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Journal articles on the topic 'Music rehearsals'
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1
Cavitt, Mary Ellen. "A Descriptive Analysis of Error Correction in Instrumental Music Rehearsals." Journal of Research in Music Education 51, no. 3 (October 2003): 218–30. http://dx.doi.org/10.2307/3345375.
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This study is a description of the error correction process in 40 instrumental music rehearsals taught by 10 teachers, each of whom was observed conducting 4 consecutive rehearsals. A total of 332 rehearsal frames were analyzed. Rather than summing the observation data across complete rehearsals, I analyzed the data using rehearsal frames as a unit of analysis. Perhaps the most important finding was that the error correction process, rate of teacher-student interaction, and pace varied systematically with the type of error addressed.
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Montemayor, Mark, and Emily A. Moss. "Effects of Recorded Models on Novice Teachers’ Rehearsal Verbalizations, Evaluations, and Conducting." Journal of Research in Music Education 57, no. 3 (September 30, 2009): 236–51. http://dx.doi.org/10.1177/0022429409343183.
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In this study, the authors investigated effects of aural model—supported rehearsal preparation on selected behavioral and evaluative elements of novice teachers’ rehearsals. Sixteen preservice music teachers conducted high school bands in four 15-minute rehearsals (two rehearsals on two different pieces).To prepare for their rehearsals on one piece, participants were given only the conductor score, while for the other piece, they were given both a score and a recorded model of the piece on an audio compact disc.Video recordings of all 64 rehearsals were systematically observed for teachers’ verbalizations across several musical and teaching variables. Participants also completed post-rehearsal evaluations of their teaching and of the ensemble’s playing. Differences between conditions were small, with teachers’ verbalizations reflecting a proportionally greater concern for accuracy in the model-supported condition. Evaluations of rehearsals were less self-directed and were more critical of the ensemble, a finding consistent with previous research.There was virtually no difference in responses between conditions for conductor expressiveness.
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Silvey, Brian A., and Mark Montemayor. "Effects of Internal and External Focus of Attention on Novices’ Rehearsal Evaluations." Journal of Research in Music Education 62, no. 2 (May 19, 2014): 161–74. http://dx.doi.org/10.1177/0022429414530434.
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The purpose of this study was to investigate the effects of internal and external focus of attention on novices’ rehearsal evaluations. Thirty-two undergraduate instrumental music education students led bands in a series of three 6-minute rehearsals on their assigned excerpt. Prior to these rehearsals, participants were led in score study and rehearsal preparation activities. Internal group ( n = 16) participants’ preparation related to knowledge of the score, whereas external group ( n = 16) participants focused their preparations on observable rehearsal behaviors with a minimal amount of time devoted to score study. No significant differences were found between conditions for any of several dependent measures, including participants’ self-evaluation of their teaching, participants’ evaluation of ensemble performance, ensemble members’ evaluations of conductor rehearsal effectiveness and of conductor score knowledge, and independent audio evaluation of the final ensemble performance run-through. Results of repeated-measures analyses did indicate significant improvements in participants’ and ensemble members’ evaluations, for both experimental groups, between the first rehearsal and the second and third rehearsals. Both methods may have helped novice conductors prepare to rehearse, but their direct experience in working with ensembles may have been comparatively more informative in preparing them for future rehearsals.
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Montemayor, Mark, Brian A. Silvey, Amy L. Adams, and Kay L. Witt. "Effects of Internal and External Focus of Attention During Novices’ Instructional Preparation on Subsequent Rehearsal Behaviors." Journal of Research in Music Education 63, no. 4 (November 6, 2015): 455–68. http://dx.doi.org/10.1177/0022429415612201.
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The purpose of this study was to investigate the effects of internal versus external focus of attention during novice teachers’ instructional preparation on their subsequent rehearsal behaviors. Thirty-two undergraduate instrumental music education students led bands in a series of three, 6-minute rehearsals on their assigned excerpt. Prior to these rehearsals, participants engaged in condition-specific score study and rehearsal preparation activities. Internal group ( n = 16) participants’ preparation related to knowledge of the score, whereas external group ( n = 16) participants focused their preparations on observable rehearsal behaviors with a minimal amount of time devoted to score study. We systematically analyzed video recordings of these rehearsals, calculating rates per minute of teacher verbalizations across several performance and teaching variables. We found that compared to the internal group, the external group exhibited higher rates of positive/specific feedback, conducted more frequent and briefer performance segments, and more often asked for the ensemble to start without providing a directive. The internal group mentioned ensemble balance in their rehearsals more frequently than did the external group, and their verbalizations reflected greater concern for Tone Quality. A panel of independent evaluators viewed all 96 video recordings of the rehearsals (presented to them without sound) and rated the clarity and the expression of participants’ conducting. We found a significant time by condition interaction for Expression, with scores for the external group increasing over time and scores for the internal group decreasing. We suggest that these results reflect the distinct and complementary benefits of each of these preparation methods for novice music teachers.
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Burman, Douglas D., and James R. Booth. "Music Rehearsal Increases the Perceptual Span for Notation." Music Perception 26, no. 4 (April 1, 2009): 303–20. http://dx.doi.org/10.1525/mp.2009.26.4.303.
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DESPITE EVIDENCE FOR IMPROVED VISUAL PROCESSING of the printed score among skilled musicians, the effect of music rehearsal on the effective visual field ("perceptual span") for a musical score has never been directly examined. Following 1––20 rehearsals, 11 skilled and 10 less skilled adult musicians reported whether a variant note appeared within a melodic sequence of 3––18 notes, presented onscreen for 200 ms in a tachistoscopic task designed to evaluate the perceptual span. Initially, skilled musicians showed a slightly larger perceptual span for challenging passages (5 notes vs. 4 notes for less skilled musicians). Perceptual spans increased incrementally in both groups, but skill differences in span size disappeared by 20 rehearsals (span of 11 notes). A correlation between improvements in visual perceptual span and performance speed suggests that perceptual learning could underlie early improvements in performance during music rehearsals.
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Montemayor, Mark. "Evaluative and Behavioral Correlates to Intrarehearsal Achievement in High School Bands." Journal of Research in Music Education 62, no. 1 (March 20, 2014): 33–51. http://dx.doi.org/10.1177/0022429413520010.
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The purpose of this study was to investigate relationships of teaching effectiveness, ensemble performance quality, and selected rehearsal procedures to various measures of intrarehearsal achievement (i.e., musical improvement exhibited by an ensemble during the course of a single rehearsal). Twenty-nine high school bands were observed in two rehearsals of a common music selection. Separate panels of experts evaluated ensemble performance quality from audio recordings and teacher effectiveness from video recordings. Rehearsal frames were identified in second-day rehearsals, and “before” and “after” rehearsal trials for each target ( N = 404) were extracted and evaluated for achievement. Selected rehearsal procedures within each frame also were measured. Results indicated no significant relationships between rehearsal effectiveness scores and any of five conceptualizations of intrarehearsal achievement. Significant, positive correlations were found between performance quality and three achievement computations, and between performance quality and rehearsal effectiveness. With one exception, none of the selected rehearsal procedures were associated with achievement differences within rehearsal frames. These findings suggest limitations of considering ensemble teacher evaluation in terms of student achievement. An ensemble’s extant skill level may contribute more to short-term rehearsal achievement than does the quality of its conductor’s rehearsing.
