The science and psychology of music performance: creative strategies for teaching and learning

By Thomas P. Rohrer. 2004

375 citations recorded by the source corpus.

View Paper: https://www.semanticscholar.org/paper/a9cf6e76eae5847fe0ec1832dfb72fa4929eca6b

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Citations in the corpus

The Development of a Measure of Self-Regulated Practice Behavior for Beginning and Intermediate Instrumental Music Students (2012, background): “Understanding the processes and methods by which students develop as self-sufficient music learners is an important endeavor for music education researchers and practitioners (Barry & Hallam, 2002).”
“Expressivity comes from within your soul”: A questionnaire study of music students' perspectives on expressivity (2003, background): “They know a lot about expressivity but find it difficult to express the knowledge verbally in a way that is accessible to the student (Juslin & Persson, 2002; Sloboda, 1996).”
Bodily movement and facial actions in expressive musical performance by solo and duo instrumentalists: Two distinctive case studies (2012, background): “…to achieve automation and fluency to a professional skill level (see Ericsson, Krampe, & Tesch-Römer, 1993) results in enlarged representations of somatosensory and auditory cortex (Pantev, Engelien, Candia, & Elbert, 2001), as well as in motor areas of the brain (Altenmüller & Gruhn, 2002).”
Music practice and participation for psychological well-being: A review of how music influences positive emotion, engagement, relationships, meaning, and accomplishment (2015, background): “…and participation are more instrument-specific and include, for example, problems with orofacial musculature especially targeting woodwind players (Fuks & Fadle, 2002) and musculoskeletal pain and problems in the hands and wrists especially targeting pianists (Yoshimura, Paul, Aerts, & Chesky,…”
Dimensions of Music Improvisation (2009, background): “…RESEARCH JOURNAL, 21(2–3), 232–242, 2009 Copyright # Taylor & Francis Group, LLC ISSN: 1040-0419 print=1532-6934 online DOI: 10.1080/10400410902861240 Kenny and Gellrich (2002) proposed three integrated models, referring to different aspects of improvisation: generative mechanisms, mental…”
Emotion, engagement and meaning in strong experiences of music performance (2012, background): “…three sources of performance anxiety: trait anxiety, or predispositions for anxiety or unrealistic thinking about performing; situational stress, such as that created by a given performance context; and (lack of) task mastery over the music to be performed (see also Wilson & Roland, 2002).”
A conceptual framework for understanding musical performance anxiety (2007, unknown): “Motivation to continue engagement with instrumental learning is linked to the social and cultural environment, and is important to consider how parents and teacher in particular may influence motivation (O’Neill & McPherson, 2002).”
When passion leads to excellence: the case of musicians (2011, background): “…the use of mastery-oriented motivational patterns (e.g. focus on the mastery of the task) seem to lead to persistence while helpless motivational patterns (e.g. failure avoidance) seem to lead to an increase in giving up when facing a musical difficulty (O’Neill, 1999; O’Neill & McPherson, 2002).”
Conceptions of Musical Ability (2003, background): “These issues continue to be researched and debated in the academic community (see Shuter-Dyson, 1999; Kemp & Mills, 2002 for recent reviews).”
Visual Perception of Expressiveness in Musicians' Body Movements (2007, background): “Davidson and Correia (2002) suggest four aspects that influence the body language in musical performances: (1) Communication with co-performers, (2) individual interpretations of the narrative or expressive/emotional elements of the music, (3) the performer’s own experiences and behaviors, and (4)…”
Music Performance Research at the Millennium (2003, background): “As in G99, I only briefly refer to matters directly related to music teaching and learning; for these, I refer readers to the recent volumes edited by Jorgensen and Lehmann (1997), Parncutt and McPherson (2002), and Rink (2002).”
Student Musicians’ Ear-Playing Ability as a Function of Vernacular Music Experiences (2010, background): “In fact, playing by ear may be the most foundational of musical skills, contributing to the ability to sight-read, improvise, play from memory, and perform rehearsed music (McPherson & Gabrielsson, 2002).”
Musical narratives: A study of a young child’s identity work in and through music-making (2011, background): “…vocalizations as reproducers of canonic song have informed our understanding of the nature and developmental trajectory of their vocal and singing development (Welch, 2000; Welch, Rush, & Howard, 1991; Welch, Sergeant & White, 1996, 1997; Welch & Sundberg, 2002; White, Sergeant & Welch, 1996).”
Music education in the twenty-first century:: a psychological perspective (2003, background): “…and communication in music (e.g. Juslin & Sloboda, 2001); the psychology of musical performance, at both the individual and the group level (e.g. Parncutt & McPherson, 2002); creativity, composition, and improvisation (e.g. Sundin, McPherson & Folkestad, 1998); individual differences,…”
Motivation and coping with the stress of assessment: Gender differences in outcomes for university students (2017, background): “…(e.g., school) have changed considerably over the last century or so, the teaching style in studio classical music training is steeped in a master-apprentice model, in which the teacher is the active and prescriptive expert, and the student is passive (Gaunt, 2008; McPherson & Gabrielsson, 2002).”
The Sources of Self-Efficacy (2016, background): “Some scholars have suggested that current music education practices are skewed toward an emphasis on the teaching and refinement of performance repertoire and techniques, with less opportunity for individual creativity (see B. J. Kenny & Gellerich, 2002; McPherson & Hendricks, 2010; Smith, 2014).”
Music, Thought, and Feeling: Understanding the Psychology of Music (2008, background): “…chapters (Performing Music and Music and Other Abilities) are especially interesting for music educators and musicians even if several applied music psychology books have also recently been targeted for these audiences (Parncutt & McPherson, 2002; Williamon, 2004; Lehmann, Sloboda, & Woody, 2007).”