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MENTAL PRACTICE ON THE INSTRUMENT EDUCATION

Yıl 2015, Sayı: 3, 157 - 167, 01.04.2015

Hasan Hakan Okay

Öz

Musical performance is based on all of the cognitive, affective and psycho-motor skills. It is a highly complex activity that mostly stand out the interplay of these three areas. In addition, many of the principles and technical components of the unique functions, affect the quality of the musical performance. A musician's well performed musical performance requires a preparatory process that correctly designed and organized, carefully completed preparations. Therefore, the preparation process of a music performance is an important factor greatly determining the quality of performance exhibited. Musicians should see all opportunities as tools to struggle making music. Considering the importance of every opportunity to make music, all the tools which are served for musicians will cause to bring musical performance to desired level. The processes involving motor skills with the mental faculties without physical movements refers to as mental practise. In a broad range of literature it’s known as a preparation method that carries a lot of practise offerings. This study aims to aims to evaluate the mental practise from an overall perspective by revealing the issue.

Anahtar Kelimeler

Music education musical performance mental practise.

Kaynakça

  • Akgöz S., Ercan İ., Kan İ. (2004). Meta-Analizi. Uludağ Üniversitesi Tıp Fakültesi Dergisi, 30(2), 07-12.
  • Aleman, A., Nıeuwenstein, M. R., Böcker, K. B., & De Haan, E. H. (2000). Music Training And Mental İmagery Ability. Neuropsychologia, 38(12), 1664-1668.
  • Auer, L. (1921). Violin Playing As I Teach It. New York, Usa: Frederick A. Stokes Company.
  • Barry, N.H., Hallam,S. (2002). Practice. Parncutt, R., & Mcpherson, G. (Eds.). (2002). The Science And Psychology Of Music Performance: Creative Strategies For Teaching And Learning. Oxford University Press
  • Bernardı N. F., Schorıes A., Jabusch H.-C., Colombo B., Altenmuller E. (2013a). Mental Practice İn Music Memorization: An Ecological-Empirical Study. Music Percept. 30, 275–290.10.1525/Mp.2012.30.3.275
  • Bernardı N. F., De Buglıo M., Trımarchı P. D., Chıelli A., Brıcolo E. (2013b). Mental Practice Promotes Motor Anticipation: Evidence From Skilled Music Performance. Frontier Human Neuroscience, 7, 451.
  • Bowes, P. L. (2009). An Exploratory Study Of The Use Of İmagery By Vocal Professionals: Applications Of A Sport Psychology Framework. Unpublished Doctoral Thesis, University Of South Florida. Proquest Dissertations And Theses, , 406. Retrieved From (749946677).
  • Chaffın, R., Imreh G., Lemıeux, A.F., Chen, C. (2003). "Seeing The Big Picture": Piano Practice As Expert Problem Solving. Music Percept, 20, 465-490.
  • Clark T., Wıllıamon A., Aksentıjevıc A. (2011). Musical İmagery And İmagination: The Function, Measurement, And Application Of İmagery Skills For Performance. In Musical Imaginations, D. Hardgreaves, D.E. Miell, And R.Macdonald (Eds.), Oxford: Oxford University Press.
  • Davıdson-Kelly, K. Vd. (2011). An Fmrı Study Of Expert Musical İmagery: To What Extent Do İmagined And Executed Performance Share The Same Neural Substrate. International Symposium On Performance Science. (613-617).
  • Drıskell, J.E., Copper, C., Moran, A. (1994). Does Mental Pratice Enhance Performance? Journal Of Applied Psychology, 79(4), 481-492.
  • Feltz, D., & Landers, A. (2007). The Effects Of Mental Practice On Motor Skill Learning And Performance: A Meta-Analysis. İn Essential Readings İn Sport And Exercise,D. Smith And M. Bar-Eli (Eds.) 219-230.
  • Fıne, P., Bravo, A., (2011). Rehearsal Away From The İnstrument: What Expert Musicians Understand By The Terms “Mental Practice” And “Score Analysis”. Proceedings Of The International Symposium On Performance Science 2011. 621-626.
  • Galyen, S.,D. (2006). Development Of A Structured Method Of Mental Practıce And Its Effect On The Performance Of Hıgh School Band Students. Unpublished Doctoral Dissertation, University Of Florida.
  • Gerle, R. (1983). The Art Of Practising The Violin. London: Stainer&Bell.
