Developing a vigilant musical practice

This thesis, in the field of music composition and performance practice, presents the results of a practice-research project into performance validity and notational reliability in vigilant musical practice. From my initial inquiry into what constitutes a valid performance, three ground principles were observed: non-normative cognitive states (how the performer thinks); embodied multimodal imagery across a full effort scale (the images a performer draws with their presence); and inter-personal communication (the performer's readiness to react to the audience's presence) and the performance environment. These three interconnected skills form what I come to call 'vigilant performance practice'. This thesis aims to define a conceptual framework for vigilant music practice, at the stages of composition, of rehearsal, and of performance. In support of vigilant practice, a set of developmental tools and activities were constructed that promote each of the three vigilance skills. These tools and activities are developed in practice in a sequence of sixty-four scores entitled "Games for Musicians and Non-Musicians". This workbook promotes the development of vigilance skills in the context of improvised music performance in groups. "Games for Musicians and Non-Musicians" was rehearsed and performed publicly in several occasions. Reports of those events are presented here. Vigilant performance practice has the potential to be of use in music education and professional training, with different age groups (including children), as well as in other types of performance practice. It may be of use outside the performance environment altogether, in personal or community development.