Orchestra Audition Simulation: Qualitative and Focused Analysis of Musicians’ Activity

Abstract

Cet essai consiste en une analyse, fondée sur la théorie et l’approche du cours d’action, de l’activité de sept musiciens-étudiants en situation de simulation de concours d’orchestre. Les stratégies d’adaptation des musiciens sont explorées selon les principes de l’énaction. Des entretiens replongeant le musicien dans cette situation ont permis de faire ressortir, à travers le codage des verbatim en « unités significatives élémentaires » (USE), le sens que chacun des musiciens donne aux différents moments de la simulation de concours, ainsi qu’une multitude de stratégies d’adaptation développées pour y faire face. Les différentes macro-séquences identifiées (la découverte du programme, la mise en condition pour le concours, les adaptations, et la construction de l’expérience après concours) ont une influence sur les musiciens et sont perçues de manière changeante selon l’avancée du concours. À la suite de cette analyse, des stratégies sont proposées afin de faire face aux différentes dynamiques générées par le concours. Cette étude, empruntant la méthode pluridisciplinaire du cours d’action, cherche à apporter de nouvelles connaissances dans la gestion de la performance musicale.

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

“…More than 60 years ago, researchers tried to identify key phases when learning a piece (Wicinski, 1950;Fitts and Posner, 1967). The steps identified by these researchers to learn a piece varied and are dealt with differently depending on each musician, but what emerges overall is that musicians apparently go through general learning phases that are interrelated to each other (Antonini Philippe and Güsewell, 2016). The first step is to choose pieces and work on them.…”

Understanding Wellbeing Among College Music Students and Amateur Musicians in Western Switzerland

“…In a study concerning musicians’ musculoskeletal problems, Chong et al (1989) highlighted differences between student and amateur musicians who were seen in a clinic for such problems: 36% were students and 18% amateurs. Anxiety and distress during performance have also been studied (Kenny et al, 2014; Osborne et al, 2014; Antonini Philippe and Güsewell, 2016). These factors all pose risks to musicians’ wellbeing (Williamon and Thompson, 2006).…”

Wellbeing in and Through Performance: Perspectives From Sports and Music

“…Considering the link between performance and wellbeing established in sports, some researchers have focused on implications for other performance domains. A particular emphasis has been placed on the arts, and music specifically, for the parallels between sport and music performance across a wide array of psychosocial demands that performers in both fields must manage (Williamon, 2004;Antonini Philippe and Güsewell, 2016).…”

“…The studies highlight musicians' use, largely, of insufficient adaptation strategies to achieve positive health (Antonini Philippe, 2013;Antonini Philippe and Güsewell, 2016). A growing body of research shows that specific stressors and demands that musicians face in their training can manifest in performance-related pain and discomfort, performance anxiety, and occupational stress, all of which can be detrimental to wellbeing and pose significant barriers to performing effectively (Williamon and Thompson, 2006;Cruder et al, 2018).…”