Achieving peak performance in music: psychological strategies for optimal flow
"Achieving Peak Performance in Music: Psychological Strategies for Optimal Flow is a unique and comprehensive exploration of flow in music performance. It describes the optimal performance experiences of great musicians and outlines ten psychological steps that can be implemented to facilitate...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; New York
Routledge, Taylor & Francis Group
2021
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "Achieving Peak Performance in Music: Psychological Strategies for Optimal Flow is a unique and comprehensive exploration of flow in music performance. It describes the optimal performance experiences of great musicians and outlines ten psychological steps that can be implemented to facilitate and enhance optimal experience. Achieving Peak Performance in Music reveals strategies used by experts to prepare themselves emotionally, cognitively, and physically for performance. Combining this information with research carried out amongst professional performers and knowledge gained from decades of study and research by psychologists on how to achieve a positive experience, the book guides readers on a pathway towards optimal performance. Using everyday language, it presents invaluable practical guidance and a toolbox of strategies to help with all aspects of performance, including memorization, visualization, focus, performance anxiety, thought management, motivation, and pre-performance routines. Based on psychological research, the book shares practical knowledge invaluable to music students, parents, and amateur and professional musicians. The strategies on performance provided are applicable to every type of performance, from a student exam to a gig or a concert, making Achieving Peak Performance in Music a significant resource for anyone looking to achieve peak performance"-- |
| Beschreibung: | xiii, 200 Seiten Illustrationen |
| ISBN: | 9780367480622 9780367480639 |
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| 505 | 8 | |a Music performance -- What flow feels like -- 10 steps to Peak Performance : How musicians prepare for peak performance -- Managing your emotions -- Managing your thoughts -- Motivation -- Concentration & focus -- Mental Practice, Imagery & Visualisation -- Calming the body and mind -- Pre-performance plans -- Putting it all together | |
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Datensatz im Suchindex
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| adam_text | Contents List offigures List of tabks Introduction Is it peak performance, optimal experience, or in the zone? 1 Sport psychology and music performance psychology 2 The research this book is based on 3 The musicians 3 Who is this bookfor? 4 To parents and teachers: how to use this book 4 Musicians: how to use this book 5 1 Music performance Musicians performing 6 Flow 7 Nine dimensions of flow 8 Flow is for everyone 10 Performance 10 What’s involved in music performance? 10 The two extremes of performing are linked - fear and exhilaration 11 What cannot be controlled? 11 Can we makeflow happen? 12 Is it important to experience flow? 12 Flow might be what drìves musicians to work as hard as they do 13 2 What flow feels like: how musicians describe being in flow The nine dimensions offlow: as described by musicians 15 The challenge-skill balance 15 Merging of action and awareness 16 Concentration 17 Sense of control 18 Loss of self-consciousness 19 Clear goals and unambiguous feedback 19
x Contents Time transformation 20 Autotelic experience 21 Flow as a unity 21 During practice 22 To do: take theflow questionnaire 22 3 How musicians prepare for peak performance: ten steps to flow Ten steps to peak performance 24 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 4 Take on the challenge 25 Automatisation of skill and memorisation 27 Use mental practice 27 Use of imagery and visualisation techniques 29 Engage in positive self-talk and have a mantra 30 Purposeful focus and absorption 32 Have a pre-performance routine 32 Feel positive and negative emotions 34 Be intrinsically motivated - love what you’re doing 37 Take a risk and let go 38 Managing your emotions Music performance anxiety (MPA) 40 What is it? 41 Why does it happen? 