The study investigated the relative effectiveness of different proportions of time spent on physical and mental practice, in the context of a music performance of a tonal pattern over harmonic progressions of two difficulty levels. Using a sampling without replacement procedure, sixty undergraduate students were assigned to four practice groups partially blocked for musical instrument. The groups included a physical practice group, a mental practice group and two combined mental and physical practice groups in the proportions of (a) 66% physical and 33% mental, and (b) 33% physical and 66% mental. Each subject performed a pretest, a 3 minute practice session, and a posttest on both harmonic progressions. Presentation of the harmonic progressions were counterbalanced to control for practice effects All pre- and posttests were recorded and scored according to number of note errors. An ANCOVA procedure using pretest scores as covariates revealed that: (a) there were no differences between the different practice groups on the measure of note errors, (b) there was a significant difference between the two harmonic progressions on the measure of note errors, such that performance on the easy progression was significantly better than performance on the hard progression, and (c) there was a significant interaction between harmonic difficulty level and the practice groups. Post hoc comparisons between the adjusted means of the practice groups on the two tasks revealed that for the mental and the 33:66 combined practice groups, groups consisting of a higher percentage of mental practice, performance on the easy harmonic progression was significantly better than on the hard harmonic progression. However for the physical and the 66:33 combined practice groups, groups consisting of a higher percentage of physical practice, performance on both harmonic progressions was not significantly different and was as good as the performance of all practice groups on the easy task.

The purpose of this study was to examine the effects of a music-assisted relaxation training program as a treatment method for college music students suffering from performance anxiety. A total of 40 participants were randomly assigned to the experimental (n=20) and wait-list control (n=20) groups. The experimental group received six music-assisted relaxation training sessions while the wait-list control group received no contact. Dependent measures included pre- and post-test State Trait Anxiety Inventory (ST AI) scores and heart rate measurements during individual jury examinations (performance condition). Results found no differences in ST AI scores and heart rate measurements between groups. Factors such as years of formal training and memorization of performance showed no differences in dependent measures. The experimental group rated their performance quality as significantly higher than the wait-list control group. All participants who received the relaxation training program felt they benefited from it, and_ found it helpful in feeling more "in control" and "focused on their music" during performances.

Orientador: Nahim Marun Filho / Resumo: De natureza interdisciplinar, esta pesquisa envolve a comparação e adaptação de conceitos das áreas de Neurociência, Cognição, Psicologia Cognitiva e Educação Física sobre a Memória Muscular para a Performance do Violoncelo. A pesquisa inicia-se com os fundamentos neurofisiológicos de como o cérebro aprende e acessa novas memórias motoras e como as emoções as influenciam, entre outros aspectos neurocientíficos. Pesquisa também as características funcionais e os tipos de memórias, incluindo a formação de agrupamentos ou chunks motores, na visão psicológica cognitiva. Apresenta cada um dos Estágios da Aprendizagem Motora e, fundamentada em estudos científicos, evidencia a importância do Estudo Preliminar e do Estudo Lento. Aborda também sobre a capacidade de Atenção Seletiva e a importância da Repetição para o Aprendizado Motor, com estratégias de estudo e sugestões para o desenvolvimento de um sistema de automatização motora mais eficiente. O estudo relaciona o aprendizado da linguagem e do vocabulário com o aprendizado da performance instrumental, adaptando os conceitos de Vocabulário Motor ao repertório violoncelístico, apresentando exemplos e algumas sugestões de soluções técnicas nesse processo. Por fim, com base nos dados científicos coletados por meio da pesquisa, apresentam-se estratégias para a aquisição de competências motoras, tanto para situações de ensino como para situações de performance em público, resultando em um Sistema Sensório-Motor de Precisão para o Estud... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Of interdisciplinary nature, this research involves the comparison and adaptation of concepts from the areas of Neuroscience, Cognition, Cognitive Psychology and Physical Education on Muscle Memory for Cello Performance. The research begins with the neurophysiological foundations of how the brain learns and accesses new motor memories and how emotions influence them, among other neuroscientific aspects. It also researches the functional characteristics and types of memories, including the formation of motor chunks, from a cognitive psychological perspective. It presents each of the Stages of Motor Learning and, based on scientific studies, highlights the importance of Preliminary Study and Slow Practice. It also addresses our capacity for Selective Attention and the importance of Repetition for Motor Learning, with study strategies and suggestions for the development of a more efficient motor automation system. This study relates the learning of language and vocabulary with the learning of instrumental performance, adapting the concepts of Motor Vocabulary to the cello repertoire, presenting examples and some suggestions of technical solutions in this process. Finally, based on the scientific data collected through the research, the study presents strategies for the acquisition of motor skills, both for teaching situations and for public performance situations, resulting in a Precision Sensory-Motor System for cello study. / Doutor

