Imagination in practice: a study of the integrated roles of interpretation, imagery and technique in the learning and memorisation processes of two experienced solo performers
Identifieur interne : 001F18 ( Istex/Corpus ); précédent : 001F17; suivant : 001F19Imagination in practice: a study of the integrated roles of interpretation, imagery and technique in the learning and memorisation processes of two experienced solo performers
Auteurs : Patricia HolmesSource :
- British Journal of Music Education [ 0265-0517 ] ; 2005-11.
Abstract
How can we use practice time in the best possible way? Do we, as performers, have a keen enough awareness of the workings of our mind and body to be sure we are learning in the optimum way for secure performance? If not, how can we readily convey to others good habits for learning and memorisation? By demonstrating aspects of how experienced solo instrumentalists prepare for performance, this paper makes some progress towards answering these questions. In order to extend existing piano based research and to establish possible instrumental differences in working patterns, this study is based on data from interviews with a guitarist and a 'cellist. Thematic analysis of the interview data reveals that despite some variation due to the respective nature of the instruments, most practice strategies are common to both and these strategies are always generated by interpretative goals. Firstly, the clear links between interpretative goals and the formation of playing techniques are demonstrated by the subjects' intuitive mental constructs involving imagery, giving considerable insight into their thought processes and working patterns. Among the forms of imagery identified, motor imagery was found to be unexpectedly significant. Next, there is some discussion of how imagery associated with simultaneous technical and emotional input can help to embed information securely in the memory. The value of creating idiosyncratic structures relating to learning and performance is then shown. Finally, advantages of introducing a more imaginative approach into practice at all levels are proposed, together with potential benefits for both motivation and memory retention.
Url:
DOI: 10.1017/S0265051705006613
Links to Exploration step
ISTEX:F644DAD73D2906BB41005CDF772A098D142F9F86Le document en format XML
<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title>Imagination in practice: a study of the integrated roles of interpretation, imagery and technique in the learning and memorisation processes of two experienced solo performers</title><author><name sortKey="Holmes, Patricia" sort="Holmes, Patricia" uniqKey="Holmes P" first="Patricia" last="Holmes">Patricia Holmes</name><affiliation><mods:affiliation>Trinity College of Music</mods:affiliation></affiliation><affiliation><mods:affiliation>E-mail: pholmes@tcm.ac.uk</mods:affiliation></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">ISTEX</idno><idno type="RBID">ISTEX:F644DAD73D2906BB41005CDF772A098D142F9F86</idno><date when="2005" year="2005">2005</date><idno type="doi">10.1017/S0265051705006613</idno><idno type="url">https://api.istex.fr/document/F644DAD73D2906BB41005CDF772A098D142F9F86/fulltext/pdf</idno><idno type="wicri:Area/Istex/Corpus">001F18</idno><idno type="wicri:explorRef" wicri:stream="Istex" wicri:step="Corpus" wicri:corpus="ISTEX">001F18</idno></publicationStmt><sourceDesc><biblStruct><analytic><title level="a">Imagination in practice: a study of the integrated roles of interpretation, imagery and technique in the learning and memorisation processes of two experienced solo performers</title><author><name sortKey="Holmes, Patricia" sort="Holmes, Patricia" uniqKey="Holmes P" first="Patricia" last="Holmes">Patricia Holmes</name><affiliation><mods:affiliation>Trinity College of Music</mods:affiliation></affiliation><affiliation><mods:affiliation>E-mail: pholmes@tcm.ac.uk</mods:affiliation></affiliation></author></analytic><monogr></monogr><series><title level="j">British Journal of Music Education</title><idno type="ISSN">0265-0517</idno><idno type="eISSN">1469-2104</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="2005-11">2005-11</date><biblScope unit="volume">22</biblScope><biblScope unit="issue">3</biblScope><biblScope unit="page" from="217">217</biblScope><biblScope unit="page" to="235">235</biblScope></imprint><idno type="ISSN">0265-0517</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0265-0517</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract">How can we use practice time in the best possible way? Do we, as performers, have a keen enough awareness of the workings of our mind and body to be sure we are learning in the optimum way for secure performance? If not, how can we readily convey to others good habits for learning and memorisation? By demonstrating aspects of how experienced solo instrumentalists prepare for performance, this paper makes some progress towards answering these questions. In order to extend existing piano based research and to establish possible instrumental differences in working patterns, this study is based on data from interviews with a guitarist and a 'cellist. Thematic analysis of the interview data reveals that despite some variation due to the respective nature of the instruments, most practice strategies are common to both and these strategies are always generated by interpretative goals. Firstly, the clear links between interpretative goals and the formation of playing techniques are demonstrated by the subjects' intuitive mental constructs involving imagery, giving considerable insight into their thought processes and working patterns. Among the forms of imagery identified, motor imagery was found to be unexpectedly significant. Next, there is some discussion of how imagery associated with simultaneous technical and emotional input can help to embed information securely in the memory. The value of creating idiosyncratic structures relating to learning and performance is then shown. Finally, advantages of introducing a more imaginative approach into practice at all levels are proposed, together with potential benefits for both motivation and memory retention.