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Practicing Music by Design: Historic Virtuosi on Peak Performance [Kõva köide]

(University of South Carolina, USA)
  • Formaat: Hardback, 208 pages, kõrgus x laius: 229x152 mm, kaal: 440 g, 1 Tables, black and white; 85 Line drawings, black and white
  • Ilmumisaeg: 02-Jul-2019
  • Kirjastus: Routledge
  • ISBN-10: 0367190060
  • ISBN-13: 9780367190064
  • Formaat: Hardback, 208 pages, kõrgus x laius: 229x152 mm, kaal: 440 g, 1 Tables, black and white; 85 Line drawings, black and white
  • Ilmumisaeg: 02-Jul-2019
  • Kirjastus: Routledge
  • ISBN-10: 0367190060
  • ISBN-13: 9780367190064
Practicing Music by Design: Historic Virtuosi on Peak Performance explores pedagogical practices for achieving expert skill in performance. It is an account of the relationship between historic practices and modern research, examining the defining characteristics and applications of eight common components of practice from the perspectives of performing artists, master teachers, and scientists. The author presents research past and present designed to help musicians understand the abstract principles behind the concepts. After studying Practicing Music by Design, students and performers will be able to identify areas in their practice that prevent them from developing.The tenets articulated here are universal, not instrument-specific, borne of modern research and the methods of legendary virtuosi and teachers. Those figures discussed include:Luminaries Franz Liszt and Frederic ChopinRenowned performers Anton Rubinstein, Mark Hambourg, Ignace Paderewski, and Sergei RachmaninoffExtraordinary teachers Theodor Leschetizky, Rafael Joseffy, Leopold Auer, Carl Flesch, and Ivan GalamianLesser-known musicians who wrote perceptively on the subject, such as violinists Frank Thistleton, Rowsby Woof, Achille Rivarde, and Sydney RobjohnsPracticing Music by Design forges old with new connections between research and practice, outlining the habits of some of the most virtuosic concert performers in history while ultimately addressing the question: How does all this work to make for better musicians and artists?
List of Examples and Table
x
Preface xii
Acknowledgments xvi
1 Introduction
1(29)
Ian
5(1)
The Governor's School
6(3)
More Than Just the Next Repetition
9(1)
Desirable Difficulties
10(1)
Fallacies Explored and Too Much Energy
11(6)
Bridging the Yawning Abyss
17(1)
Transformation, Not Mindless Repetition
18(1)
The Rote to Ruin
19(1)
Mindlessness. Mindfulness. Return to Mindlessness
20(2)
Hobgoblins of Little Minds
22(1)
A Little Island in an Infinite Sea
23(1)
Foolish Consistencies
24(6)
2 A Foundation of Knowledge and Skill
30(26)
Information and Knowledge
30(1)
Novices and Experts
31(1)
The Center
32(1)
Structure Building
33(1)
Building Structures
34(1)
Practice by Design or Waste Your Time
35(4)
The Technique-From-Pieces Fallacy
39(4)
Rule Learners and Example Learners
43(1)
A Dreadful Muddle
43(1)
More Than I Can Express in Words
44(1)
A Hateful Habit?
44(2)
Spaced, Interleaved, and Varied Practice
46(1)
What These Strategies Are
47(1)
How These Strategies Help
48(2)
Freeing the Future
50(6)
3 Chunking
56(27)
The Magical Number Seven
57(1)
Mental, Physical, and Perceptual Chunking
58(1)
Motor Programs and the Time Paradox
59(6)
Explicit and Implicit Skill
65(1)
Choking and Other Curses
65(1)
Prototypical Chunking, or Dr. Wullner's Blocks
66(3)
The More You Master the Chunks, the More You Master the Whole
69(3)
The Technique of Exercise
72(4)
Myelin
76(7)
4 Mental Work
83(19)
Saved From Unprofitable Blundering
83(4)
Karl Leimer and Visualization
87(2)
Myelin ... Again
89(1)
Let the Future In
89(2)
Daylight Upon the Magic
91(2)
Don't Waste Fine Feeling on Wrong Notes
93(1)
Tips and Hints for Learning by Heart
94(1)
Learning to Memorize
95(7)
5 Slow Practice
102(13)
Fitts's Law
102(1)
Prerequisite for Better Slow Practice
103(1)
Great Artists and Teachers of the Past on Slow Practice
103(3)
The Slower You Go, the Faster You'll Progress
106(2)
Alexander's Civil War
108(1)
Inhibition
109(1)
Stopping-Practice
110(1)
Very Softly and Not Too Fast
111(1)
Well, You Get the Idea
111(4)
6 Variety in Repetition
115(19)
Repetition, Repetition, With Variety
117(1)
Rhythmic Variations
118(4)
Applications of Rhythm Patterns
122(4)
Dynamics and Voicing
126(8)
7 Continuity
134(8)
Performing Time
134(1)
A Fluttering of Chaff
135(1)
An Unbroken Mood-Line
135(1)
The Floating Fermata
136(1)
The Forest and the Trees
136(1)
Continuity in Performance
136(6)
8 Phrase-Storming
142(13)
The Kernel of the Profession
143(1)
Try Practicing for Beauty
144(2)
Vision and a Passion for Variants
146(1)
The Thousand Cuts of Competence
147(2)
The Wet Sponge
149(1)
Preconceived Notions
150(1)
Exploration, Experimentation, and Playfulness
151(4)
9 Feedback and Self-Criticism
155(15)
Contaminated Perceptions and Points of View
155(1)
Imaginary States and Other Illusions
156(2)
Motivation and Reward
158(1)
Corrective Feedback
159(1)
Errorless Learning?
160(1)
The First Step to Greatness
161(1)
Self-Criticism as Self-Cultivation
161(9)
10 Codetta
170(3)
Bibliography 173(8)
About the Author 181(2)
Index 183
Christopher Berg is a Carolina Distinguished Professor at the University of South Carolina School of Music, where he runs the classical guitar program.