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Art in Motion II

Motor Skills, Motivation, and Musical Practice

Adina Mornell

Musicians, dancers and athletes spend a tremendous amount of time and effort preparing for performance in the hope of success, aiming for certainty, flexibility and expressiveness. Their use of visualization, verbal labels, muscle energy, and emotion is often based upon intuition instead of knowledge. Art in Motion intends to fill this vacuum. Effective training and teaching hinge on motivation, self-regulation, useful feedback, and an understanding of perception, cognition, timing, motor skill learning, and automation. Information about empirical research concerning mental representations of movement and musical goals can drive the creative process, facilitating the artist at work. Innovative and intentional – purposeful and meaningful – techniques of practice are developed.

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FOREWORD (Siegfried Mauser)

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FOREWORD Research is of prime importance to any institution of higher education. However, until recently the concept of research at a university of music has been associated with musicology, music history, theory, and compo- sition, covering subjects such as historical performance practice, jazz, ethnomusicology, and acoustics. In additional to these disciplines, our university enjoys a long tradition of artistic excellence, training tomor- row’s future soloists, chamber and orchestral musicians, opera singers, ballet dancers, and theater actors. Through the appointment of Prof. Dr. Adina Mornell as Professor and Chair of Instrumental and Vocal Pedago- gy we have established a new field of research at the University of Music and Performing Arts Munich. Mornell’s work focuses on the relationship between music performance, psychology, learning theory and physiol- ogy. Her work extends beyond the practice room, the lecture hall, and the library to include empirical research. Among the first of her activities at our institution was the planning of the second international and interdisciplinary symposium Art in Motion – Motor Skills, Motivation, and Musical Practice, hosted by our university in Munich on June 4 and 5, 2010. Mornell had only shortly before been invited to join our faculty. Until then, she had held a professorship in the Institute of Music Education at the University of Music and Performing Arts Graz. There she had masterminded Art in Motion and staged the first symposium in 2008. The diversity of the academic and scientific backgrounds of the partici- pants was reflected in their fascinating presentations, workshops, and...

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