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Yuanyuan, Hu. "Historical role of opera rehearsal in improving the artistic quality and performing abilities of music college students in China." OOO "Zhurnal "Voprosy Istorii" 2023, no. 9-1 (September 1, 2023): 280–87. http://dx.doi.org/10.31166/voprosyistorii202309statyi22.
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This article examines the role of opera rehearsal in improving the artistic quality and performing abilities of music college students in China. The main functions of opera rehearsal, development techniques, methods of checking the progress of students, as well as the latest technologies that can be used for opera rehearsals are presented.
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Beck, R. J., T. C. Cesario, A. Yousefi, and H. Enamoto. "Choral Singing, Performance Perception, and Immune System Changes in Salivary Immunoglobulin A and Cortisol." Music Perception 18, no. 1 (2000): 87–106. http://dx.doi.org/10.2307/40285902.
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In a naturalistic pre-post design, samples of saliva were collected from the members of a professional chorale during an early rehearsal (n = 31), a late rehearsal (n = 34) and a public performance (n = 32) of Beethoven's Missa Solemnis. As measures of immune system response, mean levels of secretory immunoglobulin A increased significantly, as a proportion of whole protein, 150% during rehearsals and 240% during the performance. Cortisol concentrations decreased significantly an average of 30% during rehearsals and increased 37% during performance. As measured through performance perception rating scales, a group of emotions and other experiential states that singers associated with professional singing were highly predictive of changes in level of secretory immunoglobulin A during the performance condition, but the results for the rehearsal conditions were not significant. The best multiple regression model for performance level of immunoglobulin A (p < .0015) included seven emotional, cognitive, and evaluative variables generally associated with choral singing, including levels of mood before and during singing, stress, relaxation, feeling "high," detachment/engagement, and specific satisfaction with the immediate performance.
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Garrett, Matthew L. "An Examination of Critical Thinking Skills in High School Choral Rehearsals." Journal of Research in Music Education 61, no. 3 (August 16, 2013): 303–17. http://dx.doi.org/10.1177/0022429413497219.
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The purpose of this study was to examine the relationship between time spent in nonperformance and critical thinking activities in high school choral rehearsals. Eighteen rehearsal observations were collected from public school music programs. Observed rehearsal behaviors were coded into three categories of nonperformance activity: lower-order thinking, critical thinking, and nonspecific activity. Results indicated that the mean rehearsal time spent in all nonperformance activities was 53.89%, with 45.96% focused on lower-order thinking skills, 6.36% in critical thinking skills, and 1.57% in nonspecific activities, including off-task behavior and silence. A significant positive correlation was found between the amount of time spent in nonperformance activities and time spent engaged in critical thinking skills. No significant correlation was found between the level of ensemble in which students were enrolled and percentage of time spent in activities that required the use of critical thinking skills. Findings suggest that amount of time spent using critical thinking skills in high school choral rehearsals may be influenced by a variety of factors, including rehearsal techniques and learning objectives used by master teachers.
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Edelman, Philip B., and Matthew D. Talbert. "An Exploration of the Effect of Instructor Visual Signal on Vague Feedback Statements by Preservice Music Educators." Journal of Music Teacher Education 29, no. 2 (September 26, 2019): 53–63. http://dx.doi.org/10.1177/1057083719878409.
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The purpose of this study was to explore the effect of a visual signal on feedback type and rehearsal time usage by preservice music educators. A secondary aim was to examine the types of ambiguous feedback statements made by preservice music educators during instruction. Study participants rehearsed their university lab ensemble four times over the course of a semester after being randomly assigned to the control group ( n = 9) or the intervention group ( n = 9). The intervention did not produce a statistically significant effect on the frequency of vague feedback statements. Participants assigned to the intervention group, however, demonstrated a significantly increased amount of music making during their rehearsals and decreased the amount of general talking. Finally, the types of vague statements made by participants during their rehearsals were mostly positive, followed by ambiguous, comparative, and negative statements.
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Goodrich, Andrew. "Peer Mentoring in a High School Jazz Ensemble." Journal of Research in Music Education 55, no. 2 (July 2007): 94–114. http://dx.doi.org/10.1177/002242940705500202.
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The use of peer mentoring in a successful high school jazz band was explored during one academic year of instruction using ethnographic techniques. Participants included primary informants (student jazz band members, director, assistant director, adult mentors) and secondary informants (guidance counselor, principal, parents, nonjazz band member students). Data analysis revealed that peer mentoring contributed to the success of a high school jazz band. Five themes emerged: (a) mentoring from the adult perspective, (b) peer mentoring for musicianship, (c) mentoring in rehearsals, (d) mentoring outside jazz band rehearsals, and (e) social mentoring. Suggestions for teacher educators include supporting, developing, and implementing peer mentoring, which can aid directors in instruction and rehearsal efficiency.
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Droe, Kevin L. "The Effect of Teacher Approval and Disapproval of Music Performed in a Rehearsal Setting on Music Preferences." Journal of Research in Music Education 56, no. 3 (October 2008): 267–78. http://dx.doi.org/10.1177/0022429408326800.
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The purpose of this study was to investigate the effects of teacher approvals and disapprovals of music performed in a rehearsal setting on the music preferences of middle school students. Students ( N = 440) from eight middle school bands participated in the study and were assigned one of four different rehearsal conditions. Teachers rehearsed either one or two assigned pieces of music, while implementing one of the following treatment conditions: (a) rehearsal of one piece with teacher approval and rehearsal of the other piece without comment; (b) rehearsal of one piece with teacher disapproval and rehearsal of the other without comment; (c) rehearsal of only one of the pieces, with teacher approval; and (d) rehearsal of only one of the pieces, with teacher disapproval. After five rehearsals of the music, students were given a listening survey on which to rate their preferences for the two compositions. Results indicated that the treatment conditions had a significant effect on preferences. Ratings from the approval treatment condition were significantly higher than those from the disapproval treatment condition.
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Goolsby, Thomas W. "Verbal Instruction in Instrumental Rehearsals: A Comparison of Three Career Levels and Preservice Teachers." Journal of Research in Music Education 45, no. 1 (April 1997): 21–40. http://dx.doi.org/10.2307/3345463.
