Mental Practice In Music Performance: A Literature-Based Glossary and Taxonomy (original) (raw)
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Musicae Scientiae, 2017
Mental practice refers to the use of imagery as opposed to the physical or motor skills used in physical practice. It is a strategy frequently discussed with regard to the acquisition of skills required for music performance, and recent scientific literature confirms the benefits of mental practice. However, a review of that literature reveals inconsistencies and a lack of clarity in the use of terminology. To better understand this problem of terminology, 33 current studies on mental practice in music performance were assembled and examined for both the quantity and quality of term usage. Terms were identified and recorded using terminology and classification methods from Cabré (1999), and The Pavel, Terminology Tutorial. Terminological records were created for each term appearing more than once in the literature for a total of 83 records. Issues related to frequency of use (repetition), use of multiple terms (synonymy), lack of term definitions, and the need for clarity in term us...
Canadian Music Teacher, 2015
Abstract This narrative-based literature review explores the use of mental practice in music performance, specifically piano playing. The search sample was rather broadly defined due to the relatively small amount of literature available on the topic. Material for the review was identified in keyword searches for “mental practice”, “mental imagery", "silent rehearsal", "aural modeling", "auditory imagery", and "music performance". Literature from the twenty- first century was given priority although older studies were also reviewed for background and historical context. The existing research indicates that mental practice is a valuable strategy in music practice and performance preparation. Although additional research is needed, especially in relation to novices learning to play the piano, the authors conclude that the current literature supports the use of mental practice as a beneficial practice strategy in playing piano. Keywords: mental practice, mental imagery, aural modeling, auditory imagery, music performance
Away from the piano: Literature review of the role of mental practice
Canadian Federation of Music Teachers' Associations, 2015
Away from the Piano: Literature Review of the Role of Mental Practice Susan Mielke and Gilles Comeau Piano Pedagogy Research Laboratory, University of Ottawa Review of Literature Paper Abstract Music performance in general, and piano playing in particular, require an extended period of technical and artistic skill development. Both cognitive and motoric demands are involved in music performance and the use of mental practice can be an important tool in acquiring music performance skills. Mental practice is a form of practice that involves the use of mental imagery skills as opposed to the physical or motor skills used in physical practice. One of the most important mental imagery skills in music performance is auditory imagery. Auditory modeling can be used to help form auditory images. In reviewing the current scientific literature, the relevance of mental practice in music teaching and learning became evident: mental practice is a valuable strategy in music practice and performance preparation. Although additional research is needed, especially in relation to novices learning to play the piano, the authors conclude that the current literature supports the use of mental practice as a beneficial practice strategy in playing piano. Mental practice, especially the use of auditory models, can be helpful for increasing familiarity with the music to be learned. The recent evolution of digital audio technology has made the use of auditory models more accessible to teachers and students with options such as YouTube and music streaming services like Spotify adding to more traditional digital formats such as CDs and MP3s. Using devices like smartphones, both teachers and students can also create auditory models by playing and recording the music themselves. Mental practice can be introduced early in music training using strategies such as observational and dyad practice. The use of mental practice in addition to physical practice can also help to avoid playing related injuries. Music teachers play an important part in the successful adoption of mental practice providing guidance to their students in its use from the beginning stages of listening to music rhythms to advanced interpretive aspects of score reading. Keywords: mental practice, mental imagery, aural modeling, auditory imagery, music performance
Elements of Mental Training in Music
Procedia - Social and Behavioral Sciences, 2012
Mental training typically takes place without an instrument or the physical act of playing, and focuses on a particular activity, a conscious guiding of that activity, as well as on incorporating an emotional experience of that activity. Previous research (Immonen 2007) showed that both modes of practicing, mental as well as physical, involve three important elements: planning, realization, and evaluation of the practice. In music, mental training aims at the most ideally possible act of playing and the creation of a musical event. The research problem is to find out the pianist carries out the mental training.
