Page 115 - How to Shine on Stage

tice method depends on the individual, but also on the type of piece and
on the performance.
Miklaszewski (1989) identified three phases of performance prepa-
ration, based on interviews with ten prominent Moscow pianists:

1. mental imagery development phase, which occurs in the light of all
previous musical knowledge (acquiring knowledge about the music
and developing ideas on how a piece should be performed)
2. technical skills training phase (tacking technical problems) 113
3. comprehensive preparation phase (combining the previous phases
with experimental practice which results in the final version of the
piece performance)
One has to distinguish between learning a piece of music and learn-
ing to perform it.
During active psychomotor preparation, musicians often practise el-
ements they will never perform (typical examples being scales and études).
Learning to perform a piece is extremely important, but often not
sufficiently focused on by musicians. Learning a piece is forming an in-
ternal, mental image of the piece and information related to it (Sloboda,
2005). Once all this is internalized, a “cognitive map” is created, which
we use to find our way within the piece. The more data there is in the
“cognitive map”, the less we have to rely on the notation. With practice,
the cognitive map is gradually developed and enriched, which enables Stress During the Various Stages of Preparation for the Musical Performance
increasing reliance on these internal mental images. One of the most
stressful situations for a musician is performance by heart. To avoid this
problem, performers and music educators have developed various mem-
orization techniques over the years (Gabrielson, 2012). Many find it easi-
est to gradually reduce their reliance on notation. Whereas it is common
in some to move directly from playing by notation to playing by heart,
others find this too difficult and learn by heart in stages, using a variety
of strategies. Internal images of a piece can be formed auditorily, visual-
ly, or kinaesthetically (Sloboda, 2005). Reading a piece from the nota-
tion provides the basis for a visual mental image of the music. But this
presentation alone does not provide us with enough information on the
sound of the piece. We also need audible information. However, since
music conveys emotional messages, it is also important for effective in-
terpretation to cultivate a kinaesthetic mental image. This process in-
volves perceiving touch and movement within the music, as well as the
other sensations that the music evokes in us. Mental images in the cogni-
tive map are usually of all the listed sensory origins.