The art of balancing spiritual, physical and emotional attributes is a daunting task for any organist. The techniques with which an organist consolidates these attributes have a direct effect on the accomplishment of a definitive goal – a successful music performance. However, this portrays the ideal situation. There is a myriad of internal and external factors that obstruct the organist from attaining this ultimate goal and – in the process – create excessive stress and anxiety. Over and above the habitual performance nervousness, an organist’s anxiety level is exacerbated when performing on an unfamiliar organ, as every organ has unique characteristics that differ from all other. Moreover, the modern pipe organ – particularly the church organ – is a complex and intricate instrument that claims the highest skills and flexibility from an organist. Performing music is inherently a stressful accomplishment that is intensified by continuous challenges, inter alia incessant preparation and the threat of criticism. Some music performers seem to thrive on stress while others choke under pressure. The music performer, however, is not intrinsically born with the innate knowledge and wisdom to manage the diverse anxiety-causing factors that are associated with organ performing. A particular kind of pedagogical training, namely coaching, is proposed as a technique to equip a scholar – particularly an organist – with tactics to manage performance anxiety. Parallels are drawn between the training of sports athletes and organists as coaching has valuable applications for both sports- and music performers. The aim with the current study was to explore how and why organists experience such strenuous anxiety when performing a repertoire. These strains can often become too overwhelming for an organist to endure. For the purpose with the study, six experienced and qualified organists were selected by means of a convenience sample design. Their stress- and anxiety levels during music performances were identified by means of 12 open-ended questions. Being an experienced organist and teacher herself, the author was able to probe deeper into the topics introduced by the research questions. Particular consideration was given to the fabric of performance anxiety from three different approaches: behavioural, cognitive and psychoanalytical. In addition, pedagogical coaching was explored as a viable alternative to teaching an organist. Moreover, the organist’s unique characteristics were emphasised from behavioural, cognitive (gestalt), socio-cultural, and psychoanalytical approaches. From the results of the empirical study is evident that all the organists participating in the study revelled in their organ performing. However, many situational and related aspects caused them habitually to experience feelings of stress, anxiety, loneliness and apprehension. Of particular concern to the organists was the inclusion of worship bands in the church. They experienced it as a threat to the church – resulting in a lowering of musical standards. All of the stressful situations resulted in tiredness, frustration and sometimes exploitation in the organists. One main finding was that an organist imperatively needs to be coached and supported in coping with such adverse feelings. Coaching improves energy levels, self-help skills, better time management and further development of emotional intelligence. It can also increase the organist’s physiological state – improve a sense of awareness, enhance learning capabilities and increase self-confidence. The all-encompassing conclusion reached was that – through effective coaching – the organist has a much better chance of overcoming inner- and outer adversities on the way to a successful and rewarding career. / Dissertation (MMus)--University of Pretoria, 2014. / tm2015 / Music / MMus / Unrestricted

Music performance anxiety (MPA) is primarily described as stage fright concerning musicians and performers and affects orchestral and professional musicians severely (Brugués, 2009; Plummer, 2007). As a result, literature on MPA focuses extensively on how it affects professional and adolescent musicians, but limited resources emphasise how it affects brass instrumentalists. The aim of the study is to investigate the occurrence and experience of MPA in brass players. Further, it aims to explore prominent symptoms in this population and what coping strategies are most effective against MPA. Ten brass (five French horn, three trumpet and two trombone) players, of whom eight are professional and two semi-professional musicians, with varying performance experience, participated in this study. The study uses a qualitative research approach and falls into the interpretive paradigm. A multiple case study design was followed. The data were collected through semi-structured interviews, probing each participant’s reported experiences and coping strategies. MPA inhibits a brass player’s musical performance in areas such as musical expression, technical proficiency, physical endurance, tone quality and enjoyment. The results suggest that most of the participants experienced MPA since childhood, regardless of the starting age, and experiences of this condition varied over time throughout adulthood. The symptoms of MPA manifests physiologically (shaking, dry mouth, increased heart rate, sweating), behaviourally (muscle tension, shaking, dry lips), and cognitively (negative thought processes). First-time experiences of a musically demanding task such exams and Eisteddfods, with intimidating audiences, impacted early signs of severe MPA symptoms such as shaking and had a blunting effect on performance quality. Increased task difficulty, limited performance opportunities, auditions, recitals, and orchestral environments, which exposed the player’s performing ability under pressure, had a profound influence on recent experiences of MPA. These situations evoked multiple symptoms such as dry mouth, accelerated heartbeat, shortness of breath, negative thoughts/feelings and self-doubt. Symptoms such as a dry mouth, accelerated heartbeat, shortness of breath, and shaking affects a brass player’s musical performance severely, since it inhibits tone quality and influences musical spontaneity. Therefore, these symptoms affect technical proficiency among brass players negatively since performing these instruments are physically demanding. The results also showed that teachers gave useful advice concerning performing a brass instrument under pressure. The advice was useful among the participants’ lived experiences of MPA, particularly regarding early-experienced symptoms. The experiences of MPA in high demanding performance settings resulted in a better understanding of the situation over time, and led to the reported coping strategies against MPA, which enhanced optimal performance and reduced symptoms. The study concludes that MPA adversely affects brass instrumentalists, particularly the physiological manifestation of the condition. More research is needed to identify symptoms unique to this instrument group and the most effective coping strategies. / Mini Dissertation (MMus)--University of Pretoria, 2016. / Music / MMus / Unrestricted

