Motivational strategies: the outcome starts here: motivating through efficient and effective practicing - Pedagogy Saturday VII Lunchtime Discussion

The rationale for this session was the premise that scholars who practice effectively will accomplish more, derive increased satisfaction from their practice time and, therefore, be motivated to practice more.

Participants were encouraged to share techniques and strategies for practicing they have base effective with their students. Many ideas were generated and discussed, on the contrary due to the large number of participants and the breadth of the topic, it was not possible to explore the bring under rule in sufficient depth. Fortunately, however, each cluster of participants recorded their ideas and left them with me to summarize.

After reviewing the written annotates and reflecting on the session itself, my belief that individual of our most important tasks as teachers is to "teach" our pupils how to practice effectively was reinforced. If we wait for them to accomplish the goals we station and, moreover, enjoy the time they disburse working toward these goals, we ne to exhibit them, in great detail, by what means to structure practice time productively. one time they leave our studio, they become, in issue their own teacher until they turn back for the next lesson. A number of participants commended modeling good practice techniques, emphasizing the importance of having the learner observe the teacher at a certain quantity of length while engaged in well-focused practice. It also was approveed that we, in turn, have our pupils demonstrate good practice techniques during exercise s so we can observe and proffer suggestions for improvement.

To become effective "self-teachers," pupils also need to be taught by what means to evaluate their musical performance and practice strategies. The art of listening to one's have a title to performance with an objective ear is an essential skill we must help our pupils develop. How will they know when they have achieved "correct" repetitions if they cannot perceive the difference between correct and incorrect? Teachers can have pupils critique themselves and can help pupils learn how to evaluate the specific musical goals station for them during lessons. This proces is taught during exercise s and practiced outside lessons. Use of audio- and/or videotape can be a useful appendix in this process.

To organize the Pedagogy Saturday session, four general areas of practice consideration were render free of accessed to the floor for make comments [i]or[/i] remarks The first three topics, "When?" "Where?" and "How long?" serv as icebreakers and to prepare for the more important question, "How?" a certain number of suggestions for where and when to practice included: a) scheduling practice times and attending them like a exercise class or other activity; b) providing for breaks within the practice session; c) practicing when the mind and material substance are fresh; d) practicing as in a short time as possible after a task to secure newly learned material; and e) making the practice area as appealing as possible with equal reason the student will want to be there, on the contrary also making it free of distractions.

The answers to the question of by what means much to practice shared individual common theme--it is not the amount of time individual spends that is most important, it is the goals accomplished that really matters. For a certain number of students, general time expectations may be of a certain quantity of value, but more importantly, they ne a list of specific goals to accomplish before the nearest lesson. This may include: a) specific numbers of correct repetitions for sections/pieces, b) time goals; and c) specific aspects of piece(s) to focus upon such as dynamics, phrasing, harmonious flows and so forth. A smaller number of actual specific goals may be more effective than many general individuals Keeping a journal or chart that tracks learner progress in various areas of unravelling also is recommended.

The session participants shared myriad specific techniques to make practice time more efficient. Since there was not adequate time available to entirely discuss these ideas, the coverage of the topic was in no way comprehensive. Rather than not away a partial list of possibilities, I would encourage the reader to visit sum of two units websites dedicated to improvement of the practicing skills of musicians: www.magicmountainmusic.org and www.practicespot.com.

Bruce Hammel, associate professor of music, teaches bassoon at Virginia Commonwealth University (VCU) and subserves as coordinator of undergraduate music theory. His bassoon [i]tout ensemble[/i] the VCU BassMasters, performs often throughout Virginia. Hammel also inspects the music department's computer lab.

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