Conservatory Musicians’ Temporal Organization and Self-Regulation Processes in Preparing for a Music Exam

Abstract

Performing at the very highest levels requires rigorous preparation before the important performance. Musicians and especially music students encounter many challenges when preparing themselves for an important musical performance. This study sought to identify and analyze the context-specific temporal organization and self-regulation efforts that music students employ during their preparation period. Conservatory musicians were recruited from an Australian University Conservatorium. Thirteen conservatory musicians aged between 19 and 21 years (M = 19.6; SD = 0.76) participated in the study. All musicians, through an elicitation interview, were asked to recall and reconstruct their preparation period, leading up to a performance exam. Elicitation interviews provided access to music students' experiences by describing their general preparation. The results showed that conservatory musicians go through different phases (Phase 1: Choosing a piece; Phase 2: Piece discovery; Phase 3: Piece interpretation; Phase 4: Performance preparation). Self-regulatory efforts to prepare for a music performance exam vary from one musician to another. Organizational and disorganizational competencies, specific self-regulatory skills, seem not to be exploited by conservatory musicians. Also, during their preparation, most music students prefer technical and musical work than challenges such as playing in front of the public. Emotionally, conservatory musicians go through pleasant and unpleasant emotions depending on the phase of their preparation. Our results show that music students could benefit from advice on how to organize their preparation period well before an important performance takes place. Implications for conservatory musicians and teachers are discussed.

Flow and music performance: Professional musicians and music students’ views

“…Regarding different types of performance preparation, long-term preparation, involving the time allotted and the quality of practice, was shown to have a significant impact on performance. This was consistent with the findings of Antonini Philippe and Güsewell (2016) and Antonini Philippe et al (2020), which suggested that preparation was a crucial aspect in a successful performance. In all fields, but especially in music, the time given to practice is one of the most important factors of success (Sloboda et al, 1996).…”

“…What did you think about it? This type of interview was tested in different studies involving athletes (Antonini Philippe & Güsewell, 2016) and, more recently, musicians (e.g., Antonini Philippe et al, 2018; Antonini Philippe et al, 2020; Antonini Philippe & Güsewell, 2016).…”

Assessing teachers’ perspectives on giving music lessons remotely during the COVID-19 lockdown period

“…In addition, several studies in this area have been carried out in the specific contexts of informal learning (Ruismäki, et al, 2012; Seddon & Biasutti, 2009b) and private lessons (Kruse et al, 2013; Pike & Shoemaker 2013), rather in than more formal settings such as conservatories. Online examinations, which require musicians to demonstrate complex abilities (Antonini Philippe et al, 2020), were not tested. These studies often adopted a case study methodology, involving few participants, which limits the generalizability of their results (Kruse et al, 2013; Pike & Shoemaker, 2013).…”

Focus of attention in musical learning and music performance: a systematic review and discussion of focus instructions and outcome measures

“…However, studies showed that dealing with music-specific high-pressure challenges is highly individual and diverse, and depends on multiple factors (see, e.g., Buma et al, 2015 ; Oudejans et al, 2017 ). When dealing with the wide range of practice routines at different practice stages (see Antonini Philippe et al, 2020 ) and the very different pedagogical approaches of instrumental and vocal teachers, it is very difficult to assess the impact of conscious changes in attentional focus on musical learning. This is also supported by anecdotic evidence from discussions with many music students in different lectures, where practice and teaching routines, the practice stage, and the musical literature play a major role.…”