{"id":1755,"date":"2016-04-26T13:50:05","date_gmt":"2016-04-26T17:50:05","guid":{"rendered":"http:\/\/sites.music.mcgill.ca\/mpbs\/?page_id=1755"},"modified":"2016-04-26T17:14:28","modified_gmt":"2016-04-26T21:14:28","slug":"the-brain-game-practice-strategies","status":"publish","type":"page","link":"https:\/\/sites.music.mcgill.ca\/mpbs\/the-brain-game-practice-strategies\/","title":{"rendered":"The brain game: practice strategies"},"content":{"rendered":"<div class=\"page-restrict-output\"><p>[accordion multiopen=&#8221;true&#8221;]<br \/>\n[toggle title=&#8221;An introduction&#8221; state=&#8221;opened&#8221;]<\/p>\n<p><strong><u>In what ways can we adapt our practicing strategies to achieve optimal health and efficiency?<\/u><\/strong><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-2456\" src=\"https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/Efficiency-300x209.png\" alt=\"Efficiency\" width=\"300\" height=\"209\" srcset=\"https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/Efficiency-300x209.png 300w, https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/Efficiency.png 490w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><br \/>\nIn today\u2019s music performance environment, students are expected to devote a great deal of their time to rehearsal. Beyond group rehearsals, sectionals, lessons, coachings, etc., it is necessary students rehearse individually on a regular basis. The amount of time devoted to this individual, physical practice varies among musicians. At the extreme ends, violinists and pianists typically can practice up to 8 hours per day while most singers hesitate to practice more than 2-3 hours daily. Often, students find that their physical rehearsal strategies are insufficient to achieve their goals. Therefore, they might employ other methods of rehearsal which do not tax the physical body. In this post, I\u2019d like to present the current science behind mental rehearsal (in its many formats), the physiological evidence that supports its efficiency, and how students might integrate this strategy into their busy schedules (and maybe even help to prevent overuse!)<\/p>\n<p>[\/toggle]<br \/>\n[toggle title=&#8221;How do we learn?&#8221;]<\/p>\n<p><strong><u>What are the physiological mechanisms of learning?<\/u><\/strong><\/p>\n<p>In order to understand rehearsal, and particularly mental rehearsal, we must first understand the physiological structures which allow for learning and memory formation in the brain, as these facilitate effective rehearsal.<\/p>\n<p>The nervous system is a primary system of the human body and acts as the pathway through which chemical and electrical messages are relayed among cells, resulting in voluntary and involuntary functions. The nervous system is comprised of two subsystems: the\u00a0<strong>central nervous system<\/strong>\u00a0(CNS) and the\u00a0<strong>peripheral nervous system<\/strong>\u00a0(PNS) (Norden, 2014).<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1866 aligncenter\" src=\"https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/Central-Nervous-System.jpg\" alt=\"Central Nervous System\" width=\"376\" height=\"340\" srcset=\"https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/Central-Nervous-System.jpg 841w, https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/Central-Nervous-System-300x271.jpg 300w, https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/Central-Nervous-System-768x694.jpg 768w\" sizes=\"auto, (max-width: 376px) 100vw, 376px\" \/><\/p>\n<ul>\n<li><strong>CNS<\/strong>: The central nervous system is comprised of the brain and the spinal cord, which are both protected in bone. The vertebrae encase the spinal cord and the cranium cases the brain. These parts of the body are\u00a0protected by bone as they are absolutely necessary for survival.<\/li>\n<\/ul>\n<ul>\n<li><strong>PNS<\/strong>: The peripheral nervous system contains all the neural bodies which are not\u00a0in the brain and spine and are not encased in bone.