The Confident Choir is an exploration of conditions affecting the confidence levels in singers of all levels to create an accessible synthesis of the psychological models and offer practical confidence-building strategies for conductors, teachers, community musicians, and workshop leaders. Michael Bonshor combines his experience as a singing teacher and choral director with a series of in-depth interviews that give an intimate depiction of the challenges faced by the contemporary choral singer. These insights provide the basis for a range of suggested techniques to bolster confidence and reduce anxiety in the group-singing context. This book is primarily designed as a guide for leaders of amateur group singing activities and is relevant to choirs of all sizes and genres. The content will appeal to singers, teachers, and choir leaders; students and scholars in the fields of choral research, community music, music psychology, and adult education; and educators training the musical leaders of the future.
To reach the highest standards of instrumental performance, several years of sustained and focused learning are required. This requires perseverance, commitment and opportunities to learn and practise, often in a collective musical environment. This book brings together a wide range of enlightening current psychological and educational research to offer deeper insights into the mosaic of factors and related experiences that combine to nurture (and sometimes hinder) advanced musical performance. Each of the book's four sections focus on one aspect of music performance and learning: musics in higher education and beyond; musical journeys and educational reflections; performance learning; and developing expertise and professionalism. Although each chapter within its home section offers a particular focus, there is an underlying conception across all the book’s contents of the achievability of advanced musical performance and of the important nurturing role that higher education can play, particularly if policy and practice are evidence-based and draw on the latest international research findings. The narrative offers an insight into the world of advanced musicians, detailing their learning journeys and the processes involved in their quest for the development of expertise and professionalism. It is the first book of its kind to consider performance learning in higher education across a variety of musical genres, including classical, jazz, popular and folk musics. The editors have invited an international community of leading scholars and performance practitioners to contribute to this publication, which draws on meticulous research and critical practice. This collection is an essential resource for all musicians, educators, researchers and policy makers who share our interest in promoting the development of advanced performance skills and professionalism.
What type of practice makes a musician perfect? What sort of child is most likely to succeed on a musical instrument? What practice strategies yield the fastest improvement in skills such as sight-reading, memorization, and intonation? Scientific and psychological research can offer answers to these and other questions that musicians face every day. In The Science and Psychology of Music Performance, Richard Parncutt and Gary McPherson assemble relevant current research findings and make them accessible to musicians and music educators. This book describes new approaches to teaching music, learning music, and making music at all educational and skill levels. Each chapter represents the collaboration between a music researcher (usually a music psychologist) and a performer or music educator. This combination of expertise results in excellent practical advice. Readers will learn, for example, that they are in the majority (57%) if they experience rapid heartbeat before performances; the chapter devoted to performance anxiety will help them decide whether beta-blocker medication, hypnotherapy, or the Alexander Technique of relaxation might alleviate their stage fright. Another chapter outlines a step-by-step method for introducing children to musical notation, firmly based on research in cognitive development. Altogether, the 21 chapters cover the personal, environmental, and acoustical influences that shape the learning and performance of music.
Why are some performers exhilarated and energized about performing in public, while others feel a crushing sense of fear and dread, and experience public performance as an overwhelming challenge that must be endured? What are the factors that produce such vastly different performance experiences? Why have consummate artists like Frederic Chopin, Sergei Rachmaninoff, Pablo Cassals, Tatiana Troyanos, and Barbra Streisand experienced such intense music performance anxiety? This is a disorder that can affect musicians across a range of genres and of all standards. Some of the 'cures' musicians resort to can be harmful to their health and detrimental to their playing. This is the first rigorous exposition of music performance anxiety. In this groundbreaking work, Dianna Kenny draws on a range of disciplines including psychology, philosophy, phenomenology, psychoanalysis, and performance theory in order to explain the many facets of music performance anxiety that have emerged in the empirical and clinical literature. She identifies some unifying guiding principles that will enhance our understanding of the condition and guide researchers and clinicians in the development of effective treatments. The book provides a detailed conceptual framework for the study of music performance anxiety and a review of the empirical and clinical research on the anxiety disorders. In addition it presents a thorough analysis of the concepts related to music performance anxiety, its epidemiology, and theories and therapies that may be useful in understanding and treating the condition. The voices of musicians are clearly heard throughout the book and in the final two chapters, we hear directly from musicians about how they experience it and what they do to manage it. This book will lay a firm foundation for theorizing music performance anxiety and be of enormous value interest to those in the fields of music and music education, clinical psychology, and performance studies.
