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Books on the topic 'Performance anxiety. Guitar Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

Kenny, Dianna T. The psychology of music performance anxiety. Oxford: Oxford University Press, 2011.

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2

illustrator, Papp Lisa, ed. Facing my music. Austin, TX: Steck-Vaughn, 2003.

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3

Irving, Dorothy. Yrke: Musiker : tankar kring musikkommunikation. Stockholm: Rikskonserter, 1987.

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4

Anxiety and musical performance: On playing the piano from memory. New York: Da Capo Press, 1985.

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5

Amoric, Michel. Spécificités du répertoire contemporain de la guitare. Villeneuve-d'Ascq: Presses universitaires du septentrion, 2002.

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6

Josef, Holeček. För musikens skull: Studier i interpretativ gitarrspelteknik från tidsperioden ca 1800-ca 1930, med utgångspunkt från gitarrskolor och etyder. Göteborg: Göteborgs universitet, Musikhögskolan, Avdelningen för musikvetenskap, 1996.

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7

A guide to playing the baroque guitar. Bloomington: Indiana University Press, 2011.

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8

Hogan, Claire. Music performance anxiety, social phobia & Eysenck's personality dimensions : extra-introversion and neuroticism-stability. (s.l: The Author), 2000.

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9

I, Popov V. Stranit︠s︡y istorii gitarnogo ispolnitelʹstva v SSSR i Rossii: Avtoannotat︠s︡ii︠a︡ k zvukovoĭ metodicheskoĭ rabote. Ekaterinburg: Bank kulʹturnoĭ informat︠s︡ii, 1997.

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10

Dawe, Kevin. The new guitarscape in critical theory, cultural practice and musical performance. Burlington, VT: Ashgate, 2009.

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11

The new guitarscape in critical theory, cultural practice and musical performance. Farnham, Surrey, England: Ashgate, 2010.

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12

T︠S︡ypin, G. M. St︠s︡enicheskoe volnenie: I drugie aspekty psikhologii ispolnitelʹskoĭ dei︠a︡telʹnosti. Moskva: Muzyka, 2010.

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13

Persson, Roland S. Psyke, stress och konstnärlig frihet: En ansats till en yrkesmusikalisk psykosomatik. Stockholm: KMH Förlaget, 1996.

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14

Hoppstock, Tilman. Die Lautenwerke Bachs aus der Sicht des Gitarristen. Darmstadt: Prim-Musikverlag, 2009.

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15

Die Lautenwerke Bachs aus der Sicht des Gitarristen. Darmstadt: Prim-Musikverlag, 2009.

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16

G, Meyer Robert, ed. Notes from the green room: Coping with stress and anxiety in musical performance. New York: Lexington Books, 1992.

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17

Paul, Salmon. Notes from the green room: Coping with stress and anxiety in musical performance. San Francisco, Calif: Jossey-Bass, 1998.

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18

Schwab, Jürgen. Die Gitarre im Jazz: Zur stilistischen Entwicklung von den Anfängen bis 1960. Regensburg: ConBrio Verlagsgesellschaft, 1998.

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19

McAllister, Lesley Sisterhen. The balanced musician: Integrating mind and body for peak performance. Lanham, Md: Scarecrow Press, 2013.

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20

Did they like me?: An A-Z guide for young guitarists and other performers. Saint-Nicolas, QC: Doberman-Yppan, 2008.

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21

Farina, Carlo. Capriccio stravagante. Saint-Nicolas, QC: Éditions Doberman-Yppan, 2008.

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22

Audition success: An Olympic sports psychologist teaches performing artists how to win. New York: Routledge, 2001.

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23

Greene, Don. Audition success: An Olympic sports psychologist teaches performing artists how to win. New York, N.Y: ProMind Music, 1998.

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24

(Composer), Albert Lee, Jerry Donahue (Composer), Steve Morse (Composer), and Steve Trovato (Composer), eds. Country Guitar: Music Instruction and Performance (Guitar Tips). Alfred Publishing Company, 1996.

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25

(Composer), Joe Pass, Pat Martino (Composer), Clint Strong (Composer), Herb Ellis (Composer), and Don Mock (Composer), eds. Jazz Guitar: Music Instruction and Performance (Guitar Tips). REH Video, 1996.

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26

Hendricks, Karin S., 1971- author and Smith, Tawnya D., 1970- author, eds. Performance anxiety strategies: A musician's guide to managing stage fright. 2017.

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27

Victor, Coelho, ed. Performance on lute, guitar, and vihuela: Historical practice and modern interpretation. Cambridge: Cambridge University Press, 1997.

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28

Victor, Coelho, ed. The Cambridge companion to the guitar. Cambridge: Cambridge University Press, 2003.

