As Visiting Assistant Professor of Piano in the Department of Music at Ohio State University at Lima, Michael Benson is pursuing a dual career as teacher and performer. As soloist and collaborative pianist, he has performed at the Smithsonian Institution during the International Schubert Symposium, Steinway Hall as a winner in The Pinault Biennial International Piano Competition, and Preston Bradley Hall on the Dame Myra Hess Memorial Concert Series heard on National Public Radio affiliate WFMT 98.7 FM in Chicago. He has presented lectures, adjudicated and performed for national and state conventions of Music Teachers National Association and contributed articles to Texas Music Teacher, American Music Teacher and Clavier. He has taught on the faculties of Carl Sandburg College, University of Wisconsin-Whitewater, and Oakland University as well as pre-college piano camps in Texas, Wisconsin and Ohio. Mr. Benson holds degrees in piano performance from the Shepherd School of Music at Rice University and The University of Texas at Austin.
Michael Benson
139 Reed Hall
4240 Campus Drive
The Ohio State University at Lima
Lima, Ohio 45804
419.995.8442
Benson.126@osu.edu
We all remember our first experience with either being videotaped or videotaping someone else at play or in performance. I'm no different. I recall my mother and father purchasing a video camera and recording various family activities such as Christmas and birthday parties. Eventually, the video camera was focused on my sister and me at the piano and as you might discern, we were not overly excited about this opportunity to record our youthful musical indiscretions. I remember a comment my sister made while in the middle of a video session following an end of the year recital, "maybe these will be good for something when we are old." Little did we know how much we would listen and learn from those videotaped performances. The purpose of this article is to share how and why I prepare my independent and college studio as well as group piano students to grade or assess their own performances at the piano using video feedback and music performance checklists.
Five years ago I began videotaping my own teaching in applied and group piano lessons as a part of a graduate music education class designed to improve teaching skills. As I learned to assess my own videotaped teaching and became aware of the changes in my teaching, I was motivated to begin videotaping my group and applied piano students performances as well. After an initial adjustment period with videotaping, the students enjoyed viewing their taped performances and began to listen for important changes and musical characteristics they had rehearsed and I had modeled in class. Since grades were associated with these performance tapes, we needed specific goals or behaviors that were clearly defined and observable by every student. As I began preparing these music performance checklists, I realized that they represented personal musical values associated with each repertoire piece or functional skill and that this was being shared with them in written form. Since these checklists were designed to improve the acquisition of their respective musical skills at the piano, I wondered if it might be possible to have them grade their videotaped performances throughout the semester. In effect, their grades would be decided by the checklists that were developed and sequenced by me; and, since I was asking them to consider performing every behavior the way I would perform it, a yes and no checklist was sufficient. Either they performed the behavior listed on the checklist correctly and were given points accordingly or they did not. This experience with my students was motivational for all of us and worked to improve student understanding of my musical expectations and in most cases, enhanced student success.
RESEARCH LITERATURE
Having shared these thoughts, it may be appropriate to review a portion of the research literature associated with video modeling and self-assessment.
Wetzel, Radtke, and Stern (1994) suggest that an important characteristic of video is its ability to convey a wide range of different types of information, and that these many functional forms are conveyed in realistic ways that combine motion and a variety of visual, audio, and textual information concurrently. Observation and research support the belief that video-based instruction has a positive effect on learning and that many capabilities of video would be difficult to achieve in alternative media such as books or verbal instruction only. Common applications of video recordings are data collection and analysis, instruction and information, modeling, scene setting, feedback and self-modeling (Dowrick, 1991). Video feedback provides knowledge of oneÕs actual performance which is an important role in learning motor skills (Adams, 1987; Carroll & Bandura, 1982) and also provides a basis for evaluating discrepancies that can be used to correct performance inaccuracies or behaviors.
The use of video media has also been researched and combined with self-assessment to reveal a substantial increase in defined skills of music fundamentals (Simpkins, 1981), music therapy students (Alley, 1980, 1982) and conducting students (Johnston, 1993; Yarborough, 1987; Yarborough, Wapnick, & Kelly, 1979).
