| Acknowledgments |
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xi | |
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xiii | |
| Introduction |
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xix | |
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1 The Beginning Musician: Practice Is Play |
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3 | (32) |
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5 | (10) |
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Aural Cognition, Language Acquisition, and Musical Processing |
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8 | (7) |
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Music Perception and Preparatory Audiation |
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15 | (1) |
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Optimal Teaching Strategies for the Young Beginner |
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16 | (11) |
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26 | (1) |
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27 | (8) |
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2 The Intermediate Musician: Fluent Music Reading and Early Problem Solving |
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35 | (24) |
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From "Beginner" to "Intermediate" |
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35 | (1) |
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36 | (2) |
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Beginning Music Reading: Bringing Meaning to the Score |
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38 | (13) |
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[ Long-Term] Working Memory, Chunking, and Template Theories |
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43 | (8) |
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Execution, and Benefits, of Mental Practice |
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51 | (1) |
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"Theory"---When, How, and Why |
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52 | (2) |
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More Relevant than Learning Styles: Personality, Character, and Motivation |
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54 | (5) |
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3 Practice Strategies for Musicians of Burgeoning Independence |
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59 | (10) |
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If You're Not Thinking, You're Not Practicing |
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63 | (1) |
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Don't Do It Again Until You Know Why |
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64 | (1) |
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Audiation Pause = Learning Pause |
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65 | (1) |
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66 | (1) |
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Patterns and Mental "Chunking" |
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67 | (2) |
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4 Specific Practice Strategies for the Intermediate Musician |
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69 | (22) |
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Preparatory Practice Strategies |
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69 | (3) |
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72 | (3) |
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75 | (1) |
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76 | (1) |
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77 | (1) |
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78 | (1) |
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79 | (6) |
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Benefits and Challenges of These Types of Practice Strategies for the Intermediate Musician |
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85 | (6) |
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5 The Advanced Musician: The Cognition of Expertise |
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91 | (52) |
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92 | (4) |
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Mindful Practice and Avoidance of Excessive Automatization |
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96 | (1) |
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Knowledge Representation, Working Memory, and Skilled Visual Processing |
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97 | (7) |
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Long-Term Memory: Retention and Retneval |
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104 | (4) |
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Multiple Intelligences and Rule Learning |
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108 | (6) |
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(Creative) Problem Solving |
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114 | (8) |
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Impact of Mood on Problem Solving and Success |
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117 | (5) |
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Motor Control and Development, and the Risks of Excessive Automaticity |
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122 | (4) |
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Multimodal Imagery and Musical Memorization |
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126 | (3) |
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Deliberate, Distributed, Interleaved Practice |
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129 | (6) |
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Self-Monitoring and Self-Evaluation |
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135 | (8) |
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6 Conceptual Solutions to Technical Problems (They Are All Technical Problems) |
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143 | (40) |
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Practice Tools and Strategies for More Challenging Problems |
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143 | (3) |
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146 | (5) |
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151 | (4) |
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155 | (7) |
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Scaffolding and Hypermeter |
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162 | (9) |
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Mental Practice, Mapping, and Memorization |
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171 | (12) |
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7 Practice Strategies for Solving Physical Problems |
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183 | (32) |
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Physical Practice: Chunking, Gestures, The Chart, and Fingerings |
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183 | (1) |
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183 | (4) |
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187 | (6) |
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193 | (1) |
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194 | (5) |
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199 | (1) |
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Fingerings and How They Help Form Meaningful Units |
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200 | (7) |
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Above Strategies in Sequence and Combination |
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207 | (8) |
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8 How Intentional Practice Benefits Performance |
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215 | (6) |
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Appendix A Sample Lesson Plan and Practice Sheet: Beginning Musician |
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221 | (4) |
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Appendix B Sample Practice Assignments: Intermediate Musician |
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225 | (8) |
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Appendix C The Integrated Lesson |
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233 | (4) |
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Appendix D Practice Strategies by Category and Figure Numbers |
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237 | (2) |
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Appendix E Areas of the Brain Involved in Language and Music Production and Comprehension |
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239 | (4) |
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Appendix F Workshop Templates |
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243 | (2) |
| Bibliography |
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245 | (10) |
| Index |
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255 | (6) |
| About the Author |
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261 | |
