Hostname: page-component-586b7cd67f-t8hqh Total loading time: 0 Render date: 2024-11-30T21:21:27.114Z Has data issue: false hasContentIssue false

Time for practice: implications of undergraduate pianists’ choices of repertoire

Published online by Cambridge University Press:  03 February 2021

Katie Zhukov*
Affiliation:
School of Music, Monash University, Melbourne, Australia University of Queensland, Australia
Jane Ginsborg
Affiliation:
Royal Northern College of Music, Manchester, UK
*
Corresponding author. Email: [email protected]

Abstract

There is an on-going debate as to the skills needed for 21st century careers in classical music and how undergraduate students should learn them. Many graduate pianists report being under-prepared for the music profession, lacking sight-reading skills in particular. While research-evidenced pedagogy for improving sight-reading skills has been developed, little is known regarding what impact enhancing this skill could have on undergraduate educational experience. The present study aimed to evaluate the effect of sight-reading training on undergraduate pianists’ choices of repertoire for practice. Two groups of 12 participants were recruited from three institutions in the UK and Australia. One group undertook the sight-reading training programme for 10 weeks. Both groups listed the solo, concerto, chamber and accompanying repertoire they practised. The mean lengths of time participants spent practising each kind of repertoire were calculated. There were significant effects of institution and therefore country on practice time but no effects of the sight-reading training. Nevertheless, the findings suggest that interventions should be designed to develop pianists’ practical skills, including sight-reading, and the long-term effects of such interventions on quality of deliberate practice, particularly on the types of repertoire that are likely to be most valuable for pianists in the early stages of their career, should be evaluated.

