Rehearsal skill and musical competence: does practice make perfect?

By L. Gruson. 2001

130 citations recorded by the source corpus.

Subfields: Music

View Paper: https://www.semanticscholar.org/paper/9db2f3db4631bc47d306e8729fc685d0f9fba1d5

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In Music

Citations in the corpus

The Influence of Experience and Deliberate Practice on the Development of Superior Expert Performance (2006, background): “With increased skill in monitoring, skilled performers in music focus on mastering new challenges by goal-directed deliberate practice involving problem solving and specialized training techniques (Chaffin & Imre, 1997; Ericsson, 2002; Gruson, 1988; Nielsen, 1999).”
A Longitudinal Study of Self-regulation in Children's Musical Practice (2001, background): “As would be expected from previous research (Gruson, 1988; Hallam, 2001), there was now a trend to repeat more than two notes after an error instead of one or two.”
Expert Performance in Sports: Advances in Research on Sport Expertise (2003, background): “…musicians increases, so does a similar progression toward increased quality of practice, where the expert-level musicians engage in problem solving and rely on specialized training techniques to master the remaining challenges (Chaffin & Imreh, 1997; Ericsson, 2002; Gruson, 1988; Nielsen, 1999).”
Preparing for memorized cello performance: the role of performance cues (2010, background): “On the other hand, third person observation of practice provides a detailed behavioural record, but is hard to interpret (e.g., Gruson, 1988 ).”
Giftedness and evidence for reproducibly superior performance: an account based on the expert performance framework (2007, background): “For example, as skill levels of musicians increase there is a progression toward increased quality of practice, where expert musicians engage in problem‐solving and rely on specialized training techniques to master greater challenges (Gruson, 1988 ; Chaffin & Imreh, 1997 ; Nielson, 1999 ; Ericsso”
The development of practising strategies in young people (2012, background): “However, they have limitations in terms of sample size and instrument breadth (Gruson, 1988; Hallam, 1997a) and because of the length of the period of the study (McPherson & Renwick, 2001).”
The Development of a Measure of Self-Regulated Practice Behavior for Beginning and Intermediate Instrumental Music Students (2012, background): “…those in previous research that demonstrated links between reported (e.g., Hallam, 2001b; McPherson, 1997; McPherson & McCormick, 2006) and observed behaviors (e.g., Duke et al., 2009; Gruson, 1988; Miksza, 2011) indicative of relatively strategic practicing and positive music learning outcomes.”
Exploring music practice among sixth-grade band and orchestra students (2006, background): “When novice musicians are studied, practice behaviors tend to be interpreted in relation to expert models, rather than as unique developmental phenomena (Gruson, 1988; Sloboda and Davidson, 1996).”
Music Performance Research at the Millennium (2003, background): “Errors were left uncorrected or led to the repetition of a single note or a small section (cf. Gruson, 1988).”
Developing Effective Practise Strategies: Case studies of three young instrumentalists (2000, methodology): “Their practising strategies were negligible, supporting established ndings (Hallam, 1997; Gruson, 1988) that the majority of children will play pieces through without any attempt at self-correction, rather than identifying dif cult sections and working on those.”
It's Not How Much; It's How (2009, background): “In her study of pianists’ practice, Gruson (1988) reported that the single best predictor of skill level was the extent to which players repeated larger sections of music, rather than individual notes.”
Seeing the Big Picture: Piano Practice as Expert Problem Solving (2003, unknown): “7; Gruson, 1988; Miklaszewski, 1989).”
Applying self-regulated learning microanalysis to study musicians’ practice (2019, methodology): “While previous attempts to research practice efficiency have largely concentrated on behavioural aspects (e.g., Chaffin, Imreh, & Crawford, 2002; Gruson, 1988; Jørgensen, 2002; Lehmann & Ericsson, 1998), the expanded view we present here outlines a technique that focuses on the types of behaviours…”
Focus of Attention Affects Performance of Motor Skills in Music (2011, background): “Investigations of musicians’ practice have begun to reveal aspects of practice structure and learner cognition that contribute to the effectiveness of practice by experts (Chaffin & Imreh, 1997, 2001, 2002; Chaffin, Imreh, Lemieux, & Chen, 2003; Duke, Simmons, & Cash, 2009; Gruson, 1988; Maynard, 20”
The Development of Expertise in Young Musicians: Strategy Use, Knowledge Acquisition and Individual Diversity (2001, background): “The development of practising strategies in novice pianists was explored by Gruson (1988).”
Interest and choice: student-selected repertoire and its effect on practising behaviour (2002, background): “As skill develops, musicians increase the size of the sections that they repeat, as well as varying such performance dimensions as tempo and hand use (Chaf®n & Imreh, 1997; Gruson, 1988; Hallam, 1995; Miklaszewski, 1989; Nielsen, 1999a; Williamon & Valentine, 2000).”
Goal orientation, implicit theory of ability, and collegiate instrumental music practice (2005, methodology): “These factors are presented in Table 5 along with conjectured correspondences with the strategy taxonomies of Gruson (1988), Pintrich and Garcia (1991), Hallam (1995), Nielsen (1999), and Geiersbach (2000).”