Singer-Songwriters and Musical Open Mics is an ethnographic exploration of New York City’s live music events where musicians signup and perform short sets. This sociological study dispels the common assumption that open mics are culturally monolithic and reserved for novice musicians. Open mics allow musicians at different locations within their musical development and career to interactively perform, practice, and network with other musicians. Important themes in the book include: the tension between self and society in the creative process, issues of creative authenticity and authorship, and on-going cultural changes central to the Do-It-Yourself cultural zeitgeist of the early 21st century. The open mic’s cultural antecedents include a radio format, folk hootenannies, and the jazz jam session. Drawing from multiple qualitative methods, Aldredge describes how open mics have etched a vital organizational place in the western and urban musical landscape. Open mics represent a creative place where the boundaries of practicing and performing seemingly blur. This allows for a range of social settings from more competitive, stratified, and homogenous music scenes to culturally diverse weekly events often stretching late into the night.
Desired Artistic Outcomes in Music Performance is about empowering musicians to achieve their professional and personal goals in music. The narrative argues that developing musicians should be supported in conceptualizing and achieving their desired artistic outcomes (DAO), as these have been recognized as key elements in a successful career transition in and beyond their studies in higher education. The text explores the nature of DAO and illustrates how higher education students can be enabled to explore and develop these. The book draws on the findings from a range of exploratory studies which: Bring to light connections between contemporary topics in music, such as artistic research and career development; Contribute to existing discussions on innovative pedagogical approaches in higher education in music; and Offer theoretical models to support the broad artistic and professional development in young musicians. This is a text grounded in theory and practice, and which draws on case study examples, as well as historical perspectives and coverage of contemporary issues regarding employment in the music industries. The book will be of particular interest to aspiring music professionals and all those working in the areas of Music Education, Performance Studies and Artistic Research.
(Methodology Chorals). What is it about some musicians and performers who consistently achieve success? Are they the best performers? Did they have the best teachers? Do they have the best professional contacts and connections? Is it just coincidence? Of course not! Dr. Steve Zegree of Western Michigan University, choral arranger and conductor of Western Michigan's Gold Company has developed this practical guide for performers, students, teachers and parents which offers fundamental philosophies and concepts that are essential to a person's growth and development and will contribute to a successful professional life in music. More than just the basics, more than a prescribed curriculum, and more than just getting in front of an audience to go through the motions of what you did in rehearsal call it the Wow Factor there is something for everyone in this book! And, as a special bonus, Chapter 8 offers interviews with great performers from all facets of the music industry including: Simon Carrington, Nick Lachey, Ward Swingle, Roger Emerson, Mac Huff, Liza Minnelli and many more! Topics include: Chapter 1: The Wow Factor: The Framework Chapter 2: How to Practice and Rehearse for The Wow Factor Chapter 3: How to Prepare a Wow Audition Chapter 4: Ifs, Ands or Buts and Rules to Live By Chapter 5: Don't Go to Your Face: Putting the Polish on Your Performance Chapter 6: How to Educate and Entertain Chapter 7: How to Win on NBC's Clash of the Choirs Chapter 8: "Wow" Perspectives: The Interviews Chapter 9: Coda
Many practical books for music educators who work with special needs students focus on students' disabilities, rather than on the inclusive classroom more generally. In Including Everyone: Creating Music Classrooms Where All Children Learn, veteran teacher and pedagogue Judith Jellison offers a new approach that identifies broader principles of inclusive music instruction writ large. As she demonstrates in this aptly-titled book, the perceived impediments to successfully including the wide diversity of children in schools in meaningful music instruction often stem not from insurmountable obstacles but from a lack of imagination. How do teachers and parents create diverse musical communities in which all children develop skills, deepen understanding, and cultivate independence in a culture of accomplishment and joy? Including Everyone equips music teachers with five principles of effective instruction for mixed special needs / traditional settings that are applicable in both classroom and rehearsal rooms alike. These five guidelines lay out Jellison's argument for a new way to teach music that shifts attention away from thinking of children in terms of symptoms. The effective teacher, argues Jellison, will strive to offer a curriculum that will not only allow the child with a disability to be more successful, but will also apply to and improve instruction for typically developing students. In this compelling new book, Judith Jellison illustrates what it takes to imagine, create, and realize possibilities for all children in ways that inspire parents, teachers, and the children themselves to take part in collaborative music making. Her book helps readers recognize how this most central component of human culture is one that allows everyone to participate, learn, and grow. Jellison is a leader in her field, and the wealth of knowledge she makes available in this book is extensive and valuable. It should aid her peers and inspire a new generation of student teachers.