41 Fight orflight: responses to danger 42 Emotions-thoughts-behaviours loop 44 Negative rffects of performance anxiety 45 To do: take this music performance anxiety (MPA) questionnaire 48 How many experience MPA? 51 Is it here to stay forever? 52 Importance of nervesfor good performance 54 Making emotions work toyour advantage 55 Yerkes-Dodson model 55 Flow theory 56 The Zone of Optimal Functioning 57 To do:findyour zone of optimalfunctioning 59 Part 1 of finding your IZOF 59 Part 2 of finding your IZOF 60 IZOF: put parts 1 and 2 together and compare 62 You can graph it 63 Managingyour emotions 66 Coping with stressful situations 67 What is ‘coping’? 68 Which coping strategy to use 69 To do:your toolkit of strategies 70 Key tipsfrom this chapter 71
Contents 5 Managing your thoughts xi 72 Is it the situation? Or ե ityour personality? 73 And so, is it the performance situation? Or is it me? 73 Become aware ofyour thoughts 74 Become aware ofyour negative thinking 74 To do: keep a diary of motions and thoughts 74 To do: rationaliseyour thinking 76 Cognitive distortions 76 Overgeneralisation 76 Black and white thinking 76 Catastrophising 77 Confirmation bias 77 Thoughts become internalised 78 ‘Should’ statements 78 To do: challengeyour thoughts 78 To do: stop! and replace 79 The ABC model 80 Deputing negative thoughts and beliefs 81 Uńng a mantra 83 To do: get a mantra 85 To do: take one or more these mantras and use asyour own 85 Examples of mantras for general positive thinking 86 To do: pre-peformance thought management plan 86 Techniques to incorporate into your daily routine 86 To do:your toolkit of strategies 87 Key tipsfrom this chapter 88 6 Motivation Motivational orientation: what motivatesyou? 89 So, what is intrinsic motivation and what is extrinsic motivation? 89 Motivation and self-determination 90 Good cop, bad cop — sometimes you need both! 91 Why is intrinsic motivation betterforyou? 92 To do: enhancing intrinsic motivation 93 Three basic human needs — what drives our intrinsic motivation? 93 Feeling competent 94 How you think about your ‘ability’ affects achievement: what is your mindset? 94 To do: encourage a growth mindset 95 Feeling related and connected to others 96 To do: developing connectedness 97 Feeling autonomous 97 To do: developing a sense of autonomy 98 Another way of thinking about motivation
99 What happens when we are motivated by ‘task’ orientation? 99 What happens when you are motivated by ‘ego’ goals? 99 89
xii Contents To do: developing task motivation 100 Good cop, bad cop — again, you need both! 101 Why do some people practise more? Is it all about motivation? 101 To do: take a short questionnaire to determineyour achievement goal orientation 103 To do: setting goaL· and completing goah 104 Locus of control: doyou believe that whatyou achieve or don’t achieve и within your control? 105 To do: evaluating a setback 109 To do: evaluating a success 109 It’s all related 110 Key tipsfrom this chapter 111 7 Concentration and focus 112 The mental spotlight 113 Selective attention 113 Unconscious attention 114 Impact of anxiety on focus: ‘choking under pressure’ 115 Why does ‘choking under pressure’ happen? 115 Typical distractionsfor musicians 116 What distracts the experts? 117 The audience 117 ‘Playing to the audience’ 118 Nerves 119 Co-performers 119 Pressures of performing 119 The commercial side of music 121 Internal or external? 122 To do: strategiesfor effectivefocus 122 Key tipsfrom էհե chapter 126 8 Mental practice, imagery, and visualisation How do mental practice and use of imaserv and vüualuation differ? 128 Mental practice: keyfactors to rememberfor effective mental practice 129 When to use mental practice 130 What to use mental practice on 130 Memory 131 How memory works 131 Use all types of memory 133 Keys to memorising 135 To do: mental practice exercue 1 138 To do: mental practice exercue 2 140 To do: a vumluatwn and imagery exercue 140 Key tipsfrom էհե chapter 142 127
