Response deprivation and response satiation as determinants of instrumental performance: Some data and theory

Mental practice (MP) in music refers to the ability to rehearse music in the mind without any muscular movements or acoustic feedback. While previous studies have shown effects of the combination of MP and physical practice (PP) on instrumental performance, here we aimed to assess MP and PP effects on memory abilities. During a 1-week music practice protocol, classical guitarists were asked to practise a new musical piece using either a combination of MP and PP or PP alone. We asked participants to perform the piece and notate it at 3 different times: Day 1 and Day 7 of the 1-week practice protocol and 10 days after its completion (follow-up session). Results showed that the combination of MP and PP improves both notation and performance tasks compared with PP alone. Furthermore, we observed a clearer difference in memory performance in the follow-up session as compared with that in Day 7. Our results show that musicians can use both MP and PP to improve long-term retention and to reduce physical workload and playing-related overuse injuries. Therefore, we encourage music educators to teach MP in the classrooms rather than letting students discover it in a serendipitous way.

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Instrumental Performance Expertise and Amount of Practice among Instrumental Students in a Conservatoire

Music Education Research ◽

10.1080/14613800220119804 ◽

2002 ◽

Vol 4 (1) ◽

pp. 105-119 ◽

Cited By ~ 38

Author(s):

Harald Jørgensen

Keyword(s):

Instrumental Performance

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Calibration and instrumental line shape characterization of a set of portable FTIR spectrometers for detecting greenhouse gas emissions

Atmospheric Measurement Techniques ◽

10.5194/amt-8-3047-2015 ◽

2015 ◽

Vol 8 (7) ◽

pp. 3047-3057 ◽

Cited By ~ 29

Author(s):

M. Frey ◽

F. Hase ◽

T. Blumenstock ◽

J. Groß ◽

M. Kiel ◽

...

Keyword(s):

Line Shape ◽

External Source ◽

Calibration Procedure ◽

Total Carbon ◽

Instrumental Performance ◽

Solar Absorption ◽

Ground Pressure ◽

Before And After ◽

Instrumental Line ◽

The Individual

Abstract. A comprehensive calibration procedure for mobile, low-resolution, solar-absorption FTIR spectrometers, used for greenhouse gases observations, is developed. These instruments commend themselves for campaign use and deployment at remote sites. The instrumental line shape (ILS) of each spectrometer has been thoroughly characterized by analyzing the shape of H2O signatures in open path spectra. A setup for the external source is suggested and the invariance of derived ILS parameters with regard to chosen path length is demonstrated. The instrumental line shape characteristics of all spectrometers were found to be close to nominal. Side-by-side solar observations before and after a campaign, which involved shipping of all spectrometers to a selected target site and back, are applied for verifying the temporal invariability of instrumental characteristics and for deriving intercalibration factors for XCO2 and XCH4, which take into account residual differences of instrumental characteristics. An excellent level of agreement and stability was found between the different spectrometers: the uncorrected biases in XCO2 and XCH4 are smaller than 0.01 and 0.15 %, respectively, and the drifts are smaller than 0.005 and 0.035 %. As an additional sensitive demonstration of the instrumental performance we show the excellent agreement of ground pressure values obtained from the total column measurements of O2 and barometric records. We find a calibration factor of 0.9700 for the spectroscopic measurements in comparison to the barometric records and a very small scatter between the individual spectrometers (0.02 %). As a final calibration step, using a co-located TCCON (Total Carbon Column Observation Network) spectrometer as a reference, a common scaling factor has been derived for the XCO2 and XCH4 products, which ensures that the records are traceable to the WMO in situ scale.

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The Renaissance Attitude Toward Interpretation in Instrumental Performance

Renaissance News ◽

10.2307/2857503 ◽

1957 ◽

Vol 10 (2) ◽

pp. 79-85

Author(s):

Imogene Horsley

Keyword(s):

Instrumental Music ◽

Instrumental Performance ◽

Normal Reaction ◽

Expression Of Emotion ◽

The Many

Most of our performances of Renaissance ensemble music mirror only too exactly the blank appearance of the original parts. The normal reaction of the conscientious instrumentalist who has been brought up on scores sprinkled with signs indicating just how each note is to be played—as well as what tone is be to sounded and for how long—is to conclude that, if no ‘expression’ signs are present, then the composer was concerned only with pitch and duration, and that to produce anything more would be to mispresent his intentions. The resulting ‘abstract’ performance is inadvertently encouraged by those musical scholars who stress the new emphasis on expression of emotion found in the Baroque period (always in contrast to the music of earlier periods) and by the many musicologists who look at early instrumental music primarily to search for traces of its liberation from the tyranny of vocal style.

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