Musicians’ perceptions and experiences of using simulation training to develop performance skills

Abstract

Simulation has been applied as a tool for learning and training in sports, psychology and medicine for some time, but its current use and potential for training musicians is less well understood. The aim of this study was to explore musicians' perceptions and experiences of using simulated performance environments. Nine conservatory students performed in two simulations, each with interactive virtual elements and vivid environmental cues: a recital with a virtual audience and an audition with virtual judges. Qualitative data were collected through a focus group interview and written reflective commentaries. Thematic analysis highlighted the musicians' experiences in terms of (1) their anticipation of using the simulations, (2) the process of performing in the simulations, (3) the usefulness of simulation as a tool for developing performance skills and (4) ways of improving simulation training. The results show that while simulation was new to the musicians and individual levels of immersion differed, the musicians saw benefits in the approach for developing, experimenting with and enhancing their performance skills. Specifically, the musicians emphasised the importance of framing the simulation experience with plausible procedures leading to and following on from the performance, and they recognised the potential for combining simulation with complementary training techniques. expertise, learning, perception, performance, practice, simulation, qualitative Current performance training often strives to deliver a holistic framework that enhances musicians' performance confidence and creates a positive performance experience (Liertz, 2007). Some of the most innovative approaches directly address aspects such as musicians' Keywords

Conservatory Musicians’ Temporal Organization and Self-Regulation Processes in Preparing for a Music Exam

“…Therefore, an increasing number of music schools offer orchestra audition simulations that help musicians prepare for demanding performance situations (Williamon et al, 2014). The main aim of these simulations is to help music students acquire a better idea of what the performance will feel like and be able to cope with any distracting factors underlying performance, such as stage fright, stress, and, in general, performance-related emotions (Aufegger et al, 2017).…”

Higher music education students’ experiences and management of performance anxiety: A qualitative study

“…Tamborino (2001), examining the level of performance anxiety among college music majors, reported that 97.1 percent of students have experienced performance anxiety before a performance, and 86.5% indicated experiencing MPA during a performance (Tamborrino, 2001). A recent study using a virtual reality performance simulator has reported that the audience does not even have to be 'real' for music student's anxiety to be triggered and for heart-rate to elevate (Aufegger et al, 2017). The problem appears to be more severe among women than in men (Fishbein et al, 1988;Margaret S Osborne & Franklin, 2002;Rae & McCambridge, 2004;Vaag et al, 2016;Wesner, Noyes, & Davis, 1990).…”

“…However, like most emotion-related phenomena, MPA has proven to be a complex subject to investigate; despite the increased attention, the field is still considered in its infancy (Kenny, 2011;Matei & Ginsborg, 2017). Most research on MPA has considered it in relation to physiology (Holden, 2006;Thurber, Bodenhamer-Davis, Johnson, Chesky, & Chandler, 2010), performers' personal characteristics (Cox & Kenardy, 1993;Kenny, 2011), or the elements shaping the immediate performing environment (Aufegger, Perkins, Wasley, & Williamon, 2017). So far, investigations have mostly been confined to quantitative inquiries.…”

Music performance anxiety in classical musicians – what we know about what works

“…Fancourt et al (2015) found higher levels of glucocorticoids (cortisol and cortisone) in singers performing in public than when they were singing without an audience. Furthermore, research using a virtual reality performance simulator demonstrated that the audience does not even have to be 'real' for anxiety to be triggered or heart rate raised (Aufegger et al, 2016). Those who succeed in entering the highly competitive field of classical music must not only possess personal attributes such as determination and resilience but also acquire cognitive and social skills, instrument-specific motor skills, coping skills adequate to the psychological demands of public performance, and the ability to manage their time and be responsible for their physical and mental health.…”