000			02610nam a22002417a 4500
003			ZW-GwMSU
005			20240731084047.0
008			240731b |||||||| |||| 00| 0 eng d
022			_a02650517
040			_aMSU _bEnglish _cMSU _erda
050	0	0	_aML5 BRI
100	1		_aHolmes, Patricia _eauthor
245	1	0	_aImagination in practice: _ba study of the integrated roles of interpretation, imagery and technique in the learning and memorisation processes of two experienced solo performers/ _ccreated by Patricia Holmes
264	1		_aCambridge: _bCambridge University Press, _c2005.
336			_2rdacontent _atext _btxt
337			_2rdamedia _aunmediated _bn
338			_2rdacarrier _avolume _bnc
440			_aBritish journal of music education _vVolume 22, number 3
520	3		_aHow 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.
650			_aImagination _vLearning and memorisation _xSolo perfomers
856			_uhttps://doi.org/10.1017/S0265051705006613
942			_2lcc _cJA
999			_c166423 _d166423