</div></front></TEI><istex><corpusName>cambridge</corpusName><author><json:item><name>Patricia Holmes</name><affiliations><json:string>Trinity College of Music</json:string><json:string>E-mail: pholmes@tcm.ac.uk</json:string></affiliations></json:item></author><arkIstex>ark:/67375/6GQ-29QCR9K5-G</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>research-article</json:string></originalGenre><abstract>How can we use practice time in the best possible way? Do we, as performers, have a keen enough awareness of the workings of our mind and body to be sure we are learning in the optimum way for secure performance? If not, how can we readily convey to others good habits for learning and memorisation? By demonstrating aspects of how experienced solo instrumentalists prepare for performance, this paper makes some progress towards answering these questions. In order to extend existing piano based research and to establish possible instrumental differences in working patterns, this study is based on data from interviews with a guitarist and a 'cellist. Thematic analysis of the interview data reveals that despite some variation due to the respective nature of the instruments, most practice strategies are common to both and these strategies are always generated by interpretative goals. Firstly, the clear links between interpretative goals and the formation of playing techniques are demonstrated by the subjects' intuitive mental constructs involving imagery, giving considerable insight into their thought processes and working patterns. Among the forms of imagery identified, motor imagery was found to be unexpectedly significant. Next, there is some discussion of how imagery associated with simultaneous technical and emotional input can help to embed information securely in the memory. The value of creating idiosyncratic structures relating to learning and performance is then shown. Finally, advantages of introducing a more imaginative approach into practice at all levels are proposed, together with potential benefits for both motivation and memory retention.</abstract><qualityIndicators><score>10</score><pdfWordCount>8239</pdfWordCount><pdfCharCount>48029</pdfCharCount><pdfVersion>1.3</pdfVersion><pdfPageCount>19</pdfPageCount><pdfPageSize>493 x 700 pts</pdfPageSize><refBibsNative>false</refBibsNative><abstractWordCount>252</abstractWordCount><abstractCharCount>1677</abstractCharCount><keywordCount>0</keywordCount></qualityIndicators><title>Imagination in practice: a study of the integrated roles of interpretation, imagery and technique in the learning and memorisation processes of two experienced solo performers</title><pii><json:string>S0265051705006613</json:string></pii><genre><json:string>research-article</json:string></genre><host><title>British Journal of Music Education</title><language><json:string>unknown</json:string></language><issn><json:string>0265-0517</json:string></issn><eissn><json:string>1469-2104</json:string></eissn><publisherId><json:string>BME</json:string></publisherId><volume>22</volume><issue>3</issue><pages><first>217</first><last>235</last><total>19</total></pages><genre><json:string>journal</json:string></genre></host><ark><json:string>ark:/67375/6GQ-29QCR9K5-G</json:string></ark><categories><wos><json:string>1 - social science</json:string><json:string>2 - education & educational research</json:string></wos><scienceMetrix></scienceMetrix><inist><json:string>1 - sciences humaines et sociales</json:string></inist><scopus><json:string>1 - Social Sciences</json:string><json:string>2 - Arts and Humanities</json:string><json:string>3 - Music</json:string><json:string>1 - Social Sciences</json:string><json:string>2 - Social Sciences</json:string><json:string>3 - Education</json:string></scopus></categories><publicationDate>2005</publicationDate><copyrightDate>2005</copyrightDate><doi><json:string>10.1017/S0265051705006613</json:string></doi><id>F644DAD73D2906BB41005CDF772A098D142F9F86</id><score>1</score><fulltext><json:item><extension>pdf</extension><original>true</original><mimetype>application/pdf</mimetype><uri>https://api.istex.fr/document/F644DAD73D2906BB41005CDF772A098D142F9F86/fulltext/pdf</uri></json:item><json:item><extension>zip</extension><original>false</original><mimetype>application/zip</mimetype><uri>https://api.istex.fr/document/F644DAD73D2906BB41005CDF772A098D142F9F86/fulltext/zip</uri></json:item><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/F644DAD73D2906BB41005CDF772A098D142F9F86/fulltext/txt</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/document/F644DAD73D2906BB41005CDF772A098D142F9F86/fulltext/tei"><teiHeader><fileDesc><titleStmt><title level="a">Imagination in practice: a study of the integrated roles of interpretation, imagery and technique in the learning and memorisation processes of two experienced solo performers</title><respStmt><resp>Références bibliographiques récupérées via GROBID</resp><name resp="ISTEX-API">ISTEX-API (INIST-CNRS)</name></respStmt></titleStmt><publicationStmt><authority>ISTEX</authority><publisher scheme="https://publisher-list.data.istex.fr">Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><availability><licence><p>© 2005 Cambridge University Press</p></licence><p