<\/li>\n<\/ul>\n<p><img loading=\"lazy\" decoding=\"async\" class=\" wp-image-1817 aligncenter\" src=\"https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/Neuron-1024x550.png\" alt=\"Neuron\" width=\"403\" height=\"216\" srcset=\"https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/Neuron-1024x550.png 1024w, https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/Neuron-300x161.png 300w, https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/Neuron-768x413.png 768w, https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/Neuron.png 1280w\" sizes=\"auto, (max-width: 403px) 100vw, 403px\" \/><\/p>\n<p>Learning and memory, which are interrelated brain functions, begin in the cells which make up the brain. These are called\u00a0<strong>neurons<\/strong>.\u00a0Neurons are cells which are excitable by both electrical and chemical signals. These cells process and transmit information with extreme quickness throughout the body.\u00a0The space between two neurons is called the\u00a0<strong>synapse<\/strong>, and it is through this space that the brain cells transmit information (<a href=\"https:\/\/youtu.be\/wtu-yAm4xik\">Norden<\/a>, 2014).<\/p>\n<p>On a basic level, science understands that the function of memory is a physical change in the synapse between neurons and, on a greater level, between networks of neurons (H\u00f6lscher, 2001).<\/p>\n<p>When two neurons are simultaneously active frequently, the cells develop physical changes which facilitate more efficient communication. This is accomplished in two ways:<\/p>\n<ul>\n<li><strong>Dentritic spines<\/strong>: Dendritic spines develop on the dendrites of neurons in order to come closer to the pre-synaptic nerve. (spines drawing)<\/li>\n<\/ul>\n<ul>\n<li><strong>Axon branching<\/strong>: Axon branching occurs when an axon of the pre-synaptic nerve develops a branches which approach the dendrites of the post-synaptic nerve.<\/li>\n<\/ul>\n<p>To watch\u00a0a video explaining the passing of signals between two neurons, see\u00a0below.<\/p>\n<p><iframe loading=\"lazy\" title=\"Chemical Synapse Animation\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/mItV4rC57kM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>The process by which the pre- and post-synaptic neurons come closer together is called\u00a0<strong>long-term potentiation<\/strong>. H\u00f6lscher (2001:2) describes this as the \u201cselective, use-dependent increase or facilitation of synaptic transmission in neuronal circuits.\u201d In other words, when\u00a0brain cells transmit signals repetitively\u00a0through\u00a0the same networks\u00a0of neurons, these networks become increasingly interconnected and more efficiently transmit signals. It is when use-selective changes occur in the neural map that we are able to store memory. Therefore, long-term potentiation is an essential biological process involved in music students\u2019 rehearsal and development of musical skills.<\/p>\n<p>[\/toggle]<\/p>\n<p>[toggle title=&#8221;What is involved in a typical music student rehearsal?&#8221;]<\/p>\n<p>In all, students have many goals when they enter the practice room. This practice is necessary for\u00a0learning and memory as it facilitates the strengthening of synaptic relationships, or increasing long-term potentiation in the pathways which effect music-making. For different musicians, practice involves a great many approaches. Often, rehearsal includes warm-ups and rehearsal of technical skills through exercises on breathing, scales, staccati, legato, dexterity, etc. Then, musicians might focus on a passage which they are trying to master, beginning slowly and speeding up, or working from end to beginning.\u00a0 On another piece, for which they have already gained technical skills to play, they may rehearse the entire piece to prepare for performance. If they play an instrument which requires memorization, they may test their state of memorization or begin to memorize using a number of strategies.<\/p>\n<p>This all seems like a pretty taxing process, right? This is certainly true, as a case study by\u00a0<a href=\"http:\/\/www.sciencedirect.com\/science\/article\/pii\/S0892199710001700\">Schloneger<\/a>\u00a0(2011) demonstrated graduate voice students can spend up to 40 hours in rehearsal per week during intense study periods. This great amount of rehearsal external\u00a0to the daily practice, including ensemble work and group rehearsal, is expected of students. Such a time-heavy practice schedule necessitates finding other ways to effectively rehearse while minimizing impact on the body.