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Part 1 of this study was an investigation of the verbal instruction used during 60 rehearsals by expert, novice, and student teachers. Frequency distributions were established for 15 performance variables and 10 rehearsal variables and comments as well as for the number of complete sequential patterns of instruction. Part 2 was a pre-experimental study to determine changes in instruction evidenced by preservice teachers (22 rehearsals) exposed to guided observation as part of an instrumental methods course. Evidence suggests that all three groups of teachers address rhythm/tempo the most frequently. Expert teachers devoted more time to overall ensemble sound (including more demonstrations, instruction/explanations on intonation, and guided listening); of their rehearsal segments, 23% were complete sequential patterns. Novice teachers spent the most time tuning individual notes, whereas student teachers spent the most time correcting wrong notes. Gains for the undergraduates included less emphasis on wrong notes and greater emphasis on rhythm/tempo and style. The percentage of complete sequential patterns of instruction used by undergraduates nearly tripled with minimal training.
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Scherer, Alec D. "High School Band Directors’ Perceptions and Applications of Democratic Rehearsal Procedures in Concert Band Rehearsals." Update: Applications of Research in Music Education 39, no. 3 (January 19, 2021): 47–55. http://dx.doi.org/10.1177/8755123321989299.
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The purpose of this study was to examine inservice high school band directors’ perceptions and applications of democratic rehearsal procedures in concert band rehearsals. Respondents ( N = 216) were members of the National Association for Music Education who were currently teaching concert band at the high school level. Respondents indicated that “identify and describe opportunities for individual and ensemble performance improvement” and “student-led sectionals” were considered the most important democratic rehearsal procedures for their students to experience. These same procedures were also the most frequently used democratic rehearsal procedures. Analysis of open-ended responses revealed that respondents believed student ownership, student engagement, and student growth as musicians and leaders were advantages to implementing democratic rehearsal procedures. Potential disadvantages included issues related to student ability, rehearsal time limitations, unfamiliar classroom dynamics, and availability of classroom resources. Implications for music teachers are discussed.
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Davis, Anita P. "Performance Achievement and Analysis of Teaching during Choral Rehearsals." Journal of Research in Music Education 46, no. 4 (December 1998): 496–509. http://dx.doi.org/10.2307/3345346.
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Eighty-three rehearsals and four final performances of two high schools' beginning and advanced choruses were videotaped to identify rehearsal behaviors and to evaluate performance achievement in relation to performance preparation. Teacher academic and social instruction, student nonperformance response, rated (5-point scale) performance response with and without teacher verbal assistance, and teacher feedback were observed. Variables were measured in real time and converted to percentages of rehearsal time. Additionally, frequencies of teaching sequences were identified for each rehearsal. Review of improvements in the quality of performance for each school indicated a similarity in proximity to the final performance between beginning and advanced choruses. Considering this observation, variables were calculated for means between points of achievement. Findings indicate that (a) teachers pace improvement unrelated to ensemble maturity, (b) time spent in teacher verbalization may not relate to performance success, (c) teacher assistance during student practice decreases with student improvement, and (d) instructions decrease with student improvement.
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Robson, Kim E., and Dianna T. Kenny. "Music performance anxiety in ensemble rehearsals and concerts: A comparison of music and non-music major undergraduate musicians." Psychology of Music 45, no. 6 (March 19, 2017): 868–85. http://dx.doi.org/10.1177/0305735617693472.
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This study assessed music performance anxiety (MPA) in ensemble rehearsals and concerts in 278 undergraduate non-music and music majors drawn from 10 Mid-Atlantic institutions in the US to examine the prevalence and experience of MPA in non-music major undergraduates and to determine whether MPA severity differed between non-music majors and music majors. Results for undergraduate non-music majors using the Kenny Music Performance Anxiety Inventory Revised (K-MPAI-r, Kenny, 2009) revealed cognitive, somatic, affective, and behavioral symptoms. Depression, being an instrumentalist, female, and having had a music performance breakdown made significant contributions to K-MPAI-r scores; depression made the strongest unique contribution to prediction of severity of MPA. Greater self-efficacy was correlated with lower MPA for both rehearsals and concert performances. Overall, MPA and depression indicator scores for the sample were higher than other groups that have been previously evaluated with the K-MPAI-r and the same depression screen. Although ensemble rehearsals were confirmed to be less anxiety provoking than performing solo and in ensemble concerts, students reported considerable MPA during both ensemble rehearsing and ensemble performing. The relatively high rates of MPA and indications of depression in the whole sample should merit concern for music educators.
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Bovin, Amy J. "The effects of frequent use of a web-based sight-reading software on eighth graders’ music notational literacy." Journal of Music, Technology & Education 11, no. 2 (September 1, 2018): 131–47. http://dx.doi.org/10.1386/jmte.11.2.131_1.
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Due to its potential of improving an individual’s music notational literacy and the ease of use within the ensemble setting, the purpose of this study was to determine if frequent use of a web-based sight-reading software (sightreadingfactory.com) in full band rehearsals and group lessons would improve a band student’s individual music notational literacy level. For this study, the researcher utilized the pretest–post-test control–group statistical design with three groups of eighth-grade band students. Group 1 (n = 25) used the software at the beginning of every full band rehearsal, Group 2 (n = 31) used the software at the beginning of every small group lesson rehearsal, and Group 3 (n = 23) did not use the software in any capacity and served as the control group. The study lasted for eight weeks. The researcher individually administered the pretest to all student participants in Week 1 of the study and the post-test during Week 8. In order to determine which treatment caused the greatest change in music notational literacy, the researcher compared the mean gain scores of each group using an ANOVA and found statistically significant findings (F = 3.84, df = 2, p = 0.026). Group 1 (n = 25, M = 2.80, SD = 1.76) students’ mean gain scores were significantly higher than Group 3’s (n = 20, M = 0.90, SD = 2.02, p = 0.006 indicating) evident that the web-based software was most effective in the full ensemble rehearsals.
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MacLeod, Rebecca B. "The Perceived Effectiveness of Nonverbal, Co-Verbal, and Verbal String Ensemble Instruction: Student, Teacher, and Observer Views." Journal of Music Teacher Education 27, no. 3 (October 28, 2017): 65–79. http://dx.doi.org/10.1177/1057083717739790.
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The purpose of this study was to determine how students, teachers, and outside observers perceive teaching effectiveness within a university-level string ensemble rehearsal setting. Students, teachers, and observers reflected on six rehearsal segments that used primarily nonverbal, co-verbal, or verbal instruction as outlined by Bob Culver in the Master Teacher Profile. Overall, participants viewed the verbal teaching episodes as being most effective, and expressed a preference for several elements associated with the verbal instructional mode. Five common elements of effective rehearsals identified by participants were Specific Instructions and Feedback, Delivery Skills and Eye Contact, Audible and Focused Co-Verbal Instruction Prompts, Conducting Effectiveness, and Ensemble Progress. Effectiveness perceptions were colored by participants’ sense of each teacher’s comfort with the different instructional modes as well as the elements of rehearsal teaching they personally valued.
