
Hallam, S. (1983) Carroll's (1963) model of learning: Its application to the tuition of stringed instruments. Unpublished MSc. dissertation. University of London.Google Scholar
Hallam, S. (1992) Approaches to learning and performance of expert and novice musicians. Unpublished PhD thesis. University of London.Google Scholar
Miklaszewski, K. (1989) A case study of a pianist preparing a musical performance. Psychology of Music, 17,95109.CrossRefGoogle Scholar
Pask, G. (1976) Style and strategies of learning. British Journal of Educational Psychology, 46, 128148.CrossRefGoogle Scholar
Pfaff, T. (1989) Monster music: Violinist Nigel Kennedy is ready for anything. Strings, Spring, 3639.Google Scholar
Schwartz, B. (1983) Great masters of the violin. London:Robert Hale.Google Scholar
Sloboda, J. A. (1985) The musical mind: The cognitive psychology of music. Oxford: Oxford University Press.Google Scholar
Sloboda, J. A. & Howe, M. J. A. (1991) Biographical precursors of musical excellence: An interview study. Psychology of Music, 19, 321.CrossRefGoogle Scholar
Wicinski, A. A. (1950) Psichologiceskii analiz processa raboty pianista-ispolnitiela nad muzykalnym proizviedieniem (Psychological analysis of piano performer's process of work on musical composition). Izviestia Akademii Piedagogiceskich Anuk Vyp., 24, 171215.Google Scholar