scheme="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</p></availability><date>2005-10-21</date></publicationStmt><notesStmt><note type="research-article" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</note><note type="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note></notesStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a">Imagination in practice: a study of the integrated roles of interpretation, imagery and technique in the learning and memorisation processes of two experienced solo performers</title><author xml:id="author-0000"><persName><forename type="first">Patricia</forename><surname>Holmes</surname></persName><email>pholmes@tcm.ac.uk</email><affiliation>Trinity College of Music</affiliation></author><idno type="istex">F644DAD73D2906BB41005CDF772A098D142F9F86</idno><idno type="ark">ark:/67375/6GQ-29QCR9K5-G</idno><idno type="DOI">10.1017/S0265051705006613</idno><idno type="PII">S0265051705006613</idno></analytic><monogr><title level="j">British Journal of Music Education</title><idno type="pISSN">0265-0517</idno><idno type="eISSN">1469-2104</idno><idno type="publisher-id">BME</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="2005-11"></date><biblScope unit="volume">22</biblScope><biblScope unit="issue">3</biblScope><biblScope unit="page" from="217">217</biblScope><biblScope unit="page" to="235">235</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>2005-10-21</date></creation><langUsage><language ident="en">en</language></langUsage><abstract style="normal"><p>How can we use practice time in the best possible way? Do we, as performers, have a keen enough awareness of the workings of our mind and body to be sure we are learning in the optimum way for secure performance? If not, how can we readily convey to others good habits for learning and memorisation? By demonstrating aspects of how experienced solo instrumentalists prepare for performance, this paper makes some progress towards answering these questions. In order to extend existing piano based research and to establish possible instrumental differences in working patterns, this study is based on data from interviews with a guitarist and a 'cellist. Thematic analysis of the interview data reveals that despite some variation due to the respective nature of the instruments, most practice strategies are common to both and these strategies are always generated by interpretative goals. Firstly, the clear links between interpretative goals and the formation of playing techniques are demonstrated by the subjects' intuitive mental constructs involving imagery, giving considerable insight into their thought processes and working patterns. Among the forms of imagery identified, motor imagery was found to be unexpectedly significant. Next, there is some discussion of how imagery associated with simultaneous technical and emotional input can help to embed information securely in the memory. The value of creating idiosyncratic structures relating to learning and performance is then shown. Finally, advantages of introducing a more imaginative approach into practice at all levels are proposed, together with potential benefits for both motivation and memory retention.</p></abstract></profileDesc><revisionDesc><change when="2005-10-21">Created</change><change when="2005-11">Published</change><change xml:id="refBibs-istex" who="#ISTEX-API" when="2017-09-5">References added</change></revisionDesc></teiHeader></istex:fulltextTEI></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version='1.0' encoding='UTF-8'</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD JATS (Z39.96) Journal Publishing DTD v1.0 20120330//EN" URI="JATS-journalpublishing1.dtd" name="istex:docType"></istex:docType><istex:document><article dtd-version="1.0" article-type="research-article"><front><journal-meta><journal-id journal-id-type="publisher-id">BME</journal-id><journal-title-group><journal-title>British Journal of Music Education</journal-title><abbrev-journal-title>Brit. J. Music. Ed.</abbrev-journal-title></journal-title-group><issn pub-type="epub">1469-2104</issn><issn pub-type="ppub">0265-0517</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="pii">S0265051705006613</article-id><article-id pub-id-type="doi">10.1017/S0265051705006613</article-id><title-group><article-title>Imagination in practice: a study of the integrated roles of interpretation, imagery and technique in the learning and memorisation processes of two experienced solo performers</article-title></title-group><contrib-group><contrib><name><surname>Holmes</surname><given-names>Patricia</given-names></name><aff><institution>Trinity College of Music</institution>, King Charles Court, Old Royal Naval College, Greenwich, London SE10 9JF, <country>UK</country><email>pholmes@tcm.ac.uk</email></aff></contrib></contrib-group><pub-date pub-type="epub"><day>21</day><month>10</month><year>2005</year></pub-date><pub-date pub-type="ppub"><month>11</month><year>2005</year></pub-date><volume>22</volume><issue>3</issue><fpage>217</fpage><lpage>235</lpage><permissions><copyright-statement>© 2005 Cambridge University Press</copyright-statement></permissions><abstract abstract-type="normal"><p>How can we use practice time in the best possible way? Do we, as performers, have a keen enough awareness of the workings of our mind and body to be sure we are learning in the optimum way for secure performance? If not, how can we readily convey to others good habits for learning and memorisation? By demonstrating aspects of how experienced solo instrumentalists prepare for performance, this paper makes some progress towards answering these questions. In order to extend existing piano based research and