Practicing
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10 Practice NANCY H. BARRY & SUSAN HALLAM Musicians practice to gain technical proficiency, learn new reper- toire, develop musical interpretation, memorize music, and prepare for performances. Based on available empirical research, we de- scribe appropriate practicing and learning strategies that can be incorporated into regular music teaching to encourage students to become aut onomou s learners. Research d emonstr ates that practice is more effective when musicians engage in metacognition (reflect- ing upon their own thought processes); employ mental practice in combination with physical practice; approach practice in an organized, goal-oriented manner; study and analyze scores; plan relatively short and regular practice sessions; are intrinsically motivated; and listen to appropriate musical examples including professional recordings and/or teacher demonstrations. Students may also benefit from understanding the relationship between time spent practicing and achievement, and the nature and the impor- tance of motivation. The old adage practi ce mak es pe rfect may not necessarily be true, because repetition of ineffective practice strat- egies can yield disappointing results. If I don’t practice for one day, I know it; if I don’t practice for two days, the critics know it; if I don’t practice for three days, the audience knows it. Ignacy Jan Paderewski, An Encyclopedia of Quotations About Music Practice is defined as “repeated performance or systematic exercise for the pur- pose of learning or acquiring proficiency” (Cayne, 1990, p. 787). In many con-
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Parncutt & McPhersonChapter about practicing strategies
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