Ginsborg Jane, Bennett Dawn
Centre for Music Performance Research, Royal Northern College of Music, Manchester, United Kingdom.
Assistant Provost, Bond University, Robina, QLD, Australia.
Front Psychol. 2021 Mar 16;12:590987. doi: 10.3389/fpsyg.2021.590987. eCollection 2021.
Social and cognitive processes underlying individual classical musicians' and duo performers' preparation for performance have been explored using longitudinal case studies. Social processes can be inferred from and recent studies have focused on its content and nature. Cognitive processes can be inferred from score annotations representing musicians' thoughts while practicing, rehearsing (), and playing or singing from memory (). We report three studies conducted by two practitioner-researchers: (1) of rehearsal talk; (2) of rehearsal features and thoughts while performing; and (3) a triangulation (as it were) of the two kinds of data to gauge the potential for rehearsal talk to predict the use of performance cues. A singer and viola player formed a new duo to prepare two songs, new to them both, for two performances on the same day and a third performance 10 months later. Their practice and rehearsal sessions, over the course of seven days, were recorded and transcribed. The musicians annotated copies of the scores after rehearsing and after each performance. Each musician performed one of the two songs from memory. First, verbal data were coded and analyzed using two frameworks for categorizing socio-emotional interactions and musical dimensions, respectively. Second, their annotations were categorized and compared, and finally the frameworks were combined so that correlations between rehearsal talk and performance cues could be calculated. The musicians' verbal interactions were positive and task-related; significant changes over time were observed only in the extent to which they showed solidarity toward each other. Analysis of their annotations illustrates similarities and differences between their attention to specific features of the music while rehearsing and performing, particularly from memory. Rehearsal talk predicted performance cues in the third performance, but not the first or second. Musicians' talk cannot be assumed to reflect musicians' actions. The study of musicians' verbal interactions may be less useful for determining cognitive than social processes underlying preparation for performance. Nevertheless, the study provides a detailed snapshot of classical musicians' "real world" preparation for performance, highlighting the role of spontaneity in performance, and underlining differences between what happens in the studio and what can happen on stage.
通过纵向案例研究，探讨了古典音乐独奏家和二重奏表演者在表演准备过程中所涉及的社会和认知过程。社会过程可以从[具体内容未提及]推断出来，最近的研究聚焦于其内容和性质。认知过程可以从代表音乐家在练习、排练（[此处原文括号内可能有内容缺失]）以及凭记忆演奏或演唱时想法的乐谱注释中推断出来。我们报告了两位从业研究者进行的三项研究：（1）关于排练谈话的研究；（2）关于表演时排练特征和想法的研究；（3）对这两类数据进行三角测量（可以这么说），以评估排练谈话预测表演提示使用的可能性。一位歌手和一位中提琴演奏者组成了一个新的二重奏组合，为同一天的两场演出以及10个月后的第三场演出准备两首对他们来说都是全新的歌曲。在七天的时间里，他们的练习和排练过程都被录制并转录下来。音乐家们在每次排练和演出后对乐谱副本进行注释。每位音乐家凭记忆演奏两首歌曲中的一首。首先，使用分别用于对社会情感互动和音乐维度进行分类的两个框架对言语数据进行编码和分析。其次，对他们的注释进行分类和比较，最后将这些框架结合起来，以便能够计算排练谈话与表演提示之间的相关性。音乐家们的言语互动是积极且与任务相关的；随着时间的推移，仅在他们相互表现出团结的程度上观察到了显著变化。对他们注释的分析说明了他们在排练和表演（特别是凭记忆表演）时对音乐特定特征的关注之间的异同。排练谈话在第三场演出中预测了表演提示，但在第一场或第二场演出中没有。不能假定音乐家的谈话能反映他们的行动。研究音乐家的言语互动对于确定表演准备过程中的认知过程可能不如社会过程有用。尽管如此，该研究提供了古典音乐家“现实世界”表演准备的详细快照，突出了表演中自发性的作用，并强调了录音室里发生的事情与舞台上可能发生的事情之间的差异。