  • Gregg, M.J., Clark, T. (2007). Theoretical And Practical Applications Of Mental İmagery. Proceedings Of The International Symposium On Performance Science 2007. 295- 300.
  • Haddon, E. (2007). What Does Mental İmagery Mean To University Music Students And Their Professors? Proceedings Of The International Symposium On Performance Science 2007. 301-306.
  • Hammel, B. (1989). Compendium Of Practice Methods And Their Application To The Bassoon. Unpublished Doctoral Thesis. Florida State University.
  • Hıghben, Z., & Palmer, C. (2004). Effects Of Auditory And Motor Mental Practice İn Memorized Piano Performance. Bulletin-Council For Research In Music Education, 58-67.
  • Johnson, E. (2003). Applying Mental Rehearsal And İmagery Techniques To Learning, Performing And Teaching Organ Music. Unpublished Doctoral Dissertation, Indiana University.
  • Kıng, A.J. (2006). Auditory Neuroscience: Activating The Cortex Without Sound. Current Biology, 16(11), 410-411. Doı: 0.1016/J.Cub.2006.05.012.
  • Klıckstein, G. (2009). The Musician’s Way-A Guide To Practice, Performance, And Wellness. Oxford University Press.
  • Kotska, M.J. (2002). Practice Expectations And Attitudes: A Survey Of College-Level Music Teachers And Students. Journal Of Research İn Music Education, 50 (2), 145-154.
  • Lehmann, A.C., Ericsson K.A., (1997). Research On Expert Performance And Deliberate Practice: Implications For The Education Of Amateur Musicians And Music Students. Psychomusicology, 16, 40-58.
  • Meıster I.G., Krıngs T., Foltys H., Boroojerdı B., Muller M., Topper R., Thron A., (2004). Playing Piano İn The Mind–An Fmrı Study On Music İmagery And Performance İn Pianists. Cognitive Brain Research, 19, 219-228.
  • Mcmıllan J., (2005). Strategies For Memorising. Ism Music Journal, 268-272.
  • Okay, H.H. (2012). Müzikal İfade Eğitimine Bir Pencere: Çalgı Müziğinde Vokal İzler. Kastamonu Üniversitesi Kastamonu Eğitim Dergisi, 20(3), 1051-1072.
  • Palmer, C. (2006). The Nature Of Memory For Music Performance Skills. E. Alternmller, M. Wiesendanger, J. Kesselring (Eds.), Music, Motor Control And The Brain, 39-53.
  • Rodrıquez, C.X. (1995). Children’s Perception, Production, And Description Of Musical Expression. Unpublished Doctoral Theses, Northwestern University, Usa.
  • Sever, G., Çilden, Ş. (2012). Çalgısal Belleğin Geliştirilmesinde Zihinsel Hazırlık Çalışmalarının Rolü. Balıkesir Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 15(28), 19-32.
  • Sheldon, D. A. (1998). Effects Of Contextual Sight-Singing And Aural Skills Training On Error-Detection Abilities. Journal Of Research İn Music Education,46(3), 384-395.
  • Sısterhen, L. (2004a). Enhancing Your Musical Performance Abilities. American Music Teacher, 1), Http://Www.Thefreelibrary.Com/Enhancing Your Musical Performance Abilities.- A0120392633 (Son Erişim, 23.01.2014, 22:22) Free Library (August,
  • Sısterhen, L.A., (2005a). The Use Of İmagery, Mental Practice, And Relaxation Techniques For Musical Performance Enhancement. Unpublished Doctoral Dissertation, University Of Oklohama.
  • Skull, C. (2013). Performance Excellence: Toward A Model Of Factors Sustaining Professional Voice Performance İn Opera. Unpublished Doctoral Dissertation, University Of Toronto.
  • Theıler, A.M., Lıppman, L.G. (1995). Effects Of Mental Practice And Modeling On Guitar And Vocal Performance. The Journal Of General Psychology, 122(4), 329-343.
  • Tosoff, A. (2012). Is Mental Imagery An Effective Tool İn Music Practice? Http://Musicbrainerblogger.Blogspot.Com/2012/10/İs-Mental-İmagery-Effective- Tool-İn.Html 23.01.2014 01:27
  • Whetstone, R.T. (1995). Enhancing Psychomotor Skill Development Through The Use Of Mental Practice. Journal Of Industrial Teacher Education, 32(4).
  • Wöllner, C., Wıllıamon, A. (2004). Expressive Timing And İntensity Profiles İn Mental Performances. In Proc. Of The 8th International Conference On Music Perception & Cognition (Icmpc).
  • Whetstone, T. (1995). Enhancing Psychomotor Skill Development Through The Use Of Mental Practice. Journal Of Industrial Teacher Education, 32(4).
  • Zatorre, R. J., Halpern, A.R. (2005). Mental Concerts: Musical Imagery And Auditory Cortex. Neuron, 47(1), 9–12. Doı 10.1016/J.neuron.2005.06.013.

