Page 22 - How to Shine on Stage

In broad terms, two types of research can be distinguished (Mirk-
ović Radoš, 2010): holistic (integrative) and elementalist (focused on
particular aspects of performance). Research studies with a holistic ori-
entation address larger themes in the context of musical performance
and are usually based on a sociopsychological paradigm (e.g. the influ-
ence of social factors on musical performance, performance anxiety, suc-
cessful performance skills). Meanwhile, the elementalist research studies
investigate the performance of individual notes, intervals, chords, etc.,
20 and are strongly influenced by cognitive science.

Some of the music psychology books include questions concern-
ing musical performance. Gabrielsson (1999, in Parncutt & McPher-
son, 2002) lists some of the major authors who have explored musical
How to Shine on Stage cutt & McPherson, 20022) was researching the comparison of vocal
performance; from the early 1940s onwards, Mursell (1937, in Parn-
and instrumental performance, focusing on issues relating to interpre-
tation and technique. In the same period, Seashore (1938, in Parncutt
& McPherson, 2002) produced a meta-analysis of all then existing stud-
ies on musical performance (including philosophical writings). Schoen
(1940, in Parncutt & McPherson, 2002) dedicated himself to research on
solo singing. Lundin (1958, in Parncutt & McPherson, 2002) addressed
music learning and memorization from a behaviourist perspective. In
contrast, Sloboda (1982; 1985, in Parncutt & McPherson, 2002) investi-
gated performance planning, notation reading, rehearsal, and peak per-
formance from a cognitive perspective.
One of the leading contemporary researchers in music performance
psychology is Aaron Williamon with his research team at the Centre for
Performance Science at the Royal College of Music in London. In 2004
he published a high-profile book, Musical Excellence: Strategies and Tech-
niques to Enhance Performance. Two years earlier, Richard Parncutt and
Gary McPherson’s The Science and Psychology of Music Performance: Crea-
tive Strategies for Teaching and Learning had also been published. It addresses
performance from the perspective of music pedagogy practice. This top-
ic was also comprehensively covered in 2002 by John Rink in his book
Musical Performance: A Guide to Understanding. The most recent book to be
published on the subject is The Oxford Handbook of Music Performance, Vol-
umes 1 and 2 (2022a; 2022b), edited by Gary McPherson.
In the past few years, a number of websites have been available on
the topic of successful1musical performance skills. For example, the most
comprehensive and detailed account can be found on the Sybelius Acad-
emy website under the title From Potential to Performance. 1
1 http://web.uniarts.fi/practicingtipsformusicians/index.html