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The purpose of this descriptive study was to investigate changes in advanced musicians' self-regulated practice as they worked to acquire mastery of an étude across 2 weeks. Four advanced collegiate violinists recorded themselves practicing an étude in seven practice sessions, each approximately 20 min in length. Data were gathered via questionnaire, practice diaries, behavioral observations, an automated offline score-following program (which documented the measures played during practicing), and stimulated recall interviews in which participants commented on their own practice recordings. Several compelling changes in self-regulation sub-processes pertaining to forethought (goals, plans) and performance (strategies used, material addressed, time spent) self-regulation sub-processes across practice sessions were found. In addition, distinct differences in self-regulated learning tendencies were observed between participants. These results suggested that the participants struggled to implement a self-regulated learning approach, despite being advanced musicians and having much knowledge of practice methods. Suggestions for making practice instruction more explicit are discussed.

The purpose of this study was to explore a microanalysis technique for measuring instrumentalists' self-regulation tendencies during music practice. A secondary purpose was to investigate whether an intervention informed by the features of the microanalysis technique would increase the students' self-regulated learning tendencies. Three undergraduate instrumental music education majors volunteered to participate in this study. This study was designed as a multiple-baselines experiment spanning 15 consecutive days. Data sources included (a) entrance interviews; (b) daily practice efficacy ratings; (c) data gathered from pre- and posttest microanalysis sessions; (d) detailed behavioral analyses of video-recorded, pre- and posttest practice sessions; and (e) a focus group exit interview. The microanalytic intervention designed for this study involved a coaching session in which a member of the research team explicitly drew attention to the affective, behavioral, and metacognitive qualities related to effective practicing during a student's practice session. The pretest microanalysis data revealed distinct learning profiles for each student that were corroborated with information from the other data sources. The intervention had modest effects that varied across participants, suggesting that it was useful for bringing to light and addressing individuals' specific self-regulatory deficiencies in a manner respective to their needs.

The purpose of the study was to investigate how university band students' (non--music majors) motivational goal orientations toward band and academics differ across participants from Singapore (n = 200) and the United States (n = 227) and examine how they relate to a suite of adaptive dispositions (i.e., flow, grit, and commitment) relevant for 21st-century learning. Data were gathered via a self-report questionnaire that measured achievement goal orientations toward academic major, individual and collective goal orientations toward band, flow during rehearsals, grit while practicing, and commitment to band. An unexpected lack of cross-cultural differences was found, with participants from both cultural groups reporting higher levels of motivation toward their major academic field compared to band, indicating that achievement domain rather than culture accounted for differences in motivational goal orientations. Results also suggest that the optimal motivational profile to cultivate in large ensemble is a combination of individual mastery-approach and collective performance-approach goals.

The purpose of this study was to determine whether students' practice efficiency, flow during practicing, and self-efficacy for self-regulation varied as a function of their practice tendencies, their tendencies toward self-evaluation, their self-regulatory tendencies to be self-reflective when practicing, tendencies to exhibit grit in their learning, and their teachers' methods of instruction in practicing. Participants were 52 studio lesson teachers and 241 of their students from 25 large collegiate music programs in the United States. Both the teachers and students represented a diverse range of instruments: flute, oboe, bassoon, clarinet, saxophone, French horn, trumpet, trombone, euphonium, and tuba. The data for this study were self-reports collected via online questionnaires. Findings indicated that of the five predictor variables examined, only two--students' tendencies to exhibit grit in their learning and their tendencies to be reflective about their practicing--were consistently related to the three outcome variables. Furthermore, all outcome variables were significantly related to one another.

The purpose of this study was to examine undergraduate music education and performance alumni's career path, retrospective institutional satisfaction, and financial status. Data for this study were drawn from respondents from the 2010 administration of the nationwide, multi-institutional survey conducted by the Strategic National Arts Alumni Project (SNAAP). Regarding career path, nearly half of the music performance degree graduates reported performing as their current job, and slightly more than half of the music education degree graduates reported working in K-12 schools. Participants were generally satisfied with their institutional experiences, although relatively low levels of satisfaction were reported for networking and career advising services. The respondents reported being most satisfied with aspects of their current jobs that reflected the intrinsic benefits of contributing to a greater good, satisfying personal interests and values, and opportunities to be creative. The majority of the sample reported accruing student loan debt ranging between $10,000 and $30,000; however, no significant differences were found between groups, and 40 percent of the participants reported having accrued no debt at all. The reported annual income of the participants varied significantly, with music educators reporting higher earnings than performers.