ÇALGI EĞİTİMİNDE MENTAL PRATİK

Yıl 2015, Sayı: 3, 157 - 167, 01.04.2015

Hasan Hakan Okay

Öz

Müzikal performans bilişsel, duyuşsal ve psiko-motor becerilerin tümüne dayanan, çoğunlukla bu üç alanın etkileşiminin öne çıktığı oldukça karmaşık bir etkinliktir. Bunun yanında birçok ilke ve teknik bileşenin de özgün işlevleri, müzikal performansın niteliğini etkiler. Bir müzisyenin müzikal performansı en doğru şekilde uygulaması için; doğru tasarlanmış, doğru düzenlenmiş ve hazırlıkların dikkatli tamamlandığı bir hazırlık süreci gerekir. Dolayısıyla bir müzik performansına hazırlanma süreci, sergilenecek performansın niteliğini büyük ölçüde belirleyen önemli bir öğedir. Müzisyen müzik yapabilmek için elindeki tüm fırsatları kullanması gereken mücadele araçları olarak görmelidir. Müzik yapmak için her olanağın önemli olduğu düşünüldüğünde, performansı istenilen düzeye getirecek bütün araçların müzisyene sunulması değer kazanacaktır. Mental pratik, fiziki hareketler olmadan, motor becerileri de kapsayan süreçleri zihinsel olarak işlemeye işaret eder. Müzisyenlere bir çok öneri sunan mental pratik literatürde bu yönüyle geniş bir yer tutar. Bu araştırma mental pratik uygulamalarını ortaya koyarak, konuyu genel bir bakış açısıyla değerlendirmeyi amaçlamaktadır.

Anahtar Kelimeler

Müzik eğitimi müzikal performans mental pratik.

