Putting practice under the microscope: The perceived uses and limitations of slow instrumental music practice

Abstract

Practicing slowly is a commonly used, intuitive approach to music learning, and is widely considered the bedrock of musical skill acquisition. Yet, little is known about the different approaches and techniques musicians use when practicing slowly. This study investigated instrumental musicians’ perspectives on the uses, limitations, and specific techniques of slow music practice, through qualitative thematic analysis of responses to an online questionnaire. Generally, slow practice was perceived as a useful, and often necessary, part of learning. Furthermore, we identified four perceived functions of slow practice. They were managing information load; building a foundation for motor learning; creative and critical problem-solving; and regulating emotional, mental, and perceptual states. We propose a possible underlying mechanism of these functions: reduction of extrinsic cognitive load and stimulation of germane cognitive processes. Respondents also perceived potential technical-practical and emotional-cognitive malfunctions of slow practice, as well as possible strategic pitfalls of using slow practice. Specific techniques of slow practice included the use of tempo organization methods and strategies to complement slow practice. This provided insight into how biomechanical differences between slow and fast playing might be bridged. Findings have implications for music education and understanding the psychology of musical skill acquisition.