Sixteen piano students learned four piano pieces under two different conditions that involved the deprivation of auditory and motor feedback. One condition required study away from the piano, thus implying the removal of auditory and kinaesthetic feedback (mental practice, MP). The other condition involved study on a digital piano that was turned off (motor practice, MoP), hence depriving the participant of auditory feedback. Data on the effects of the two different modalities of practice, which also excluded external sound references during the initial study of new piano pieces, were analysed in two different ways. First, video recordings of the participants’ practice sessions were analysed to identify behaviours exhibited during these sessions, quantified by number of incidences. Second, external referees assessed final performances (audio recordings on an acoustic piano) according to four proposed parameters related to piano performance. Data from semi-structured interviews were collected as well. The results showed differences between the two conditions, especially with respect to the utilisation of support activities and pauses during practice. The analysis indicated that procedures related to MP may yield better results when the musical material is approached as small portions one at a time. Finally, the modality of MP described in this article, which bears some relation to other forms of MP, could be a valid alternative for issues of fatigue and complexity related to MP, as has been traditionally described in the literature.

中文翻译：

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两种练习方式对听觉反馈剥夺下钢琴曲学习的影响


16 名钢琴学生在两种不同的条件下学习了四首钢琴曲，这些条件涉及听觉和运动反馈的剥夺。一个条件需要在远离钢琴的地方学习，因此意味着去除听觉和动觉反馈（心理练习，MP）。另一种情况涉及对关闭的数码钢琴进行研究（运动练习，MoP），因此剥夺了参与者的听觉反馈。以两种不同的方式分析了两种不同练习方式的效果数据，在对新钢琴作品的初步研究期间也排除了外部声音参考。首先，分析参与者练习课程的视频记录，以确定这些课程期间表现出的行为，并通过发生次数进行量化。其次，外部裁判根据与钢琴演奏相关的四个拟议参数评估最终演奏（原声钢琴上的录音）。还收集了来自半结构化访谈的数据。结果显示两种情况之间存在差异，尤其是在支持活动的利用和练习期间的暂停方面。分析表明，当音乐材料一次处理一个小部分时，与 MP 相关的程序可能会产生更好的结果。最后，本文中描述的 MP 模式与其他形式的 MP 有一定的关系，可能是与 MP 相关的疲劳和复杂性问题的有效替代方案，正如文献中传统上描述的那样。