This study presents a framework for categorization of the imagery used in solo piano practice. The framework sorts imagery into two large category: pianistic and non-pianistic and further subdivides into three groups: auditory, kinesthetic, and visual. Given such a range of function for imagery, such as a “view” of the score, instrument, or the space in which performance takes place, a number of terms have emerged to describe imagery within musical practice, terms such as mental rehearsal, mental practice, aural or internal representations, inner hearing, visualization, and finger practice. My goal for this study is not only to investigate the potential of imagery and to devise a framework in which such terms could be defined with more consistency across the whole scope of piano performance studies; but also to apply such findings by suggesting ways in which the framework could be used in practice. With an understanding of imagery and the benefits it may bring, this study suggests paths for further exploration, paths that can impact how music educators might assist music enhance expression, music appreciation and learning, as well as technique in performance practice.
| Identifer | oai:union.ndltd.org:uottawa.ca/oai:ruor.uottawa.ca:10393/38304 |
| Date | 19 October 2018 |
| Creators | Li, Tianrong |
| Contributors | Parmer, Dillon |
| Publisher | Université d'Ottawa / University of Ottawa |
| Source Sets | Université d’Ottawa |
| Language | English |
| Detected Language | English |
| Type | Thesis |
| Format | application/pdf |
Page generated in 0.0215 seconds