Page 116 - How to Shine on Stage

Phase 3: mental preparation for a performance
Effective preparation for a performance does not end with learning the
piece. With the latter, the performer acquires a precise internal mental
image of the music, so that they are able to perform the piece fluently, of-
ten even by heart. Yet, learning a piece of music is a process of complete
assimilation of the piece, with the performer adding their own distinctive
qualities. The performer influences the piece, and the piece influences
114 the performer through its intrinsic properties. The former is a case of as-
similation, the latter of accommodation. It is therefore evident that both,
assimilation and accommodation, are needed for the successful perfor-
mance of a piece.
Learning a piece is a process of encoding information (Sloboda,
How to Shine on Stage 2005). One of the main criteria for determining the degree of absorp-
tion of the information contained in a piece of music is the ability to
perform it. We should bear in mind that performing and playing are es-
sentially two separate activities. Regardless of how well we have learned
the piece, we cannot yet presume that we are fully prepared to perform
it. This is due to a number of psychological reasons. Firstly, there is a big
physical and mental difference between the state of practice and the state
of performance. During practice we are usually relaxed and physiolog-
ically balanced, but when we perform, our physiological balance is dis-
rupted, leading to an atypical sensation. The difference between the two
situations is significant enough to shift our attention to a different bodi-
ly response rather than to the music itself. Moreover, the skills required
to perform are quite different from those required to practise. Although
there are many approaches to learning, most musicians typically start
with analytical practice. In contrast, performance requires an integrat-
ed approach. Musicians often claim that one has to simply surrender to
the musical performance. However, performers are finding this difficult.
There are four possible reasons for excessive analyticity in performance
(Salmon & Meyer, 1998).
(1) The performer usually perceives the performance situation as
threatening and therefore tries to control it. The performer believes that
if they are sufficiently focused and careful, they will avoid potential mis-
takes. (2) One of the reasons for this is the fact that the musician invests
a greater amount of time in practice than in performance, so they ap-
ply the analytical style that prevails in practice to the performance itself.
(3) Lack of self-confidence is also an important factor in over-analytical
performance., not only in the sense of relaxation and openness during
performance, but also in the sense of the presence of these personality