Contents 9 Calming the body and mind xiii 143 Breathing 144 How breathing impacts on the fight or flight system 144 Activating the vagus nerve and the Relax! system 146 How to do diaphragmatic breathing 148 To do: slow, deep breathing 149 Sudarshan Kriya Yoga breathing or SKY technique 149 To do: SKY breathing technique 149 Ujjayi breathing technique: ‘to be victorious’ 150 To do: 4-4 breathing exercise 150 Pranayama breathing and the 4-7-8 breathing technique 150 To do: the 4-7-8 breathing technique 150 ‘Emergency’ breathing-relax combo 151 To do: emergency breathing-relax combo 151 Progressive muscle relaxation 152 To do: progressive muscle relaxation exercise 152 Mindfulness meditation 152 Doing mindfulness meditation 153 To do: exercise — take a minute to be mindfid ofyour current state 154 Key tipsfrom this chapter 155 10 Pre-performance routines 157 Have an overview of the day 158 Planningyour pre-performance routinefor the day 158 Attach a coping strategy to each activity 159 To do: planning sheet — add in the timesfor carrying out each activity 160 Ask yourself 160 What do the experts do? 162 Letting go! 165 Key tipsfrom this chapter 167 11 Putting it all together 168 Preparation 168 Practise! Practise! Practise! 168 Practise performing 170 Psychological strategies 171 Small steps 172 Making mutakes ... failing 172 Evaluateyour performances 173 Resilience, mental toughness, ‘griť 174 The ten steps to peak performance and more positive experiences of performance 175 Notes Acknowledgements Index 178 195 196
|
| adam_txt |
Contents List offigures List of tabks Introduction Is it peak performance, optimal experience, or in the zone? 1 Sport psychology and music performance psychology 2 The research this book is based on 3 The musicians 3 Who is this bookfor? 4 To parents and teachers: how to use this book 4 Musicians: how to use this book 5 1 Music performance Musicians performing 6 Flow 7 Nine dimensions of flow 8 Flow is for everyone 10 Performance 10 What’s involved in music performance? 10 The two extremes of performing are linked - fear and exhilaration 11 What cannot be controlled? 11 Can we makeflow happen? 12 Is it important to experience flow? 12 Flow might be what drìves musicians to work as hard as they do 13 2 What flow feels like: how musicians describe being in flow The nine dimensions offlow: as described by musicians 15 The challenge-skill balance 15 Merging of action and awareness 16 Concentration 17 Sense of control 18 Loss of self-consciousness 19 Clear goals and unambiguous feedback 19
x Contents Time transformation 20 Autotelic experience 21 Flow as a unity 21 During practice 22 To do: take theflow questionnaire 22 3 How musicians prepare for peak performance: ten steps to flow Ten steps to peak performance 24 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 4 Take on the challenge 25 Automatisation of skill and memorisation 27 Use mental practice 27 Use of imagery and visualisation techniques 29 Engage in positive self-talk and have a mantra 30 Purposeful focus and absorption 32 Have a pre-performance routine 32 Feel positive and negative emotions 34 Be intrinsically motivated - love what you’re doing 37 Take a risk and let go 38 Managing your emotions Music performance anxiety (MPA) 40 What is it? 41 Why does it happen? 41 Fight orflight: responses to danger 42 Emotions-thoughts-behaviours loop 44 Negative rffects of performance anxiety 45 To do: take this music performance anxiety (MPA) questionnaire 48 How many experience MPA? 51 Is it here to stay forever? 52 Importance of nervesfor good performance 54 Making emotions work toyour advantage 55 Yerkes-Dodson model 55 Flow theory 56 The Zone of Optimal Functioning 57 To do:findyour zone of optimalfunctioning 59 Part 1 of finding your IZOF 59 Part 2 of finding your IZOF 60 IZOF: put parts 1 and 2 together and compare 62 You can graph it 63 Managingyour emotions 66 Coping with stressful situations 67 What is ‘coping’? 68 Which coping strategy to use 69 To do:your toolkit of strategies 70 Key tipsfrom this chapter 71
Contents 5 Managing your thoughts xi 72 Is it the situation? Or ե ityour personality? 73 And so, is it the performance situation? Or is it me? 73 Become aware ofyour thoughts 74 Become aware ofyour negative thinking 74 To do: keep a diary of motions and thoughts 74 To do: rationaliseyour thinking 76 Cognitive distortions 76 Overgeneralisation 76 Black and white thinking 76 Catastrophising 77 Confirmation bias 77 Thoughts become internalised 78 ‘Should’ statements 78 To do: challengeyour thoughts 78 To do: stop! and replace 79 The ABC model 80 Deputing negative thoughts and beliefs 81 Uńng a mantra 83 To do: get a mantra 85 To do: take one or more these mantras and use asyour own 85 Examples of mantras for general positive thinking 86 To do: pre-peformance thought management plan 86 Techniques to incorporate into your daily routine 86 To do:your toolkit of strategies 87 Key tipsfrom this chapter 88 6 Motivation Motivational orientation: what motivatesyou? 