ABSTRACT

This study analyzes goal imaging methods used by college applied piano major students. The study group comprised of 113 college piano major students at two universities located in Busan·Gyeongnam area. 1st, 2nd, 3rd, and 4th graders conducted a survey by questionnaires. As a result of the research, the students were most likely to use auditory modeling approach (m = 5.63), followed by image and metaphor approach (m = 5.89), and least likely to use decipher music notation approach (m = 5.89). From the 10 sub-items of goal imaging methods, ‘reminding of teacher’s auditory modeling and expressive demonstration’ scored the highest. Next is ‘following music notations.’ And, ‘listening to the recording of the lesson scored the lowest.

Keyword :

REFERENCES

1. 배수영 (2016). 대학 피아노 전공 실기 지도교수들의 연습전략 지도방법 연구. 음악교육연구. 45(4). 93-113
2. 석문주, 최은식, 함희주, 권덕원 (2017). 음악교육의 이해와 실천 (제2판). 서울:교육과학사.
3. 송무경 (2017). 연주자를 위한 조성음악 분석 1. 서울: 예솔.
4. 안미자 (2007). 피아노 어떻게 배울까. 서울: 이화여자대학교 출판부.
5. Barry, N. H. (2007). A qualitative study of applied music lessons and subsequent student practice sessions. Contributions to Music Education, 34, 51-65.
6. Barten, S. S. (1998). Speaking of music: The use of motor-affective metaphors in music instruction. Journal of Aesthetic Education, 32(2), 89-97. https://doi.org/10.2307/3333561 [Crossref]
7. Bathgate, M., Sims-Knight, J., & Schunn, C. (2012). Thoughts on thinking: Engaging novice music students in metacognition. Applied Cognitive Psychology, 26(3). https://doi.org/10.1002/acp.1842 [Crossref]
8. Clarke, E. F. (1993). Imitating and evaluating real and transformed musical performances. Music Perception, 10(3), 317-341. https://doi.org/10.2307/40285573 [Crossref]
9. Dickey, M. R. (1992). A review of research on modeling in music teaching and learning. Bulletin of the Council for Research in Music Education, 113, 27-40.
10. Ericsson, K. A., Krampe, R. T., & Tesch-Römer, C. (1993). The role of deliberate practice in the acquisition of expert performance. Psychological Review, 100, 363-406. https://doi.org/10.1037/0033-295X.100.3.363 [Crossref]
11. Ericsson, K. A., Prietula, M. J., & Cokely, E. (2007). The making of an expert. Harvard Business Review, 85(7-8), 115-121.
12. Johnson, C. M. (2000). Effect instruction in appropriate rubato usage on the onset timings of musicians in performances of Bach. Journal of Research in Music Education, 48, 78-84. https://doi.org/10.2307/3345458 [Crossref]
13. Juslin, P. N., & Persson, R. S. (2002). Emotional communication. In R. Parncutt & G. E. McPherson (Eds.), The science and psychology of music performance: Creative strategies for teaching and learning (pp.219-236). New York: Oxford University Press. https://doi.org/10.1093/acprof:oso/9780195138108.003.0014 [Crossref]
14. Laukka, P. (2004). Instrumental music teachers' views on expressivity: A report from music conservatories. Music Education Research, 6(1), 45-56. https://doi.org/10.1080/1461380032000182821 [Crossref]
15. Lehmann, A. D. & Ericsson, K. A. (1997). Research of expert performance and deliberate practice: Implication for the education of amateur musicians and music students. Psychomusicology, 16, 40-58. https://doi.org/10.1037/h0094068 [Crossref]
16. Lindström, E., Juslin, P. N., Bresin, R., & Williamon, A. (2003). Expressivity comes from within your soul: A questionnaire study of music students' perspectives on expressivity. Research Studies in Music Education, 20, 23-47. https://doi.org/10.1177/1321103X030200010201 [Crossref]
17. Lisboa, T., Williamon, A., Zicari, M., & Eiholzer, H. (2005). Mastery through imitation: A preliminary study. Musicae Scientiae, 9(1), 75-110. https://doi.org/10.1177/102986490500900103 [Crossref]
18. Malcolm, T. (1992). Teaching Strategies and Styles. In R. Colwell(Ed.), Handbook of Research on Music Teaching and Learning (pp. 525-534). New Your: Schirmer.
19. Persson, R. (1996). Brilliant performers as teachers: A case study of commonsense teaching in a conservatoire setting. International Journal of Music Education, 28, 25-36. https://doi.org/10.1177/025576149602800103 [Crossref]
20. Rosenthal, R. (1984). The relative effects of guided model, model only, guide only and practice only treatments on the accuracy of advanced https://doi.org/10.2307/3344924 [Crossref]
21. instrumentalists; musical performance. J ournal of Research in Music Education, 32(4), 265-273.
22. Sandor, G. (2010). 온 피아노 플레잉. 김귀현, 김영숙 역. 서울: 음악춘추사.
23. Saintilan, N. (2014). The use of imagery during the performance of memorized music. Psychomusicology: Music, Mind, and Brain, 24(4), 309-315. https://doi.org/10.1037/pmu0000080 [Crossref]
24. Sheldon, D. A. (2004). Listeners' identification of musical expression through figurative language and musical terminology. J ournal of Research in Music Education, 52, 357-368. https://doi.org/10.1177/002242940405200407 [Crossref]
25. Woody, R. H. (1999). Getting into their heads. American Music Teacher, 49(3), 24-27. https://doi.org/10.1177/000313139904900404 [Crossref]
26. Woody, R. H. (2000). Learning expressivity in music performance: An exploratory study. Research Studies in Music Education, 14, 14-23 https://doi.org/10.1177/1321103X0001400102 [Crossref]
27. Woody, R. H. (2002). Emotion, imagery and metaphor in the acquisition of musical performance skill. Music Education Research, 4, 213-224. https://doi.org/10.1080/1461380022000011920 [Crossref]
28. Woody, R. H. (2006). The effect of various instructional conditions on expressive music performance. J ournal of Music Education, 54(1), 21-36. https://doi.org/10.1177/002242940605400103 [Crossref]