{'fraction_non_alphanumeric': 0.028067361668003207, 'fraction_numerical': 0.0024057738572574178, 'mean_word_length': 4.647058823529412, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Teaching Problem Solving in Practice

dexterity. They practice to maintain good performance, to sight-read better, to memorize, and simply, to enjoy music making. There are other motivations for practice, but one, more than others, is a catalyst for consequential change in musical development-practicing to solve performance problems. This article examines problem solving in instrumental music practice and is based on the notion that too many students, too much of the time, look and feel inadequate when they attempt to problem solve. Consider, for example, two practice scenarios. Student 1 finds the music in measure 12 awkward, and every time he reaches the measure, he slows down or stops. He should drill this measure-and only this measure-but left to his own devices, he ignores the problem and moves on; or he starts from the beginning, even though he can play the first eleven measures flawlessly; or he drills the measure by playing it over and over-six times incorrectly, the last time correctly. Then he moves on, convinced that he is doing the right thing. He identified a problem, and he repeated the section until he got it right-but six times wrong and one time right is not the kind of repetition that will make him successful.