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Learn Faster, Perform Better: A Musician's Guide to the Neuroscience of Practicing [Pehme köide]

(Faculty, New England Conservatory of Music)
  • Formaat: Paperback / softback, 272 pages, kõrgus x laius x paksus: 226x150x15 mm, kaal: 476 g, 60
  • Ilmumisaeg: 19-Dec-2024
  • Kirjastus: Oxford University Press Inc
  • ISBN-10: 0197680070
  • ISBN-13: 9780197680070
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  • Formaat: Paperback / softback, 272 pages, kõrgus x laius x paksus: 226x150x15 mm, kaal: 476 g, 60
  • Ilmumisaeg: 19-Dec-2024
  • Kirjastus: Oxford University Press Inc
  • ISBN-10: 0197680070
  • ISBN-13: 9780197680070
Teised raamatud teemal:
"Growing up, I hated to practice. I thought it was a frustrating waste of time that didn't accomplish much of anything. I did it because I was a diligent student and I knew it was expected of me, but I didn't quite see the point. My practice in those days consisted of getting out my instrument, playing through a few times the music my teacher had assigned, and then calling it a day. When I messed up, I'd start over, trying to play without the mistake. Or sometimes I'd repeat the spot where I had tripped up once or twice to correct the mistake, and then I'd just go on. Anything that wasn't immediately made better by these two methods was essentially ignored. Maybe my teacher won't notice that I can't really play that part, I thought"--

Molly Gebrian offers a practical guide, using accessible language for non-scientists and non-academics, to help musicians get more out of their practicing by applying discoveries from the fields of cognitive psychology and neuroscience. Gebrian starts with general principles of learning and how the brain works, and then progresses through increasingly specific topics. Throughout the book, the science behind the various topics is accompanied by practical, actionable advice that can be implemented immediately, to give musicians of all levels better tools while practicing and greater confidence on stage.

Practicing is an essential part of every musician's life, but we are rarely taught how to practice in the most effective and efficient way. Many of us find ourselves frustrated when we sound good in the practice room only to embarrass ourselves on stage or in front of our teachers. We feel overwhelmed by the amount of music we have to learn, unsure how to balance everything. Playing from memory can feel terrifying and an insurmountable challenge, and overcoming bad habits can seem impossible at times.

Molly Gebrian applies the science of learning and memory to practicing and performing, giving musicians the tools to learn music more effectively and experience greater confidence on stage. Researchers working in the fields of cognitive psychology and neuroscience have discovered many important principles about how the brain learns new information, retains this information both short- and long-term, and how to make this learning reliable in high-pressure situations like performances. Musicians often choose practice strategies that don't align well with the optimal ways in which the brain learns, leading to frustration while practicing and inconsistency in performance. The author offers a practical guide, using accessible language for non-scientists and non-academics, to help musicians get more out of their practicing by applying this research. Gebrian starts with general principles of learning and how the brain works, and then progresses through increasingly specific topics. Throughout the book, the science behind the various topics is explained in layman's terms, accompanied by practical, actionable advice that can be implemented immediately, to give musicians of all levels better tools while practicing and greater confidence on stage.

Arvustused

Dr. Molly Gebrian gifts us with a truly compelling new book. A highly trained performing musician and pedagogue, Dr. Gebrian has also made a life-long study of neuroscience, especially as it relates to "music and the brain." In this book, she marries the two disciplines in a way that is understandable to the lay reader, with complete descriptions of the "why" and the "how" of applying each new principle. Dr. Gebrian's Introduction is captivating, and the easy cadence of her writing invites us forward with every important technique presented. This is a book for every library - I know I will be using these concepts in my own teaching...and my own learning! * James F. Dunham, Professor of Viola and Chamber Music, Shepherd School of Music, Rice University * Finally, a clear and informative book by a musician with neuroscience expertise explaining how to learn music faster and better! Everyone interested in music performance should read this book to get old monkeys off their back (practicing as much as possible, the myths of talent and early achievement, etc.) and to learn what really does work in music practice and why. * Prof. Jacqueline Leclair, Associate Professor of Oboe, Schulich School of Music of McGill University * This book is pure gold. Scrupulously researched and substantiated by both scientific studies and data culled from her lived experience as a performer and pedagogue, Dr. Gebrian provides musicians with an empowering and practical guide to making profound and lasting progress in their work. * Carol Rodland, Professor of Viola and Chamber Music, The Juilliard School * Kudos to Molly Gebrian for gathering such a compendium of valuable information in one place! If you're a growing young artist - you need this book to develop optimal work habits to get the most out of your dedication. If you're a top-flight teacher, you may know many of the techniques described in this book, but you need this book to understand how and why they work. I look forward to making this book mandatory for my students.... It's the perfect combination of information and inspiration! Did I say you need this book? * Peter Slowik, Professor of Viola, Oberlin Conservatory * I warmly recommend this indispensable resource for performers and students. * Helen Tuckey, AUSTA National Reviews * ILearn Faster, Perform Better isn't a miracle shortcut or a promise of instant results. It won't replace the need for time, patience, and consistent effort. Its real value lies in giving musicians a clearer, more honest framework for using that time well. For players who feel stuck, unfocused, or frustrated by slow progress, it's a thoughtful, motivating and scientifically grounded guide. Even when some of its recommendations feel optimistic or hard to implement in real life, it succeeds in its most important aim: making you rethink what "good practice" actually looks like. * Mark Clayson, Independent Reviewer *

Foreword by Dr. Noa Kageyama
Introduction

Section I: Brain Basics
Chapter 1: Good Practicing and How It Changes the Brain
Chapter 2: Practice Like a Pro
Chapter 3: Use Errors to Your Advantage
Section II: Using Your Time Well
Chapter 4: The Fastest Way to Learn Music: Take More Breaks
Chapter 5: Can You Learn Music in Your Sleep?
Chapter 6: What's the Perfect Schedule of Breaks?
Chapter 7: Be More Consistent in Performance
Chapter 8: Why Exact Repetitions May Not Be the Best Goal
Section III: The Power of the Mind
Chapter 9: The Power of Mental Practice
Chapter 10: Mental Practice and the Brain
Chapter 11: How to Focus to Play Your Best
Chapter 12: The Most Effective Ways to Memorize Music
Chapter 13: Boost Confidence in Memorized Performance
Section IV: Challenges Specific to Music
Chapter 14: Improving Rhythm and Tempo
Chapter 15: Improving Pitch and Intonation
Chapter 16: How to Play Faster
Conclusion: Bringing It All Together
Acknowledgements
Appendix A Complete List of Practice Strategies
Appendix B Sample Spaced Practice Calendars
Appendix C Variable Practice Strategies
Appendix D Bonus Rhythms
Glossary
References
Dr. Molly Gebrian is a professional violist and scholar with a background in cognitive neuroscience. Her area of expertise is applying the research on learning and memory to practicing and performing music. She also investigates the intersections between music and language. As a performer, she prioritizes the works of living composers and those who have traditionally been excluded from the culture of classical music. She holds degrees in both music and neuroscience from Oberlin College and Conservatory, New England Conservatory of Music, and Rice University. Previously, she was the viola professor at the University of Wisconsin-Eau Claire and the University of Arizona. After a decade of teaching viola at the collegiate level, she will join the faculty at New England Conservatory of Music in Fall 2024 to teach courses on the science of practicing.