Music Performance Learning

There are many research on Memory. From the perspective of a professional musician, this article uses findings in cognitive science to explores the different ways a musician can consolidate and secure his or her memory and prevent memory slips on stage: through conscious building of pathways between the different types of sensory and intellectual experience.

In this position paper the author presents a perspective on rock drumming and music education. The author is a drummer and university professor who combines an autoethnographic account with consideration of theoretical frameworks including authenticity, flow and the autotelic personality. Through illustrative vignettes of rock drumming and music teaching, the author appeals to the essentially somatic experience of rock drumming. He argues that educators and educational institutions need to allow for rock's inherent, authentic loudness or else risk misrepresenting the music and treating drummers unjustly. This means that the physical movements and resulting high volumes germane to much rock drumming in performance must be accommodated in rehearsals and practice. This article does not seek to privilege rock drumming over other forms, but argues that to include rock drumming authentically in education contexts means to acknowledge and celebrate its essence.

Resumo: O presente artigo aborda conceitos da autorregulação da aprendizagem e levanta algumas pesquisas sobre aprendizagem musical elaboradas a partir desse construto teórico. Este trabalho é fruto de nossa pesquisa de mestrado em música, que tem como objetivo investigar processos de aprendizagem musical em bandas de música. Espera-se com este artigo demonstrar e divulgar algumas possibilidades para pesquisas sobre aprendizagem musical que a autorregulação da aprendizagem oferece. Self-regulation of learning: possibilities for studies of musical learning Abstract: This article discusses self-regulation of the concepts of learning and raises some research on musical learning drawn from this theoretical construct. This work is the result of our research masters in music, which aims to investigate musical learning processes in music bands. It is hoped that this article demonstrate and disseminate some possibilities for research on musical learning that self-regulation of learning offers. Introdução A autorregulação da aprendizagem é um tema cada vez mais discutido na Psicologia Educacional (Boruchovitch, 2014). Os estudos acerca da consciência que os alunos possuíam sobre si mesmos durante os procedimentos psicológicos e atitudinais empregados na aprendizagem têm levado os investigadores a atribuírem as diferenças individuais de progresso dos alunos às formas diferenciadas que estes apresentavam para planejar, produzir e avaliar sua própria aprendizagem, ou seja, as formas como os alunos se autoagenciam—que em conjunto foram chamadas " processos de autorregulação da aprendizagem " (Zimmerman, 2002). Apesar disso Veiga Simão, Ferreira e Duarte (2012) explicam que não há uma definição consensual de " autorregulação da aprendizagem " , uma vez que as existentes variam de acordo com o interesse de pesquisa de seus autores. Por outro lado, as autoras observam que nas últimas décadas as discussões sobre autorregulação da aprendizagem têm " oferecido um quadro conceptual que enfatiza nomeadamente

The present article proposes a learning model that describes the whole process of musical instrument’s practice, exposing its necessary knowledge and skills, aiming to provide scientific basis for Music Performance. The model proposes a model that indicates the relationship between the various elements involved in the practice, assuming that they occur simultaneously. For this, a brief critical review of history and common methodologies of Musical Instruments Pedagogy were done, focusing on brazilian’s context. The main reference for this work is the Pianistic Learning Theory (Teoria da Aprendizagem Pianística) from José Alberto Kaplan, dialoguing with Cognitive Psychology and Musical Instruments Pedagogy. Analysis of various musical instrument’s study tools were done, according to its applicability – general or idiomatic. Conclusions aim to model applications such as the addition of study tools analysis, construction of study planning and solutions for common Performance related problems, focusing on practical application of the present model to prove its efficiency for both students and experienced performers.