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29

Parker, Charlie, and Mark Voelpel. Charlie Parker for Guitar: Note-for-Note Transcriptions and Detailed Performance Notes for 18 Bebop Classics. Hal Leonard Corporation, 2001.

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30

Charlie Parker for Guitar: Note-for-Note Transcriptions and Detailed Performance Notes for 18 Bebop Classics. New York, USA: Hal Leonard, 2001.

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31

Coelho, Victor Anand. Performance on Lute, Guitar, and Vihuela: Historical Practice and Modern Interpretation (Cambridge Studies in Performance Practice). Cambridge University Press, 1998.

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32

Coelho, Victor Anand. Performance on Lute, Guitar, and Vihuela: Historical Practice and Modern Interpretation (Cambridge Studies in Performance Practice). Cambridge University Press, 2005.

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33

Lampenfieber und Angst bei ausuebenden Musikern: Kritische Uebersicht ueber die Forschung. Peter Lang Publishing, 2003.

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34

Kelly, Erin Esther. Testing the reliability of a survey of musical performance anxiety in children. 1994.

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35

Nagel, Julie Jaffee. Managing stage fright: A guide for musicians and music teachers. 2017.

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36

Performance Success : Performing Your Best Under Pressure (Theatre Arts). Routledge, 2001.

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37

Marcus, Robert Samuel. The use of the five-course guitar as a continuo instrument as described in Spanish treatises: 1596-1764. 1986.

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38

Nolan, Deborah L. The contributions of nineteenth-century European women to guitar performance, composition, and pedagogy. 1986.

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39

Dawe, Kevin. New Guitarscape in Critical Theory, Cultural Practice and Musical Performance. Taylor & Francis Group, 2016.

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40

Hill, Juniper. Incorporating improvisation into classical music performance. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0015.

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The paucity of improvisation over the last 150 years of western art music is an anomaly. This chapter discusses why and how classical musicians today might incorporate more improvisation into their practice and performance. Examples from professional musicians demonstrate innovative approaches to classical improvisation as well as methods for renewing historical practices in modern contexts. As a developmental tool, improvisation can be used to deepen understanding of traditional repertoire, improve technique and aural skills, expand expressive possibilities, discover a personal voice, and lessen performance anxiety. Methods for increasing improvisation in public performance are also illustrated, including the preparation of improvised cadenzas in canonical repertoire, the exploration of multiple possible score interpretations, the practice of functional improvisation for church services, and the adventure of boundary-challenging creative acts. The chapter concludes by addressing challenges and constraints faced by potential improvisers in today’s classical music culture, especially in relation to education (when important enabling skill sets are left underdeveloped), career pressures (when deviations from convention are risky) and value systems (when improvisation is considered wrong and the creative capacity of performers is deemed inferior). Classical performers are encouraged to take some of their training into their own hands and assert their right for greater artistic autonomy.

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41

Singing in the Age of Anxiety: Lieder Performances in New York and London between the World Wars. University of Chicago Press, 2018.

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42

Spielman, Helen. A flute in my refrigerator: Celebrating a life in music. 2013.

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43

Kertz, Randall. The bassist's guide to injury management, prevention and better health. Niles, Ill. : Randall Kertz, 2005.

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44

Greene, Don. Audition Success (A Theatre Arts Book). Theatre Arts Book, 2001.

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45

Greene, Don. Audition Success : An Olympic Sports Psychologist Teaches Performing Artists How to Win. Promind Music, 1998.

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46

Stark, David, ed. The Performance Complex. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198861669.001.0001.

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What’s valuable? Market competition provides one kind of answer. Competitions offer another. On one side, competition is an ongoing and seemingly endless process of pricings; on the other, competitions are discrete and bounded in time and location, with entry rules, judges, scores, and prizes. This book examines what happens when ever more activities in domains of everyday life are evaluated and experienced in terms of performance metrics. Unlike organized competitions, such systems are ceaseless and without formal entry. Instead of producing resolutions, their scorings create addictions. To understand these developments, this book explores discrete contests (architectural competitions, international music competitions, and world press photo competitions); shows how the continuous updating of rankings is both a device for navigating the social world and an engine of anxiety; and examines the production of such anxiety in settings ranging from the pedagogy of performance in business schools to struggling musicians coping with new performance metrics in online platforms. In the performance society, networks of observation—in which all are performing and keeping score—are entangled with a system of emotionally charged preoccupations with one’s positioning within the rankings. From the bedroom to the boardroom, pharmaceutical companies and management consultants promise enhanced performance. This assemblage of metrics, networks, and their attendant emotional pathologies is herein regarded as the performance complex.

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47

Berg, Christopher. The Classical Guitar Companion. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190051105.001.0001.

