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‘Play it by ear’ – teachers' responses to ear-playing tasks during one-to-one instrumental lessons
16 references·12 citing·38 second hop
‘Play it by ear’ – teachers' responses to ear-playing tasks during one-to-one instrumental lessons (2014)‘Play it by ear’ – teachers' responses to…The good research guide: for small-scale social research projects (2017)The good research guide: for …How Popular Musicians Learn (2017)How Popular Musicians LearnThe development of practising strategies in young people (2012)The development of practising…The Changing Face of Individual Instrumental Tuition: Value, Purpose, and Potential (2012)The Changing Face of Individu…Student Musicians’ Ear-Playing Ability as a Function of Vernacular Music Experiences (2010)Student Musicians’ Ear-Playin…Music Education in the 21st Century in the United Kingdom: Achievements, analysis and aspirations (2010)Music Education in the 21st C…Learning a musical instrument: The influence of interpersonal interaction on outcomes for school-aged pupils (2010)Learning a musical instrument…Music, informal learning and the school: a new classroom pedagogy (2009)Music, informal learning and …Motivation and Self-Regulated Learning: Theory, Research, and Applications (2009)Motivation and Self-Regulated…The Good Research Guide for small-scale social research projects 3rd Edition Ed. 3 (2007)The Good Research Guide for s…From child to musician: skill development during the beginning stages of learning an instrument (2004)From child to musician: skill…From Sound to Sign (2002)From Sound to SignObservation and Analysis of Suzuki String Teaching (2000)Observation and Analysis of S…Path Analysis of a Theoretical Model to Describe the Relationship among Five Types of Musical Performance (1997)Path Analysis of a Theoretica…The Assessment of Musical Performance: Development and Validation of Five New Measures (1995)The Assessment of Musical Per…Lessons from the world: a cross-cultural guide to music teaching and learning (1991)Lessons from the world: a cro…Children’s and adolescents’ engagement with music and the potential for (digital) empowerment processes: A text-mining-supported scoping review (2024)Children’s and adolescents’ e…Sing by Ear project: multiple-case studies of popular music education in Hong Kong (2023)Sing by Ear project: multiple…Informal learning of Cantonese operatic singing in Hong Kong: an autoethnographic study (2021)Informal learning of Cantones…Developing one-to-one contemporary trumpet teaching strategies through peer observation and collaborative reflection (2019)Developing one-to-one contemp…Teachers’ strategies for playing by ear in one-to-one instrumental lessons: a case-study in Spain (2018)Teachers’ strategies for play…Gender differences in musical motivation at different levels of expertise (2018)Gender differences in musical…Formal or informal—which learning approach do music majors prefer? (2018)Formal or informal—which lear…Promoting collaborative playful experimentation through group playing by ear in higher education (2017)Promoting collaborative playf…Informal music making in studio music instruction: A Canadian case study (2017)Informal music making in stud…Informal learning: A lived experience in a university musicianship class (2017)Informal learning: A lived ex…Group Playing by Ear in Higher Education: the processes that support imitation, invention and group improvisation (2017)Group Playing by Ear in Highe…Experiential (informal/non-formal) practice does not improve sight-reading skills (2016)Experiential (informal/non-fo…Applications of Research in Music Behavior (1988)Sequential Patterns of Instruction in Music (1989)Verbal Instruction in Instrumental Rehearsals: A Comparison of Three Career Levels and Preservice Teachers (1997)Effects of Verbal Corrections on Student Attitude and Performance (1998)Parent–teacher–pupil interactions in instrumental music tuition: a literature review (2003)Motivation, Emotion, and Cognition (2004)Handbook of Research on Music Teaching and Learning (1992)The role of practice in the development of performing musicians (1996)The New Handbook Of Research On Music Teaching And Learning (2004)The role of parents in children's musical development (2008)Self-determination theory: An approach to motivation in music education (2015)Handbook of Self-Regulation of Learning and Performance (2017)Developing Talent in Young People (1985)The effect of self-regulation instruction on the performance achievement, musical self-efficacy, and practicing of advanced wind players (2013)When quantity is not enough: Disentangling the roles of practice time, self-regulation and deliberate practice in musical achievement (2014)Deliberate Practice and Proposed Limits on the Effects of Practice on the Acquisition of Expert Performance: Why the Original Definition Matters and Recommendations for Future Research (2019)The Application of Electronic Computers to Factor Analysis (1960)The role of parental influences in the development of musical performance (1996)What predicts level of expertise attained, quality of performance, and future musical aspirations in young instrumental players? 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this work references cited by second hop

References

  • 2009Motivation and Self-Regulated Learning: Theory, Research, and Applications1,435 cited
  • 2017The good research guide: for small-scale social research projects1,176 cited
  • 2009Music, informal learning and the school: a new classroom pedagogy595 cited
  • 2007The Good Research Guide for small-scale social research projects 3rd Edition Ed. 3586 cited
  • 2004From child to musician: skill development during the beginning stages of learning an instrument304 cited
  • 2017How Popular Musicians Learn223 cited
  • 2012The development of practising strategies in young people152 cited
  • 1991Lessons from the world: a cross-cultural guide to music teaching and learning130 cited
  • 2000Observation and Analysis of Suzuki String Teaching110 cited
  • 2010Learning a musical instrument: The influence of interpersonal interaction on outcomes for school-aged pupils108 cited
  • 2002From Sound to Sign105 cited
  • 2010Student Musicians’ Ear-Playing Ability as a Function of Vernacular Music Experiences104 cited
  • 1995The Assessment of Musical Performance: Development and Validation of Five New Measures82 cited
  • 1997Path Analysis of a Theoretical Model to Describe the Relationship among Five Types of Musical Performance80 cited
  • 2010

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Music Education in the 21st Century in the United Kingdom: Achievements, analysis and aspirations
73 cited
  • 2012The Changing Face of Individual Instrumental Tuition: Value, Purpose, and Potential68 cited
  • Cited by

    • 2017Promoting collaborative playful experimentation through group playing by ear in higher education14 cited
    • 2017Informal learning: A lived experience in a university musicianship class13 cited
    • 2018Formal or informal—which learning approach do music majors prefer?13 cited
    • 2018Gender differences in musical motivation at different levels of expertise11 cited
    • 2016Experiential (informal/non-formal) practice does not improve sight-reading skills10 cited
    • 2017Group Playing by Ear in Higher Education: the processes that support imitation, invention and group improvisation9 cited
    • 2017Informal music making in studio music instruction: A Canadian case study5 cited
    • 2021Informal learning of Cantonese operatic singing in Hong Kong: an autoethnographic study5 cited
    • 2018Teachers’ strategies for playing by ear in one-to-one instrumental lessons: a case-study in Spain5 cited
    • 2023Sing by Ear project: multiple-case studies of popular music education in Hong Kong4 cited
    • 2019Developing one-to-one contemporary trumpet teaching strategies through peer observation and collaborative reflection4 cited
    • 2024Children’s and adolescents’ engagement with music and the potential for (digital) empowerment processes: A text-mining-supported scoping review4 cited