The primary purpose of this study was to describe the music experiences elementary school children in the United States receive in the academic classroom setting. The data were drawn from the Early Childhood Longitudinal Study of the Kindergarten Class of 1998-1999 (ECLS-K), a nationally representative study that followed kindergarteners through to their eighth-grade school year with the last data collection wave in 2006-2007. The variables pertaining to music experiences in the academic classroom that were available in the ECLS-K were (a) the frequency and duration with which children received music instruction, (b) the frequency that music was used to teach math, and (c) the percentage of children receiving formal music instruction outside of school. Each of these variables also was analyzed as a function of child urbanicity, socioeconomic status (SES), and race. Statistically significant (p <0.001) disparities among children based on urbanicity, SES, and race were found on each of the music experience variables. Overall, White suburban students of high levels of SES tended to receive significantly more music experiences than students of color from urban and rural settings and of low SES. The findings support the need to advocate for high-quality music programs for all students and particularly for those from traditionally underserved populations.

Professional discussion of curricular change and innovation is essential for maintaining and increasing the positive effects that music education can have on schoolchildren. Much recent discourse about curricular change has focused on critiques of the traditional large-ensemble model of music education, technological innovation applied to teaching music, and the incorporation of popular music idioms. I propose counterpoints to these commonly discussed topics and offer suggestions for redirecting advocacy efforts and for reconsidering dispositions toward large-ensemble instruction. Rather than discard the current curricular models as inadequate, we can exercise patience and reflect while building on what currently exists. (Contains 11 notes.)

The purpose of this study was to investigate the development of preservice music teachers' concerns using Fuller and Bown's model. Participants were 8 instrumental teachers who participated in the previous Berg and Miksza (2010) study. Data sources included goals essays, journals, a midterm growth plan, and teaching observation reports with accompanying lesson plans that were collected over a 1.5-year period. The participants expressed less concern for self-survival and more concern for making an impact on students as time progressed from their junior-level practicum experience to the end of student teaching. Concerns regarding basic competencies and professionalism ultimately gave way to specific contextual aspects of the participants' teaching placements and more nuanced instructional issues. Results indicated that the focus of the participants' concerns also was greatly affected by their teaching context. Implications for music teacher preparation as well as extensions of Fuller and Bown's model are discussed. (Contains 4 tables and 1 figure.)

The purpose of this study was to investigate advocacy influences that may impact school arts programs using data from the 2009-10 National Center for Education Statistics elementary and secondary school surveys on arts education. Regression models were employed to assess the relative effectiveness of variables representing community support, administrators' support, having arts educators in leadership roles, and school climate more generally as predictors of principals' reports of the adequacy of funding, instructional time, and number of arts specialists for arts education. Additional models were examined to determine whether these effects would remain after controlling for minority status, poverty status, and school community type. Parent/community support, including the presence of arts specialists in school leadership roles and having an arts curriculum specialist/program coordinator, had the most pronounced effects on the reported adequacy of resources. Student interest in and demand for arts education, the inclusion of arts course grades in secondary students' GPA, and the number of arts events elementary school principals attended also showed significant effects. (Contains 5 tables.)

The purpose of this study was to investigate intermediate musicians' self-regulated practice behaviors. Thirty sixth- through eighth-grade students were observed practicing band repertoire individually for 20 min. Practice sessions were coded according to practice frame frequency and duration, length of musical passage selected, most prominent musical objective, and practice behaviors. The 600 min of video were parsed into 234 practice frames for analysis. Practice sessions also were rated for overall degree of self-regulation. Reliability of the observational procedures (three observers, 95% to 100% agreement) and self-regulation ratings (two raters, coefficients of 0.89 to 0.96) was excellent. Analyses revealed an average of 7.8 practice frames with a mean duration of 2 min 45 s across sessions. Participants most frequently addressed the musical objective pitch accuracy and most commonly selected passages of nine measures in length or greater. The most common practice behaviors were varying tempo, repeating fewer than four measures, repeating more than four measures, and irrelevant playing. Significant relationships were found between self-regulation ratings and frequencies of the behaviors writing on music (r = 0.55), varying tempo (r = 0.42), repeating four or more measures (r = 0.41), and irrelevant playing (r = 0.59). Implications for future research and practical applications are discussed. (Contains 1 table and 1 figure.)