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Berg, Margaret H. "Promoting “Minds-On” Chamber Music Rehearsals." Music Educators Journal 95, no. 2 (December 2008): 48–55. http://dx.doi.org/10.1177/0027432108325870.
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Brendell, Janna K. "Time Use, Rehearsal Activity, and Student Off-Task Behavior during the Initial Minutes of High School Choral Rehearsals." Journal of Research in Music Education 44, no. 1 (April 1996): 6–14. http://dx.doi.org/10.2307/3345409.
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In this study, the use of rehearsal time during the initial minutes (i.e., the warm-up time) of 33 high school choral rehearsals was examined. Student attentiveness was also investigated during initial rehearsal activities. Trained observers used interval observation techniques in collecting attentiveness, rehearsal activity, and time usage data. Interobserver agreement averaged .93 for off-task, .88 for activity coding, and .85 for rehearsal timing. Conductors averaged 43.45 elapsed seconds prior to the first verbal statement to begin and 14 minutes 19 seconds prior to rehearsal of literature. Time allotted to rehearsal activities was the following: sight-reading, 22.23%; vocal warm-up, 9.63%; getting ready, 6.75%; physical warm-up, 3.37%; literature instruction, 1.84%; and other activity, 1.46%. Off-task percentages were: getting ready, 26.14%; physical warm-up, 18.48%; other, 16.53%; literature instruction, 16.27%; vocal warm-up, 15.07%; and sight-reading, 9.22%. Results indicated that the highest percentages of off-task behavior occurred during activities requiring less singing and active participation. Off-task behavior seemed to be a function of the nature of the activity.
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Nápoles, Jessica, and Jason M. Silveira. "Preservice and Inservice Teachers’ Perceptions of Pacing." Journal of Music Teacher Education 29, no. 2 (October 18, 2019): 64–77. http://dx.doi.org/10.1177/1057083719882702.
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The purpose of this study was to examine preservice and inservice teachers’ perceptions of pacing in ensemble rehearsal settings. We used Silveira’s definition of pacing as our conceptual framework: “the continuous flow of instruction without unnecessary interruptions and/or unnecessary sounds and without presentation of irrelevant material.” Participants were 23 preservice and 25 inservice music teachers. They viewed four excerpts of ensemble rehearsals and moved a Continuous Response Digital Interface dial to indicate their perceptions of fast and slow pacing. Based on our findings, we largely confirmed Silveira’s definition regarding pacing but suggest amending the definition for music rehearsal contexts to include student engagement and teacher talk. We propose the following revised definition of pacing: “the continuous flow of instruction without unnecessary interruptions and/or unnecessary sounds, without excessive teacher talk, and with presentation of relevant material while maintaining student engagement.”
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Kilpatrick, Carlton E. "Movement, Gesture, and Singing: A Review of Literature." Update: Applications of Research in Music Education 38, no. 3 (February 24, 2020): 29–37. http://dx.doi.org/10.1177/8755123320908612.
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The purpose of this review of literature was to explore intersections between movement and gesture, and to examine their effects on singing. Music educators have long championed the integration of movement into music instruction. The effects of movement have been studied and correlations found between an individual singer’s intonation, internal pulse, and tone quality. The incorporation of movement activities into choral rehearsals has shown a significant level of perceived benefits by singers. The conducting gesture as a form of aesthetic movement has also been examined. One factor consistently reported is a relationship between the intentional use of movement in rehearsal and increased engagement. Additionally, movement has also been found to share a meaningful link with music and emotion. Movement and music both illustrate abstract emotional concepts and can aid in the formation of concrete relationships between them. Recommendations for music educators and suggestions for future research are provided.
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Whitaker, Jennifer A. "High School Band Students’ and Directors’ Perceptions of Verbal and Nonverbal Teaching Behaviors." Journal of Research in Music Education 59, no. 3 (August 11, 2011): 290–309. http://dx.doi.org/10.1177/0022429411414910.
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This study was designed to examine the use and perception of selected teaching behaviors of high school band directors. Videotaped rehearsals of six band directors’ top-performing ensembles were analyzed for conductor magnitude, sequential pattern components, and instructional pacing. Directors and students rated video excerpts of their rehearsals, completed a questionnaire, and participated in interviews. Teaching behaviors were generally consistent with previous research. Student evaluations of excerpts containing drill, all strict conducting, and more teacher talk were rated lowest. Highest rated excerpts contained more or relatively equal amounts of student response and teacher talk, some expressive conducting, and varying facial expressions. Directors rated excerpts containing little variety in facial expression and more or equal amounts of teacher talk highest. Lowest rated excerpts contained drill or structured rehearsal; all or mostly strict, or no conducting; and longer student activity times. Students were able to identify and discuss their director’s teaching behaviors, had a respect for their director’s musical abilities and knowledge regardless of rapport, desired more praise, and thought of disapproving feedback as necessary critique. Directors were most critical of their conducting behaviors, spent time reflecting on their teaching, and believed self-assessment was beneficial to improve one’s teaching.
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Volek, Tomislav, and Jaroslav Macek. "Beethoven's Rehearsals at the Lobkowitz's." Musical Times 127, no. 1716 (February 1986): 75. http://dx.doi.org/10.2307/964559.
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Chaffin, Charles R. "Perceptions of Instrumental Music Teachers regarding the Development of Effective Rehearsal Techniques." Bulletin of the Council for Research in Music Education, no. 181 (July 1, 2009): 21–36. http://dx.doi.org/10.2307/40319225.
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Abstract The purpose of this study was to examine the perceptions of two third-year instrumental music teachers concerning their early career development of successful rehearsal techniques. Participants were observed over the course of three days in their classroom environment and posed questions based upon the rehearsal techniques they incorporated into their instruction. Triangulation was achieved through interviews of both participants regarding the same subject matter, as well as interviews with the instrumental music teachers that work alongside the participants on a daily basis (in-house colleagues). Both participants credited their in-house colleague and reflection-on-action as the two most influential elements found within their teaching setting. Through those influences, the participants cited their development in regard to planning, pacing, repertoire selection, and classroom management. Regarding influential factors pursued outside of their teaching responsibilities, both participants identified their community colleagues as well as the act of recording of their own rehearsals as most beneficial to their development. The results of this study reinforce the need for early teaching experiences in combination with the acquisition of teaching techniques in pre-service music education methods courses. Experiences in pre-service instruction that facilitate reflection-on-action may also benefit early career music educators in their rehearsal technique development.
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Cohen, Mary L. "Writing between Rehearsals." Music Educators Journal 98, no. 3 (March 2012): 43–48. http://dx.doi.org/10.1177/0027432111434743.
