L'utilisation de la reprise vidéo comme outil de rétroaction pendant le travail instrumental du guitariste de niveau collégial

Authors: Boucher, Mathieu
Advisor: Creech, AndreaDubé, Francis
Abstract: The learning of a music instrument requires many hours of work that an aspiring musician typically undertakes alone, without the support of his or her teacher. The specific abilities associated with this particular context of autonomous work have been studied in various domains under the lens of self-regulated learning (Cleary & Zimmerman, 2001; Kuo, Walker, Schroder, & Belland, 2014; Mega, Ronconi, & De Beni, 2014; Zimmerman & Schunk, 2012). The musician’s capacity to self-evaluate efficiently and to choose the appropriate strategies on the basis of the feedback obtained while playing is a central aspect of self-regulated music learning (McPherson & Zimmerman, 2002). However, the concurrent efforts to perform and monitor the performance at the same time represent a challenge for any learner (Winne, 1995). To solve this issue, Zimmerman (1995) recommends videotaping the performance of the task and watching it afterwards to fully concentrate on each process. Little empirical research has focused on the use of video feedback in the preparation of a musical performance. This doctoral research thus aimed to explore whether the use of video feedback, which we refer in this study as the self-evaluation of video recordings of one’s own performance, could influence some specific cognitive processes implicated in the self-regulated practice of developing musicians. Sixteen guitarists enrolled in a music program in a college in the province of Québec agreed to participate in our study. The participants were randomly assigned to an experimental group (n = 8) and a control group (n = 8). All participants (n = 16) were asked to learn the same piece of music during ten practice sessions lasting 20 minutes each. During these practice sessions, the participants (n = 16) were asked to think aloud whenever they stopped playing. Immediately after the practices 3, 5, 7 and 9, all participants (n = 16) played the piece or any part they were able to perform while being video recorded, and provided self-evaluation comments afterwards. Before the practice session following each recording, the participants from the experimental group (n = 8) watched their recorded performance and once again provided self-evaluation comments. For this doctoral research, we compared the self-evaluation comments provided by the participants who used video feedback after each performance and after each viewing of the performance in order to verify if they self-evaluated differently after the viewing of the video-recordings of their performances. Afterwards, we compared the group of participants who used video feedback (the experimental group) with those who did not use video feedback (the control group), exploring whether self-regulation, represented by their think-aloud verbalisations and practice strategies, differed. The results revealed that the participants who used video feedback (i.e. the experimental group; n = 8) evaluated different aspects of their playing after the viewing of the video-recorded performances, as compared with their self-evaluations immediately after the performance itself. More specifically, they made more comments about the position of their hand, interpretation and instrumental execution in general, and fewer comments about the performance flow after viewing the video-recorded performances. Concerning the think aloud verbalisations during the practice sessions, the participants in the experimental group (n = 8) modified the way they self-evaluated while practising. More precisely, they made fewer think-aloud comments associated with a general appreciation of the playing and instead made more comments associated with problem solving as they were learning the piece, than the participants in the control group (n = 8). These changes were of a greatest amplitude among the higher-performing participants (i.e. those who had attained the highest grades in their performance examinations) from the experimental group (n = 3). Finally, the analysis of the strategies used by the participants while practising revealed that the participants who used video feedback (n = 8) practised at a slower tempo and played longer segments of the piece earlier in the learning process than the participants who did not use video feedback (n = 8).
Document Type: Thèse de doctorat
Issue Date: 2019
Open Access Date: 22 January 2020
Permalink: http://hdl.handle.net/20.500.11794/37871
Grantor: Université Laval
Collection:Thèses et mémoires

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