The purpose of this study was to develop and test the construct validity and reliability of a self-report measure of self-regulated practice behaviors for beginning and intermediate instrumentalists. A questionnaire was designed to assess the motive, method, behavior, time management, and social influences dimensions of the theoretical model of self-regulation proposed by McPherson and Zimmerman. The questionnaire's construct validity was tested using confirmatory factor analysis, and a preliminary assessment of predictive validity was estimated by correlating the measure with self-reported practice habits. The measure's reliability in regard to internal consistency and consistency over time was assessed as well. The sample consisted of middle school band students in grades 6 to 8 (N = 302). Confirmatory factor analyses indicated that a model including factors representing the dimensions self-efficacy, method/behavior combined, time management, and social influences was the best fit. Cronbach's alpha and test-retest reliability results indicated good to excellent consistency across all self-regulation subscales, with coefficients ranging from 0.76 to 0.90. Significant correlations (p less than 0.001) between the self-regulation subscales and self-reported practice habits (i.e., time spent practicing, average daily practice efficiency, percentage of time spent on formal practice) provided preliminary evidence of predictive validity of the measure. (Contains 3 tables.)

The primary purpose of this study was to investigate relationships between observed practice behaviors consistent with conceptions of deliberate practice (Lehmann & Ericsson, 1997) and the performance achievement of collegiate wind players (N = 55). The secondary purpose of this study was to explore relationships among observed practice behaviors, performance achievement, and individual differences in impulsivity and achievement goal motivation. Participants completed: (1) a 23-minute practice session; (2) pre- and post-test measures of performance achievement; (3) a researcher-adaptation of the Elliot and McGregor (2001) 2 x 2 Achievement Goal Questionnaire; (4) the Eysenck Impulsiveness Questionnaire for Adults (Eysenck, Pearson, Easting, & Allsop, 1985); (5) the Barratt Impulsiveness Scale (1985); and (6) a researcher-constructed practice habit questionnaire. Reliability results for all measures and observations were acceptable. Results indicated: (1) significant positive correlations between performance achievement and the observed behaviors "repeat two to four measure chunk," "whole-part-whole," "slowing," "chaining," and "use of metronome;" (2) significant negative correlations between performance achievement and the behaviors "varying pitch" and "singing, whistling, buzzing;" (3) a significant increase in performance achievement from pre- to post-test with less impulsive participants having higher scores at both points in time; and (4) several significant correlations between impulsiveness and achievement goal motivation sub-scales and observed practice behaviors. (Contains 3 tables and 2 figures.)

This study was designed to (a) gather band directors' opinions of skills and characteristics important to teaching and (b) examine the relative effectiveness of electronic versus paper survey methods. Survey respondents ranked lists of music, teaching, and personal skills or characteristics in order of importance and answered open-ended items regarding advice for 1st-year teachers and the struggles and rewards of band directing. The final response rate was 66% (N = 235). Personal and teaching skills and characteristics were ranked higher than music skills. The items "maintain high musical standards," "be able to motivate students," and "enthusiastic, energetic" were the highest ranked skills or characteristics. Perseverance, patience, and long-term vision were the most common forms of advice to 1st-year teachers. Issues related to classroom management and student success were the most-often-cited struggles and rewards of band directing, respectively. An experiment comparing response rate and response quality as a function of survey method (i.e., e-survey vs. paper survey) and follow-up notification (i.e., postnote, no postnote) also was completed using a smaller subsample of respondents ( n = 102). Response rates for the e-survey conditions were better than those for the paper survey conditions. Greater proportions of respondents from the paper survey conditions completed the open-ended items. (Contains 6 tables and 1 figure.)