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Excellent musical ensembles have a strong sense of communal identity among the participants. Because of scheduling challenges and performance priorities, it is difficult to build camaraderie during rehearsal time other than through music making. This article explores the processes, benefits, and challenges of implementing a writing component in an ensemble for the purposes of building camaraderie and assessing individuals. The writing component described here is used with a joint community/prison choir consisting of college students, community members, and prisoners. Ideas are included for teacher-conductors who want to develop their musicians’ learning through invitations to write. Activities involved in this project may include scripts for concert introductions, program notes, creative writing explorations, concepts to share during rehearsal, and interdisciplinary teaching.
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Ihsan, Rivaldi. "Study Of Music Performance The Orches Group Pancaran Senja Melayu Village Batu Besar Nongsa Batam." Gondang: Jurnal Seni dan Budaya 6, no. 2 (December 30, 2022): 314. http://dx.doi.org/10.24114/gondang.v6i2.39435.
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The study of musical performances in this study focuses on the musical performance itself. Where music performance events are present through two important roles, namely musicians and audiences who are the center when the music performance takes place. The success of a musical performance is through a procession of intense rehearsals, ongoing performances, and evaluations after musical performances. This study is a qualitative analytic description of the Pancaran Senja Malay Orchestra music group at Kampung Melayu Batu Besar Nongsa Batam. The research methods are field observations, interviews, literature studies, and participant observers. The results of the research are; that the success of the Pancaran Senja Malay Orchestra music performance until now has gone through the stages of the rehearsal process, show flight hours, and performance evaluation for the progress of the Pancaran Senja Malay Orchestra. This procession was born through discussion and agreement among fellow musicians, so that the continuity and survival of the Pancaran Senja Malay Orchestra music group was established.
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Haddon, Elizabeth, and Mark Hutchinson. "Empathy in Piano Duet Rehearsal and Performance." Empirical Musicology Review 10, no. 1-2 (April 8, 2015): 140. http://dx.doi.org/10.18061/emr.v10i1-2.4573.
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The multiple definitions of empathy (Batson, 2011) suggest that despite attempts to rationalize terminology its nature might only be understood by those engaged in particular relational experiences. In music, these include the dimensions of co-player relationships as well as empathy concerning the actual piece of music being rehearsed or performed (Laurence, 2009). This article explores the concept of empathy within the construct of the piano duet. Analysis of data created through reflective writing following each of eight rehearsals revealed bodily, verbal, emotional and cognitive empathy concerning increasing instinctive understanding and tacit communication, unspoken conflict resolution, and the development of creative empathy in relation to the piece of music being rehearsed. The findings highlight the importance of empathy in developing fluidity of roles in rehearsal and in the creation of a “safe space” for musical collaboration.
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Emerson, Kathryn, Victoria Williamson, and Ray Wilkinson. "Once more, with feeling: Conductors’ use of assessments and directives to provide feedback in choir rehearsals." Musicae Scientiae 23, no. 3 (July 20, 2019): 362–82. http://dx.doi.org/10.1177/1029864919844810.
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In this article Conversation Analysis is used to explore the way that conductors give feedback in choir rehearsals through the use of assessments and directives. Assessments and directives have previously been investigated in some forms of music teaching and rehearsing, although not in choir rehearsals. There is also a paucity of research on the methods by which a conductor may give feedback following an episode of singing by the choir. This analysis is based on 19 hours of choir rehearsal data, involving eight choirs and nine conductors. We show that conductors’ feedback turns typically consist of two particular communicative behaviours: assessments and directives, either occurring singly or in various combinations. Assessments explicitly evaluate (positively or negatively) the just-produced singing of the choir, and directives explicitly tell the choir something about how members should sing in the future. However, the data reveal that assessments can also function implicitly to direct how the choir should sing, and directives can implicitly evaluate singing. Assessments and directives can be done in depicted forms (e.g., using sung vocalisations and gestures), as well as verbal descriptive forms. These findings highlight the distinctive ways that conductors produce feedback within rehearsals and some of the particular inferences that choir members must draw on to understand this feedback, as well as how change and improvement in the choir’s singing may be affected on a turn-by-turn basis.
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Carey, Christian. "NARRATOLOGY IN THE PRACTICE SESSION MODEL OF ELLIOTT CARTER'S STRING QUARTET NO. 5." Tempo 77, no. 305 (July 2023): 17–25. http://dx.doi.org/10.1017/s0040298223000062.
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AbstractElliott Carter's programme notes for his String Quartet No. 5 describe it as being about the embodiment of human interaction within the rehearsal process. This article develops this concept, evaluating the musical figures that are foreshadowed by the fragments that Carter suggests are rehearsal outtakes. Certain motives are reiterated and developed through slight variations, thus exemplifying the rehearsal process, and perhaps the editorial process, in detail. Interactions within this model are suggestive of the character types that Carter has delineated in his previous string quartets, notably No. 2. Using the Practice Session model also alludes to the real-life circumstances of the preparation of previous quartets by ensembles, and anecdotes about the Juilliard Quartet's rehearsals for the premiere of the String Quartet No. 3 can enhance a narratological understanding of the No. 5's construction. Finally, String Quartet No. 5 is considered as an example of one of the transitional works that initiate Carter's late style and its consolidation of material; its use of all-interval chords, their subsets and supersets reflects the constructive elements of human interaction that Carter has stressed as a principal thematic element.
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Hendricks, Karin S. "Investing Time: Teacher Research Observing the Influence of Music History and Theory Lessons upon Student Engagement and Expressive Performance of an Advanced High School String Quartet." Bulletin of the Council for Research in Music Education, no. 184 (April 1, 2010): 65–78. http://dx.doi.org/10.2307/27861483.
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Abstract This teacher-conducted research observes the influence of music history and theory instruction upon motivation, engagement, and expressive performance of the author’s high school string students. Two diverse teaching approaches were introduced sequentially as students learned two movements of Schubert’s "Death and the Maiden" Quartet (D810). The first movement was taught using performance-based instruction only, while the second movement was taught with a combination of performance-based instruction and music history and theory lessons. Student comments and teacher observations revealed that the incorporation of music history and theory lessons into performance instruction was (a) motivational to students, (b) a catalyst for expressive performance, and (c) an effective use of rehearsal time. Independent adjudicator scores were higher for the second movement than for the first, although several additional explanations are given that may also explain the variation in scores. Pedagogical recommendations are provided for incorporating music history and theory lessons into performance rehearsals.
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Montemayor, Mark, and Brian A. Silvey. "Conductor Expressivity Affects Evaluation of Rehearsal Instruction." Journal of Research in Music Education 67, no. 2 (March 5, 2019): 133–52. http://dx.doi.org/10.1177/0022429419835198.
