Page 71 - How to Shine on Stage

time-intensive than chain association memorizing (Ericsson & Kintsch,
1995), although it is very effective (Lisboa et al., 2015).
Memorization frees the performer from the constraints of the musi-
cal score and enables them to cope more easily with the possible down-
sides of the pre- performance pressure. It has been found that there are
no differences in the effectiveness of mnemonic strategies between ama-
teur and professional musicians. Differences have been found in the use
of metacognitive strategies and strategic approaches to task implementa-
tion in terms of the formulation of mental structures, which were better in 69
expert musicians (Ginsborg, 2002; Williamon & Valentine, 2002). These
findings underline the importance of planning and adopting conscious
strategic approaches to memorization in order to improve the quality of
musical performance. It is interesting that during the educational pro-
cess itself, attention is rarely given to developing metacognitive strate-
gies for better memorization (Concina, 2019), although effective musical
memorization techniques can be learned (Lisboa et al., 2015). One of
these techniques is to monitor one’s own thoughts during the process of
memorizing musical material, and writing these thoughts down in mu-
sical notation (Concina, 2019). This should be done in three successive Indirect Factors of Musical Performance Success
phases (memorizing, building the interpretation, polishing). Memorizing
is a complex task that requires constant monitoring to ensure a successful
outcome in terms of effective recall of the memorized material.
Performing by heart often produces a greater internal satisfaction
in the performer and thereby increases the feelings of inner success, as it
liberates the performer of notation and consequently allows them more
room for authentic expression.

2.1.7.1.4 Mental Practice
In the past, mental practice was often referred to as visualization. How-
ever, since it is about mental imagery of performance at various levels
of perception (visual, auditory and kinaesthetic), the contemporary lit-
erature employs the term mental imagery. Mental practice in the case
of musicians therefore primarily involves the development of motor, ki-
naesthetic, and auditory imagery to improve performance, e.g. through
memorization (Bernardi et al., 2013) and developing technical excel-
lence in performance (Clark & Williamon, 2012). Mental imagery, as
a form of performer’s mental practice, is an effective means of monitor-
ing a situation. Images, like real events, evoke emotions and can influ-
ence decisions and behaviour (Zatorre & Halpern, 2005). Moreover, the
imagined movement activates the same cerebral cortex areas and neu-