This study is an investigation of relationships among impulsiveness, locus of control, sex, observed practice behaviors, practice effectiveness, and self-reported practice habits in a sample of 40 college brass players. Practice effectiveness was defined by the amount of change in pretest and posttest performance achievement scores over one 23-minute practice session. Each subject's practice session was analyzed for frequency of practice behaviors. Measures included the Eysenck Impulsiveness Questionnaire for Adults (1985), the Nowicki-Duke Locus of Control Scale for Adults (1974), and a researcher-designed practice questionnaire. Results indicated (a) a significant interaction effect (p less than 0.01) between performance achievement and impulsiveness, with subjects in the low-impulsive group outperforming those in the high-impulsive group; (b) a significant relationship (p less than 0.01) between subjects' locus of control and impulsiveness scores; (c) no significant differences (p greater than 0.05) in impulsiveness, locus of control, or performance achievement by sex; (d) significant relationships (p less than 0.05) between performance achievement and the observed practice behaviors "repeat section," "whole-part-whole," "marks part," and "varying pitch"; and (e) no significant relations (p greater than 0.05) between amount of time spent playing during the practice session in the study and performance achievement. (Contains 1 figure and 4 tables.)

We employed the PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) method to systematically review research on music practice from 1928 until June 2020 and identified a total of 3,102 records using our inclusion criteria, of which a total of 296 were eventually selected for the final analysis. We tabulated percentages and frequencies of (a) publications in ten-year periods, (b) type of publications, (c) sampling by geographical location, (d) methodologies used, (e) the top tenth percentile of the most highly cited research, and (f) topics covered. Our analyses reveal that particularly strong growth occurred in the literature between 2000 and 2020. In the literature we retrieved, the most commonly sampled research participants were those in the United States, followed by the United Kingdom and Australia. Quantitative research designs were most prevalent, accounting for two-thirds of all studies reviewed (66.2%), with questionnaires and recordings being the most common methods of data collection. Non-empirical papers (17.5%) as well as studies incorporating qualitative (13.5%) and mixed-methods designs (3.1%) were much less prevalent. Ericsson et al.'s (1993) seminal study of deliberate practice, Driskell et al.'s (1994) review of the research literature on mental practice, and Sloboda et al.'s (1996) study of young musicians were by far the most often cited. Overall, the most common topics addressed were deliberate practice, practice strategies, mental practice, the benefits of practice, metacognition, self-regulation, and self-efficacy, suggesting that music practice is a rich, multifaceted, and complex activity. In light of the findings, recommendations for practice and implications for future research are provided. [ABSTRACT FROM AUTHOR]

The COVID-19 pandemic disrupted many aspects of life, including the instructional practices of music educators. The purpose of this study was to examine music teachers' well-being following the disruptions in schooling that resulted from the pandemic in the Spring of 2020. We also investigated how disruptions may have affected music teachers' perceptions of their efficacy and the status of the profession. A questionnaire was completed by 2,023 music teachers who were members of the National Association for Music Education. We collected data related to (a) demographic and institutional information, (b) well-being, (c) teaching efficacy, (d) the impact of the pandemic upon the profession, and (e) the impact of the pandemic upon student learning. The questionnaire included the PERMA Profiler, a measure of well-being, and a portion of the Depression, Anxiety, and Stress Scale (DASS-21). Both PK–12 and collegiate teachers reported significantly lower levels of overall well-being and significantly higher levels of depression than published norms. Additional analyses examined the relationship of individual difference and teaching context variables to the well-being measures, perceptions of teaching efficacy, and perceptions of the pandemic's impact on student learning. [ABSTRACT FROM AUTHOR]

The primary goal of this study was to examine relationships among observed practice behaviors, self-reported practice habits, and performance achievement of high school wind players (N = 60). Participants practiced [...]

This study is an investigation of relationships among impulsiveness, locus of control, sex, observed practice behaviors, practice effectiveness, and self-reported practice habits in a sample of 40 college brass players. [...]

In adapting to remote emergency teaching modes during pandemic-imposed conditions, teachers' instruction has changed dramatically. Early research indicates that the well-being of music teachers has suffered during the COVID-19 pandemic and that high levels of depression are widespread. The purpose of this survey study was to assess the continued psychological well-being of music teachers working amid a global pandemic based upon previous research we conducted during the Spring 2020 semester when most teachers in the United States were forced into emergency remote teaching. A secondary purpose was to explore the ways that pandemic conditions have affected music teachers' sense of safety at work and their current teaching situations. Our questionnaire consisted of sections pertaining to (1) demographic and institutional information, (2) well-being and depression, (3) instructional format and preparedness, (4) teaching efficacy compared to the start of the pandemic, and (5) potential positive outcomes of the pandemic-imposed adjustments. In total, 1,325 music teachers responded to our survey. Overall, the participants reported poorer well-being than both published norms and the sample of participants in our previous study. In addition, 17% reported mild depression, 25% reported moderate depression, and 24% reported severe extremely severe levels of depression. Summaries of the participants instructional experiences and their implications for music education are discussed within. [ABSTRACT FROM AUTHOR]

