Student learning in higher instrumental education: who is responsible?

By Harald Jørgensen. British Journal of Music Education, 2000

183 citations recorded by the source corpus.

Subfields: Developmental and Educational Psychology, Education

View Paper: https://www.semanticscholar.org/paper/ad78eb1f52d016a6e0c979e8278dd4a8a8b30795

How researchers see this paper

The researchers whose trusted networks rank it highest, strongest advocate first. Every researcher gets a different order.

In Developmental and Educational Psychology

1. K. Burwell
2. P. Evans
3. J. Karlsson
4. Patrik Juslin
5. Arielle Bonneville-Roussy
6. Graham F. Welch

In Education

1. K. Burwell
2. J. Karlsson
3. Patrik Juslin
4. P. Evans
5. Arielle Bonneville-Roussy
6. Graham F. Welch

Citations in the corpus

• Real-time feedback in the singing studio: an innovatory action-research project using new voice technology (2005, background): “With regard to the former, a study at the Oslo conservatorium of music (Jørgensen, 2000) revealed that 40% of new students over three successive years reported that their former teachers had put ‘very little’ or ‘no’ emphasis on practice behaviour.”
• A degree of independence: teachers' approaches to instrumental tuition in a university college (2005, background): “The independent practice of instrumental students in higher education has been usefully explored by Jørgensen (2000, 2002) though this remains an important area for further research.”
• Instrumental Performance Expertise and Amount of Practice among Instrumental Students in a Conservatoire (2002, background): “Or is it a sort of collective responsibility, where the conservatoire has some sort of responsibility (cf. Jørgensen, 2000)?”
• Musical expression: an observational study of instrumental teaching (2008, result): “Thus, the overall teaching approach was consistent with the ‘master–apprentice’ approach described in previous research (Jørgensen, 2000).”
• Self-determined motivation for practice in university music students (2016, background): “This style of teaching can probably be attributed to the master–apprentice relationship that has long been a tradition (Jørgensen, 2000), with its roots possibly in the boom of the industrial revolution, where printed method books proliferated, instrument ownership became commonplace, and the music…”