Subjectivity & "Perfecting" Musical Performance: Part II

...continued from Part I...

I so commonly hear of musicians that will practice for six to eight hours at a time—on a daily basis—repeatedly rehearsing pieces for upcoming auditions, performances, and lessons in an endless attempt to perfect their performance.  This type of practice is often expected—if not encouraged—within the conservatory setting.  But does this method of practice really make for “better” musical performance?

Growing up, my flute instructor drilled into my head that “amateurs practice until they can get it right, professionals practice until they cannot get it wrong”…so much so that she had a card printed with this adage that sat on my music stand at home, staring at me each time I played.  Other teachers I know speak of the “1000-hour rule” which suggests that 1000 hours of dedicated practice is the delineating threshold to yield expert performance in a certain area (whether that is sports, music, etc.).  I personally don’t subscribe to either school of thought, and here’s why:

1. We know from extensive research in sports medicine that rote practice of physical tasks does not significantly improve performance.
Breaking up practice time into smaller chunks of time is more likely to be effective in improving performance, as is varying motor patterns.For example, rather than practicing for four hours continuously, try practicing for two hours with a 5-to-10 minute break halfway through the session, followed by a second 2-hour practice session later in the day.When trying to master a particularly tricky passage, playing the passage the same way over and over “until you can’t get it wrong” isn’t likely to work.A more effective way of practicing that passage would be to vary the speed, rhythm, and articulation to help you master the motor patterns needed for coordination of breath support, articulation, and finger dexterity.

2. We know from performing arts medicine research that repetitive practice actually makes the musician more likely to develop task-specific dystonias, and that overuse syndromes are extremely common among musicians.
Excessive practice, especially rote practice, makes the musician more likely to develop dystonias (also known as “musician’s cramp”) in which the individual loses partial motor control only during certain tasks (such as playing their instrument), as well as playing-related musculoskeletal disorders (PRMDs) such as tendinitis and nerve compressions. Studies suggest that between 30 and 90% of orchestral musicians experience musculoskeletal disorders that interfere with their ability to play their instrument, with most studies hovering around the 70-80% incidence rate.Employing mentalization strategies such as reading through the piece you are working on while consciously focusing on shaping of musical phrases, dynamics, where/when/how to breathe, etc. without your instrument is an effective way to enhance practice sessions while reducing the risk of developing musculoskeletal disorders due to excessive physical practice.

3. Assessing musical performance is highly subjective: what one person thinks sounds optimal, another may not care for.
We all have different opinions, and the musician is never going to please all listeners equally.To that I say, decide what YOU like to hear and what story YOU are trying to tell through your music.Practice a healthy amount using good ergonomics, understanding that over-practicing can have negative effects on both your body and your performance.As is the case with all artistic endeavors, there will never be a “perfect” performance, but adhering to a balanced practice regimen can set you up for success in performance and longevity as a player.