Type
Article
Copyright
© Cambridge University Press 2021

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

AHO, H. (2013). I listen, I hear, I understand: Students’ collaborative search for criteria to empower constructive feedback in classical piano performance. In Gaunt, H. & Westerlund, H. (Eds.), Collaborative Learning in Higher Music Education: Why, What and How? (pp. 165172). ProQuest Ebook Central: Taylor and Francis.Google Scholar
BARTLEET, B-L., et al. (2012). Preparing for portfolio careers in Australian music: Setting a research agenda. Australian Journal of Music Education, 1, 3241.Google Scholar
BENNETT, D. (2016). Developing employability and professional identity through visual narratives. Australian Arts Education, 37(2), 100115.Google Scholar
BURNARD, P. (2014). Leadership creativities and leadership development in higher music education. In Burnard, P. (ed.), Developing Creativities in Higher Music Education: International Perspectives and Practices (pp. 213222). Abingdon: Routledge.Google Scholar
CHOI, R. (2013). Keys to the Future: A Study of Undergraduate Piano Education. DMA thesis, ProQuest Dissertations. ISBN: 9781303056864.Google Scholar
COATS, S. (2006). Thinking as You Play: Teaching Piano in Individual and Group Lessons. Bloomington: Indiana University Press.Google Scholar
DANIEL, R. (2004). Innovations in piano teaching: A small-group model for the tertiary level. Music Education Research, 6(1), 2343.CrossRefGoogle Scholar
DEPARTMENT OF EMPLOYMENT, EDUCATION, AND TRAINING & DAWKINS, J. (1988). Higher Education: A Policy Statement. Canberra: Australian Government Publication Service.Google Scholar
GAUNT, H., CREECH, A., LONG, M. & HALLAM, S. (2012). Supporting conservatoire students towards professional integration: One-to-one tuition and the potential of mentoring. Music Education Research, 14(1), 2543.CrossRefGoogle Scholar
GAUNT, H. & WESTERLUND, H. (2013). The case for collaborative learning in higher music education. In Gaunt, H. & Westerlund, H. (eds.), Collaborative Learning in Higher Music Education: Why, What and How? (pp. 19). Burlington: Ashgate.Google Scholar
HADDON, E. (2017). Piano performance: Group classes for the lifelong learner. Research Studies in Music Education, 39(1), 5771.CrossRefGoogle Scholar
JARVIN, L. & SUBOTNIK, R. F. (2010). Wisdom from conservatory faculty: Insights on success in classical music performance. Roeper Review, 32(20), 7897.CrossRefGoogle Scholar
KIRK, S. (2014). Working together to prepare music students for the 21st century careers. American Music Teacher, 63(5), 4345.Google Scholar
LEHMANN, A. C. & ERICSSON, K. A. (1996). Performance without preparation: Structure and acquisition of expert sight-reading and accompanying performance. Psychomusicology, 15, 129.CrossRefGoogle Scholar
MELCK, M. (2019). An exploration of the influences of répétiteur work on solo pianism: A practice-led study. MMus Performing Art Dissertation, University of Pretoria, South Africa. http://hdl.handle.net/2263/70685 Google Scholar
MICHALSKI, Y. (2008). Skills and Behaviours Important for Effective Piano Teaching: A Survey of the Piano Pedagogy Components of Current Undergraduate Music Degree in Australian Tertiary Institutions. Unpublished PhD thesis, University of Queensland, Australia.Google Scholar
MIKSZA, P. & TAN, L. (2015). Predicting collegiate wind players’ practice efficiency, flow, and self-efficacy for self-regulation: An exploratory study of relationships between teachers’ instruction and students’ practicing. Journal of Research in Music Education, 63(2), 162179. https://doi.org/10.1177/0022429415583474 CrossRefGoogle Scholar
PERKINS, R. (2013). Learning cultures and the conservatoire: An ethnographically-informed case study. Music Education Research, 15(2), 196213.CrossRefGoogle Scholar
SARATH, E., et al. (2014). Transforming Music Study from its Foundations: A Manifesto for Progressive Change in the Undergraduate Preparation of Music Majors. USA: The College Music Society.Google Scholar
TABACHNICK, B. G. & FIDELL, L. S. (2013). Using Multivariate Statistics (6th ed.). Boston: Pearson Education.Google Scholar
WALKER, T. (2008). The status of the B.M.: Piano performance degree. American Piano Teacher, 57(5), 2022.Google Scholar
WRISTEN, B. (2005). Cognition and motor execution in piano sight-reading: A review of literature. Update: Applications of Research in Music Education, 24, 4456.Google Scholar
YI, S. (2015). Innovative Pedagogy: Integrated Curriculum Design for the University functional Keyboard Skills Course. DA thesis, ProQuest Dissertations, 10032394.Google Scholar
YOUNG, M. M. (2013). University-Level group piano instruction and professional musicians. Music Education Research, 15(1), 5973.CrossRefGoogle Scholar
ZHUKOV, K. (2010). Piano assessment in Australian higher education – time for a change? In Hannan, M. (ed.), Proceedings of the International Society for Music Education (ISME) 18 th International Seminar of the Commission for the Education of the Professional Musician (CEPROM), 27–30 July 2010, Shanghai, China, 9296. ISBN 978-0-9806310-6-7.Google Scholar
ZHUKOV, K. (2014a). Exploring advanced piano students’ approaches to sight-reading. International Journal of Music Education: Practice, 32(4), 487498. https://doi.org/10.1177/0255761413517038 CrossRefGoogle Scholar
ZHUKOV, K. (2014b). Evaluating new approaches to teaching of sight-reading skills to advanced pianists. Music Education Research, 16(1), 7087. https://doi.org/10.1080/14613808.2013.819845 CrossRefGoogle Scholar
ZHUKOV, K. (2014c). Sight-Reading for Advanced Pianists. Wollongong, Australia: Wirripang Publications. ISMN: 979 0 720140 65 0. ISBN: 978-1-876829-32-2.Google Scholar
ZHUKOV, K. (2015). Challenging approaches to assessment of instrumental learning. In Lebler, D., Carey, G. & Harrison, S. (eds.), Assessment in Music: From Policy to Practice (pp. 5570). Springer. ISBN 978-3-319-10273-3. https://doi.org/10.1007/978-3-319-10274-0_5 Google Scholar
ZHUKOV, K., et al. (2016). Improving sight-reading skills in advanced pianists: A hybrid approach. Psychology of Music, 44(2), 155–67. doi: 10.1177/0305735614550229 CrossRefGoogle Scholar
ZHUKOV, K. (2017). Experiential (informal/non-formal) practice does not improve sight-reading skills Musicae Scientiae, 21(4), 418429. doi: 10.1177/1029864916684193 CrossRefGoogle Scholar
ZHUKOV, K. (2019). Identifying skills for successful classical music careers: Implications for higher education studio teaching leadership. In Rowley, J., Bennett, D., & Schmidt, P. (eds.), Leadership of Pedagogy and Curriculum in Higher Music Education (pp. 115132). New York: Routledge. https://www.routledge.com/Leadership-of-Pedagogy-and-Curriculum-in-Higher-Music-Education/Rowley-Bennett-Schmidt/p/book/9780367077334 CrossRefGoogle Scholar