![]() ![]() #Musicality network how toLearn how to avoid overwhelm and get maximum results. Practice Q&A How To Spend Practice Time And Prevent Overwhelm, with Gregg Goodhart ApPracticlass creator, Gregg Goodhart teaches you how to know what to focus on in your music practice. ![]() Discover the techniques of musical superlearning. What is musical “superlearning”? The Musical U team discusses how to overcome common challenges in learning music.Learn practical tips to help you jump in the next jam session. Pathways: Oli Fuhrmann Oli Fuhrmann shares his musical journey and how he started jamming with high-level musicians.Getting Out Of Your Own Way, with Dylan Hart Dylan Hart, successful Hollywood French horn player and teacher, shares his unlikely success story and unique perspective on musicality.Learn how to avoid frustration and get more results from ear training. Q&A: Sometimes I feel like I’m just guessing – is that wrong? Musical U Director, Christopher Sutton discusses guessing notes when ear training.Develop powerful musicality with simple exercises you can do anytime, anywhere. Q&A: What can you do if you struggle to audiate (imagine music)? Musical U Founder, Christopher Sutton discusses why and how to audiate.Q&A: Why use headphones and what kind should I buy? JFounder of Musical U, Christopher Sutton explains the power of good headphones for ear training - and how to choose the best pair for ear practice.Q&A: If playing music is like speaking a language – what about harmony? JFounder of Musical U, Christopher Sutton discusses how harmony fits in to the analogous relationship between music and language.Learn to increase your vocal accuracy and musicality. Q&A: I sometimes get the notes wrong when I sing – what can I do? JMusical U founder, Christopher Sutton talks about the three step process to singing the right notes.Q&A: How (and why) should you do ear training for scales? JMusical U founder, Christopher Sutton teaches why you should learn scales and the two types of scale ear training that will improve your musicality.Further, this study could encourage professors and performers of other instruments to apply the results to their performance practices and pedagogy. The results of this study are needed to acquire a greater understanding of the possible effects of kinesthetic movement on musicality and performance anxiety. This case study gathered data from weekly questionnaires and the final focus group session. At the end of the month, participants partook in a focus group to share their experiences. All video recordings were evaluated by three university trained evaluators for weekly review using Likert-scale questionnaires. Every participant also completed a weekly questionnaire containing both Likert-scale and open-ended questions. Each participant performed video-recorded weekly assigned exercises from The Flute Scale Book by Patricia George and Phyllis Avidan Louke alternating specific kinesthetic movements with no movements over one month. This four-tier case study examined the impact of kinesthetic movement on flute performance musicality and performance anxiety in three undergraduate flute students at CSU in North Charleston, South Carolina. Although most musicians seek out these therapies solely to alleviate pain or injury, could these kinesthetic movements promote concentration and provide positive self-talk by decreasing mental distractions? Despite much research analyzing the impact of kinesthetic movements on reducing injury and pain, there is a lack of research explicitly regarding its abilities to enrich a flutist’s musical performances by reducing negative self-talk. Somatic therapies such as the Alexander Technique, body mapping, Feldenkrais, and Dalcroze-Eurythmics incorporate kinesthetic movements into their practices. Kinesthetic movement has gained significant attention within the flute community over the last several decades as a performance enhancement tool. ![]()
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