<\/p>\n<p>[\/toggle]<br \/>\n[toggle title=&#8221;Could mental rehearsal alleviate some of the stress of traditional rehearsal?&#8221;]<\/p>\n<p>The number of definitions that accompany the term mental rehearsal\/imagery are quite varied. However, the multiple understandings of what constitutes mental rehearsal presents students a variety of options to develop their practicing efficiency while minimizing over-taxation of the body.<\/p>\n<p>Mental rehearsal has been described as \u201cthe imaginary rehearsal of a physical skill in the absence of gross muscular movements\u201d (<a href=\"http:\/\/search.proquest.com\/docview\/213646203\/abstract\/4D8D0992841487EPQ\/1?accountid=12339\">Theiler &amp; Lippmann<\/a>, 1995:329) but also may include rehearsal of \u201ccognitive (skill or strategy rehearsal) and motivational (skill mastery, arousal regulation, goal setting)\u201d elements, among others (<a href=\"http:\/\/msx.sagepub.com.proxy3.library.mcgill.ca\/content\/12\/2\/231.full.pdf+html\">Gregg, Clark &amp; Hall<\/a>, 2007:232). For me, mental practice may include but is not limited to mentally rehearsing any aspect of your music making, including its expressive and emotional elements, text, auditory elements and even the social elements involved in music making.<\/p>\n<p>In order to consider the effectiveness of mental rehearsal strategies, I\u2019d like to discuss what the scientific studies have concluded about their use.<\/p>\n<p><strong><u>What kinds of mental rehearsal strategies are music students currently using, and to what end?<\/u><\/strong><\/p>\n<p>In a study by\u00a0<a href=\"http:\/\/msx.sagepub.com.proxy3.library.mcgill.ca\/content\/12\/2\/231.full.pdf+html\">Gregg, Clark and Hall<\/a>\u00a0(2007) of 159 music students of any gender, instrument or voice type, researchers collected self-reported data on students\u2019 use of mental rehearsal using Paivio\u2019s Framework of five subtypes of mental rehearsal\/imagery:\u00a0<strong>Cognitive Specific<\/strong>\u00a0(ex. imagining rehearsing an appropriate note attack),\u00a0<strong>Cognitive General<\/strong>\u00a0(ex. running through an entire piece),\u00a0<strong>Motivational Specific<\/strong>\u00a0(ex. imagining the atmosphere of a performance),\u00a0<strong>Motivational General-Mastery<\/strong>\u00a0(ex. imagery to increase focus) and\u00a0<strong>Motivational General-Arousal imagery<\/strong>\u00a0(ex. mental imagery to control anxiety). Students reported using the MG-M imagery most frequently, followed by the cognitive imagery types, and the least use was of MS imagery. Though it is not indicated exactly why students tend to use imagery to rehearse cognitive elements of music, one may deduce that these types of mental rehearsal are the most relevant to the needs of music students.<\/p>\n<p><strong><u>Is mental rehearsal effective?<\/u><\/strong><\/p>\n<p>Another study by\u00a0<a href=\"http:\/\/rsm.sagepub.com.proxy3.library.mcgill.ca\/content\/33\/1\/3.full.pdf+html\">Johnson<\/a>\u00a0(2011) examined the effectiveness of mental rehearsal of tempo stability using two subgroups of mental rehearsal:\u00a0<strong>motor<\/strong>\u00a0and\u00a0<strong>non-motor<\/strong>\u00a0imagery. Generally, motor rehearsal involves imagined mastery of skills of dexterity and the physical execution of music making, while non-motor imagery may involve musical expressiveness and auditory elements of music. Interestingly, the research suggested no great difference in tempo fluctuation employing motor or non-motor imagery. Therefore, both of these kinds of mental rehearsal may be useful to musicians wishing to rehearse without taxing their physical bodies.<\/p>\n<p>Memorization of music is asked of many kinds of music students, yet students are not always aware of the most efficient memorization strategies. The research suggests mental rehearsal can be a useful strategy for musicians trying to memorize their music. In fact,\u00a0<a href=\"http:\/\/search.proquest.com\/docview\/213646203\/abstract\/4D8D0992841487EPQ\/1?accountid=12339\">Theiler and Lippmann<\/a>\u00a0(1995) hypothesized that a combination of physical and mental rehearsal would be at least as effective as solely physical rehearsal to achieve memorization. Their study on guitarists and vocalists and memorization efficiency indeed found that both types of musicians could memorize unfamiliar excerpts equally as efficiently employing solely physical rehearsal and a combination of mental and physical rehearsal. These findings are significant as they suggest students may find memorization success by equally varying their use of mental imagery and physical rehearsal. This will result in a less taxed physical body and an equally successful performance.