This article describes the development of a music practice microanalysis protocol that is based on the three-phase model of self-regulated learning (i.e., Forethought, Performance, and Self-Reflection). Up until now, most studies on music practice have tended to focus on behavioural aspects. The expanded view presented here outlines a technique for mapping the types of behaviours (actions), cognition (thoughts), and affect (feelings) that can help focus musicians’ practice. To explain the technique, we describe the practice of two first year Bachelor of Music students studying at a prominent university music school who are compared at three time points across one semester as they prepare an étude for a performance exam. These case studies demonstrate two broadly contrasting self-regulated learning profiles of how microanalysis can be used to cue students to think about what they are doing and then reflect critically on the strategies they can use to improve their playing. As a technique, microanalysis can inform educational interventions aimed at breaking the cycle of habits that typify musical practice by encouraging musicians to become more behaviourally, metacognitively, and motivationally involved in their own learning.

Keynote Address: 2018 International Society for Music Education World Conference

People with quadriplegia have a high risk for respiratory illness, social isolation and depression. Previous research has demonstrated that therapeutic singing interventions can not only improve breathing function and speech loudness, but also improve mood and social connectedness for people with quadriplegia. Face-to-face group attendance is difficult for this population due to difficulties with distance and travel. Online environments offer an accessible and cost-effective solution for people to connect with others without leaving their home. In a two-phase iterative design, we explored and tested different approaches for delivering online music therapy sessions with 12 patients from an inpatient spinal cord injury rehabilitation service. Six participants in Phase 1 trialled different virtual reality headsets and completed a short interview about their experience of the equipment and online singing trials. Outcomes from Phase 1 testing led to the development of a custom-built virtual reality application for online group music therapy sessions with low-latency audio. We tested the acceptability and feasibility of this platform in comparison to face-to-face and teleconference options for music therapy with six different patients. These participants completed three validated questionnaires: System Usability Scale, Quebec User Evaluation of Satisfaction with assistive Technology, and Psychosocial Impact of Assistive Devices Scale, and an interview about their experience. Questionnaire scores were good with mean ratings of 4.4 for Quebec User Evaluation of Satisfaction with assistive Technology, 53 for System Usability Scale and positive mean Psychosocial Impact of Assistive Devices Scale scores of 1.5 for competence, 2 for adaptability and 1.5 for self-esteem. Thematic analysis of post-session qualitative interviews revealed five themes: virtual reality was a positive experience, virtual reality was immersive and transportative, virtual reality reduced inhibitions about singing in front of others, virtual reality may reduce social cues, and the virtual reality equipment was comfortable, accessible and easy to use. Telehealth options, including a custom-designed virtual reality program, with low-latency audio are an acceptable and feasible mode of delivery for therapeutic singing interventions for people with spinal cord injury. Future non-inferiority research is needed to test online delivery modes for music therapy in comparison to face-to-face treatment.

Featured article and interview with percussionist Sammy Figueroa

Featured article and interview with US percussionist Richie Gajate-Garcia

Feature interview with master-percussionist Karaikudi R. Mani

Feature interview with percussionist Roger Squitero

Feature interview with percussionist Taku Hirano

Featured personal article on a Chilean musical journey.

The professional practice of classical music performers has been better understood and enhanced across the last two decades through research aimed at tailoring rehearsing strategies that support the development of a sense of self as an agentic and proactive learner. One approach focuses on helping students make use of various tools that can enhance their learning, particularly in terms of what they do, feel and think when practicing and performing music. This study expands literature on expertise development by embracing the idea that this line of research would benefit from additional studies where the researcher forms part of the research process as an active participant who generates data, especially when these researchers are "members" of the social world they study, and therefore have insider knowledge. Thus, this case study is focused on the first author, a professional cellist who is also a researcher in the educational psychology of music, as the only participant. It extends current research by providing a detailed longitudinal mapping of a professional cellist's preparation across nine profiled concerts in five countries of classical-romantic repertoire and a commercial recording that resulted from 100 weeks of dedicated practice. Anonymous feedback from the audiences and interviews with an expert musician who followed the concerts and the CD recording was also collected. For the data analysis, traditional psychometric measurements were applied to test the internal consistency of the time series data as well as the relationship between variables. In addition, the application of Leximancer analysis of the self-reflections allowed the researchers to probe self-regulated learning (SRL) and self-determination theory (SDT) processes in ways that uniquely mapped, over time, her differing motivations to perform at a high level. Specifically, we report that the cellist's psychological needs and her motivational resources changed across time within the social context of performing music publicly, and that the various self-regulatory processes she drew upon impacted (both positively and negatively) on her ongoing actions, thoughts and feelings. Implications of the study are relevant for all forms of expertise development research, and especially for understandings about the nature of skill development in the context of learning to perform demanding literature in music.