Interest and choice: student-selected repertoire and its effect on practising behaviour

By James Renwick, Gary E. McPherson. 2002

151 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Experimental and Cognitive Psychology, Music

View Paper: https://www.semanticscholar.org/paper/df784b210b975e7562f39b59b3fe040d2005d3c1

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In Cognitive Neuroscience

In Experimental and Cognitive Psychology

In Music

Citations in the corpus

The Sources of Self-Efficacy (2016, background): “Similarly, allowing students opportunities to help choose repertoire may also lead to more cognitive engagement and practice efficiency (McPherson & McCormick, 1999; Renwick & McPherson, 2002).”
The Development of a Measure of Self-Regulated Practice Behavior for Beginning and Intermediate Instrumental Music Students (2012, background): “In addition, Renwick and McPherson (2002) found that students tended to avoid practicing music that requires a self-regulated approach to attain mastery.”
Self-determined motivation for practice in university music students (2016, background): “For the most dedicated music students, this means that a large proportion of their waking hours is spent on an activity that is relatively unguided and ill-defined (Barry & Hallam, 2002; Jørgensen, 2000; Renwick & McPherson, 2002).”
The role of parents in children's musical development (2009, background): “For example, Renwick and McPherson (2002) report on a case study with a 12-year-old female clarinettist who was observed practising repertoire she had chosen herself with a highly elevated level of attention, persistence and strategy use in comparison with repertoire assigned by her teacher.”
Self-regulation and music learning: A systematic review (2016, background): “Their findings also indicate, however, that if novices are allowed to choose their own repertoire, they may suddenly exhibit sophisticated practicing strategies (Renwick & McPherson, 2002).”
The role of psychological needs in ceasing music and music learning activities (2013, background): “Typical studio teaching strategies often involve prescribing extensive playing of scales without a rationale, placing an overemphasis on graded examinations, and focusing on repertoire completely determined by the teacher (Renwick & McPherson, 2002).”