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The purpose of this study was to examine the effect of conductor expressivity on the evaluation of rehearsal instruction. We video recorded two conductors in rehearsal with a university band. We extracted a 3.5-min excerpt of their rehearsals that featured alternation between conductor talk and expressive conducting. For one of the conductors (the “experimental” conductor), we also re-recorded the same rehearsal excerpt with the conductor using unexpressive gestures. In postproduction, we created two versions of the experimental conductor’s rehearsal—one unaltered and the other altered to show unexpressive conducting gestures. The footage of the experimental conductor’s verbal instruction was identical in both versions. Collegiate musicians ( N = 134) viewed the rehearsal excerpts of both the experimental conductor (either expressive or unexpressive) and the control conductor and evaluated both conductors on eight criteria related to instructional effectiveness. Significant differences were found between conditions in the composite evaluations of the experimental conductor. Further inspection revealed significantly higher evaluations favoring the expressive condition on seven of the eight criteria. Notable among these results is the influence of expressive gesture on the perception of distinctly verbal conductor behaviors. We suggest this may indicate the inseparability of gestural and verbal aspects of rehearsal instruction.
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Talbert, Matthew D., and Philip Edelman. "COVID-19 and community band participation: Impacts and the road forward." International Journal of Community Music 14, no. 2 (November 1, 2021): 191–203. http://dx.doi.org/10.1386/ijcm_00044_1.
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The purpose of this study was to survey members of New Horizons International Music Association (NHIMA) instrumental ensembles and community band members (N = 1184) with regard to their music-making experiences during the COVID-19 pandemic. Results of the survey revealed that New Horizons Band (NHB) members and community band members value the social aspect of rehearsals the most, and that suspension of these rehearsals had negative impact on participants’ experiences. Results also indicate that less than 20 per cent of participants engaged in remote learning with their NHB group, suggesting a need to examine the use of technology and remote learning strategies both among senior adult musicians and within the contexts of community music-making.
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Yarbrough, Cornelia, and Katia Madsen. "The Evaluation of Teaching in Choral Rehearsals." Journal of Research in Music Education 46, no. 4 (December 1998): 469–81. http://dx.doi.org/10.2307/3345344.
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Seven rehearsal excerpts demonstrating research-identified teaching skills were presented to university music majors ( N = 89) for ratings and comments. The excerpts focused on the conductor/teacher and were selected from previously taped choral rehearsals of two contrasting pieces across one complete semester. Numerical ratings from 1 to 10 were assigned by subjects to 10 categories of student and teacher behavior: time use, musicianship, accuracy of presentation, student attentiveness, student performance quality, enthusiasm, intensity, pacing, personality, and overall effectiveness. Comparisons of the characteristics of the highest-rated excerpt with the highest-rated showed that the highest-rated excerpt contained less off-task student behavior, a higher percentage of approvals, more eye contact, more activity changes, and that the average length of both teacher and student activities was from 5-6 seconds. Subjects' comments revealed that the highest-rated excerpt received the most positive comments and the lowest-rated received the most negative comments. For the highest-rated excerpt, the most positive comments were for student attentiveness, enthusiasm, pacing, and overall teaching effectiveness; and for the lowest-rated, the most negative comments were for student attentiveness, pacing, and overall teaching effectiveness.
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Arnold, James A. "Effects of Competency-Based Methods of Instruction and Self-Observation on Ensemble Directors' Use of Sequential Patterns." Journal of Research in Music Education 43, no. 2 (July 1995): 127–38. http://dx.doi.org/10.2307/3345674.
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The purpose of this study was to determine the effects of competency-based self-analysis of videotape rehearsals by practicing music teachers on the use of complete and correct sequential patterns of instruction and their components. Complete patterns follow the cyclical pattern of task presentation, student response, and immediate teacher feedback. Correct patterns require that task presentation include academic material and that feedback be specific and related to the task. Twelve teachers of sixth-grade choral and instrumental classes were matched in pairs, placed in experimental or contact-control groups, and videotaped during four rehearsals of the same class at 2-week intervals. Subjects reviewed Tapes 2 and 3 of their own rehearsals, with experimental teachers using operational definitions and self-analysis of typed transcripts, and contact-control teachers using unfocused observation instructions. Results indicate that research-based teaching techniques were effective in significantly increasing experimental teachers' use of complete sequential patterns and percentages of time spent in music activities.
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Pulman, Mark. "Popular music pedagogy: Band rehearsals at British universities." International Journal of Music Education 32, no. 3 (July 17, 2013): 296–310. http://dx.doi.org/10.1177/0255761413491207.
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Taylor, Donald M. "Refining Learned Repertoire for Percussion Instruments in an Elementary Setting." Journal of Research in Music Education 54, no. 3 (October 2006): 231–43. http://dx.doi.org/10.1177/002242940605400306.
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The purpose of this study was to examine teaching effectiveness in an elementary music setting using student achievement as a dependent measure. Because Orff Schulwerk instruction is one of the most prevalent pedagogies in elementary music education, this study examined the rehearsal strategies of recognized Orff Schulwerk teachers as they worked to refine learned repertoire for percussion instruments. Eight instructors and their upper elementary students were videotaped in four regular rehearsals each. Systematic analyses of rehearsal frames in which teachers were working to improve student performance revealed fast teacher pacing and a predominance of instructional directives that were procedural (e.g., where to begin playing) rather than musical (e.g., how to perform more accurately or expressively). The majority of students' performance problems were related to precision, often caused by rushing the underlying pulse. Instructional targets were most often related to technique. Students successfully accomplished proximal goals in 63 % of the performance trials in which the targets were verbalized by the teacher prior to performance and in 74 % of the performance trials when the targets were verbalized by the teachers while students were playing. Students were most successful when teachers used clear, explicit directives and positive modeling.
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Møllerløkken, Ole J., Nils Magerøy, Magne Bråtveit, Ola Lind, and Bente E. Moen. "Forte Fortissimo for Amateur Musicians: No Effect on Otoacoustic Emissions." Medical Problems of Performing Artists 28, no. 1 (March 1, 2013): 3–8. http://dx.doi.org/10.21091/mppa.2013.1002.
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Many amateur musicians are likely to be exposed to high sound levels during rehearsals. Measuring otoacoustic emissions (OAE) is an objective technique to assess hearing ability and can be used as an early predictor of hearing loss. This study aimed to record sound levels at an amateur brass band rehearsal and to examine the cochlear function of the musicians by evaluating distortion product (DP) OAE amplitudes before and after sound exposure. Twenty-four brass band musicians and 10 office workers were examined with personal noise measurements and DPOAE tests before and after a music rehearsal or one office workday, respectively. The sound levels in the brass band ranged from 92 to 100 dB(A), LaEQ 96 dB(A). However, the amateur brass band members had no change in DPOAEs after this exposure compared to pre-exposure levels and compared to office workers.
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Odom, Selma Landen. "The Dalcroze Method, Marie Rambert, and Le Sacre du printemps." Modernist Cultures 9, no. 1 (May 2014): 7–26. http://dx.doi.org/10.3366/mod.2014.0071.
