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Centre for the Study of Composition for Screen

Practice as Research : case study. Centre for the Study of Composition for Screen. Incorporating research into post-secondary performance teaching Richard Parncutt University of Graz, Austria Video conference from Graz to Royal College of Music, London on 24 October 2007 .

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Centre for the Study of Composition for Screen

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  1. Practice as Research: case study Centre for the Study of Composition for Screen Incorporating research into post-secondary performance teaching Richard Parncutt University of Graz, Austria Video conference from Graz to Royal College of Music, London on 24 October 2007

  2. Possible academic units at music academies(post-secondary music institutions) • Music history, music theory/analysis • Introduction to music psychology and performance research • Physics, physiology, psychology of own instrument • Efficient practice • Expression: Structural and emotional communication • Sight reading and improvisation • Performance anxiety and music medicine • Educational and developmental psychology • Psychology of theory/analysis/composition

  3. Why? • Who benefits? • What do they get? • What do they want?

  4. What performance students want • Interesting, useful information • enjoyable, meaningful participation • Plausible, authoritative presentation • teachers who also perform • Employment prospects • transferable skills

  5. What administrators want Success indicators • reputation of academy • future funding • good entry students • based on academy’s reputation • successful graduates  (inter-) national performers

  6. What the general public wants(taxpayers, politicians) a rich cultural life • across social groups and stata • age, sex, income… a stable, bright future • excellent, forward-looking institutions • active, capable, caring young people

  7. Success indicators of music academies visible: • (inter-) nationally known performers concealed: • indirect contributions to cultural life  aims of academy  aims of artistic and academic teaching

  8. Changing contexts of music academies Academic context • pressureto give degrees and do research • explosion of performance research Political & economic context • transparent „mission“ • cost efficiency Social & market context • changing musical technologies and functions • flexibility of musicians/educators

  9. Improving educational „efficiency“ efficiency = output / input • input = time, effort, cost • invested by teachers, students, state • output = graduate achievement • graduates (career, personal development) • society (cultural activities)

  10. Planning students‘ time Performance skill depends primarily on practice time • common knowledge • expertise research • Little time left for academic work

  11. Curricular balance The optimal ratio of performance to academic work depends on… • the institution • history, orientation, culture • the individual student • career aims, personality, learning style

  12. Piano: physics, physiology, psychology Timbre: mechanics and psychology • key velocity, noise, pedals, balance, onset timing Fingering: physiology and psychology • constraints: physical, anatomic, motor, cognitive • dependencies: expertise, interpretation Expression of structure and emotion • with limited expressive possibilities

  13. Voice: physics, physiology, psychology VoceVista: Visual feedback for instruction in singing www.vocevista.com

  14. Efficient practice Diversity of approaches • analysis of scores, recordings, concerts • mental versus physical practice Metacognition • organization, goal orientation • intrinsic motivation Timing and concentration • short morning sessions with breaks • duration depends on task, alertness

  15. Expression: structural communication Structural analysis • phrasing, meter, melody, harmony Accentuation in performance • performed accents reinforce immanent accents Analysis for performance • direct link between the two

  16. Expression: emotional communication Emotional cues: size & variation of… tempo, dynamic, articulation (attack / duration), timbre, durational contrast, intonation/vibrato • Redundancy and ambiguity of message • Relation to structural analysis • Effectiveness of feedback training (Patrik Juslin)

  17. Performance anxietyHigh incidence, low awareness, little treatment Causes • personality, mastery, situation • perfectionism and control • optimal arousal versus panic Prevention and cure • physical relaxation • cognition (realism, desensitization, restructuring) • combinations (Yoga, hypnotherapy, Alexander) • self-efficacy

  18. Music medicineHigh incidence, low awareness, little treatment Common problems • chronic tension, reduced elasticity • pelvis, lower spine, back of neck Student musicians need • knowledge • strategies • treatments

  19. Improvisation Psychological theory of creativity • roles of knowledge, risk, evaluation, motivation, flow • group versus individual creativity Stepwise approach to skill acquisition • set limits: dynamics, articulations, pitches, durations • expression first: syntax through semantics (Johann Lassnig-Walder)

  20. Strategies to promote teaching of performance research Administration • interact to build support • maintain excellence by innovation, interdisciplinarity Students • involve in research, empower • incorporate repertoire, issues Staff • inform, involve in research • expand, diversify

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