<\/p>\n<p>[\/toggle]<\/p>\n<p>[toggle title=&#8221;It&#8217;s all in your head: Why is mental rehearsal effective?&#8221;]<\/p>\n<p>All of this information indicates that mental rehearsal can be an effective part of a musicians\u2019 practice strategy. Let\u2019s discuss what is happening physiologically when we rehearse mentally and what physiological changes indicate mental rehearsal\u2019s usefulness.<\/p>\n<p>Functional magnetic resonance imaging (fMRI) scans have been used to study brain activity during overt and imagined singing, providing us with insight in to how our brain is activated during music making and what may make musicians\u2019 use of mental imagery an effective rehearsal strategy.<\/p>\n<ul>\n<li>During overt rehearsal, activation was recorded in the\u00a0\u201cprimary sensorimotor cortex bilaterally\u2026[and in the] secondary\u00a0motor areas\u2026basal ganglia, the thalami, the\u00a0cerebellar hemispheres\u00a0and the\u00a0vermis\u201d(<a href=\"http:\/\/www.sciencedirect.com\/science\/article\/pii\/S1053811907001644?np=y\">Kleber, Birbauer, Veit, Trevvorrow &amp; Lotze<\/a>, 2007:892). Researchers found that the\u00a0primary auditory cortex was also activated bilaterally during overt singing. Both\u00a0Broca&#8217;s\u00a0and Wernicke&#8217;s areas, which are related to speech functions, were activated. Interestingly, the fMRI scans revealed that areas involved in emotional processing are also active during physical rehearsal.<\/li>\n<\/ul>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-2459 alignnone\" src=\"https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/corteces.jpg--1024x663.jpg\" alt=\"corteces\" width=\"443\" height=\"287\" srcset=\"https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/corteces.jpg--1024x663.jpg 1024w, https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/corteces.jpg--300x194.jpg 300w, https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/corteces.jpg--768x497.jpg 768w, https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/corteces.jpg-.jpg 2000w\" sizes=\"auto, (max-width: 443px) 100vw, 443px\" \/>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<img loading=\"lazy\" decoding=\"async\" class=\"wp-image-2457 alignnone\" src=\"https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/Auditory-Cortex.jpg\" alt=\"Auditory Cortex\" width=\"278\" height=\"311\" srcset=\"https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/Auditory-Cortex.jpg 681w, https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/Auditory-Cortex-268x300.jpg 268w\" sizes=\"auto, (max-width: 278px) 100vw, 278px\" \/><\/p>\n<ul>\n<li>Scans of musicians\u2019 imagined singing revealed some similarities with overt singing. During imagined rehearsal, both secondary and tertiary motor areas were found to be active. The researchers note the significance of activation in the primary motor and\u00a0somatosensory cortex\u00a0and the thalami during imagined singing. Additionally, like overt singing, areas involved in emotional processing were activated greatly (<a href=\"http:\/\/www.sciencedirect.com\/science\/article\/pii\/S1053811907001644?np=y\">Kleber, Birbauer, Veit, Trevvorrow &amp; Lotze<\/a>, 2007)<\/li>\n<\/ul>\n<p><strong><u>What is the significance of current fMRI research?<\/u><\/strong><\/p>\n<p>Researchers from this study note that \u201cmost of these areas related to motor processing were also active during imagery\u201d(<a href=\"http:\/\/www.sciencedirect.com\/science\/article\/pii\/S1053811907001644?np=y\">Kleber et al<\/a>., 2007:898). This could provide a physiological indication as to why many psychological and and music educational studies have found mental rehearsal to have significant benefits for achieving overt performance goals. Although we would expect areas of motor processing have no need to be activated during mental rehearsal, fMRI scans reveal they are indeed at work. When areas of the brain are activated, neural networks strengthen and long-term potentiation occurs. Therefore, if areas related to motor processing activate during mental rehearsal, music students can strengthen their musical sensory skills via mental rehearsal.