The purpose of this study was to identify and describe the use of imagery in vocal professionals' efforts to achieve optimal performance based on research from sport psychology. The four Ws of imagery use: where, when, what, and why have been applied to this study from the fields of athletics (Munroe, Giacobbi, Hall, & Weinberg, 2000) and dance (Nordin & Cumming, 2005). These were adopted after many years of research in athletic performance excellence, with particular reference to the Analytic Framework of the Cognitive and Motivational Functions of Imagery (Paivio, 1985; Hall, Mack, Paivio, & Hausenblas, 1998). This theoretical framework was combined with those of previous interview studies investigating professional musical performers in their use of imagery (Bellon, 2006; Carter, 1993; Trusheim, 1987) and provided a foundation for this study. Theories from psychology explaining the effects of imagery were also integrated, including functional equivalence and neuroimaging. An exploratory design was chosen to investigate the comprehensive nature of this inquiry using a purposeful sample (N = 15). A semi-structured interview based on the four Ws was conducted with 15 solo classical vocal professionals, 10 females (sopranos and mezzos) and 5 males (tenors and a baritone) ranging in age from late twenties to late sixties, residing in several major cities of the United States. Vocalists used imagery during practice, before performance, at home, traveling, and a range of other times. Imagery content was divided into types and characteristics. Vocalists' use of imagery types encompassed execution, metaphorical, context, body-related, musical sound, and character/role images. Imagery was employed to perfect vocal production and quality, embody the character's qualities and emotional aspects for performance, visualize metaphorical and anatomical images to achieve proper vocal execution, achieve goals, and communicate with the audience. Imagery characteristics of vocalists involved visual, auditory, and kinesthetic senses, using primarily internal and some external perspectives. These professionals' imagery abilities were deliberate, controllable, and positive. Similar to competitive athletes, solo vocal performers engaged in imagery for many cognitive and motivational functions. Vocalists replicated dancers in artistic, and healing functions of imagery use in preparing for and achieving optimal performance.

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The purpose of this document is to investigate how trumpet students at the University of North Texas experience music performance anxiety and to find out how professors prepare students for controlling music performance anxiety experiences. The interviewees were ten undergraduates and ten graduate students, as well as three trumpet professors who teach at the University of North Texas. The questionnaire responses of the student interviewees were examined, and literature is provided that address the most common performance related psychological and physiological symptoms experienced by the trumpet students. Effective and healthy strategies are discussed that were offered by the trumpet professors, and suggestions are made regarding potential benefits and detriments of trumpet performance anxiety.

The predominant purpose of the study was to investigate whether or not there is a relationship between singing intonation and string playing intonation among college level and professional string players in Northern California. For the purpose of this study a convenient sampling method was used to recruit participants according to their availability. Thirty college-level and professional string players from the Bay Area participated in this study (n=30). For the purpose of this study, only violin, viola and cello players have been included. The investigative variables for the study are singing intonation and string playing intonation. Intonation has been assessed. through participants' singing and playing. A computer program, called Melodyne, was used to analyze the recorded performances of the participants and determine the magnitude and direction of deviation for both played and sung pitches. The study included a 15 minute individual task after which subjects' intonation has been assessed in two dimensions: string performance intonation and singing performance intonation~ The participants were assigned an eight-measure singing excerpt adapted from the National Anthem of the United States of America, as well as another eight-measure excerpt designed specifically to assess string performance intonation. The subjects were individually audio-recorded and the audio files were analyzed using Melodyne to determine whether or not there is a relationship between singing intonation and string playing intonation. Pearson product-moment correlation coefficient has been calculated to determine the degree of relationship between singing intonation and string playing intonation of the participants.