This research had as a general goal to understand how musical learning occurs in a school band based on the musical learning strategies found in such a context. This study sought to broaden perspectives on music band beyond what happens in the time/space devoted to classes and rehearsals, identifying resources, actors and behaviors triggered during learning. The research sought to answer the following research questions: Where and with whom students learn? How do they organize themselves to learn? What resources are used to learn music? Why? How are they used? The theoretical reference adopted in the survey was the self-regulation of learning (Bandura, 1986, 2001, 2008; Zimmerman, 1998, 2000, 2005) according to social cognitive bias. The study was conducted in a school band music of a Federal Institute of Education, Science and Technology. This research was done through an qualitative study, with a design close to that of a case study, in which the collection was carried out through observations and interviews. 08 classes and 06 band practices were observed during three weeks and semi-structured interviews were conducted with 09 students and the teacher. Both the teacher and the students assume the teacher only teaches basic music content (embouchure, breath, fingering some notes and score reading) from which students continue learning on their own. The research results indicate that students and teachers attribute the responsibility for learning to the students themselves and students use various self-regulatory strategies to learn, among which qualitatively the main are conducting searches on the Internet, repetition of specific passages, practice of memorizing music and requesting help from the colleagues. An important point of this study was the finding that the teacher does not occupy a central role in student learning, being sought, generally only for the removal of some doubts and working mainly as a promoter of learning, which further highlighted the need of self-regulatory skills of learning by the students in such a context.

The Republic of Korea has been protecting the ephemeral performative artistic and cultural phenomena collectively labeled intangible cultural heritage since Korea passed the Cultural Property Protection Law in 1962. The long history of performance protection in Korea has positioned Korea as an example for efforts around the world to protect intangible cultural heritage. The focus of Korean protection efforts is performance and transmission; this paper addresses the transmission occurring through intensive camps. Participant-observation based ethnographic research was conducted at two sites, the mask dance drama Kosŏng Ogwangdae and the farmer's drumming and dancing group Imshil P'ilbong Nongak to determine the effectiveness of the camps in transmitting performing arts knowledge. The young people who enroll in these camps represent the future of the Korean traditional performing arts; some are bound for professional performance or membership in the groups. The camps employ the performers and also create a pool of audience members and arts advocates. The students of the camps build community while they time travel to a liminal space where every day is the day before or the day of the big festival; their positive experience of Korean tradition leaves them connected to and supportive of the traditional arts.

The central problem of music performance teaching is how to develop a student 's ability to feel emotional contents of music and to pass these musical emotions during his performance. Essentially, these issues are related to the development of musical talent, in which the musical empathy plays a leading role. Recent studies show a close interrelation of emotions and movements in the music performance art, while in the understanding of music an important role belongs to modeling processes (embodied simulation), the bodily transmission of music. It is clear that this approach is particularly promising for music pedagogy, and first of all for pedagogy of music performance. This view will help the beginning performer to find the most efficient way for a better understanding of musical emotion within the content of the musical piece, and, moreover, will contribute to the development of expressive technical skills. In this article we will study the embodied perspective in piano teaching, as well as the system of teaching methods, based on the motor modeling of musical rhythm.

Análisis de los desafíos actuales y futuros de los planes de estudio de los conservatorios de música, mediante un análisis DAFO (Debilidades, Amenazas, Fortalezas y Oportunidades), que tiene en consideración tanto las características internas, en este caso de unas enseñanzas y unas instituciones responsables de impartirlas, como también los factores externos que pueden tener una repercusión en las mismas. Palabras clave: Educación musical, aprendizaje musical, LOMCE, LOE, enseñanzas profesionales de música
PROFESSIONAL MUSIC TEACHINGS: SWOT ANALYSIS Abstract: Analysis of the current and future challenges of curricula of music conservatories, through a SWOT analysis (Strengths, Weaknesses, Opportunities, and Threats), which takes into account both the internal characteristics, in this case of some teachings and institutions responsible for imparting them, as well as external factors that may have an impact on them.

Success in musical skills depend more on Self-concept and measured dedication than the amount of practice a student accumulates over ten years of pre-college studies. A research result is explored and its implication in parent education and pedagogy for all music teachers.