Motivational strategies: the outcome starts here: motivating through efficient and effective practicing.

The rationale for this session was the premise that students who practice effectively will accomplish more, derive increased satisfaction from their practice time and, therefore, be motivated to practice more.

Participants were encouraged to share techniques and strategies for practicing they have found effective with their students. Many ideas were generated and discussed, but due to the large number of participants and the breadth of the topic, it was not possible to explore the subject in sufficient depth. Fortunately, however, each group of participants recorded their ideas and left them with me to summarize.

After reviewing the written comments and reflecting on the session itself, my belief that one of our most important tasks as teachers is to "teach" our students how to practice effectively was reinforced. If we expect them to accomplish the goals we set and, moreover, enjoy the time they spend working toward these goals, we need to show them, in great detail, how to structure practice time productively. Once they leave our studio, they become, in effect, their own teacher until they return for the next lesson. A number of participants recommended modeling good practice techniques, emphasizing the importance of having the student observe the teacher at some length while engaged in well-focused practice. It also was recommended that we, in turn, have our students demonstrate good practice techniques during lessons so we can observe and offer suggestions for improvement.

To become effective "self-teachers," students also need to be taught how to evaluate their musical performance and practice strategies. The art of listening to one's own performance with an objective ear is an essential skill we must help our students develop. How will they know when they have achieved "correct" repetitions if they cannot perceive the difference between correct and incorrect? Teachers can have students critique themselves and can help students learn how to evaluate the specific musical goals set for them during lessons. This process is taught during lessons and practiced outside lessons. Use of audio- and/or videotape can be a useful supplement in this process.

To organize the Pedagogy Saturday session, four general areas of practice consideration were opened to the floor for comment. The first three topics, "When?" "Where?" and "How long?" served as icebreakers and to prepare for the more important question, "How?" Some suggestions for where and when to practice included: a) scheduling practice times and attending them like a lesson, class or other activity; b) providing for breaks within the practice session; c) practicing when the mind and body are fresh; d) practicing as soon as possible after a lesson to secure newly learned material; and e) making the practice area as appealing as possible so the student will want to be there, but also making it free of distractions.

The answers to the question of how much to practice shared one common theme--it is not the amount of time one spends that is most important, it is the goals accomplished that really matters. For some students, general time expectations may be of some value, but more importantly, they need a list of specific goals to accomplish before the next lesson. This may include: a) specific numbers of correct repetitions for sections/pieces, b) tempo goals; and c) specific aspects of piece(s) to focus on such as dynamics, phrasing, rhythms and so forth. A smaller number of very specific goals may be more effective than many general ones. Keeping a journal or chart that tracks student progress in various areas of development also is recommended.

The session participants shared myriad specific techniques to make practice time more efficient. Since there was not adequate time available to fully discuss these ideas, the coverage of the topic was in no way comprehensive. Rather than present a partial list of possibilities, I would encourage the reader to visit two websites dedicated to improvement of the practicing skills of musicians: www.magicmountainmusic.org and www.practicespot.com.

Bruce Hammel, associate professor of music, teaches bassoon at Virginia Commonwealth University (VCU) and serves as coordinator of undergraduate music theory. His bassoon ensemble, the VCU BassMasters, performs frequently throughout Virginia. Hammel also oversees the music department's computer lab.