Performing musicians’ understanding of the terms “mental practice” and “score analysis”.

Abstract

Musicians commonly speak of mental practice and score analysis in referring to strategies widely used by performers. However, these terms may not be universally understood in the same way. To address this, 89 experienced musicians were surveyed as to their views and experiences concerning mental practice and score analysis, using a mixture of closed/rating scale and open-ended questions. They were asked what they understood by these terms and what information these strategies enabled them to obtain from the score. Results suggest that mental practice and score analysis are both considered useful, though mental practice more so. Content analysis identified the main characteristics of mental practice as-occurring away from the instrument; involving several types of imagery, often in real time; and focusing on performance preparation, particularly aspects of execution and realization. During mental practice, the score tended to function more as a memory aid, an orientation guide, and as a point of reference for interpretation. Score analysis was considered more theoretical, though still relevant for performance preparation at a range of levels from exploratory to detailed. During score analysis, information primarily increased musical understanding of the piece, and related to both structural (e.g., form, harmony) and aesthetic (e.g., tempo, phrasing) aspects. The findings are discussed in terms of the current understanding of mental practice and score analysis in the literature, and the relationship between them. Mental practice and score analysis do have similarities, such as their benefit to performance preparation, and distinctions, for instance, concerning their specific aims. However, they may be best considered as lying on a continuum of strategies for performance practice and enhancement, rather than as two distinct behaviors.

Mental Effort When Playing, Listening, and Imagining Music in One Pianist’s Eyes and Brain

“…Importantly, the phenomenology of music-making and listening is not just related to sounds or finger movements but it is a multisensory or multimodal experience (Vines et al, 2006;Godøy, 2010b;Zimmerman and Lahav, 2012;Fine et al, 2015). The musical imagery of musicians seems particularly embedded in complex action plans, co-articulated executive programs, and predictions of the effects of actions both within the body and in the environment (e.g., Reybrouck, 2001;Wolpert and Flanagan, 2001).…”

Research on vocal sounding based on spectrum image analysis

“…It allows us not only to understand the sound in the abstract concept of the "anapharyngeal cavity, oral cavity, chest cavity, head cavity, high position resonance" pointed out by the abstract general auditory organs, but also to visually see the visual form and specific numerical values. This method of analysis is specific, intuitive, and accurate [15]. In addition, the graphics and data provided by the computer can not only objectively reflect the characteristics of pitch, sound intensity, etc., but also assist the auditory to further analyze the timbre, resonance, and other factors of sound of singing.…”

Score study procedures and processes among instrumental music teachers and students of varying experience.

“…In a study utilizing professional, semi-professional, and amateur musicians (n=89), researchers attempted to make more clear the definition of score analysis (Fine, Goldemberg, Wise, and Bravo, 2015). In this study, participants claimed that information obtained in the score analysis process was most often related to the structural and aesthetic aspects of a piece of music.…”

“…Several studies have attempted to examine university conducting teachers' views on score study and the viewpoints shared by professional conductors (Barry & Henry, 2015;Bergee, 2005;Fine, Wise, Goldemberg, & Bravo, 2015;Manfredo, 2008;Silvey, Springer, & Eubanks, 2016). Trends and categories are easily extracted when comparing the methods of professionals.…”