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The standard narrative about the original production of Le Sacre du printemps is that the Ballets Russes dancers hated Nijinsky's choreography; that rehearsals were prolonged; that the work outraged audiences, who rioted; and that the ballet failed and disappeared, but Stravinsky's music endured as modernism's masterpiece. This article offers a revised history, drawing on archival and practice-based research on the method developed by Émile Jaques-Dalcroze, who incorporated movement into music teaching. Starting with what Nijinsky and Diaghilev observed at the Dalcroze institute at Hellerau, I turn to how the dancer Marie Rambert brought embodied knowledge from her Dalcroze background into the rehearsal process to help Nijinsky prepare the dancers to perform the complex work. I then take up the coverage of Dalcroze and Nijinsky that overlapped in newspapers and journals of the time. Finally, I reflect on why their reputations, first joined a century ago, remain intertwined.
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Garisi, Eirene. "The Effectiveness of Musical and Non-Musical Choir Training Processes in Reading Sheet Music at the Student Activity Unit Vocalista Harmonic Choir, Indonesian Institute of the Arts Yogyakarta." International Journal of Multicultural and Multireligious Understanding 11, no. 5 (May 22, 2024): 509. http://dx.doi.org/10.18415/ijmmu.v11i5.5789.
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This study explores the effectiveness of choir rehearsal processes in the Student Activity Unit Vocalista Harmonic Choir (VHC) at the Indonesian Institute of the Arts Yogyakarta, particularly in music reading for both musical and non-musical members, as well as their interactions with the conductor. The research methodology employed is qualitative with an observational approach. Through participatory observation, the researcher concludes that musical members tend to be more confident in music reading and assist non-musical members. Conversely, non-musical members require additional time and practice to catch up with the repertoire. However, during the Voice In December (VID) concert, non-musical members demonstrate mastery of the material and adapt well alongside musical members, indicating the effectiveness of the choir rehearsal process in unifying the vocal quality of its members. Data collection involved note-taking, audio recordings, and video recordings during rehearsals and the concert. The findings suggest that musical choir members tend to aid non-musical members in learning, while non-musical members require extra effort to catch up with the repertoire. The conductor plays a crucial role in providing guidance and vocal technique training. The rehearsal outcomes demonstrate that non-musical members are capable of mastering the repertoire and participating effectively in concerts.
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Clarke, Eric, Nicholas Cook, Bryn Harrison, and Philip Thomas. "Interpretation and performance in Bryn Harrison's être-temps." Musicae Scientiae 9, no. 1 (March 2005): 31–74. http://dx.doi.org/10.1177/102986490500900102.
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The majority of studies of performance focus on the tonal and metric music of the common-practice period, studied at the moment of performance rather than over a period of rehearsal, and usually divorced from the context of real rehearsal and performance (schedules, audiences, auditoria). This paper reports part of a larger project in which three newly commissioned works for solo piano have been studied from the moment that the performer received them, through a period of preparation and rehearsal, to their first public performance. The data consist of interview and diary data, audio recordings, and MIDI data taken from the piano at rehearsals and the public premiere. The paper is a collaboration between one of the composers (Bryn Harrison), the performer (Philip Thomas), and two analysts (Nicholas Cook and Eric Clarke). The paper demonstrates the stability of the performer's approach to this complex music from a very early stage in the rehearsal process; some interesting attributes of his approach to rhythm and tempo; the function of notation as a “prompt for action” rather than as a recipe for, or representation of, sound; and the concealed social character of solo performance and apparently solitary composition. The paper concludes with a discussion and critique of the “communication” model of performance that prevails in psychological studies of performance.
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Gratza, Agnieszka. "Rehearsals for an Island." PAJ: A Journal of Performance and Art 38, no. 3 (September 2016): 61–65. http://dx.doi.org/10.1162/pajj_a_00336.
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Baeyens, Jean-Pierre, Laura Flix Díez, Ben Serrien, Maggie Goossens, Katia Veekmans, Rens Baeyens, Walter Daems, Erik Cattrysse, Erich Hohenauer, and Ron Clijsen. "Effects of Rehearsal Time and Repertoire Speed on Upper Trapezius Activity in Conservatory Piano Students." Medical Problems of Performing Artists 37, no. 1 (March 1, 2022): 1–12. http://dx.doi.org/10.21091/mppa.2022.1001.
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BACKGROUND: Repetitive piano play may overload neck and shoulder muscles and tendons, leading to playing-related musculoskeletal disorders (PRMDs). METHODS: In this pilot study (EMG data of the extensor carpi radialis have been published separately), surface electromyography (sEMG) activity of the upper trapezius (UT) was captured in 10 conservatory piano students while playing a fast and a slow music score selected from the individual’s repertoire, each 3 minutes long. Measurements were made at baseline and again after 2 hrs and 4 hrs of rehearsal time of the piano études. The amplitude of the sEMG signal was processed by a smoothing algorithm, and the frequency component with a non-orthogonal wavelets procedure. Amplitude of the sEMG was expressed in percent of maximal voluntary contraction (%MVC) at baseline, and the frequency component using median frequency based on the frequency band powers. Statistical analysis encompassed repeated measures ANOVAs for the amplitude and frequency components of the sEMG signal (set at 5%). The students also rated the intensity of rehearsals using a visual analog scale (VAS). RESULTS: The median values for the %MVC presented a global mean for the left trapezius of 5.86 (CI90% 4.71, 6.97) and 5.83 for the right trapezius (CI90% 4.64, 7.05). The rehearsals at moderate intensity increased the amplitude of %MVC of the upper trapezius by around 50% and decreased the median frequency. CONCLUSIONS: Playing faster presented higher magnitudes of activity of the upper trapezius. The decrease in the median frequency in response to long rehearsals may be a sign of muscle fatigue.
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Dunn, Dwayne E. "Effect of Rehearsal Hierarchy and Reinforcement on Attention, Achievement, and Attitude of Selected Choirs." Journal of Research in Music Education 45, no. 4 (December 1997): 547–67. http://dx.doi.org/10.2307/3345422.
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A structured rehearsal hierarchy involving a multiple-baseline design, implemented across six rehearsals, was used to measure performance improvement of seven musical concepts, while an experimental design nested within was used to examine the effect of teacher reinforcement on attentiveness, achievement, and attitude in choral ensembles. Two high school choirs (N = 60) received either task presentations, directions, student performance, and reinforcement (n = 31), or identical instruction with no verbal/facial reinforcement (n = 29). Forty choral performances were evaluated by three expert judges, with individual concepts evaluated using 10-point scales and overall performances evaluated using 100-point scales. Results indicated similar performance gains were made for all excerpts, though less instructional time was needed to teach previously learned concepts in new musical contexts. Performance gains made immediately after instruction were maintained despite the addition of new musical concepts. An 11-day period without instruction resulted in a slight ratings decline, but scores recovered to previous levels quickly. Students receiving feedback had higher performance ratings, recorded a more positive attitude toward rehearsal, and were observed off-task a larger percentage of instructional time than students receiving no feedback, with both groups demonstrating lowest off task percentages during group performance activities.
