The purpose of this study was to investigate how professional pianists practice music for a concert, and whether their individual cognitive orientations in such practice processes can be identified accurately from the resulting performances. In Study I, four pianists, previously found to be skilled music memorizers, practiced and performed a short piece by André Jolivet over the course of two weeks, during which their practice strategies were studied using semi-structured interviews, and analyses of practice diaries, practice activities, and eye-movement data. The results indicate that the pianists used similar basic strategies but had different cognitive orientations, here called “practice perspectives,” consistent with each individual, in that they focused on different kinds of information while practicing. These practice perspectives may be related to skills and habits in using imagery and music analysis, as well as to professional and educational background. In Study II, 34 piano teachers listened to recordings of the concert performances and evaluated them against 12 statements representing the four practice perspectives identified in Study I. The results did not support the prediction that practice perspectives would be correctly detected by listeners. Nonetheless, practice perspectives can be used to highlight potentially vast differences between the ways in which individual professional classical musicians conceptualize music and make it meaningful to themselves and others. They could be used in the context of music education to increase musicians’ knowledge of different practice strategies and the ability to develop their own preferred working methods.

本研究的目的是调查专业钢琴家如何为音乐会练习音乐，以及他们在这种练习过程中的个人认知取向是否可以从由此产生的表演中准确识别。在研究 I 中，四位之前被认为是熟练的音乐记忆者的钢琴家在两周内练习并演奏了安德烈·乔利维特的短曲，在此期间，他们通过半结构化访谈和练习日记分析来研究他们的练习策略，练习活动和眼动数据。结果表明，钢琴家使用相似的基本策略，但具有不同的认知取向，这里称为“练习视角”，与每个人一致，因为他们在练习时关注不同种类的信息。这些实践观点可能与使用图像和音乐分析的技能和习惯以及专业和教育背景有关。在研究 II 中，34 位钢琴教师聆听了音乐会演奏的录音，并根据代表研究 I 中确定的四种练习视角的 12 条陈述对其进行了评估。结果不支持听众正确检测练习视角的预测。尽管如此，实践的观点可以用来突出个别专业古典音乐家概念化音乐并使其对自己和他人有意义的方式之间潜在的巨大差异。