Practice of Practising

Alessandro Cervino is Junior Researcher at the Orpheus Research Centre in Music (ORCiM), Assistant Professor and Researcher at the Lemmensinstituut of Leuven, and Affiliated Researcher at Katholieke Universiteit Leuven. Maria Lettberg is Junior Researcher at the Orpheus Research Centre in Music (ORCiM). Tânia Lisboa is Senior Researcher at the Orpheus Research Centre in Music (ORCiM) and a Research Fellow at the Royal College of Music. Catherine Laws is a pianist, reader in Music at the University of York, and senior artistic research fellow at the Orpheus Institute.

• Contents Preface by Catherine Laws and Tânia Lisboa I. A self-study of learning the Prelude from Bach's Suite No. 6 for cello solo: Comparing words and actions- Tânia Lisboa, Roger Chaffin, Topher Logan PrologueEffective practiceThe investigationStages and cycles in learning the preludeRelating practice and reportsComparing practice and commentsStage 1: explorationStages 2 and 3: smoothing out and listeningStage 4: re-working techniqueStage 5: preparation for performanceConnecting theory and practiceCodaReferencesAcknowledgementsII. Performer's harmony: towards a performance of Elliott Carter's Piano Sonata- Alessandro CervinoPreliminary remarksGetting startedThe processThe practice of practising: a tool for knowingAfterwordReferencesIII. Morton Feldman's Late Piano Music: Experimentalism in Practice- Catherine LawsMemory and subjectivity in Feldman's late musicThe problem of interpretationPalais de Mari and the contingencies of performancePractice as an experimental processReferencesIV. Alfred Schnittke's Piano Trio: Learning and Performing- Maria LettbergIntroductionPreparation for rehearsals and recordingAchieving affinityConclusionsReferencesPersonalia