Page 72 - How to Shine on Stage

ral pathways linked to the corresponding effectors (muscles) as does the
actual performance (Lotze & Halsband, 2006). These pieces of informa-
tion provide the basis for the use of visualization technique for both per-
formance planning and for supporting mental practice in the practice of
physical instruments (Bernardi et al., 2013; Clark & Williamon, 2011;
Smith & Williams, 1997; Wright & Smith, 2009). Fine et al. (2015) have
found in their research that musicians conceptualize mental practice as
practice away from the instrument, involving multiple types of imagery,
70 often in real time, and as focusing on performance preparation, particu-
larly the aspects of performance delivery and physical implementation.
The detailed conditions for successful visualization are determined
by the PETTLEP model, developed by sport psychologists (Holmes &
How to Shine on Stage real situation, it is advisable to picture the following: the physical sensa-
Collins, 2001). In order to bring the imaginary situation closer to the

tions associated with playing a given instrument in a given venue (Phys-
ical experience), the characteristics of the particular hall (Environment),
the performance of a particular piece of music (Task) in time (Timing)
at the level of one’s current abilities (Learning); the emotions that the
practising person actually feels in such situation, or, e.g., those that they
would like to feel in this situation (Emotions). Viewing the performance
in terms of the audience’s needs and expectations helps the performer to
reduce their fear of making mistakes and to more easily open up emo-
tionally and connect with the audience (Perspective). A meta-analysis of
the results of 129 studies of practical visualization exercises based on the
PETTLEP model found that the training effectiveness was above 90%
(Schuster et al., 2011). In addition, repeated imagination-based training
regarding extreme situations (imagining performance mistakes, imagin-
ing catastrophic performance scenarios) helps to strengthen the sense of
control over events by increasing tolerance to uncertainty and by learn-
ing to be creative in dealing with problems in a public performance set-
ting (Clark et al., 2011; Gregg et al., 2008; Wright et al., 2014).

2.1.7.2 Quantity of Practice
Ericsson et al. (1993) conducted a study on the role of practice in musicians’
achievement of peak performance. They found that in all groups, the learn-
ing began around the age of eight, that the amount of cumulative practice
was the highest (7,400 hours) among the top and professional pianists, fol-
lowed by the good pianists (5,300 hours), and the teachers (3,400 hours).
The weekly average of practice of the musicians in the best group and of
those in the good group was three times higher than that of the teachers.
A comparison was also drawn between professionals and amateurs, which