The general conclusion to be drawn from this collection of music research studies is that visual based training that provides modeling and a self-assessment component can be an effective technique in learning motor skills (Wetzel et al., 1994). Video feedback has also been found to provide instructional information that can be used in making corrective changes during various skill acquisitions in music and other educational and recreational disciplines as well. For example, these video research techniques have been adopted in field studies on athletic skills or movements to provide a video demonstration as a form of mental practice or discrimination training prior to performance, or to provide video feedback during or following performance as a kind of corrective step. Also, the effectiveness of a video demonstration depends on the observer being trained to attend selectively to the videos critical performance features in order to form a cognitive representation of the skill to be performed or improved (hence, the music performance checklists). Several studies illustrate the use of video for repeated demonstrations given as a form of rehearsal and discrimination training to prepare the student to execute a skill. These studies investigated baseball pitchers (Burroughs, 1984), response time of tennis players (Haskins, 1965) and racquetball skills (Gray, 1990).
MUSIC PERFORMANCE CHECKLISTS
With these research studies in mind, I began to consider the benefits of video modeling and self-assessment in many areas associated with teaching beginning piano. First, let us consider using the video camera and a checklist as a teaching tool in the independent studio and group piano class. This is done by preparing a checklist of musical behaviors that should be taught during the lesson and reinforced while watching the videotaped performance. For example, for a beginning piano student it would be helpful to videotape one of the early repertoire performances and then ask him/her to consider issues associated with his/her physical adjustment (posture) to the instrument. I have composed a checklist of ten behaviors (See Fig. 1) for them to observe and asses during their first video self-assessment.
Figure 1: Checklist - Proper Physical Adjustment to the Piano/Keyboard (Video Self-Assessment)
YES NO
____ ____ 1. Proper sitting position on bench (front half of bench, closest to piano)
*GRADE: __________
*Each "Yes" answer is worth 10 points. So, multiply the number of correct behaviors times 10 to find out your grade. For example, if you had 9 "Yes" answers you would multiply 9xl0=90 and your grade would be an A-.
____ ____ 2. Knees below front edge of keyboard
____ ____ 3. Bottom of feet on floor
____ ____ 4. Elbows at key level (adjust bench up or down)
____ ____ 5. Hands in lap (starting position)
____ ____ 6. Fluid motion in arm and wrist (during performance)
____ ____ 7. Finger leads to the keyboard before each note (during performance)
____ ____ 8. Curved fingers that support weight of arm (during performance)
____ ____ 9. Wrist leads away from keyboard after each note (during performance)
____ ____ 10. Hands in lap (ending position)
USING MUSIC PERFORMANCE CHECKLISTS
I provide this particular checklist during the first weeks of the term so the student in the group piano class can begin evaluating their posture or physical adjustment at the keyboard immediately. This is their first opportunity to evaluate their performance through video self-assessment and is a way of reinforcing the written and verbal instruction they have received in class. At this point, I have also modeled and verbally talked them through the steps of correct physical adjustment to the instrument in class and with class models (peers). As you might determine, if each of these behaviors is worth 10 points (on a 100 point scale) the student in the beginning group piano or applied studio lesson will usually decide that this is in their best interest and important to their grade. In most cases the students do well because they know what is on the checklist and what will be expected when they are being evaluated or graded on future exams.
The checklist for a repertoire piece is an enjoyable one to create and sequence because you (the teacher) ask them to recognize musical concepts and markings that you value and listen for in performance. While they are watching and noticing correct performance behaviors, they are learning to be trained listeners and observers as well as developing good musical habits. This is rewarding if the ultimate goal of your class or teaching is to develop independent learners. Following is a checklist of 10 behaviors (See Fig. 2) for the video self-assessment of a repertoire piece for a beginning applied or group piano student. I also include the general topic of proper physical adjustment to the instrument on this checklist to reinforce proper posture and ultimately a healthier physical approach to the piano.
Figure 2: Checklist - Performance of Scherzo, Op. 39 No. 1, by Dmitri Kabalevsky (Video Self-Assessment)
YES NO
____ ____ 1. Proper physical adjustment (See checklist from Quiz 1)
*GRADE: __________
*Each "Yes" answer is worth 10 points. So, multiply the number of correct behaviors times 10 to find out your grade. For example, if you had 10 "Yes" answers you would multiply 10xl0=100 and your grade would be an A+.