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Bell, Cindy L. "Critical Listening in the Ensemble Rehearsal: A Community of Learners." Music Educators Journal 104, no. 3 (March 2018): 17–25. http://dx.doi.org/10.1177/0027432117745951.
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This article explores a strategy for engaging ensemble members in critical listening analysis of performances and presents opportunities for improving ensemble sound through rigorous dialogue, reflection, and attentive rehearsing. Critical listening asks ensemble members to draw on individual playing experience and knowledge to describe what they hear. Focused discussion revolves around key issues that music directors consider during daily rehearsals: tonal quality, balance, blend, articulation, accuracy of performance, interpretation, musicality, and much more. An important component of critical listening is teacher monitoring of repeated listening exercises: A short listening is immediately followed by discussion and then another short listening. Questions guide the discussion, which becomes richer and more focused as students compare/apply their musical understandings with their aural perceptions and then demonstrate with performance. Though written from the standpoint of a typical public school music ensemble rehearsal, the critical listening concepts can transfer to any musical tradition where listening skills and collective performance are emphasized.
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Katunský, Dušan, Jana Katunská, Iveta Bullová, and Richard Germánus. "Problems in the Designing of Acoustic Properties of Musical Rehearsals." Applied Mechanics and Materials 861 (December 2016): 519–26. http://dx.doi.org/10.4028/www.scientific.net/amm.861.519.
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Content of the post is to describe the creation of building structures, typology, internal environment, and internal wall coverings music rehearsal for optimal acoustic performance. One of the aspects of its internal environment is reverberation time. For this variable there are several methods of calculation. Article gives an indication of how the music was the laboratory building in the center of the music created and what problems the authors in its proposal met. Article contents and solving spatial and building acoustics model music musical rehearsal building downtown. Calculation fully respects Slovak standards valid for the design of room acoustics, as well as hygiene regulations on noise pollution. Acoustically treated room should serve as a laboratory for musical performance. If the building is more proof is needed to solve the sound insulation (building acoustics) that these areas do not interfere with each other. In addressing acoustics of testing can’t talk about bad or good acoustics, but rather on the season and out of corresponding with room acoustics, respectively, with activities in it.
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Slette, Aslaug Louise. "Negotiating musical problem-solving in ensemble rehearsals." British Journal of Music Education 36, no. 1 (August 29, 2018): 33–47. http://dx.doi.org/10.1017/s0265051718000141.
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Ensemble playing is considered central in specialist higher music education, not least because of its collaborative nature. It is a subject in which students are expected to take significant responsibility for learning together during their many unsupervised ensemble rehearsals. This article reports from a qualitative case study investigating the ways three undergraduate student chamber ensembles negotiate musical problem-solving, emphasizing their listening efforts. Findings reveal four ways of interacting – complete, incomplete, personal and expert negotiations – and also suggest new ways of understanding aural awareness within ensembles. Working from a sociocultural perspective, the study proposes that listening is also a collective phenomenon.
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DeSouza, Joseph F., and Rachel Bar. "The effects of rehearsal on auditory cortex: An fMRI study of the putative neural mechanisms of dance therapy." Seeing and Perceiving 25 (2012): 45. http://dx.doi.org/10.1163/187847612x646677.
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We were interested in examining the time course of the evolution when beginning to learn a motor habit and it’s associated neural functional changes in the brain. To accomplish this we employed five professional dancers that were scanned using a within subjects design. Each dancer participated in four fMRI (functional magnetic resonance imaging) scanning sessions over the training and learning of a dance to a 1 min piece of music employing a typical blocked design (5 epochs with alternations of a 30-s fixation period). We also tested five control subjects that had dance experience but did not learn the dance to this music. Subjects were asked to visualize dancing while listening to a piece of music. At the first scanning session, only 4 rehearsals of the piece (initial acquisition phase) were studied. The control subjects were also tested at this time period but they had no rehearsals and had no visual exposure to the music before scanning. The second scanning session occurred one week later, after a total of 9 rehearsals. The third scanning session was completed 7 weeks after initial acquisition of the dance (the dance was performed a total of 16 times after initial training). Thus in total there were 22 scanning sessions using 10 subjects. Additionally a control motor scan was performed in each scanning session to activate motor regions that should not change activation patterns across all scanning sessions. Results revealed a significant increase of BOLD signal, across the sessions in a network of brain regions including bilateral auditory cortex to supplementary motor cortex. These results suggest that as we learn a motor sequence from music, greater neuronal activity occurs and we discuss the potential neural network involved in dance and its implications towards alternative neural regions that are potentially recruited during dance therapy.
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Benetti, Alfonso, and Aoife Hiney. "Art-cycle model: a holistic approach toward artistic experience in music performance." Music Performance Research 12 (2024): 1–21. http://dx.doi.org/10.14439/mpr.12.1.
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This article proposes an art-cycle model based on autoethnographical practice aiming toward the sustainable development of the performer’s agency through documenting, evaluating, and understanding their musical practice and experiences. Literature relating to the evaluation of the performer’s musical practice tends to rely on external parameters, rarely focusing on whether the performer’s needs are met. Furthermore, there appears to be a dichotomy between the rehearsal process and the live performance experience, as they are frequently treated as separate entities, whereas we argue that musical practice is a cyclical process, an art-cycle, with phases of rehearsal punctuated by moments of performance that are followed by rehearsals. In order to address issues relating to the academic validity of the artist’s experiences and the development of the performer’s agency as an artist/researcher, the art-cycle model is based on autoethnography, affording a sustainable and flexible means of investigating the art-cycle from the performer’s perspective. Therefore, we suggest that the proposed model could be incorporated into the performer’s practice in order to analyse, evaluate, and disseminate their experiences through an interaction between critical self-reflection with art-making and artistic output, producing new and pertinent knowledge compatible with both artistic subjectivity and academic prerogatives.
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Rohwer, Debbie. "Adult Musicians' Perceived and Measured Pulmonary Function." Medical Problems of Performing Artists 24, no. 1 (March 1, 2009): 10–14. http://dx.doi.org/10.21091/mppa.2009.1003.
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The research questions for this study were 1) what was the measured pulmonary function of a group of senior adult musicians, and 2) was there a perceived and measured difference between senior adult musicians' pulmonary function scores before and after a rehearsal? The participants in this study were 57 adult musicians in two senior citizen bands in north Texas. Participants completed spirometry tests administered before and after band rehearsals on two occasions to ascertain repeated pulmonary function scores. Results showed that the participants were able to complete the spirometry task at the most basic level. On most pulmonary function measures, younger participants, males, and non-smokers tended to have higher scores. Seven percent of the participants perceived short-term increases in breath capacity after participating in a given rehearsal, and 35% of the participants perceived increases in breath capacity since joining the band. No statistically significant difference between the mean pulmonary function scores were found before and after rehearsal. Implications are addressed concerning the issues related to the measurement and pedagogy of adult music making.