This article discusses the effects of sensory deprivations during the initial practice of four short piano compositions in both deprivation and postdeprivation situations. Four different experimental conditions were employed: (A) deprivation of the piano, with visual decoding of the score; (B) deprivation of the piano and score, with auditory decoding of a commercial recording of the practiced composition; (C) deprivation of the sound response, with the score being decoded in a turned-off digital piano; and (D) deprivation of the score, with the recording being decoded on an acoustic piano. Four participants, all piano students, were part of the research sample: one who was taking piano classes in the university’s extension program; two undergraduate participants, a sophomore and a senior; and a student in the graduate program. Three participants managed to recreate the auditory information they did not have as a function of the condition of deprivation based on their own manipulations and aural skills. The effects of the deprivations on the four participants while practicing raised their awareness of how to use their personal skills to extract information from their practice sessions and affected their aims regarding the pieces they practiced.

本文讨论了在剥夺和剥夺后两种情况下，四种短钢琴作品的初始练习中感觉剥夺的影响。使用了四个不同的实验条件：（A）剥夺钢琴，用视觉解码乐谱；（B）剥夺钢琴和乐谱，用听觉上解码所录制的作曲的商业唱片；（C）剥夺声音响应，在关闭的数字钢琴中对乐谱进行解码；（D）删除乐谱，并在原声钢琴上对录音进行解码。研究样本中有四名参与者（均为钢琴学生）：一名正在大学扩展课程中上钢琴课；另一名正在参加大学的扩展课程。两个本科生，一个大二和一个大四；和一名研究生课程的学生。三名参与者根据自己的操作和听觉技巧，根据剥夺情况重新创建了他们没有的听觉信息。剥夺对四名参与者练习时的影响，提高了他们对如何使用个人技能从练习中提取信息的意识，并影响了他们练习所用乐器的目的。