Developing familiarity

How does a newly formed duo of expert musicians negotiate a shared understanding of an unfamiliar work? Two musicians learned two songs over the course of seven days, each musician memorizing one of the songs. A multistrategy approach was used to analyze and triangulate data from their individual practice sessions and joint rehearsals. In this case study, the musicians’ rehearsal talk was analyzed to examine the nature of their socio-emotional interactions, preferred rehearsal strategies, and the features of the music to which they referred. Their interactions were positive: they made suggestions and agreed with each other, provided orientation, relieved tension with humor, and demonstrated solidarity. They tended to repeat short sections, referring most often to tempo, and then ensemble, entries, and dynamics. The study highlights the value of taking an observational approach to the study of collaborative rehearsal and performance, not least for the musicians themselves.

Perceived Learning Strategies Employed by Preschoolers in Learning English

Learning strategies are plans that learners use to achieve their learning goals. The current study investigates the perceived uses of learning strategies among preschoolers, namely Basic rehearsal strategies, Complex rehearsal strategies, Basic elaboration strategies, Complex elaboration strategies, Basic organizational strategies, Complex organizational strategies, Comprehension monitoring strategies and Affective and motivational strategies among preschoolers in learning English. The study employed 23 preschool teachers as the samples having semi-structured interviews as the research instrument. Findings from the study showed that the learning strategies were implemented by the preschoolers in the course of their learning. Yet, the degree of the usages of the learning strategies varies from one to another. The study implied that deciding on learning games, teaching aids, and asking appropriate questions during lessons are essential to maximize the learning strategies among children in their early learning.

Score Study—Look at Your Fish!

This chapter explores various methods for thoroughly learning a score. Although not the focal point of this book, having a well-prepared score before stepping onto the podium will provide better opportunities to design engaging and productive rehearsals. Each broad category of score study (such as text, time, architecture, harmony, etc.) includes sample brain-compatible rehearsal strategies. The chapter concludes with a consideration of frequently asked questions regarding how best to prepare a score for rehearsals and performance. Topics include methods for marking a score, how much or how little to listen to recordings, use of the International Phonetic Alphabet, and how to introduce a new score to your ensemble.

Problem Solving

This chapter examines how to design rehearsal strategies that take advantage of the brain’s natural tendency to learn efficiently through problem solving. After a brief discussion of the science of learning, this chapter offers pragmatic exercises and ideas to increase singer engagement through the embedding of problem solving throughout the rehearsal process. Areas explored include how to begin rehearsal with a problem to solve, encouraging autonomous decision-making from your singers, experimentation with tuning forks, and teaching your students to self-monitor. It also looks at ways to allow for singer analysis and experimentation, create provisions for follow up, incorporate reflective exercises, use the Socratic method, and utilize collaborative problem-solving techniques in rehearsal.

Rehearsal

The chapter discusses the characteristics of effective orchestra rehearsing that involve instructing students how to feel, hear, and see concepts so that efficient and purposeful practice can successfully occur. The process of designing motivating rehearsal environments, classroom structure, and skill sets is examined. Several rehearsal strategies are analyzed and demonstrated via score samples and videos that help students to develop better intonation, rhythmic alignment, tone quality, finger coordination, and consistency. The chapter explains that the director has the responsibility of ensuring that rehearsals inspire and develop musicianship among the students. Finally, the author demonstrates how a director’s deeper-level questioning can assist students in overcoming performance obstacles without director guidance.

Achieving Musical Success in the String Classroom

Achieving Musical Success in the String Classroom describes the author’s pragmatic pedagogical approach toward developing complete musicianship in beginning through advanced-level string players by incorporating the ideas of Mimi Zweig, Paul Rolland, and Shinichi Suzuki. The author’s philosophical assumptions are explained in regard to the structure and purpose of string teaching contributing to a high level of musical artistry among students. Introductory through advanced string concepts relating to instrument setup, posture, left- and right-hand development, music theory, aural skills, assessment procedures, imagery in playing, the development of individual practice and ensemble skills, and effective rehearsal strategies are explained in a sequential approach that benefits the classroom teacher and student. In addition, several score examples, sample lesson plans, and grading rubrics, as well as videos of the author demonstrating his pedagogical ideas and techniques with musicians, are included.

Beginning Rhythm Section

How does one take a concert band snare drummer, classically trained pianist, orchestral bass player, and self-taught guitar player and turn them into a jazz rhythm section? The drummer has never had so many drums and cymbals to worry about, the pianist may be playing with a group for the very first time, the bass player has to learn to “walk” a bass line, and the guitar player has to play in foreign keys. This chapter addresses the teaching of the rhythm section with regard to (a) rhythm section notation, (b) bass, (c) piano, (d) guitar, (e) drum set, (f) auxiliary instruments, and (g) rhythm section rehearsal strategies. It presents a sequential approach to teaching the beginning rhythm section: (a) walking bass lines, (b) voicing chords, (c) comping patterns, (d) playing setups and fills, and (e) interpreting and realizing instrument-specific rhythm section notation markings.

Questioning Strategies

This chapter examines questioning strategies and the ways music teachers can integrate requirements of evaluation systems to improve student participation, learning, and understanding. These improvements may be achieved while still preserving music making, skill building, and effective rehearsal strategies. First the chapter describes the connection between questioning and teacher evaluation. Then it discusses the importance of asking questions and addresses some concerns music teachers often have about asking questions. The chapter identifies the different types of questions teachers might ask and how to word them, then provides strategies to respond to students’ answers in the “third turn.” It concludes by offering strategies to implement and sequence questioning techniques in a lesson plan, including ways to “layer” questions. Sample lesson plans implementing effective questioning strategies are included in the second half of the chapter.

Rehearsal strategies

Like most challenging tasks in life rehearsal helps us to improve our performance, and with the interview, rehearsal is essential. This chapter discusses rehearsal strategies for the interview, considering groups, courses, modelling, and feedback (both from the group and on video). The advantages and disadvantages of interview courses are discussed. The chapter explores the benefit of rehearsal groups, the importance of the correct composition of such groups to be a positive influence, and how to give constructive feedback without undermining confidence. The chapter continues with an explanation of the modelling process as a group rehearsal strategy and thinks about how to apply empathy in the rehearsal group in order to enhance communication during the interview. This chapter includes a useful exercise for an interview rehearsal group to work towards having a panoramic perspective of performance.