The purpose of this study was to explore the effects of using a self-directed practice diary on conservatory pianists' self-regulated learning tendencies. We sought to determine whether the implementation of a self-directed practice diary based on the three-phase model of self-regulated learning would lead students to gradually demonstrate more self-regulated learning tendencies across a semester of practicing, and if the type and quality of their self-regulated learning tendencies varied as a function of performance ability. A marked and consistent improvement in metacognitive monitoring skills was observed across the semester for all seven participants. Variations between lower and higher ability students were most pronounced in the Forethought stage, with higher ability pianists reporting fewer goals and strategies and higher self-motivational beliefs than their lower ability counterparts. In the Performance phase, higher ability students invested more effort in help seeking and structuring their practice environment, and lower ability students reported more self-instruction. In the Self-Reflection phase, higher ability pianists reported being more focused in the practice session. Suggestions for further refinement of the technique to improve musicians' ability to master their learning and achieve their personal best are provided. [ABSTRACT FROM AUTHOR]

For many music students, the transition to university-level studies can be a time characterized by high levels of stress as they adjust to academic standards and the challenges of demanding performance assessments. Given this context, this study investigated the impact of stress on students' well-being, specifically the facet of subjective vitality, defined in the literature as a feeling of energy and aliveness. Our focus was to explore whether certain psychosocial traits would moderate the negative effects of stress on vitality. Working from an empirically derived conceptual model, our central hypotheses were: (a) that stress and self-oriented perfectionism would be negatively related to vitality, whereas adaptability and quality of peer relationships would be positively related to vitality; and (b) that the relationship between stress and vitality would be moderated by students' self-oriented perfectionism, adaptability, and quality of peer relationships. Participants were 293 undergraduate and graduate music majors from university schools of music and conservatoires in the United States and Australia. Findings revealed that stress was a significant negative predictor of vitality, but self-oriented perfectionism was not. In addition, both adaptability and quality of peer relationships were significant positive predictors of vitality. However, neither self-oriented perfectionism, adaptability, nor quality of peer relationships moderated the effects of stress on vitality. These findings are discussed with regard to practical recommendations for helping students deal with the stressors in their environments and potential theoretical avenues to explore through future research. [ABSTRACT FROM AUTHOR]

The purpose of this study was twofold: (1) to describe university music students' perceptions of competitiveness, perfectionism, and teacher control in conservatory-style learning environments, and (2) to test a theoretical model of a network of relationships among perceptions of competitiveness, perfectionism, teacher control, quality of motivation, and intentions to pursue a career in music. Participants were undergraduate and graduate music majors from schools of music in the Midwestern United States and Australia. Results revealed that commitment to a career in music was strong, autonomous motivation orientations were more strongly endorsed than controlled motivation orientations, reports of teacher control and socially prescribed perfectionism were weak, whereas reports of competitiveness were strong. Path analyses indicated that those with stronger career intentions also have stronger autonomous motivation orientations and perceive their teachers as more controlling. Autonomous motivation orientations were stronger for those who perceive their environment to be more competitive and weaker for those who experience more perfectionism and teacher control. Participants reporting greater perceptions of teacher control and more perfectionism tended to report weaker career intentions by virtue of the indirect relationships of the variables through autonomous motivation. In contrast, those who experienced greater degrees of perfectionism tended to report stronger controlled motivation orientations. [ABSTRACT FROM AUTHOR]

