Title: Practice in Student Musicians: Contextual Interference and Metis Reflexivity
Thesis Supervisor: Dr. Shannon Bredin, School of Kinesiology, Faculty of Education
Committee Members: Dr. Shannon Leddy, Curriculum & Pedagogy, Faculty of Education, Dr. T. Patrick Carrabre, Composition, School of Music
Chair: Dr. Janice Forsyth
Abstract: In today’s post-secondary landscape, it is important that knowledge creation supporting student development includes a western and decolonial approach. For training post-secondary classically-oriented young artists, the area of motor learning offers an opportunity to support this dual knowledge-generation. Existing research on practice in student musicians shows the benefits of varied practice schedules; however, this work has been primarily situated from a Eurocentric approach. The purpose of this work is to examine practice scheduling in student musicians, where both decolonial and Eurocentric contributions are made in the design, analysis, and presentation of research. Four studies will be completed in this work. Study 1 will be a scoping review synthesizing the motor learning research on musicians’ motor performance. It will identify the processes and practice characteristics that shape skill development, while highlighting opportunities for culturally responsive approaches to the research. In Study 2, practice journals will be used to examine the practice schedules of student musicians through Wahkotowin teachings. Study 3 will explore practice scheduling (blocked and random practice) in relation to the concepts of time and patience in Michif teachings. Study 4 will examine contextual interference and implicit learning using motor learning frameworks, with a focus on analysis though teachings acknowledging humility and Visiting knowledge. Together, these studies offer a novel perspective and methodological lens to advance our understandings of motor learning, music education, and Indigenous knowledge. The outcomes of this work will generate both practical tools and theoretical ideas, bridging music education, motor learning, and Indigenous knowledge in ways that are culturally responsive and pedagogically transformative for post-secondary music education.