Psychology for Musicians: Understanding and Acquiring the SkillsWhat is it that accounts for the differences between musical beginners, advanced music makers, and world class performers? Virtually everyone likes music and has the capacity to be musical in some way (despite what some may say about themselves). Yet far fewer people come to be so involved with it that they identify themselves as musicians, and fewer still become musicians of international class. Psychology for Musicians provides the basis for answering this question. Examining the processes that underlie the acquisition of musical skills, Lehmann, Sloboda, and Woody provide a concise, accessible, and up-to-date introduction to psychological research for musicians. |
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Psychology for Musicians: Understanding and Acquiring the Skills Robert H. Woody Limited preview - 2021 |
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ability achievement arousal aspects audience auditory behavior brain catastrophe model chapter chunks classical music cognitive composers concert context creative Davidson effective emotional ensemble Ericsson example experience expressive factors feedback formal formance Franz Liszt functions gamelan genres goals hear important improvisation individual instruction instrument intrinsic motivation J. S. Bach jazz Kratus Lehmann lessons listening mance McPherson melody memory ment mental representations motivation movements musi music education music notation music performance music students music teachers musical activities musical development musical skills Musical Temperament musicians musicology notation notes novices one’s parents patterns perception performance anxiety performance skills person physiological pianists piano piece of music pitch play players practice problems professional psychology rehearsal repertoire self-efficacy sight-reading singing situation Sloboda social song sound specific stage stage fright strategies structure success suggests symptoms synesthetes teaching tion tradition verbal Williamon young musicians
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Page 246 - Bloom, BS (1985). Generalizations about talent development. In BS Bloom (Ed.), Developing talent in young people (pp. 507-549). New York: Ballantine Books.
Page 11 - ... means, and technical procedure, which I myself have used in developing my pupils, in the hope and belief that what I have written may be of help to all students who are sincerely and honestly trying to become masters of that wonderful instrument — the violin. I have simply and frankly endeavoured to explain the art of violin playing as well-nigh sixty years of experience as an interpreting artist and teacher have revealed it to me. My advice, my conclusions, are all the outcome of my experience....