Kaynakça

  • Akgöz S., Ercan İ., Kan İ. (2004). Meta-Analizi. Uludağ Üniversitesi Tıp Fakültesi Dergisi, 30(2), 07-12.
  • Aleman, A., Nıeuwenstein, M. R., Böcker, K. B., & De Haan, E. H. (2000). Music Training And Mental İmagery Ability. Neuropsychologia, 38(12), 1664-1668.
  • Auer, L. (1921). Violin Playing As I Teach It. New York, Usa: Frederick A. Stokes Company.
  • Barry, N.H., Hallam,S. (2002). Practice. Parncutt, R., & Mcpherson, G. (Eds.). (2002). The Science And Psychology Of Music Performance: Creative Strategies For Teaching And Learning. Oxford University Press
  • Bernardı N. F., Schorıes A., Jabusch H.-C., Colombo B., Altenmuller E. (2013a). Mental Practice İn Music Memorization: An Ecological-Empirical Study. Music Percept. 30, 275–290.10.1525/Mp.2012.30.3.275
  • Bernardı N. F., De Buglıo M., Trımarchı P. D., Chıelli A., Brıcolo E. (2013b). Mental Practice Promotes Motor Anticipation: Evidence From Skilled Music Performance. Frontier Human Neuroscience, 7, 451.
  • Bowes, P. L. (2009). An Exploratory Study Of The Use Of İmagery By Vocal Professionals: Applications Of A Sport Psychology Framework. Unpublished Doctoral Thesis, University Of South Florida. Proquest Dissertations And Theses, , 406. Retrieved From (749946677).
  • Chaffın, R., Imreh G., Lemıeux, A.F., Chen, C. (2003). "Seeing The Big Picture": Piano Practice As Expert Problem Solving. Music Percept, 20, 465-490.
  • Clark T., Wıllıamon A., Aksentıjevıc A. (2011). Musical İmagery And İmagination: The Function, Measurement, And Application Of İmagery Skills For Performance. In Musical Imaginations, D. Hardgreaves, D.E. Miell, And R.Macdonald (Eds.), Oxford: Oxford University Press.
  • Davıdson-Kelly, K. Vd. (2011). An Fmrı Study Of Expert Musical İmagery: To What Extent Do İmagined And Executed Performance Share The Same Neural Substrate. International Symposium On Performance Science. (613-617).
  • Drıskell, J.E., Copper, C., Moran, A. (1994). Does Mental Pratice Enhance Performance? Journal Of Applied Psychology, 79(4), 481-492.
  • Feltz, D., & Landers, A. (2007). The Effects Of Mental Practice On Motor Skill Learning And Performance: A Meta-Analysis. İn Essential Readings İn Sport And Exercise,D. Smith And M. Bar-Eli (Eds.) 219-230.
  • Fıne, P., Bravo, A., (2011). Rehearsal Away From The İnstrument: What Expert Musicians Understand By The Terms “Mental Practice” And “Score Analysis”. Proceedings Of The International Symposium On Performance Science 2011. 621-626.
  • Galyen, S.,D. (2006). Development Of A Structured Method Of Mental Practıce And Its Effect On The Performance Of Hıgh School Band Students. Unpublished Doctoral Dissertation, University Of Florida.
  • Gerle, R. (1983). The Art Of Practising The Violin. London: Stainer&Bell.
  • Gregg, M.J., Clark, T. (2007). Theoretical And Practical Applications Of Mental İmagery. Proceedings Of The International Symposium On Performance Science 2007. 295- 300.
  • Haddon, E. (2007). What Does Mental İmagery Mean To University Music Students And Their Professors? Proceedings Of The International Symposium On Performance Science 2007. 301-306.
  • Hammel, B. (1989). Compendium Of Practice Methods And Their Application To The Bassoon. Unpublished Doctoral Thesis. Florida State University.
  • Hıghben, Z., & Palmer, C. (2004). Effects Of Auditory And Motor Mental Practice İn Memorized Piano Performance. Bulletin-Council For Research In Music Education, 58-67.
  • Johnson, E. (2003). Applying Mental Rehearsal And İmagery Techniques To Learning, Performing And Teaching Organ Music. Unpublished Doctoral Dissertation, Indiana University.
  • Kıng, A.J. (2006). Auditory Neuroscience: Activating The Cortex Without Sound. Current Biology, 16(11), 410-411. Doı: 0.1016/J.Cub.2006.05.012.
  • Klıckstein, G. (2009). The Musician’s Way-A Guide To Practice, Performance, And Wellness. Oxford University Press.
  • Kotska, M.J. (2002). Practice Expectations And Attitudes: A Survey Of College-Level Music Teachers And Students. Journal Of Research İn Music Education, 50 (2), 145-154.
  • Lehmann, A.C., Ericsson K.A., (1997). Research On Expert Performance And Deliberate Practice: Implications For The Education Of Amateur Musicians And Music Students. Psychomusicology, 16, 40-58.
  • Meıster I.G., Krıngs T., Foltys H., Boroojerdı B., Muller M., Topper R., Thron A., (2004). Playing Piano İn The Mind–An Fmrı Study On Music İmagery And Performance İn Pianists. Cognitive Brain Research, 19, 219-228.
  • Mcmıllan J., (2005). Strategies For Memorising. Ism Music Journal, 268-272.
  • Okay, H.H. (2012). Müzikal İfade Eğitimine Bir Pencere: Çalgı Müziğinde Vokal İzler. Kastamonu Üniversitesi Kastamonu Eğitim Dergisi, 20(3), 1051-1072.
  • Palmer, C. (2006). The Nature Of Memory For Music Performance Skills. E. Alternmller, M. Wiesendanger, J. Kesselring (Eds.), Music, Motor Control And The Brain, 39-53.
  • Rodrıquez, C.X. (1995). Children’s Perception, Production, And Description Of Musical Expression. Unpublished Doctoral Theses, Northwestern University, Usa.
  • Sever, G., Çilden, Ş. (2012). Çalgısal Belleğin Geliştirilmesinde Zihinsel Hazırlık Çalışmalarının Rolü. Balıkesir Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 15(28), 19-32.
  • Sheldon, D. A. (1998). Effects Of Contextual Sight-Singing And Aural Skills Training On Error-Detection Abilities. Journal Of Research İn Music Education,46(3), 384-395.
  • Sısterhen, L. (2004a). Enhancing Your Musical Performance Abilities. American Music Teacher, 1), Http://Www.Thefreelibrary.Com/Enhancing Your Musical Performance Abilities.- A0120392633 (Son Erişim, 23.01.2014, 22:22) Free Library (August,
  • Sısterhen, L.A., (2005a). The Use Of İmagery, Mental Practice, And Relaxation Techniques For Musical Performance Enhancement. Unpublished Doctoral Dissertation, University Of Oklohama.
  • Skull, C. (2013). Performance Excellence: Toward A Model Of Factors Sustaining Professional Voice Performance İn Opera. Unpublished Doctoral Dissertation, University Of Toronto.
  • Theıler, A.M., Lıppman, L.G. (1995). Effects Of Mental Practice And Modeling On Guitar And Vocal Performance. The Journal Of General Psychology, 122(4), 329-343.
  • Tosoff, A. (2012). Is Mental Imagery An Effective Tool İn Music Practice? Http://Musicbrainerblogger.Blogspot.Com/2012/10/İs-Mental-İmagery-Effective- Tool-İn.Html 23.01.2014 01:27
  • Whetstone, R.T. (1995). Enhancing Psychomotor Skill Development Through The Use Of Mental Practice. Journal Of Industrial Teacher Education, 32(4).
  • Wöllner, C., Wıllıamon, A. (2004). Expressive Timing And İntensity Profiles İn Mental Performances. In Proc. Of The 8th International Conference On Music Perception & Cognition (Icmpc).
  • Whetstone, T. (1995). Enhancing Psychomotor Skill Development Through The Use Of Mental Practice. Journal Of Industrial Teacher Education, 32(4).
  • Zatorre, R. J., Halpern, A.R. (2005). Mental Concerts: Musical Imagery And Auditory Cortex. Neuron, 47(1), 9–12. Doı 10.1016/J.neuron.2005.06.013.
Toplam 40 adet kaynakça vardır.