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The Classical Guitar Companion is an anthology of exercises, études, and pieces organized according to technique or musical texture. Students are encouraged to work in multiple chapters, simultaneously depending on advice from a teacher or their own assessment of what they need. The author’s dual perspective, as an active performing artist and as a teacher who has trained hundreds of guitarists, results in a combination of pedagogical thoroughness and artistic insight. The book opens with a large section devoted to establishing a thorough knowledge of the guitar fingerboard through a systematic and rigorous study of scales and fingerboard harmony, which will lead to ease and fluency in sight-reading and reduce the time needed to learn a repertoire piece. The chapters cover scales exercises and studies, repeated notes, slurs, harmony, arpeggios, melody with accompaniment, counterpoint, and florid/virtuoso studies. Each section contains text and examples that connect material to fingering practices of composers and practice strategies to open a path to interpretive freedom in performance. Exploring advice found in the standard pedagogical literature for guitar that effectively places constraints on a student’s long-term development, the book offers information designed to help students recognize and overcome these constraints. When the book presents the simple version of a technique, it does so through consideration of the technique’s advanced version. Many guitar composers are represented but there are also transcriptions of relevant lute music that expand the scope of the book. The book is designed to serve as a companion for years of guitar study.

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48

McAllister, Lesley S. Yoga in the Music Studio. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915001.001.0001.

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The ancient practice of yoga, which has exploded in popularity in the United States over the past two decades, has the potential to help music students learn to practice more mindfully and reach peak performance more quickly. This book explores how professional musicians and music teachers of all instruments and levels can use yoga postures (asana) and breath work (pranayama) to enhance artistry. It begins with an overview of yoga philosophy and history before delving into principles of movement, alignment, anatomy, and breath. Following a research-oriented chapter illustrating the cognitive, physical, and emotional benefits of yoga, each chapter explores the unique benefits of yoga for a particular population of students, describing specific poses, modifications, sequences, and sample curricula that teachers can immediately implement into private lessons or group classes. Chapter Four describes the developmental benefits of yoga and music education in early childhood and includes a sample eight-week preschool music curriculum. Chapter Five on the adolescent student explains how yoga can alleviate stress related to social and performance anxiety, enhance mindfulness, and increase peer support in a music studio. Chapter Six, for professional musicians and college students, describes how yoga can prevent or alleviate repetitive stress injuries and other physical symptoms. The final chapter offers ideas for appropriate modifications for the retired adult along with a sample eight-week curriculum to combine yoga with Recreational Music Making. Throughout the book, yoga is presented as a tool for reducing physical tension and anxiety while simultaneously improving body awareness, enhancing cognition, and helping music students to achieve peak performance.

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49

Clark, Walter Aaron. Los Romeros. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041907.001.0001.

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Spanish émigré guitarist Celedonio Romero gave his American debut performance on a June evening in 1958. In the sixty years since, the Romero family—Celedonio, his wife Angelita, sons Celín, Pepe, and Angel, as well as grandsons Celino and Lito—has become preeminent in the world of Spanish flamenco and classical guitar in the United States. Walter Aaron Clark’s in-depth research and unprecedented access to his subjects have produced the consummate biography of the Romero family. Clark examines the full story of their genius for making music, from their outsider's struggle to gain respect for the Spanish guitar to the ins and outs of making a living as musicians. As he shows, their concerts and recordings, behind-the-scenes musical careers, and teaching have reshaped their instrument’s very history. At the same time, the Romeros have organized festivals and encouraged leading composers to write works for guitar as part of a tireless, lifelong effort to promote the guitar and expand its repertoire. Entertaining and intimate, Los Romeros opens up the personal world and unfettered artistry of one family and its tremendous influence on American musical culture. It features a gallery of forty photographs as well as appendices providing a chronology, genealogy, list of albums, and a summary of Romero publications, editions, and educational materials.

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50

Clarke, Eric F., Mark Doffman, David Gorton, and Stefan Östersjö. Fluid practices, solid roles? Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0009.

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This chapter investigates the relationship between the fluid practices that frequently characterize the work of contemporary musicians, and the more solid roles of performer and composer that continue to hold sway in contemporary music. Focusing on a case study of the collaborative creation of Forlorn Hope for eleven-string alto guitar and electronics, by Gorton and Östersjö, the chapter analyses the processes that lead from research and experimentation with particular guitar tunings and playing techniques, through a more conventionally compositional phase, to the first public performance of the piece. The chapter demonstrates how the affordances of both the instrument in the hands of Östersjö and the particular tuning specified by Gorton combined with improvised discoveries, and the ‘filtering’ force of a piece by Dowland, result in a piece whose creative ecology is distributed across a variety of timescales and practices.

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