89 So, what is intrinsic motivation and what is extrinsic motivation? 89 Motivation and self-determination 90 Good cop, bad cop — sometimes you need both! 91 Why is intrinsic motivation betterforyou? 92 To do: enhancing intrinsic motivation 93 Three basic human needs — what drives our intrinsic motivation? 93 Feeling competent 94 How you think about your ‘ability’ affects achievement: what is your mindset? 94 To do: encourage a growth mindset 95 Feeling related and connected to others 96 To do: developing connectedness 97 Feeling autonomous 97 To do: developing a sense of autonomy 98 Another way of thinking about motivation
99 What happens when we are motivated by ‘task’ orientation? 99 What happens when you are motivated by ‘ego’ goals? 99 89
xii Contents To do: developing task motivation 100 Good cop, bad cop — again, you need both! 101 Why do some people practise more? Is it all about motivation? 101 To do: take a short questionnaire to determineyour achievement goal orientation 103 To do: setting goaL· and completing goah 104 Locus of control: doyou believe that whatyou achieve or don’t achieve и within your control? 105 To do: evaluating a setback 109 To do: evaluating a success 109 It’s all related 110 Key tipsfrom this chapter 111 7 Concentration and focus 112 The mental spotlight 113 Selective attention 113 Unconscious attention 114 Impact of anxiety on focus: ‘choking under pressure’ 115 Why does ‘choking under pressure’ happen? 115 Typical distractionsfor musicians 116 What distracts the experts? 117 The audience 117 ‘Playing to the audience’ 118 Nerves 119 Co-performers 119 Pressures of performing 119 The commercial side of music 121 Internal or external? 122 To do: strategiesfor effectivefocus 122 Key tipsfrom էհե chapter 126 8 Mental practice, imagery, and visualisation How do mental practice and use of imaserv and vüualuation differ? 128 Mental practice: keyfactors to rememberfor effective mental practice 129 When to use mental practice 130 What to use mental practice on 130 Memory 131 How memory works 131 Use all types of memory 133 Keys to memorising 135 To do: mental practice exercue 1 138 To do: mental practice exercue 2 140 To do: a vumluatwn and imagery exercue 140 Key tipsfrom էհե chapter 142 127
Contents 9 Calming the body and mind xiii 143 Breathing 144 How breathing impacts on the fight or flight system 144 Activating the vagus nerve and the Relax! system 146 How to do diaphragmatic breathing 148 To do: slow, deep breathing 149 Sudarshan Kriya Yoga breathing or SKY technique 149 To do: SKY breathing technique 149 Ujjayi breathing technique: ‘to be victorious’ 150 To do: 4-4 breathing exercise 150 Pranayama breathing and the 4-7-8 breathing technique 150 To do: the 4-7-8 breathing technique 150 ‘Emergency’ breathing-relax combo 151 To do: emergency breathing-relax combo 151 Progressive muscle relaxation 152 To do: progressive muscle relaxation exercise 152 Mindfulness meditation 152 Doing mindfulness meditation 153 To do: exercise — take a minute to be mindfid ofyour current state 154 Key tipsfrom this chapter 155 10 Pre-performance routines 157 Have an overview of the day 158 Planningyour pre-performance routinefor the day 158 Attach a coping strategy to each activity 159 To do: planning sheet — add in the timesfor carrying out each activity 160 Ask yourself 160 What do the experts do? 162 Letting go! 165 Key tipsfrom this chapter 167 11 Putting it all together 168 Preparation 168 Practise! Practise! Practise! 168 Practise performing 170 Psychological strategies 171 Small steps 172 Making mutakes . failing 172 Evaluateyour performances 173 Resilience, mental toughness, ‘griť 174 The ten steps to peak performance and more positive experiences of performance 175 Notes Acknowledgements Index 178 195 196 |
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| publisher | Routledge, Taylor & Francis Group |
| record_format | marc |
