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#Future never end instrumental professional
In a study investigating health and wellbeing related issues in seven British conservatories revealed that most students expressed a general need for one-to-one teaching in relation to performance and practice issues, injury prevention, and the development of professional skills ( Atkins, 2009). These studies have all noted that there is a need to help music students to utilize their time and effort in ways that motivate and enable stable progress toward successful professional music careers. Several studies have indicated a potential for individual development during higher music education ( Ericsson et al., 1993 Jørgensen, 1996, 2000 Nielsen, 2004 Ericsson, 2006). Findings from different research studies imply that performing music students tend to lack proactivity toward the planning of physical and mental practice ( Jørgensen, 1996 Gaunt, 2009 Lehmann and Jørgensen, 2012 Burwell and Shipton, 2013).
#Future never end instrumental how to
Important issues such as how to plan and organize instrument practice, what sort of goals enhance progress and motivation to practice, how to solve specific tasks, or even how to evaluate instrument practice are rarely addressed within the context of higher music education.
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Consequently, guiding the learning of the art of instrument practice appears to be both underestimated and neglected in higher music education. However, during the last four decades, several studies revealed that music students are recurrently not provided with information about how to practice, but how to play and perform the music ( Jørgensen, 1996 Jørgensen and Lehmann, 1997 Atkins, 2009 Gaunt, 2009 Lehmann and Jørgensen, 2012 Burwell and Shipton, 2013). The famous pianist and pedagogue, Walter Gieseking, pointed out a central aspect of teaching music: “ one of the most important duties of a pedagogue, if not the most important, is to teach the pupil how to practice correctly” ( Leimer and Gieseking, 1972, p.
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In music, the quality of practice and the level of performance are intricately linked to one another. Perceived effects of the intervention were collected through semi-structured interviews, observations, and logs.
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The program evaluated multiple intervention tools including the use of questionnaires, performance profiling, iPads, electronic practice logs, recording the perceived value of individual and combined work, as well as the effectiveness of different communication forms. A 2-month psychological skills intervention was provided to two students from the national music academy's bachelor program in music performance to better understand how to adapt and construct psychological skills training programs for performing music students. This research project also aims to build foundations on how to implement future interventions to guide music students on how to optimize practice toward performance. The goals of the present study are to evaluate, implement, and adapt psychological skills used in the realm of sports into music performance. 2Department of Coaching and Psychology, Norwegian School of Sport Sciences, Oslo, Norway.1Department of Music Education, Norwegian Academy of Music, Oslo, Norway.