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1. Stages of skill acquisition
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11
|
11
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9
|
10
|
6
|
47
|
“The initial stage is indeed ‘very cognitive’ because it demanded a lot of my attention and memory, and my movement was very fragmented, with very unstable performance and several mistakes.” (G. M. Juggling, Form 1)”
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2. Goal setting, meaningful goals
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1
|
2
|
4
|
4
|
3
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14
|
“By the end of two weeks, I want to be able to walk 4 m on the slackline (30-40 cm above the ground) in 90 s, with no falls and occasional external support” (I. S. Slackline, Form 3).
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3. Active involvement/ problem solving
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2
|
3
|
4
|
2
|
0
|
11
|
“I identified some problems caused by typing faster than necessary. Too much speed causes mistakes...I tried to find a speed that is more adequate to my current skill level” (A. F. Typing, Form 4)
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4. Challenge /task difficulty
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2
|
3
|
2
|
3
|
1
|
11
|
“It was very hard for me to accomplish my fortnight goal (because of the complexity of the musical piece itself). Therefore, I had to practice more than I expected” (A. M. Piano, Form 2)
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5. Learning mechanism (implicit/explicit)
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2
|
7
|
4
|
3
|
4
|
20
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“I noticed that I am using a more explicit form of learning, because I am aware of what I need to do and I memorize facts and rules about the movement” (J. B. Guitar, Form 1)
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6. Classification of motor skills/type of task
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2
|
1
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4
|
3
|
2
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12
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“...I classified my skill as gross, discrete, closed, simple and self-paced” (L. B. Belly dance, Form 3)
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7. Content and type of feedback
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2
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6
|
7
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8
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6
|
29
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“My instructor was using prescriptive feedback, like “you should have put your hand more to the right “(A. T. Gymnastic, Form 3)
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8. Frequency and/or timing of feedback
|
1
|
3
|
1
|
3
|
0
|
8
|
“I was getting extrinsic feedback after I played the chords, it helped me to adjust my movements and improve performance.” (C. F. Keyboard, Form 4)
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9. Focus attention (internal/external)
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9
|
11
|
8
|
10
|
7
|
45
|
“This fortnight I used the concepts of internal and external focus a lot. The internal focus helped me perfect the movements that I was already comfortable with … The external focus was useful for transfer movements. Because I was afraid of performing them, I tried to focus more on the place where my body should fall, on the wall in front of me, and less on the movement itself” (A. T. Gymnastic, Form 3)
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10. Task breakdown (whole/part)
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7
|
7
|
4
|
5
|
4
|
27
|
“I have realized that I am using a progressive part method for practice, because as I learn parts of the skill I then add new parts, this helps my memory” (J. B. Guitar, Form 1)
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11. Amount of practice
|
2
|
2
|
1
|
3
|
0
|
8
|
“I wrote the same sentence 9 times at each practice session” (G. C. Artistic calligraphy, Form 1)
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|
12. Practice variability (constant/variable)
|
3
|
3
|
2
|
1
|
0
|
9
|
“Varied practice (practicing musical pieces other than my goal-song) has been helping me to refine my learning” (J. B. Guitar, Form 1)
|
|
13. Order of practice (random/serial/block)
|
3
|
5
|
6
|
4
|
2
|
20
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“This week I used the blocked practice concept. I began making new bracelet model only after I had finished the previous one” (A. F. Macrame, Form 2)
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13b. Order of practice conceptual mistakes
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1
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0
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0
|
0
|
0
|
1
|
“I used random practice: I wrote the same letter four times, a different letter another four times and alternated them until I completed 16 repetitions for each letter” (G. C. Artistic calligraphy, Form 1)
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14. Practice distribution (massive or distributed)
|
3
|
3
|
4
|
5
|
1
|
16
|
“I am using distributed practice, because it is best for retention” (A. P. Piano, Form 3)
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|
15. Specificity of practice
|
0
|
0
|
0
|
0
|
0
|
0
| |
|
16. Positive reinforcement
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0
|
1
|
2
|
2
|
0
|
5
|
“In addition to positive reinforcement, when I nail it, he hugs me and celebrates with me.” (N. C. Handstand, Form 4)
|
|
17. Task-oriented/task specific training
|
0
|
0
|
0
|
0
|
0
|
0
| |
|
18. Mental practice
|
4
|
2
|
2
|
4
|
4
|
16
|
“While I rested, I did some mental practice, imagining the positions and ways to improve them” (C. F. Keyboard, Form 3);
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19. Manual guidance
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0
|
0
|
1
|
0
|
0
|
1
|
“I asked my boyfriend to help me get into the correct position, because I couldn’t do it alone. I could complete the movement with his help” (N. C. Handstand, Form 3)
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20. Observational learning/modeling
|
3
|
3
|
2
|
3
|
9
|
20
|
“I kept attempting to learn through observation video recordings of the movement” (C. S. Samba, Form 4)
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21. Dual-task learning
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0
|
2
|
3
|
0
|
0
|
5
|
“I tried to use dual task learning, in which I should execute the movement while talking to someone” (A. T. Gymnastic, Form 3)
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22. Discovery learning
|
0
|
0
|
0
|
0
|
0
|
0
| |
|
23. Trial and error learning
|
1
|
3
|
1
|
2
|
3
|
10
|
“I first tried trial and error learning, so that I could better observe what mistakes I was making (there were many in this fortnight)” (A. M. Piano, Form 2)
|
|
24a. Errorless learning
|
0
|
0
|
1
|
1
|
0
|
2
|
“When certain hand or finger movements were very hard for me, I choose blocked practice to decrease the erros.” (A. P. Piano, Form 3)
|
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24b. Errorless learning conceptual mistakes
|
1
|
1
|
2
|
1
|
0
|
5
|
“I tried to practice all the chords with making as few errors as possible, always correcting them to achieve a better result” (C. F. Keyboard, Form 3)
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25. Analogy learning
|
0
|
0
|
0
|
0
|
1
|
1
|
“The analogy be able to dance the samba was to “draw a heart on the floor with the feet” (C. S. Samba, Form 4)
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26. Transfer of learning
|
2
|
2
|
0
|
2
|
0
|
6
|
“I used the concept of transfer. I am walking on curbs, hoping to improve my balance for when I begin to practice on the slackline” (I. S. Slackline, Form 1)
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