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Putting practice under the microscope
No full textPracticing 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
Performing Time
No full textMusic and dance can change our sense of time. Both rely on synchronizing our attention and actions with sounds and with other people, both involve memory and expectation, and both can give rise to experiences of flow and pleasure. Performing Time explores our experience of time in dance and music, from the perspectives of performers and audiences, and informed by the most recent research in dance science, musicology, neuroscience, and psychology. It includes discussions of tempo and pacing, coordination and synchrony, the performer's experience of time, audiences' temporal expectations, the effect of extreme slowness, and our individual versus collective senses of time. At its core, the book addresses how time and temporality in music and dance relate to current psychological and neuroscientific theories as well as to the aesthetic aims of composers, choreographers and performers. Bringing together new research on rhythm, time and temporality in both music and dance in one volume, the book contains overview chapters on the state of the art from leading researchers on topics ranging from the psychology, neuroscience, and philosophy of musical time to embodied timing in dance. In addition, numerous case studies regarding our temporal experience of music and dance are provided in shorter focus chapters, with their implications for further scientific study and artistic enquiry. Performing Time is an invaluable and comprehensive resource for students, researchers, educators, and artists alike, and for any reader interested in how the performing arts construct and play with time in our minds and bodies.
https://global.oup.com/academic/product/performing-time-9780192896254?cc=us&lang=en
»Ohne diese Grundsätze kann kein Mensch die Verdoppelung im mehr als vierstimmigen Satze wissen«.
No full textFingersatz und Hinweise zur Aufführungspraxis : "Frédéric Chopin, Berceuse pour le piano op. 57"
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Effects of attentional focus on motor performance and physiology in a slow-motion violin bow-control task
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