____ ____ 2. Did you perform all the notes correctly?
____ ____ 3. Did you perform all the rhythms correctly?
____ ____ 4. Did you perform the left-hand legato throughout?
____ ____ 5. Did you perform the right-hand staccato throughout?
____ ____ 6. Did you start the performance mezzo forte?
____ ____ 7. Did you perform the accents in both hands in measure 8?
____ ____ 8. Did you perform a cresc. from measure 9 to measure 13?
____ ____ 9. Did you perform a dim. from measure 13 through measure 15?
____ ____ 10. Did you accent the c in measure 16 with the left hand?
The repertoire music performance checklists also serve as an opportunity for more music and attitudinal specific questions. For example, below the checklist I might ask these questions with regard to Kabalevsky's Scherzo. Were there any musical phrases that repeat? What type of musical shapes (patterns) are the left- and right-hands performing? What is your favorite musical part of this piece and why? Would you like to perform other pieces like Scherzo? How many times did you watch your performance video while grading your performance? If allowed the opportunity, would you videotape this piece again and why?
The physical adjustment (Fig. 1) and repertoire (Fig. 2) music performance checklists are meaningful because they ask the student performer to evaluate their videotaped performance using music criteria I provide for grading. It is educational for me to watch the student tapes and read their comments because I am more aware of musical concerns the students have and am able to address these issues in class rather than after an exam has taken place. I would like to add that I prepare checklists for most skills the students are practicing for their exam. The sequence of events associated with the checklists and grading is this:
Obviously, there are many opportunities for student success and improvement through teacher instruction, video feedback and student self-assessment.
In the five years I have employed this form of student self-assessment using video checklists, I am happy to report a positive student attitude toward these performance checklists and self-assessment exams. I believe it is due in part to the students realizing to what I am listening and observing (because of the music performance checklists) during the evaluation period. This instructional technique is time consuming but worth the effort. It is important because it reinforces class instruction and rehearsal, therefore, essential to the students becoming independent learners and musicians. This past year, I began requiring students in all my group piano classes to prepare their own repertoire checklists following the model repertoire checklists and mid-term exam. What I have observed is that students do transfer musical knowledge (when instructed to do so) from one checklist or performance to another and that they enjoy their piano experience as well as performing their respective pieces with more confidence and musical expression. For me, exams are much more enjoyable when I know the students are going to do well, and for them, it is success in music. So, "LIGHTS! CAMERA! MUSIC!"
References
Adams, J.A. (1987). Historical review and appraisal of research on the learning, retention, and transfer of human motor skills. Psychological Bulletin, 101, 41-74.
Alley, Jayne M. (1980). The effect of self-analysis of videotapes on selected competencies of music majors. Journal of Music Therapy, XVII (3), 113-132.
Alley, Jayne M. (1982). The effect of videotape analysis on music therapy competencies: An observation of simulated and clinical activities. Journal of Music Therapy<, 19,141-160.
Burroughs, W.A. (1984). Visual simulation training of baseball batters. International Journal of Sports Psychology, 15, 117-126.
Carroll, W.R. & Bandura, A. (1982). The role of visual monitoring in observational learning of action patterns: Making the unobservable observable. Journal of Motor Behavior, 14, 153-167.
Dowrick, P.W. (1991). Practical guide to using video in the behavioral sciences. New York: John Wiley & Sons, Inc.
Gray, S.W. (1990). Effect of visuomotor rehearsal with videotaped modeling on racquetball performance of beginning players. Perceptual and Motor Skills, 60, 755-762.
Haskins, M.J. (1965). Development of a response-recognition training film in tennis. Perceptual and Motor Skills, 21, 207-211.
Johnston, H. (1993). The use of video self-assessment, peer-assessment, and instructor feedback in Evaluating conducting skills in music student teachers. British Journal of Music Education, 3, 57-63.
Simpkins, R. (1981). The effect of videotape feedback on the confidence of prospective elementary classroom teachers. Unpublished doctoral dissertation, The Ohio State University.
Wetzel, D.C., Radtke, P.H., and Stern, H.W. (1994). Instructional effectiveness of video media. Hillsdale, New Jersey: Lawrence Erblaum Associates.
Yarborough, C. (1987). The relationship of behavioral self-assessment to the achievement of basic skills. Journal of Research in Music Education, 35 (3), 183-89.
Yarborough, C., Wapnick, J., & Kelly, R. (1979). Effects of videotape feedback techniques on, verbalization, and attitude of beginning conductors. Journal of Research in Music Education, 27, 103-112.
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