Inner Game of Music

Re-play: Re-assessing the effectiveness of an arts partnership in teacher education

“…The model, employed and refined throughout the partnership, involved a recurring cycle of exploration of concepts through engagement in concrete activities and then discussion by the class (teaching), which was followed by applied practice and reflection, generally in small groups (learning) (refer to Figure 2). It was developed from the dual notions of raised awareness when practising and reflection on learning -the former drawn from the performing arts (Green 1986;Pitts et al 2002), and the latter based in pre-service education (Grimmett and Erickson 1988;Zeichner and Liston 1996). In their comments, the participants indicated that practical applications of a concept in a variety of lessons across the curriculum (e.g.…”

Understanding what it means for older students to learn basic musical skills on a keyboard instrument

“…I'd like to play Moonlight sonata, I will eventually'. Although when she played in front of the others in the piano class and in the college concerts she 'was a nervous wreck', her public performing tapping into a negative musical self full of anxiety (Green and Gallwey 1987;Wilson 1994), things were different with an audience of children at home: playing to my grandchildren I was practising all day when they came, and they were stood there listening and I wasn't even nervous . .…”

The Enhancement of Performance Excellence Among Performing Artists

“…Some experiential, cognitive, and psychodynamic approaches have been developed, however. Tim Gallwey's inner game method-detailed with golf, tennis, and other sports (e.g., Gallwey, 1997Gallwey, , 1998)-has been applied to music performance (Green & Gallwey, 1986). Cognitive methods also are used in helping performers, although the perspective often is reparative rather than preventive (Robin & Balter, 1995;Salmon & Meyer, 1992).…”