to establish possible instrumental differences in working patterns, this study is based on data from interviews with a guitarist and a 'cellist. Thematic analysis of the interview data reveals that despite some variation due to the respective nature of the instruments, most practice strategies are common to both and these strategies are always generated by interpretative goals. Firstly, the clear links between interpretative goals and the formation of playing techniques are demonstrated by the subjects' intuitive mental constructs involving imagery, giving considerable insight into their thought processes and working patterns. Among the forms of imagery identified, motor imagery was found to be unexpectedly significant. Next, there is some discussion of how imagery associated with simultaneous technical and emotional input can help to embed information securely in the memory. The value of creating idiosyncratic structures relating to learning and performance is then shown. Finally, advantages of introducing a more imaginative approach into practice at all levels are proposed, together with potential benefits for both motivation and memory retention.</p></abstract><counts><page-count count="19"></page-count></counts><custom-meta-group><custom-meta><meta-name>pdf</meta-name><meta-value>S0265051705006613a.pdf</meta-value></custom-meta></custom-meta-group></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo><title>Imagination in practice: a study of the integrated roles of interpretation, imagery and technique in the learning and memorisation processes of two experienced solo performers</title></titleInfo><titleInfo type="alternative" contentType="CDATA"><title>Imagination in practice: a study of the integrated roles of interpretation, imagery and technique in the learning and memorisation processes of two experienced solo performers</title></titleInfo><name type="personal"><namePart type="given">Patricia</namePart><namePart type="family">Holmes</namePart><affiliation>Trinity College of Music</affiliation><affiliation>E-mail: pholmes@tcm.ac.uk</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">2005-11</dateIssued><dateCreated encoding="w3cdtf">2005-10-21</dateCreated><copyrightDate encoding="w3cdtf">2005</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="normal">How can we use practice time in the best possible way? Do we, as performers, have a keen enough awareness of the workings of our mind and body to be sure we are learning in the optimum way for secure performance? If not, how can we readily convey to others good habits for learning and memorisation? By demonstrating aspects of how experienced solo instrumentalists prepare for performance, this paper makes some progress towards answering these questions. In order to extend existing piano based research and to establish possible instrumental differences in working patterns, this study is based on data from interviews with a guitarist and a 'cellist. Thematic analysis of the interview data reveals that despite some variation due to the respective nature of the instruments, most practice strategies are common to both and these strategies are always generated by interpretative goals. Firstly, the clear links between interpretative goals and the formation of playing techniques are demonstrated by the subjects' intuitive mental constructs involving imagery, giving considerable insight into their thought processes and working patterns. Among the forms of imagery identified, motor imagery was found to be unexpectedly significant. Next, there is some discussion of how imagery associated with simultaneous technical and emotional input can help to embed information securely in the memory. The value of creating idiosyncratic structures relating to learning and performance is then shown. Finally, advantages of introducing a more imaginative approach into practice at all levels are proposed, together with potential benefits for both motivation and memory retention.</abstract><relatedItem type="host"><titleInfo><title>British Journal of Music Education</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0265-0517</identifier><identifier type="eISSN">1469-2104</identifier><identifier type="PublisherID">BME</identifier><part><date>2005</date><detail type="volume"><caption>vol.</caption><number>22</number></detail><detail type="issue"><caption>no.</caption><number>3</number></detail><extent unit="pages"><start>217</start><end>235</end><total>19</total></extent></part></relatedItem><identifier type="istex">F644DAD73D2906BB41005CDF772A098D142F9F86</identifier><identifier type="ark">ark:/67375/6GQ-29QCR9K5-G</identifier><identifier type="DOI">10.1017/S0265051705006613</identifier><identifier type="PII">S0265051705006613</identifier><accessCondition type="use and reproduction" contentType="copyright">© 2005 Cambridge University Press</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</recordContentSource><recordOrigin>© 2005 Cambridge University Press</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/F644DAD73D2906BB41005CDF772A098D142F9F86/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/DebussyV1/Data/Istex/Corpus
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 001F18 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Istex/Corpus/biblio.hfd -nk 001F18 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= DebussyV1
|flux= Istex
|étape= Corpus
|type= RBID
|clé= ISTEX:F644DAD73D2906BB41005CDF772A098D142F9F86
|texte= Imagination in practice: a study of the integrated roles of interpretation, imagery and technique in the learning and memorisation processes of two experienced solo performers
}}
| This area was generated with Dilib version V0.6.33. |  |