Singing on stage can be a daunting prospect for actors, particularly for those who have not sung before. Yet singing should be an essential part of every actor's toolkit. Singing on Stage: An Actor's Guide gives an insight for the first time into the vocal techniques and practical approaches that have been developed over generations as an integral part of the training at the Royal Academy of Dramatic Art. Jane Streeton and Philip Raymond are highly experienced performers and teachers; their book encourages each actor to explore their own authentic voice as opposed to offering a 'one-size-fits-all' or 'quick-fix' approach. Written in an accessible, friendly and enabling style, Singing on Stage: An Actor's Guide is packed with exercises to develop the actor's skills and gives an overview of: • elements of technique • how to work on a song • the process of singing theatrically • how to choose the best songs for you Featuring inspirational listening suggestions and the observations of successful performers and practitioners, Singing on Stage: An Actor's Guide is the must-have companion for complete beginners as well as for experienced actors who wish to develop their understanding of singing on stage.
Performance Psychology: A Practitioner's Guide is a comprehensive, evidence-based text covering the key aspects of performance culture: performer development, preparation, training and execution. Written by a team of international contributors, including national coaches, training specialists, applied sports psychologists, clinicians and researchers, and building on strong links between theory and practice, the book shows how applied psychological methods and principles can be used to enhance performance Contributing authors offer clear implications for applied practice and each section is summarized by contributions from a 'Performers Panel' of experts who provide real-life practical examples. Performance psychology is applied to a wide variety of physical performance domains which enables practitioners to see how they can combine ideas and tailor interventions, to people and contexts, to produce effective applications of psychology. Dave Collins is Professor of Performance and Coaching/Director for the Institute of Coaching and Performance at the University of Central Lancashire. As a practitioner, he has worked with over 50 World and Olympic medalists, and in professional performance domains spanning sport, business, motor sport, music, dance and adventure. He was formerly Performance Director of UK Athletics, a rugby player, martial artist and OE instructor. Dave currently works with the Chelsea FC Football Academy, amongst other consultancies. Angela Button is a researcher at the University of Otago and is widely acknowledged as a world expert on talent. Angela has led funded research projects in talent development in the UK and New Zealand. Her sporting interests include squash, running and triathlon. Hugh Richards lectures and is Director of post-graduate programmes in Performance Psychology at the University of Edinburgh. He has published in the areas of coping, talent, individual differences and professional development related to sport, the military and music. Hugh has applied psychology to professional performers from international level sport to business. He currently works with the UK Motor Sport Association, international performer development schemes and has been advisor to the BBC on learning and performance. Strong links between theory and practice - a panel of top performers conclude each section with an overview, providing real-life practical examples in addition to the case studies included in each chapter. Holistic approach allows students to see how they can combine different approaches to address a problem. Written by a team of international contributors including national team coaches, sports psychologists and academics.
“Weaves together thoughts, stories, and quotes from top performers in music, business, and sports to help you achieve excellence” (Jeff Janssen, founder and president of the Janssen Sports Leadership Center). Does excellence relentlessly drive you? Does mediocrity constantly bother you? In Working Toward Excellence, Clemson University professor Paul Buyer identifies eight values for achieving excellence in work and life including hunger, effort, process, quality, consistency, leadership, time, and perseverance. Each chapter features inspiring stories, questions, and quotes from respected professionals who have achieved uncommon success in business, sports, education, and the arts such as John Maxwell, Jim Collins, Stephen Covey, John Wooden, Mike Krzyzewski, Wynton Marsalis, Isaac Stern, and many others. Also included is a Working Toward Excellence Evaluation to help you and your organization reach your true potential and further develop, improve, and measure these essential attributes of success. “Working Toward Excellence has captures my attention in a big way. It is filled with valuable and practical information. It will make a major difference in your life.” —Pat Williams, Orlando Magic, senior vice president, author of Leadership Excellence