Doing without thinking? Processes of decision-making in period instrument performance Daniel Bangert B.Mus. (Hons), A.Mus.A. A thesis submitted to the University of New South Wales in fulfilment of the requirements for the degree Doctor of Philosophy 2012 http://doi.org/10.4225/53/58bca28d2a79a THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Bangert First name: Daniel Other name/s: Abbreviation for degree as given in the University calendar: PhD School: Arts and Media Faculty: Arts and Social Sciences Title: Doing without thinking? Processes of decision-making in period instrument performance Abstract 350 words maximum: The performance of a musical work involves making many decisions about the notated score. This study explores the nature and role of intuitive and deliberate processes of musical decision-making in period instrument performance of solo Baroque string music. This research uses dual process theories of cognition as a conceptual framework to examine issues of Baroque performance practice and interpretation. A threefold approach to data collection was employed. In the first study, semi-structured interviews were conducted with leading Baroque violinists and cellists, focusing on the solo works of J.S. Bach. A high proportion of deliberate decision-making was found (60% overall) although this varied considerably between individuals. Performers described their interpretation of these pieces as being influenced by various factors and provided insights into how elements of the interpretative process such as intuition are experienced and defined. The participants in the second study were Baroque violinists of varying levels of expertise who were asked to sight-read, practise and perform a short piece of unfamiliar solo Baroque violin music. Retrospective verbal reports were collected after both the sight- read and performance and participants were asked to ‘think-aloud’ during the practice period. A small proportion of deliberate decision-making was found (18% overall) and experienced performers were found to use deliberate processes to a greater extent than less experienced performers. The third study traced the preparation process involved in recording the Suites for Solo Cello by J.S. Bach through a longitudinal case study of Baroque cellist Daniel Yeadon. This study demonstrates how an interpretation develops over time and found a large proportion of deliberate decision-making (65% overall). The results largely confirm the characteristics of intuitive and deliberate decision-making as described in recent psychological literature, such as the importance of pattern recognition in intuitive processes. The relatively low proportion of deliberate decision- making in the second study can be explained by the use of a sight-reading task and a more implicit measure of decision-making. Based on data from the three studies, a spiral model is proposed to account for changes in the contribution of intuitive and deliberate decision-making over time, including the process by which intuition becomes ‘informed.’ Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). …………………………………………………………… ……………………………………..……………… ……….……………………...…….… Signature Witness Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: Originality statement I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. Signed ……………………… Date …………………. Copyright statement I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International. I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation. Signed ……………………… Date …………………. Authenticity statement I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format. Signed ……………………… Date …………………. iii Abstract The performance of a musical work involves making many decisions about the notated score. This study explores the nature and role of intuitive and deliberate processes of musical decision-making in period instrument performance of solo Baroque string music. This research uses dual process theories of cognition as a conceptual framework to examine issues of Baroque performance practice and interpretation. A threefold approach to data collection was employed. In the first study, semi- structured interviews were conducted with leading Baroque violinists and cellists, focusing on the solo works of J.S. Bach. A high proportion of deliberate decision- making was found (60% overall) although this varied considerably between individuals. Performers described their interpretation of these pieces as being influenced by various factors and provided insights into how elements of the interpretative process such as intuition are experienced and defined. The participants in the second study were Baroque violinists of varying levels of expertise who were asked to sight-read, practise and perform a short piece of unfamiliar solo Baroque violin music. Retrospective verbal reports were collected after both the sight-read and performance and participants were asked to ‘think-aloud’ during the practice period. A small proportion of deliberate decision-making was found (18% overall) and experienced performers were found to use deliberate processes to a greater extent than less experienced performers. The third study traced the preparation process involved in recording the Suites for Solo Cello by J.S. Bach through a longitudinal case study of Baroque cellist Daniel Yeadon. This study demonstrates how an interpretation develops over time and found a large proportion of deliberate decision-making (65% overall). The results largely confirm the characteristics of intuitive and deliberate decision- making as described in recent psychological literature, such as the importance of pattern recognition in intuitive processes. The relatively low proportion of deliberate decision-making in the second study can be explained by the use of a sight-reading iv task and a more implicit measure of decision-making. Based on data from the three studies, a spiral model is proposed to account for changes in the contribution of intuitive and deliberate decision-making over time, including the process by which intuition becomes ‘informed.’ v Acknowledgments The completion of this thesis would not have been possible without the assistance of many valued colleagues and friends. First and foremost, I would like to thank my joint supervisors at the University of New South Wales, Associate Professor Dorottya Fabian and Associate Professor Emery Schubert. Their unfailingly generous, insightful and encouraging feedback has contributed greatly to the thesis and I am grateful for their advice, support, and mentorship. Thank you to all the musicians who participated in this research: interviewees Pavlo Beznosiuk, Christophe Coin, Sebastian Comberti, Lucy van Dael, Alice Evans, Margaret Faultless, Enrico Gatti, Job ter Haar, John Holloway, Ingrid Matthews, Anna McDonald, Alison McGillivray, Jennifer Morsches, Susie Napper, Hélène Schmitt, Susan Sheppard,