Enhancing your musical performance abilities

American Music Teacher, August-Sept, 2004 by Lesley Sisterhen

Another theory, called the "symbolic learning theory," suggests that imagery functions as a coding system to help athletes acquire or understand movement patterns. All movements are first encoded in our central nervous system so we have a blueprint; or plan, for the movement. The symbolic components created by imagery help make the movements more familiar and perhaps more automatic. This theory is supported by the fact that mental practice usually is found to be more effective on movement tasks that have a cognitive, rather than a purely motor, component.

Imagery should involve as many of the five senses--auditory, olfactory, tactile, gustatory and kinesthetic--as possible. The emotions associated with performance experiences also are important to the practice of imagery. Students learn to overcome their fears when they imagine themselves performing optimally even while under pressure.

Many sport psychologists believe internal imagery is more effective than external imagery. Internal imagery takes place when someone imagines an activity inside his own body as if he is actually performing it. External imagery, which might be used when a person is first learning the skill of imaging, involves mentally watching oneself perform an activity as if watching it on television.

Sport psychologists stress the importance of positive imagery, or the visualization of an ideal performance. In fact, research supports the claim that positive imagery is important for yielding successful results. A significant study on dart throwing found positive mental practice led to improvement, while negative mental practice actually led to a decline in performance. (7)

Music teachers should remember this when preparing students for performance. If teachers warn their students to be prepared for anything that could go wrong, they may be creating a negative image in the student's mind. Similarly, if students anxiously imagine themselves making mistakes in performance, they may be setting themselves up for failure. Teachers should remember to spend time in lessons telling students what to do in a competition or performance, rather than what not to do.

Imagery may be used to help an athlete connect a positive attitude or frame of mind with performance. A "power image" is an image evoking the specific attitude and action feeling that is desired in performance situations. To obtain a strong climax at the end of a piece, for example, a violinist might imagine a cheetah lying in wait at the end of a runway, then building tremendous speed as it launches toward its prey.

Past successful performances should be examined to conjure images of ideal technique, attitudes and emotional states. A student should come up with cue words and phrases that match with these emotional images, such as feelings of calmness, control and enjoyment. These feelings then may be used as an emotional template in which the student imagines executing an ideal technical model.

Relaxation

Sport psychologists advocate the use of relaxation techniques prior to both imagery rehearsal and actual performance. It is important during imagery rehearsal to imagine feeling calm and in control while on stage. Mentally rehearsing these emotions enables musicians to attain them more easily when the situation becomes a reality. Relaxation training may be used to reduce performance anxiety, remove localized tension, promote sleep before competition or performance, and teach athletes and musicians how to regulate muscular tension. In addition to its performance benefits, the regular use of relaxation techniques may reduce the detrimental effects of stress on a musician's daily life.