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The article focuses on the importance of effective practice in music education. Topics include the challenges students face in practicing and suggests strategies for modeling and demonstrating new music, the role of individual lessons in addressing fundamental problems, and the responsibility of music teachers in coaching good practicing strategies.

Practice is a major element in cultivating musical skill. Some psychologists have proposed that deliberate practice, a specific framework for structuring practice activities, creates the kind of practice necessary to increase skill and develop expertise. While psychologists have been observing behavior, neurologists have studied how the brain changes when people learn. Neurologists have found changes in the structure of the white matter of the brain that correlate with vast amounts of musical practice. This article contains a brief overview of what researchers believe happens in the brain when people learn or refine motor skills, such as singing or playing an instrument. This article also explores the new research into myelination, one mechanism the body uses to optimize the efficiency of neural circuits. In addition, the authors propose ways that music educators can use findings from both psychological and neurological fields to improve music teaching and learning and help their students begin to develop musical expertise. [ABSTRACT FROM PUBLISHER]

The discoveries of score analysis (e.g., minor seventh chord, ostinato, phrase elision, melodic fragment, half cadence) are more than just compositional techniques or music vocabulary. They are sounds—fascinating, storytelling, dynamic modes of expression—that when approached as such enrich the rehearsal experience. This article presents a three-step process designed to connect style analysis to rehearsal pedagogy: (1) Style analysis yields music vocabulary that (2) the ensemble conductor conceptualizes aurally—as sound with expressive potential—thus laying the groundwork for (3) rehearsing in ways that bring the expressive potential of sounds to the forefront of students’ minds. In step 3, teachers develop student response targets that reference listener, audience, or effect of sound. [ABSTRACT FROM AUTHOR]

In the article, the author discusses how ensemble directors can conduct online rehearsals for their ensembles amidst the COVID-19 pandemic. Also cited are the author's experiences in rehearsing a symphony orchestra and jazz ensemble online, the need for directors to choose repertoire to be used in the rehearsals, the use of Pro Tools to mix and record each instrument's part, as well as how to conduct a virtual concert.

Teaching students to practice independently is an important part of a music teacher’s work. Yet, many common techniques used to teach and enforce student practicing, such as practice charts and performance tests, can backfire, causing students to practice inefficiently or lose their love of music. In search of a method of teaching practicing that promotes enduring, joyful musicianship, I surveyed eighty-nine adult musicians about their practice habits and attitudes. This survey data, along with a review of current research about music learning and motivation, became the basis of a strategic approach to teaching practicing. I taught this approach to my middle school band students and evaluated its success through parent surveys, student interviews, and analysis of videotaped practice sessions. Findings indicate that it is possible to increase the effectiveness of students’ practicing without decreasing their joy. This article details this research and provides a model for reframing practicing as a personally satisfying and healthful lifetime endeavor. [ABSTRACT FROM PUBLISHER]

Helping young musicians learn how to practice effectively is a challenge faced by all music educators. This article presents a system of individual music practice instruction that can be seamlessly integrated within large-ensemble rehearsals. Using a step-by-step approach, large-ensemble conductors can teach students to identify and isolate difficult passages, select appropriate practice strategies, and make improvements to their playing. This model of practice instruction draws on Albert Bandura’s concept of observational learning, as well as music education research. [ABSTRACT FROM PUBLISHER]

Brain research indicates that repetition is of vital importance in the learning process. Repetition is an especially useful tool in the area of music education. The success of repetition can be enhanced by accurate and timely feedback. From “simple repetition” to “repetition with the addition or subtraction of degrees of freedom,” there are many forms of repetition that can be successfully adapted to music education. Descriptions of each form of repetition are provided, along with accompanying rehearsal strategies that can be implemented in the classroom. Music teachers can avoid the pitfalls of boredom and mindless repetition by constantly shifting teaching strategies and including new goals and framing techniques. Using these strategies wisely, music educators can provide meaningful, refreshed, and powerful teaching and learning opportunities for both themselves and their students. [ABSTRACT FROM PUBLISHER]

To practice effectively, one must first know how to practice. The practice process is affected by one's ability to set goals, design strategies, self-assess, and to have an aural image of the music being learned. The author proposes a model reflecting the factors involved in practice and proposes a number of strategies that can be used to progressively teach students how to practice effectively. [ABSTRACT FROM AUTHOR]

Music teachers can learn some tricks of the trade from their colleagues who coach sports teams. Many of the techniques that help students excel and bond in various games are applicable to the general music classroom and rehearsal room. It's all about attitude. [ABSTRACT FROM AUTHOR]

The article presents suggestions for making band members the center of rehearsals rather than focusing entirely on the efforts of the band director or conductor. Particular focus is given to engaging students in the process of making music. Building partnerships, focusing on listening skills, and lecturing less during rehearsal time are discussed. The author suggests conducting rehearsals without speaking and notes the efficiency and interest players develop through this rehearsal method. The importance of developing active listening skills is also explored.

The article discusses the adoption of effective practicing habits for music students in both school performing groups and in private study. Details are given outlining the marks of productive practicing, such as the proper use of self-evaluation, being goal-oriented, and utilizing different problem solving methods. The use of practice charts and other organizational tools are advocated to help steer the student towards comprehensive practice methods and to assist in maintaining focus and concentration.

The article presents an exploration into instrumental music education and practice concerning physical health and posture. The dangers of prolonged and intense rehearsal sessions to the physiological habits and health of the musicians are discussed. Several examples of physical damages and stresses that can occur due to over-activity are reviewed, including repetitive motion disorder and postural strains as well as psychosocial difficulties such as cognitive fatigue. Several suggestions to alleviate and prevent such obstacles are given, stressing the importance of efficient practice strategies and physically healthy techniques.

The article presents the author's views on how to get the best out of music group rehearsals through effectively managing time. Directors should start by carefully considering the types of activities, or content, commonly found in a rehearsal, including setup for teachers and students, warm-up, and sight-reading and other comprehensive musicianship activities. A clear purpose for each rehearsal should be demarcated, involving focus on no more than three musical concepts during the rehearsal.

The article analyses the theory that music and language share a similar learning process. Students can achieve music literacy by cultivating a practice of listening to music and speaking vocabularies. Musical vocabularies can be developed by engaging in music learning without notation. If properly practiced , these aural-skills activities will allow students to focus on musical content, such as tonality, meter, style, harmonic progression, and tonal and rhythm function. This musical information is the guide to read notation with comprehension, playing in tune in a proper tempo, improvising, and playing expressively with, and without notation.

Suggests ways on starting an adult community chorus. Positions to consider in forming a coaching staff; Factors to consider in choosing the rehearsal site and the music; Formation of an inviting rehearsal atmosphere; Use of a warm-up sheet and a theory packet.

Recommends techniques for music teachers on teaching their students to practice effectively and successfully. Encouragement of students and families to establish a quiet practice environment; Creation of a personal practice plan for each student; Use of aural models while practicing; Indoctrination of self-evaluation.

The article explores the factors for practicing music performance via music score preparation and music teacher instruction. Topics discussed include the attributes of creating a musical score, the concept of student instruction in musical interpretation and the music interpretation to its audience. The article also emphasizes on the importance for performers to practice its music piece.

The author focuses on how her parents valued music in Wisconsin and the impact of music on humans. She advices to promote music as a gift to others by donating in organization such as Note Foundation which offers support to music programs in underresouced and underserved areas. She considers donating to Note foundation as changing the lives of those whom music need most and after fifty years a music teacher will continue the chain of gifting music to others who are in need of it.