Melbourne Conservatorium of Music - Theses

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End date: 2011 × Start date: 2011 × Type: Masters Research thesis × Subject: performance ×

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    Imaging mastery: applying the PETTLEP model of imagery to music performance practice
    Folvig, Elliott ( 2011)
    Imagery is widely reported as a tool used by elite performers to improve their performance. Despite this, there is little clear information about the integration of imagery into music performance practice. A review of the research in this area reveals that the term imagery is an extremely broad description of the ways that mental imagery is used in almost any area or performance. In this paper I have selected a specific approach, the PETTLEP model of motor imagery rehearsal that is aimed at one specific area of performance, motor imagery. The PETTLEP model is based on an understanding, from research in neuroscience, of how the brain works in relation to motor imagery. After applying the model to music performance practice, a number of findings emerged. The model is well suited for the demands of music performance practice and had a positive effect on performance outcomes. There also emerged ways in which further use of the journaling and analysis method may be improved. The clarity and successful application of this model demonstrates that it would be possible to develop specific approaches to mental imagery in music performance practice.
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    Liminality: transformation through music performance
    Schulz, Anthony John ( 2011)
    The purpose of this thesis is: (1) to define performance in broad terms, (2) to define liminality, (3) to define silence as it relates to music performance, (4) to examine the possibility of transformation or transportation of both audience and musician through the liminal experience of performance, and (5) to present guidelines and suggestions for music teachers and students to assist them in the development of a deeper understanding and practical experience of performance. In the first chapter, important terms including silence and liminality are defined, and Richard Schechner’s Whole Performance Sequence is employed as a template for a definition of performance. This sequence is divided into three main areas: pre-liminal - concerned with the experience and development of the musician; liminal - the period of time understood for the purposes of this study, as the performance; and post-liminal - the period immediately after a performance that continues beyond the participant’s reintegration with usual social routines. Victor Turner’s definition of the liminal process as the experience of becoming, (as opposed to a transition) provides the point of departure for an exploration into the possibility that increased awareness of and in the performance experience can create an environment for transformation and transportation for performer and audience. The anthropological notion that the liminal state may be achieved through participation in traditional, ritualised performance is compared to the liminal experience that unites contemporary musicians and audiences. The final chapter suggests a series of processes for the development of reflection and strategies for the establishment of a stronger relationship between audience and musician.