<\/p>\n<p>Currently, this research must serve as a guide for all musician types when searching for physiological evidence correlating mental rehearsal of music to physical performance skills development. Hopefully, further studies of brain activation during overt and imagined rehearsal of other instruments will provide the music community with greater insight into the idiosyncrasies of brain activation among varying types of musicians.<\/p>\n<p>[\/toggle]<\/p>\n<p>[toggle title=&#8221;What do I do now?&#8221;]<\/p>\n<p><strong><u>How can we implement this information into our own schedules?<\/u><\/strong><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\" wp-image-1851 alignright\" src=\"https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/Calendar-795x1024.png\" alt=\"Calendar\" width=\"206\" height=\"265\" srcset=\"https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/Calendar-795x1024.png 795w, https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/Calendar-233x300.png 233w, https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/Calendar-768x990.png 768w, https:\/\/sites.music.mcgill.ca\/mpbs\/files\/2016\/04\/Calendar.png 800w\" sizes=\"auto, (max-width: 206px) 100vw, 206px\" \/>It is my impression mental rehearsal skills are not greatly encouraged among musicians and their teachers, especially among\u00a0certain instrumental specializations. However, there is a great deal of evidence to support the efficacy of mental rehearsal for development of many kinds of musical skills. The attitude surrounding the rehearsal skill is changing, as evidenced by the growing number of studies on the topic. I advice any music student who is finding themselves physically taxed by the amount of rehearsal time expected of them to begin to slowly integrate mental rehearsal for one kind of skill. Find what works for you, your lifestyle, and your energy level! No one mental rehearsal strategy works for all, but there may certainly be a technique which just as efficiently facilitates your learning process while relieving you of the physiological stress of overt rehearsal.<\/p>\n<p>&nbsp;<\/p>\n<p>[\/toggle]<\/p>\n<p>[toggle title=&#8221;References&#8221;]<\/p>\n<p style=\"text-align: center\">References<\/p>\n<p>Brockmann, C.L. (2009). Auditory cortex frequency mapping [Online Image]. Retrieved\u00a0April 12, 2016<\/p>\n<p style=\"padding-left: 30px\">from\u00a0<a href=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/e\/ec\/Auditory_Cortex_Frequency_Mapping.svg\">https:\/\/upload.wikimedia.org\/wikipedia\/commons\/e\/ec\/Auditory_Cortex_Frequency_Mapping.svg<\/a><\/p>\n<p>Free editable 2016 calendar [Online Image]. (2016). Retrieved April 10, 2016 from<\/p>\n<p style=\"padding-left: 30px\">http:\/\/img1.123freevectors.com\/wp-content\/uploads\/new\/celebrations-\u00a0holidays\/editable-2016-calendar-free-<\/p>\n<p style=\"padding-left: 30px\">vector.png<\/p>\n<p>Gregg, M.J., Clark, T.W., &amp; Hall, C. R.. (2007). Seeing the sound: An exploration of the\u00a0use of mental\u00a0imagery by<\/p>\n<p style=\"padding-left: 30px\">classical musicians.\u00a0<em>Musicae Scientae<\/em>,\u00a0<em>12<\/em>(2), 231\u2013247.\u00a0doi:\u00a010.1177\/102986490801200203<\/p>\n<p>H\u00f6lscher, Christian. (2001). Neuronal mechanisms of memory formation : Concepts of\u00a0long-term potentiation and<\/p>\n<p style=\"padding-left: 30px\">beyond. Cambridge: Cambridge University Press.