Previous research suggests that musicians modulate a predictable set of acoustic cues to convey distinct emotions. The current study focuses on singers, testing the validity of cues previously reported for a wide range of instruments. The study also asks: What effect might a musician's mindfulness have on their expressive performance? Two groups of highly skilled vocalists recorded performances of a novel melody with four distinct emotions. Prior to the performance task, an experimental group took part in a guided mindfulness induction, while a control group engaged in a self-selected relaxation activity; state mindfulness was assessed immediately after. Recordings were analyzed for tempo, temporal variation, intensity, mean centroid, vibrato rate, vibrato extent, and attack slope; individual notes with particular scale-degree functions were also compared. Results show that the two groups of participants had similar cue usage, although those in the experimental condition had higher mindfulness scores and attributed improvements in focus and awareness to the induction task. Participants as a whole used cues in the predicted directions, and significant differences were found on all acoustical measures, except vibrato rate, as a function of expressed emotion. Results also indicate that participants modified intonation to distinguish between positive and negative emotions. [ABSTRACT FROM AUTHOR]

Vitality is the feeling of being alive, vigorous, and energetic, and is an important indicator of overall motivation and wellbeing. Studio music instruction holds rich potential for creating feelings of vitality through close relationships, the potential for developing skills, and a shared endeavor of artistic expression. But they also have the potential to deplete vitality – through controlling teaching, a poor quality relationship, or harsh criticism from the teacher. The purpose of this study was to investigate relationships among student and teacher behavior, rapport, and students' experiences of subjective vitality in the context of university-level applied performance lessons. Participants were six undergraduate instrumental music majors and their teachers located at universities in the United States and Australia, who were selected because they provided the highest (three participants) and lowest (three participants) scores on a measure of subjective vitality completed immediately following a studio music lesson. A lesson was recorded for each student-teacher participant pair, coded for the frequencies of 35 lesson behaviors, described with a qualitative contextual commentary, and rated for evidence of rapport and physical proximity. Clear differences emerged between the high and low vitality lessons with regard to questioning, feedback, modeling, student performance, and student talk. Teachers of high vitality students spent most or all of the lesson within close proximity to their student, and showed stronger rapport than teachers of low vitality students. The findings suggest that students' vitality may depend on important differences in styles of teacher-student engagement and the quality of student-teacher relationships. [ABSTRACT FROM AUTHOR]

The purpose of this study was to examine the effect of verbalization about a brief etude on collegiate string players' short- and long-term recall of the etude in question. We examined competing hypotheses that suggest it is possible that verbalization (i.e., verbal analysis of musical features) (a) could aid in recall both by highlighting patterns and constraints that inform the music's creation and by facilitating the creation of explicit performance cues that help to bridge gaps between associative recall chains or (b) may hinder recall by interfering with the creation of procedural and auditory memories necessary for musical performance. Participants (N = 20) were assigned to experimental conditions in which they learned an unfamiliar etude either through repetition alone or through repetition followed by the completion of a verbalization worksheet provided by the experimenter. Recall was tested both immediately following initial practice and 24 hours later to examine the effect of verbalization on both short- and long-term retention. Findings indicated no differences between groups on immediate recall performance but significant differences at the 24-hour recall task with participants in the verbalization condition recalling more material. In addition, the patterns of errors found across groups indicated a strong primacy effect. Theoretical implications for the study of memory processes in musical contexts and practical implications regarding the preparation of memorized performance are discussed. [ABSTRACT FROM AUTHOR]

The purpose of this study was to determine the cross-cultural validity of a collective achievement goal model using a sample of non-music-major college band students from the US and Singapore. The study was situated within a theoretical framework that posited individual and collective achievement goal orientations of mastery-approach, mastery-avoidance, performance-approach, and performance-avoidance. These constructs were also examined in relation to three adaptive learning outcomes: flow, grit, and commitment to band. Confirmatory factor analyses indicated that whether considering the US, the Singapore, or the entire sample, the collective 2 × 2 achievement goal framework yielded a superior fit to the data when compared with four competing dichotomous and trichotomous models. Model invariance testing found that although the collective 2 × 2 achievement goal model appears to fit fairly well to the data from both groups of participants, cross-cultural model invariance can only be claimed conditionally. Hierarchical regression indicated that independent of any variation already explained by achievement goal sub-scales from the individual perspective, scales from the collective perspective explained a small but significant increase in variance for flow. [ABSTRACT FROM AUTHOR]

