In Pursuit of Guitar Excellence: The Effects of a Multifaceted Approach to Performance Training by Brent Crawford A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Department of Music University of Toronto © Copyright by Brent Crawford 2018 In Pursuit of Guitar Excellence: The Effects of a Multifaceted Approach to Performance Training Brent Crawford Doctor of Musical Arts Department of Music University of Toronto 2018 Abstract The aim of this research is to study the effects of a many-sided training approach on classical guitarists currently at the outset of their professional career. Students from the University of Toronto were invited to participate in this six-week study that exposed them to various mental and physical exercises designed to model the multifaceted training approach of professional athletes. Prior to the study, interviews were conducted with mental health practitioners, physical training specialists, and professional classical guitarists to gather their opinions on performance optimization and to help inform the investigation period. The study was carried out using practical action research, and was comprised of a two-week initial period, followed by a four- week intervention period. Qualitative data from self-efficacy scales, self-assessment forms, and adjudication forms was used to assess the effectiveness of the mental and physical exercise interventions. Results from the intervention indicate that classical guitarists would benefit from incorporating mental and physical training exercises into their preparatory actions, as shown through improvements in performance self-efficacy. Future studies that include larger participation numbers and a longer intervention period could result in greater, more widespread implications for classical guitarists. ii Acknowledgments I would like to thank my supervisor, Dr. Jeffrey McFadden, for his constant guidance, patience, and support in helping me to complete my doctoral research. Particularly, I want to express my sincere gratitude for mentoring me throughout this entire degree, and sharing with me your knowledge and expertise in all things musical. I would next like to thank my doctoral panel, Dr. Lee Bartel and Dr. Jeff Packman, for their wisdom and continued support in all aspects of my research. Your combined experience, as well as the professionalism you both brought to the table went a long way in helping me to complete this research. Lastly, I would like to acknowledge my parents, Michael and Silvie Crawford, who continue to provide me with unwavering support. Through all of my endeavors, you both have provided me with the means to follow my dreams, and, above all, have taught me to be persistent and to believe in myself. iii Table of Contents Acknowledgments . iii Table of Contents . iv List of Tables . ix List of Figures . x List of Appendices . xi Chapter I. Introduction Background . 1 Need for the Study . 5 Study Overview . 8 Research Question . 8 Definition of Important Terms . 8 Research Design . 9 Description of the Study . 11 Limitations and Delimitations of the Study . 12 II. Review of Literature Mental Aspects of Performance Training . 14 Deliberate Practice . 15 Introduction to Passion and Motivation . 17 Passion . 17 Motivation . 18 iv Flow . 21 Perfectionism . 23 Performance Anxiety . 24 Burnout and Overtraining . 26 Cognitive Skills . 28 Relaxation . 29 Imagery . 31 Goal-setting . 33 Self-talk . 34 Physical Aspects of Performance Training . 36 Flexibility . 36 Endurance Training . 39 Alexander Technique . 42 Yoga . 46 Conclusions . 48 III. Methodology and Research Design Summary of topic and research question . 50 Qualitative research . 50 Action research . 52 Description of Data Gathering Processes . 53 Self-efficacy scale . 53 Self-assessment form . 54 Adjudication form . 54 Interviews . 55 Mental Performance Skills for Musicians Workbook . 55 v Stability with Mobility, Volume 2: Exercises to Promote Freedom of Movement For Musicians . 56 The Role of the Researcher . 56 Ethics . 57 Participant selection: Students . 58 Limitations to student participation . 58 Participant selection: Performance specialists . 59 Participant selection: Adjudicators . 60 Participant selection: Lecturer . 61 Guitar-related intervention performance factors . 61 Mentally-related intervention performance factors . 62 Physically-related intervention performance factors . 63 Phase one: Interviews with mental practitioners . 63 Feedback and recommendations from mental practitioners . 63 Phase two: Interviews with physical practitioners . 64 Feedback and recommendations from physical practitioners . 64 Phase three: Interviews with guitar practitioners . 64 Feedback and recommendations from guitar practitioners . 65 Phase four: Quasi-experimental investigation period . 65 IV. Interview Findings Phase one: Mental practitioners . 66 Introduction . ..