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What is included with this book?
| Introduction | |
| Artful Practice | |
| Getting Organized | |
| Artful Practice | |
| Defining Practice | |
| Creating a Practice Environment | |
| The Five Practice Zones | |
| Planning Your Practice | |
| Scheduling Practice Sessions | |
| Choosing New Material | |
| Self-Recording | |
| Practicing Deeply, I | |
| Practicing Deeply | |
| Habits of Excellence | |
| Essentials of Artistic Interpretation | |
| Mental Imaging | |
| Warming Up | |
| Practicing Deeply, II | |
| The Craftsmanship of Practice | |
| Starting New Material | |
| Managing Repetition | |
| Solving Problems | |
| Practicing Deeply, III | |
| Ripening Your Repertoire | |
| Taking Breaks | |
| Memorization Concepts | |
| Memorization Strategies | |
| Practicing Deeply, IV | |
| Building Technique | |
| Upgrading Musicianship | |
| Fueling Motivation | |
| Committing to the Creative Process | |
| Musical Collaboration | |
| Musical Collaboration | |
| Professionalism | |
| Interacting in Rehearsal | |
| Correlating Solitary and Group Practice | |
| Igniting Synergy | |
| Forming a Musical Group | |
| Fearless Performance | |
| Unmasking Performance Anxiety | |
| Fearless Performance | |
| Unmasking Performance Anxiety | |
| The Basic Anxiety Equation | |
| Anxiety's Effects | |
| The Roots of Performance Anxiety | |
| Portraits of Anxious Performers | |
| Crafting Confidence | |
| Becoming a Performing Artist, I | |
| Becoming a Performing Artist | |
| The Heart of Performance | |
| The Five Facets of Preparation | |
| Preperformance Routines | |
| Backstage Techniques | |
| Becoming a Performing Artist, II | |
| Stage Deportment | |
| Shaping Your Stage Presence | |
| Starting and Ending | |
| Harnessing On-Stage Energy | |
| Connecting with an Audience | |
| Becoming a Performing Artist, III | |
| Dealing with Errors | |
| Postperformance Routines | |
| Practicing Performance | |
| Evaluating Your Progress | |
| Performing like a Pro | |
| Performing like a Pro | |
| The Peak-Performance Myth | |
| Designing Concert Programs | |
| Three Model Programs | |
| Creating a Preparation Timeline | |
| Auditions and Competitions | |
| The Recording Studio | |
| Lifelong Creativity | |
| Injury Prevention, I | |
| Lifelong Creativity | |
| Musicians and Injuries | |
| Causes of Injury | |
| Warning Signs and Responses | |
| Injury-Prevention Basics | |
| Recovering from Injury | |
| Injury Prevention, II | |
| Balanced Sitting and Standing | |
| Meeting Your Instrument | |
| Voice Care | |
| Hearing Conservation | |
| Succeeding as a Student | |
| Succeeding as a Student | |
| Student-Teacher Dynamics | |
| Appreciating Criticism | |
| Embracing Career Challenges | |
| Counteracting Substance Abuse | |
| Boosting Creativity | |
| Notes | |
| Selected Bibliography | |
| Index | |
| Table of Contents provided by Publisher. All Rights Reserved. |
The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.
The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.
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