The Inner Game of Music Author: Visit Amazon's Barry Green Page | Language: English | ISBN:
0385231261 | Format: PDF
The Inner Game of Music Description
From the Publisher
By the best-selling co-author of
Inner Tennis, here's a book designed to help musicians overcome obstacles, help improve concentration, and reduce nervousness, allowing them to reach new levels of performing excellence and musical artistry.
From the Inside Flap
By the best-selling co-author of
Inner Tennis, here's a book designed to help musicians overcome obstacles, help improve concentration, and reduce nervousness, allowing them to reach new levels of performing excellence and musical artistry.
- Hardcover: 225 pages
- Publisher: Doubleday; 1st edition (February 21, 1986)
- Language: English
- ISBN-10: 0385231261
- ISBN-13: 978-0385231268
- Product Dimensions: 8.6 x 5.8 x 0.9 inches
- Shipping Weight: 15.2 ounces (View shipping rates and policies)
Former principal bassist of the Cincinnati Symphony, Barry Green has created what has to be one of the most important books on musical psychology ever written. As a young clarinetist myself, I've found this read to help me change from one who frets over my auditions and solos to becoming a confident musician in front of others.
Green begins by discussing what makes up a good performance. He invented the formula P = p - i, where P is the level of the performance, p is the potential of the performer, and i is the level of mental interference during the performance. He explains how to decrease the amount of i in order to bring the level of P as close as possible to p.
Green then digs further into his ideas by introducing to two "selves". Quoted, "Self 1 is our interference. It contains our concepts about how things should be, our judgments and associations. It is particularly fond of the words 'should' and 'should not' and often sees things in terms of what 'could have been. Self 2 is the vast reservoir of potential within each one of us. It contains our natural talents and abilities, and is a virtually unlimited resource that we can tap and develope. Left to its own devices it performs with gracefulness and ease." Green goes own to give advice and excercises on how to ignore the interference of self 1 during performance and how to let self 2 work uninterupted.
Over the next chapters, Green goes into more technical and complicated details, while teaching us the powers of awareness, will, and trust. These three chapters are loaded with useful excercises, and most of them have the least do with music, at least directly. But they all tie in somewhere.
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