| spelling | Sinnamon, Sarah Verfasser (DE-588)1029118388 aut Achieving peak performance in music psychological strategies for optimal flow Sarah Sinnamon London ; New York Routledge, Taylor & Francis Group 2021 xiii, 200 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Music performance -- What flow feels like -- 10 steps to Peak Performance : How musicians prepare for peak performance -- Managing your emotions -- Managing your thoughts -- Motivation -- Concentration & focus -- Mental Practice, Imagery & Visualisation -- Calming the body and mind -- Pre-performance plans -- Putting it all together "Achieving Peak Performance in Music: Psychological Strategies for Optimal Flow is a unique and comprehensive exploration of flow in music performance. It describes the optimal performance experiences of great musicians and outlines ten psychological steps that can be implemented to facilitate and enhance optimal experience. Achieving Peak Performance in Music reveals strategies used by experts to prepare themselves emotionally, cognitively, and physically for performance. Combining this information with research carried out amongst professional performers and knowledge gained from decades of study and research by psychologists on how to achieve a positive experience, the book guides readers on a pathway towards optimal performance. Using everyday language, it presents invaluable practical guidance and a toolbox of strategies to help with all aspects of performance, including memorization, visualization, focus, performance anxiety, thought management, motivation, and pre-performance routines. Based on psychological research, the book shares practical knowledge invaluable to music students, parents, and amateur and professional musicians. The strategies on performance provided are applicable to every type of performance, from a student exam to a gig or a concert, making Achieving Peak Performance in Music a significant resource for anyone looking to achieve peak performance"-- Musikpsychologie (DE-588)4127817-3 gnd rswk-swf Aufführung (DE-588)4143388-9 gnd rswk-swf Flow-Erlebnis (DE-588)4379991-7 gnd rswk-swf Musizieren (DE-588)4170838-6 gnd rswk-swf Music / Performance / Psychological aspects (DE-588)4048476-2 Ratgeber gnd-content Musizieren (DE-588)4170838-6 s Aufführung (DE-588)4143388-9 s Flow-Erlebnis (DE-588)4379991-7 s Musikpsychologie (DE-588)4127817-3 s DE-604 Erscheint auch als Online-Ausgabe, ebk 978-1-00-303780-4 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032495672&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Sinnamon, Sarah Achieving peak performance in music psychological strategies for optimal flow Music performance -- What flow feels like -- 10 steps to Peak Performance : How musicians prepare for peak performance -- Managing your emotions -- Managing your thoughts -- Motivation -- Concentration & focus -- Mental Practice, Imagery & Visualisation -- Calming the body and mind -- Pre-performance plans -- Putting it all together Musikpsychologie (DE-588)4127817-3 gnd Aufführung (DE-588)4143388-9 gnd Flow-Erlebnis (DE-588)4379991-7 gnd Musizieren (DE-588)4170838-6 gnd |
| subject_GND | (DE-588)4127817-3 (DE-588)4143388-9 (DE-588)4379991-7 (DE-588)4170838-6 (DE-588)4048476-2 |
| title | Achieving peak performance in music psychological strategies for optimal flow |
| title_auth | Achieving peak performance in music psychological strategies for optimal flow |
| title_exact_search | Achieving peak performance in music psychological strategies for optimal flow |
| title_exact_search_txtP | Achieving peak performance in music psychological strategies for optimal flow |
| title_full | Achieving peak performance in music psychological strategies for optimal flow Sarah Sinnamon |
| title_fullStr | Achieving peak performance in music psychological strategies for optimal flow Sarah Sinnamon |
| title_full_unstemmed | Achieving peak performance in music psychological strategies for optimal flow Sarah Sinnamon |
| title_short | Achieving peak performance in music |
| title_sort | achieving peak performance in music psychological strategies for optimal flow |
| title_sub | psychological strategies for optimal flow |
| topic | Musikpsychologie (DE-588)4127817-3 gnd Aufführung (DE-588)4143388-9 gnd Flow-Erlebnis (DE-588)4379991-7 gnd Musizieren (DE-588)4170838-6 gnd |
| topic_facet | Musikpsychologie Aufführung Flow-Erlebnis Musizieren Ratgeber |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032495672&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT sinnamonsarah achievingpeakperformanceinmusicpsychologicalstrategiesforoptimalflow |