Mental practice in music memorization-an ecological-empirical study
2009
1 n.bernardi2@campus.unimib.it, 2 alexschories@gmx.de, 3 jabusch@hfmdd.de, 4 barbara.colombo@unicatt.it, 5 altenmueller@hmt-hannover.de ABSTRACT Mental Practice (MP) refers to a complex network of strategies for improving musical performance without physically performing at the instrument. The present study represents an attempt to describe cross-individual differences in the use of different MP strategies, allowing direct predictions on which strategies are more likely to be effective. Sixteen pianists were studied while memorizing piano pieces. Each subject memorized two pieces of comparable length and difficulty, one by MP and the other by Physical Practice (PP), on two different days according to standardized protocols. During MP subjects were free to apply any practice strategies they preferred except for physically playing a real piano (ecological approach). Practice and performances were video-documented; performances were judged by independent expert raters. Participants reported their practice strategies in researcher-developed questionnaires. MP alone produced successful musical learning. MP, even combined with PP, produced poorer performance compared with PP alone. MP outcomes were significantly influenced by the strategies applied. These results directly impact on musicians' daily schedule and managing of health-risk factors, since valuable performance results can be achieved by combining optimally designed mental practice with short physical practice focused on strengthening the internal representation of the piece.
Imagine, Sing, Play- Combined Mental, Vocal and Physical Practice Improves Musical Performance
Frontiers in Psychology, 2021
Classical musicians face a high demand for flawless and expressive performance, leading to highly intensified practice activity. Whereas the advantage of using mental strategies is well documented in sports research, few studies have explored the efficacy of mental imagery and overt singing on musical instrumental learning. In this study, 50 classically trained trumpet students performed short unfamiliar pieces. Performances were recorded before and after applying four prescribed practice strategies which were (1) physical practice, (2) mental imagery, (3) overt singing with optional use of solfege, (4) a combination of 1, 2 and 3 or a control condition, no practice. Three experts independently assessed pitch and rhythm accuracy, sound quality, intonation, and musical expression in all recordings. We found higher gains in the overall performance, as well as in pitch accuracy for the physical practice, and the combined practice strategies, compared to no practice. Furthermore, only t...
Mental practice promotes motor anticipation: evidence from skilled music performance
Frontiers in Human Neuroscience, 2013
Mental practice (MP) has been shown to improve movement accuracy and velocity, but it is not known whether MP can also optimize movement timing. We addressed this question by studying two groups of expert pianists who performed challenging music sequences after either MP or physical practice (PP). Performance and motion-capture data were collected along with responses to imagery questionnaires. The results showed that MP produced performance improvements, although to a lower degree than PP did. MP and PP induced changes in both movement velocity and movement timing, promoting the emergence of movement anticipatory patterns. Furthermore, motor imagery was associated with greater changes in movement velocity, while auditory imagery was associated with greater movement anticipation. Data from a control group that was not allowed to practice confirmed that the changes in accuracy and kinematics were not due to mere repetition of the sequence during testing. This study provides the first evidence of an anticipatory control following MP and extends the present knowledge on the effectiveness of MP to a task of unparalleled motor complexity. The practical implications of MP in the motor domain are discussed.
The Psychology of Performance and Its Implications for Deliberate Practice
Elite performance often conjures up electricity in the air— intense concentration, coiled muscles, and expectation combine to create a moment of anticipation and pressure. It is easy to imagine the determination in a runner’s eyes as they verify their shoes and settle into the elasticity of the starting position. Time stands still for a minute and the spectators may even hold their collective breath. Common conceptions of elite performance in action such as this image tend to identify with Olympic athletes and professional athletes and focus on the physical aspect of the feat while glossing over the mental preparation endemic to elite performance and the various other disciplines of a less physical nature that are involved. It is less common to recall the concentration of an oboist checking the position of his reed as he refocuses in preparation for a significant solo. For this reason, literature concerning elite musical performance in the lens of sport psychology retains some novelty as the push for application of psychological skills training in artistic milieus is relatively recent. Sport and exercise psychology is considered to be the scientific study of people and their behaviors in sport and exercise contexts and the practical application of that knowledge and is generally used to both understand how psychological factors affect an individual’s physical performance and how participation in sport and exercise affects a person’s psychological development, health, and well-being.1 Sport psychology is considered to fall under the umbrella of performance psychology. While there are significant differences between the performance aspects facing musicians and athletes, sport psychology is a well-developed field and the 1 Robert S. Weinberg, PhD. & Daniel Gould, PhD., Foundations of Sport and Exercise Psychology (Champaign, IL: Human Kinetics, 2015): 4. sophistication of its psychological skills training program suggests many practical applications to serious musicians seeking optimal performance as well as to world-class athletes seeking personal records. It is the task of this paper to seek out comparisons in performance psychology research, address psychological skills training, specify techniques and their applications in music performance, and discuss how the psychology of performance can inform deliberate and efficient practice.