Ayrıntılar

Diğer ID JA66YE92KY
Bölüm Araştırma Makalesi
Yazarlar

Hasan Hakan Okay Bu kişi benim

Yayımlanma Tarihi 1 Nisan 2015
Yayımlandığı Sayı Yıl 2015 Sayı: 3

Kaynak Göster

APA Okay, H. H. (2015). ÇALGI EĞİTİMİNDE MENTAL PRATİK. Uluslararası Eğitim Bilimleri Dergisi(3), 157-167.
AMA Okay HH. ÇALGI EĞİTİMİNDE MENTAL PRATİK. INES Journal. Nisan 2015;(3):157-167.
Chicago Okay, Hasan Hakan. “ÇALGI EĞİTİMİNDE MENTAL PRATİK”. Uluslararası Eğitim Bilimleri Dergisi, sy. 3 (Nisan 2015): 157-67.
EndNote Okay HH (01 Nisan 2015) ÇALGI EĞİTİMİNDE MENTAL PRATİK. Uluslararası Eğitim Bilimleri Dergisi 3 157–167.
IEEE H. H. Okay, “ÇALGI EĞİTİMİNDE MENTAL PRATİK”, INES Journal, sy. 3, ss. 157–167, Nisan 2015.
ISNAD Okay, Hasan Hakan. “ÇALGI EĞİTİMİNDE MENTAL PRATİK”. Uluslararası Eğitim Bilimleri Dergisi 3 (Nisan 2015), 157-167.
JAMA Okay HH. ÇALGI EĞİTİMİNDE MENTAL PRATİK. INES Journal. 2015;:157–167.
MLA Okay, Hasan Hakan. “ÇALGI EĞİTİMİNDE MENTAL PRATİK”. Uluslararası Eğitim Bilimleri Dergisi, sy. 3, 2015, ss. 157-6.
Vancouver Okay HH. ÇALGI EĞİTİMİNDE MENTAL PRATİK. INES Journal. 2015(3):157-6.