Periodization Theory and Peak Performance Exemplified Through Extended Techniques
New music is no longer marginalized. Musicians have never been more in- dependent, more diverse and more empowered. The purpose of this book is to further possibilities of growth, modernizing practice paradigms by updat- ing theories of learning and performance preparation. While creating new learning models, I use information from ﬁelds that have studied stamina, peak performance and practice efﬁciency – scientiﬁcally. Modern reper- toire includes new and extended playing techniques, but musicians are still studying in the same ways we always have. To date, pedagogical materials have given us dictionaries of extended tech- niques and composers have developed a grammar in using them. In just the past few years, new technology has created tremendous ease of access to these materials. For example, as an offshoot of Robert Dick’s ground- breaking work in developing new ﬁngerings, Andrew Botros developed an algorithm which notates all of the possible ﬁngerings for multiphonics, mi- crotones and altered timbres. Now a ﬂutist or composer can bring a phone or tablet into a practice room and access every mathematical ﬁngering possibility. YouTube has changed accessibility to new music. Everyone can now hear repertoire that was previously only heard in new music festivals. Extended techniques used to be a mystery, requiring a brute strength and score reading prowess to ﬁgure them out. Now we have expert models of them online. Robert Dick, Helen Bledsoe and Matthias Ziegler, among others, have made excellent online tutorials. One YouTube channel syncs recordings of Brian Ferneyhough’s works with the...
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