This article describes the development of a music practice microanalysis protocol that is based on the three-phase model of self-regulated learning (i.e., Forethought, Performance, and Self-Reflection). Up until now, most studies on music practice have tended to focus on behavioural aspects. The expanded view presented here outlines a technique for mapping the types of behaviours (actions), cognition (thoughts), and affect (feelings) that can help focus musicians' practice. To explain the technique, we describe the practice of two first year Bachelor of Music students studying at a prominent university music school who are compared at three time points across one semester as they prepare an étude for a performance exam. These case studies demonstrate two broadly contrasting self-regulated learning profiles of how microanalysis can be used to cue students to think about what they are doing and then reflect critically on the strategies they can use to improve their playing. As a technique, microanalysis can inform educational interventions aimed at breaking the cycle of habits that typify musical practice by encouraging musicians to become more behaviourally, metacognitively, and motivationally involved in their own learning. [ABSTRACT FROM AUTHOR]

Laura Hicken and Robert Duke employed eye-tracking technology to explore how teachers varying in experience and expertise direct their attention during teaching. It is fitting to begin this issue of the I Journal of Research in Music Education i by recognizing the efforts of the seven Editorial Committee members who completed their six-year term in July 2022. The antecedents of flow experience that Kang found suggest compelling avenues for helping teachers achieve flow states in their work. [Extracted from the article]

The purpose of this study was to examine the effects of mental practice, physical practice, and mental and physical practice combined on the ability to create melodic jazz solos within chord progressions, possessing relatively simple or complex harmonic characteristics. We also explored whether improvisation achievement varied as a function of general mental imagery ability. Fifty-six jazz studies majors from two large North American universities were randomly assigned to one of three experimental conditions (physical practice, mental practice, or physical and mental practice combined) and tasked with preparing melodic improvised solos over two sets of chord changes that varied in complexity (i.e., simple vs. complex). The participants' solos were rated for melodic jazz improvisation achievement by two expert-level professional jazz artists. Participants also completed a self-report questionnaire that captured the degree of the vividness of their visual, aural, cutaneous, kinesthetic, and organic mental imagery. We did not find significant differences in melodic improvisation achievement as a function of practice condition nor did we find that chord progression complexity moderated the effect of practice condition. However, significant differences were detected as a function of chord progression complexity. Theoretical avenues for designing future experiments are discussed in-depth with respect to the typical practice approaches jazz musicians use when developing improvised solos, issues of closed- versus open-class motor skills, cognitive load, and expert memory storage and retrieval. [ABSTRACT FROM AUTHOR]

The purpose of this study was to explore the achievement goal motivation orientations of instrumental music students in the US and Singapore. Participants in this study were volunteer band students (N = 359) from eight American public high schools (n = 217) and five polytechnics in Singapore (n = 142). Data were collected via a questionnaire that included measures of (a) the 2 × 2 achievement goal orientation constructs (mastery approach, mastery avoid, performance approach, and performance avoid), (b) flow in band rehearsal, (c) grit in practicing, and (d) commitment to band. Confirmatory factor analyses indicated that the 2 × 2 achievement goal framework specifying four latent variables (mastery approach, mastery avoid, performance approach, performance avoid) was the best relative fit to the data when compared with competing dichotomous and trichotomous models. In contrast to previous research comparing achievement goals of learners from collectivistic and individualistic cultures, no significant differences in achievement goal sub-scale means were found as a function of culture. However, some differentiated patterns of relationship were found between the achievement goal sub-scales and flow, grit, and commitment to band as a function of culture. [ABSTRACT FROM AUTHOR]

The purpose of this study was to examine the validity and reliability of a Turkish version of a Self-Regulated Practice Behavior Scale (SRP) for college students. The scale included measures of the theoretical constructs Social Influences, Method, Behavior, and Time management as sub-scales. The original SRP is a self-report instrument that was designed to measure the self-regulated practicing behavior of intermediate instrumental music students. An adaptation and Turkish translation of the scale for collegiate musicians resulted in a 38-item Turkish Self-Regulated Practice Behavior measure (Turkish SRPB). The Turkish SRPB was administrated to 237 college students enrolled in music education programs from two Turkish universities. Results of confirmatory factor analyses revealed that an adjusted four-factor model with a factor representing each of the sub-scales listed above was the best fit to the data collected (CFI = .96, RMSEA = .04, SRMR = .08). The Cronbach’s alpha coefficients for the Turkish SRPB sub-scales ranged from .62 to .90. The findings suggest that the Turkish SRPB produced valid and reliable measures of the self-regulatory practice behavior of collegiate Turkish musicians. [ABSTRACT FROM AUTHOR]