The perceived influence of the one-on-one instrumental learning environment on tertiary string students’ perceptions of their own playing-related discomfort/pain

This article draws on qualitative data collected over a five-year period as part of a longitudinal mixed methods research project at a tertiary music institution in Australia. Forty tertiary string students consistently identified factors specific to the one-on-one instrumental teaching environment as influencing their perceptions as to the nature and causes of their playing-related discomfort pain. Student perceptions of individual teacher’s attitudes to pain and injury, experiences with regards to asking and receiving advice and the perceived influence of the first instrumental teacher are discussed using six examples. The paper concludes with several recommendations for instrumental music teachers and music institutions.

Perceptions of playing-related discomfort/pain among tertiary string students: A general overview of contributing factors

The purpose of this study is to gain a better understanding of the perceived impact of personal circumstances, past and present learning environments, and musical culture on the development of playing-related pain and injury among tertiary string students. The study used a multi-phased mixed-methods methodology with elements of both quantitative and qualitative research. Forty eligible Bachelor of Music string majors at a tertiary music institution in Australia completed questionnaires/interviews twice annually, totalling 181 sessions. Due to attrition of 11, the number of participants decreased to 29 (14 violinists, four violists, 11 cellists) of whom 17 took eight semesters to complete their programmes. Results showed students consistently reported a high incidence of playing-related discomfort/pain. Further analysis revealed key groups of contributing factors, including the Major Study course, orchestral rehearsals, practice, technique and non-playing-related activities. The qualitative data revealed the complexity, subjectivity, and individuality of student experiences and the extent to which they vary according to a number of complex and overlapping risk factors. The research suggests the need for education institutions to adopt a range of preventative strategies as part of a multifaceted approach to addressing the issue of playing-related pain and injury.

A qualitative exploration of higher self-efficacy string students preparing for a competition

This study examined and qualitatively described the music practice behaviors, strategies, and thoughts of four high school string students who indicated a high string playing self-efficacy. Concepts of practice, motivation, achievement, and self-efficacy were linked together to analyze tendencies and summarize strategies. These students were chosen from previous research where eight high and eight low self-efficacy string students were narrowed and compared after 101 string students’ self-efficacy scores were determined and 65 of those correlated to achievement. Each of the four students for the current study was videotaped practicing, interviewed, and given a two-week practice journal. Triangulation was used for reliability. The participants in this study were higher self-efficacy students who had common elements that enabled them to succeed, such as studying with expert teachers, practicing outside of orchestra at school and home, and owning a quality instrument. Practice strategies varied and were qualitatively described, but all four tended to show higher order thinking skills and organization. Any differences were noted and the student who did succeed had unique approaches seen in past research as advanced practicing.

The Development of a String Sight-Reading Pitch Skill Hierarchy

This study was designed to determine a pitch skill hierarchy for string sight-reading, to determine the effects of key on string sight-reading achievement, and to determine the validity of a tonal pattern system as a measurement of melodic sight-reading skill for string players. High school string students ( n = 94) obtained a mean score of 27.28 out of 31 on a modified version of the Vocal Sight-Reading Inventory. Success rates ranging from .99 to .72 were established for 31 pitch skills, grouped into eight tonal categories. Significant differences were found between skills appearing in the keys of D and E, with 11 of 31 skills obtaining significantly differing results by key. A .95 correlation between note-by-note and skill-based scoring systems indicates that skill-based scoring is a valid measurement of string players’ sight-reading of tonal pitch skills within a melodic context. Researchers should explore whether these pitch skills hold their relative difficulty level with less accomplished players and between instrument types, establish a hierarchy for rhythm skills, further investigate the effect of key, and identify anxiety levels for sight-reading when the consequences of performance quality vary.