Çalgısal Belleğin Geliştirilmesinde Zihinsel Hazırlık Çalışmalarının Rolü

Yıl 2012, Cilt: 15 Sayı: 28, 19 - 32, 01.12.2012

Gülşah Sever Şeyda Çilden

Öz

Araştırmanın Amacı: Bu araştırmanın amacı; uygulanan zihinsel ve video ile zihinsel eğitimin; keman eğitimi alan öğrencilerin çalgısal bellek düzeyleri üzerinde anlamlı bir fark oluşturup oluşturmadığını incelemektir. Yöntem: Tekrarlamalı ölçümler modeli ile gerçekleştirilmiş olan bu araştırma, 2008-2009 öğretim yılında Gazi Üniversitesi Müzik Öğretmenliği ABD’da keman eğitimi alan random yöntemiyle seçilmiş toplam 25 öğrenci ile yürütülmüştür. Ölçüm sonuçları doğrultusunda değerlendirmelerin karşılaştırılmasında parametrik ölçümlerde t-testi ve non-parametrik testlerden Wilcoxon ve Friedman testleri uygulanmıştır. Bulgular ve Sonuçlar: Araştırmanın sonunda zihinsel çalışmaların öğrencilerin çalgısal bellek düzeylerinde büyük ölçüde artış sağladığı ancak zihinsel çalışmalarda video kullanımının anlamlı bir fark oluşturmadığı saptanmıştır

Anahtar Kelimeler

Zihinsel Hazırlık Çalışmaları, Keman, Çalgısal Bellek

The Role Of Mental Practice For Developing Instrumental Memory

Öz

Purpose of the Study: The purpose of this study is to investigate whether or not mental practice causes a difference in the instrumental memory levels of the violin students in the Gazi University Music Education Major. Method: The study which uses the repeated measures model, performed with 25 violin student selected by random method in Gazi University Music Education Major. Paired Samples t test for parametric, Wilcoxon and Friedman test for non-parametric results were used for comparison of the findings. Findings and Results: Following the experiments, results on the instrumental memory show that mental and video-mental practice has positive effect on all the sub-levels of the instrumental memory i.e. melody, fingering, bow with respect to pre-test results. However, adding video to mental practice does not have a significant effect

Anahtar Kelimeler

Mental Practice, Violin, Instrumental Memory

Kaynakça

• Bellon, D. (2006). Application of Sport Psychology to Music Performance: A Study Ba- sed on a Rewiew of Sport Psychology Literature and Selected Interwiews with Pro- fessional Musicians. Unpublished Ph. D. Dissertation, Arizona State Universtiy
• Cayne, B. S. (Ed.). (1990). The new Lexicon dictionary of the English language. New York: Lexicon.
• Coffman, D. D. (1990). Effects of mental practice, physical practice, and knowledge of results on piano performance. Journal of Research in Music Education, 38 (3), 187–196.
• Ericsson, K. A., Krampe, R. T. and Tesch-Römer, C. (1993). The role of deliberate practice in the acquisition of expert performance. Psychological Review, 100 (3), p. 363–406.
• Freymuth, M. S. (1999). Mental practice and imagery for musicians. Saint Louis, USA: MMB Music Inc.
• Galyen, S. D. (2006) Development of A Structured Method of Mental Practıce and Its Effect On The Performance of Hıgh School Band Students. Unpublished Ph.D. dissertation, University of Florida
• Garfield, C. (1984). Peak Performance. Warner Books, NewYork
• Holmes, P. (2005). Imagination in Practice: a study of the integrated roles of interpre- tation, imagery and tecnique in the learning and memorisation processes of two experienced solo performers. British Journal of Music Education 22 (3), Camb- ridge University Press
• Luria, A. R. (1973). Working Brain: An Introduction to Neuropsychology. Basic Bo- oks
• Meister, I. G., Krings, T., Foltys, H., Boroojerdi, B., Müller, M., R. Töpper and Thron, A. (2004). “Playing Piano in the Mind—An fMRI Study on Music Imagery and Performance in Pianists. Cognitive Brain Research, 19
• Miklazewski, K. (1989). A Case Study of a Pianist Preparing a Musical Performance. Psychology of Music, 17 (2 October) 95-109
• Ohnishi, T., Matsuda, H., Asada, T., Hirakata, M., Aruga, M., Imabayashi, E. and Nis- hikawa, M. (2001). Activation in the Auditory Association Cortex During Mental Music Rehearsal in Highly Trained Musicians. Neuroimage, 13 (6).
• Oxendine, J. B. (1984). Psychology of motor learning (2nd ed.). New York: Appleton- Century Crofts.
• Pancaroğlu, Ş. (2006) Mental Practice. American Harp Journal, Summer, 58-59
• Ross, S. L. (1985). The effectiveness of mental practice in improving the performance of college trombonists. Journal of Research in Music Education, 33(4), 221–230.
• Rubin-Rabson, G. (1941). Studies in the psychology of memorizing piano music: VI. A comparison of two forms of mental rehearsal and keyboard overlearning. Jo- urnal of Educational Psychology, 32, 688–696.
• Ruotolo, T. (1997). Tuneful Song Replication: An Evaluation of Mental Practice and Audiation Techniques. Unpublished Master of Arts Dissertation, Caldwell Col- lage, New Jersey
• Sever, G. (2011). Zihinsel Hazırlık Çalışmalarının Keman Performansına Etkisi, Yayın- lanmamış Doktora Tezi. Gazi Üniversitesi Eğitim Bilimleri Enstitüsü, Ankara
• Sisterhen, L. A. (2005). The Use of Imagery, Mental Practıce, and Relaxatıon Tech- nıques For Musıcal Performance Enhancement. Unpublished Doctoral Disser- tion, University of Oklahoma
• Sloboda, J. A., Davidson, J. W., Howe, M. J. A. and Moore, D. G. (1996). The role of practice in the development of performing musicians. British Journal of Psycho- logy, 87 (2), 287–309.
• Theiler, A. M. and Lippman, L. G. (1995). Effects of Mental Practice and Modeling on Guitar and Vocal Performance. The Journal of General Psychology, Vol. 122 Issue. 4
• Waitley, D. (1993) Kazanmanın Yeni Dinamiği, (çev. Belkıs Çorakçı) İstanbul s.81-82.