Performance science

Abstract: Student health and wellbeing within higher education has been documented as poor in relation to the general population. This is a particular problem among students at music conservatoires, who are studying within a unique educational context that is known to generate both physical and psychological challenges. This article examines how conservatoire students experience health and wellbeing within their institutional context, using a framework from health promotion to focus attention on perceived barriers and enablers to optimal health in relation to three levels: lifestyle, support services, and conservatoire environment. In order to respond to the individuality of students’ experiences, a qualitative approach was taken based on semi-structured interviews with 20 current or recent conservatoire students in the UK. Thematic analysis revealed a complex set of enablers and barriers: (i) lifestyle enablers included value placed on the importance of optimal health and wellbeing for musicians and daily practices to enable this; lifestyle barriers included struggling to maintain healthy lifestyles within the context of musical practice and learning; (ii) support enablers included accessible support sources within and beyond the conservatoire; support barriers included a perceived lack of availability or awareness of appropriate support; (iii) environmental enablers included positive and enjoyable experiences of performance as well as strong relationships and communities; environmental barriers included experiences of comparison and competition, pressure and stress, challenges with negative performance feedback, psychological distress, and perceived overwork. The findings reveal a need for health promotion to focus not only on individuals but also on the daily practices and routines of conservatoires. Additionally, they suggest that continued work is required to embed health and wellbeing support as an integral component of conservatoire education, raising awareness so that all students are fully informed of where, and how, to seek the information or help that they may need. Finally, they indicate a need for more radical scrutiny of the cultures of conservatoires and an assessment of how these can be modified to best optimize students’ health and wellbeing.

Abstract: Musicians typically rehearse far away from their audiences and in practice rooms that differ significantly from the concert venues in which they aspire to perform. Due to the high costs and inaccessibility of such venues, much current international music training lacks repeated exposure to realistic performance situations, with students learning all too late (or not at all) how to manage performance stress and the demands of their audiences. Virtual environments have been shown to be an effective training tool in the fields of medicine and sport, offering practitioners access to real-life performance scenarios but with lower risk of negative evaluation and outcomes. The aim of this research was to design and test the efficacy of simulated performance environments in which conditions of “real” performance could be recreated. Advanced violin students (n = 11) were recruited to perform in two simulations: a solo recital with a small virtual audience and an audition situation with three “expert” virtual judges. Each simulation contained back-stage and on-stage areas, life-sized interactive virtual observers, and pre- and post-performance protocols designed to match those found at leading international performance venues. Participants completed a questionnaire on their experiences of using the simulations. Results show that both simulated environments offered realistic experience of performance contexts and were rated particularly useful for developing performance skills. For a subset of 7 violinists, state anxiety and electrocardiographic data were collected during the simulated audition and an actual audition with real judges. Results display comparable levels of reported state anxiety and patterns of heart rate variability in both situations, suggesting that responses to the simulated audition closely approximate those of a real audition. The findings are discussed in relation to their implications, both generalizable and individual-specific, for performance training.

Abstract: The second International Symposium on Performance Science, ISPS 2009, explored the theme Performing Excellence from interdisciplinary perspectives across the arts, as well as the natural, social, and applied sciences. Hosted by the National Institute of Creative Arts and Industries at The University of Auckland, the conference brought together delegates from over 30 countries to debate and to experience performing excellence through a wide array of theoretical, practical, and methodological perspectives. This proceedings volume represents the lively discussion that ensued. Covering such topics as motivation and the development of expertise, the psychology and physicality of performance, performers’ health, and the perception, analysis, and evaluation of performance, the 100 articles contained herein offer a glimpse into a growing and vibrant field.

Abstract: What is it that drives people to undertake music research? Such interest frequently grows from on-the-ground experiences as learners, performers, facilitators, composers, arts administrators, and educators. It can emerge, for example, from music teachers trying out new teaching methods, performers wishing to know more about how to improvise effectively, educators pursuing the most effective ways to structure music curricula, musicians aiming to explain why their music enhances wellbeing among different groups of people, and orchestral managers seeking to promote and protect the health of their players. At the heart of all of these enquiries lies a question of some sort, and it is these research questions that determine the direction of the research to be undertaken. Performing Music Research is a comprehensive guide to planning, conducting, analyzing, and communicating research in music performance. The book examines the approaches and strategies that underpin research in music education, psychology, and performance science. It reviews the knowledge and skills needed to critique existing studies in these fields and to design and carry out new investigations. Perspectives on qualitative, quantitative, and multistrategy methodologies are highlighted across the book in ways that help aspiring researchers bring precision to their research questions, select methods that are appropriate for addressing their questions, and apply those methods systematically and rigorously. Each chapter contains a study guide, comprising a chapter summary, a list of keywords, and suggestions for further discussion, and the book concludes with a resources section, including a glossary and supplementary material to support advanced statistical analysis. The book's companion website (https://www.performingmusicresearch.com/) provides information designed to facilitate access to original research and to test knowledge and understanding.