<\/p>\n<p>Interiot. (2006). Neuron [Online Image]. Retrieved April 12, 2016<\/p>\n<p style=\"padding-left: 30px\">from\u00a0<a href=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/b\/b5\/Neuron.svg\">https:\/\/upload.wikimedia.org\/wikipedia\/commons\/b\/b5\/Neuron.svg<\/a><\/p>\n<p>Jkwchui. (2013). Cortical remapping [Online Image]. Retrieved April 12, 2016<\/p>\n<p style=\"padding-left: 30px\">from\u00a0<a href=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/d\/d8\/Cerebrum_lobes.svg\/2000px-Cerebrum_lobes.svg.png\">https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/d\/d8\/Cerebrum_lobes.svg\/2000px-<\/a><\/p>\n<p style=\"padding-left: 30px\"><a href=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/d\/d8\/Cerebrum_lobes.svg\/2000px-Cerebrum_lobes.svg.png\">Cerebrum_lobes.svg.png<\/a><\/p>\n<p>Johnson, R. B. (2011). Musical tempo stability in mental practice: A comparison of\u00a0motor and non-motor imagery<\/p>\n<p style=\"padding-left: 30px\">techniques.\u00a0<em>Research Studies in Music <\/em><em>Education<\/em>,\u00a0<em>33<\/em>(1)<em>,<\/em>\u00a03\u201330. doi:\u00a010.1177\/1321103X11400501<\/p>\n<p>Kleber, B., Birbaumer, N., Veit, R., Trevvorrow, T., &amp; Lotze, M. (2007). Overt and\u00a0imagined singing of an Italian<\/p>\n<p style=\"padding-left: 30px\">aria.\u00a0<em>NeuroImage<\/em>,\u00a0<em>36<\/em>, 889\u2013900.\u00a0doi:10.1016\/j.neuroimage.2007.02.053<\/p>\n<p>mourgfile. (2015). Efficiency [Online Image]. Retrieved April 22, 2016<\/p>\n<p style=\"padding-left: 30px\">from\u00a0<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Efficiency.png\">https:\/\/commons.wikimedia.org\/wiki\/File:Efficiency.png<\/a><\/p>\n<p>Norden, J. [Vanderbilt University]. (2014, March 27). <em>The neuroscience of learning and <\/em><em>memory <\/em>[Video file]. Retrieved<\/p>\n<p style=\"padding-left: 30px\">from <a href=\"https:\/\/youtu.be\/wtu-yAm4xik\">https:\/\/youtu.be\/wtu-yAm4xik<\/a><\/p>\n<p>OpenStax College. (2013). Overview of nervous system [Online Image]. Retrieved April 12, 2016<\/p>\n<p style=\"padding-left: 30px\">from\u00a0<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:1201_Overview_of_Nervous_System.jpg\">https:\/\/commons.wikimedia.org\/wiki\/File:1201_Overview_of_Nervous_System.jpg<\/a><\/p>\n<p>Schloneger, M. J. (2011). Graduate student voice use and vocal efficiency in an\u00a0opera rehearsal week: A case<\/p>\n<p style=\"padding-left: 30px\">study.\u00a0<em>Journal of Voice<\/em>, 25(6), 265\u2013273.\u00a0doi: 10.1016\/j.jvoice.2010.09.010<\/p>\n<p>Theiler, A. M. &amp; Lippman, L. G. (1995). Effects of mental practice and modeling on\u00a0guitar and vocal performance. <em>The <\/em><\/p>\n<p style=\"padding-left: 30px\"><em>Journal of General Psychology<\/em>,<em>\u00a0<\/em><em>122<\/em>(4), 329\u2013343.<\/p>\n<p>[retwedt]. (2013, December 17). <em>Chemical synapse animation<\/em>. [Video File].\u00a0Retrieved from<\/p>\n<p style=\"padding-left: 30px\">https:\/\/youtu.be\/mItV4rC57kM.<\/p>\n<p>[\/toggle]<\/p>\n<p>[\/accordion]<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<div class=\"page-restrict-output\"><p>[accordion multiopen=&#8221;true&#8221;] [toggle title=&#8221;An introduction&#8221; state=&#8221;opened&#8221;] In what ways can we adapt our practicing strategies to achieve optimal health and efficiency? In today\u2019s music performance environment, students are expected to devote a great deal of their time to rehearsal. Beyond group rehearsals, sectionals, lessons, coachings, etc., it is necessary students rehearse individually on a regular [&hellip;]<\/p>\n<\/div>","protected":false},"author":161,"featured_media":0,"parent":0,"menu_order":29,"comment_status":"open","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-1755","page","type-page","status-publish","entry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The brain game: practice strategies - Music Performance and Body Seminar<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" class=\"yoast-seo-meta-tag\" \/>\n<meta property=\"og:type\" content=\"article\" class=\"yoast-seo-meta-tag\" \/>\n<meta property=\"og:title\" content=\"The brain game: practice strategies - Music Performance and Body Seminar\" class=\"yoast-seo-meta-tag\" \/>\n<meta property=\"og:description\" content=\"[accordion multiopen=&#8221;true&#8221;] [toggle title=&#8221;An introduction&#8221; state=&#8221;opened&#8221;] In what ways can we adapt our practicing strategies to achieve optimal health and efficiency? In today\u2019s music performance environment, students are expected to devote a great deal of their time to rehearsal. 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