Trumpet online:

Inspiration on social media.

My experience as a classical musician sharing
practice methods on Instagram

Jonatan Matthias Bossert

20205159 Supervisor
Classical Trumpet Jakob Buchanan
Bachelor’s thesis, 15.04.2024, Aarhus Characters 33.710
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 Abstract
This text explores the story behind my accomplished #100daysofpractice challenge on
Instagram and the methods I have exhibited in my daily videos. In addition to other
practice methods, I dive deep into the research of interleaved practice, varied practice,
and the psychology of breathing and singing.

My objective is to broaden the understanding of centering, note grouping, and the bene t
of teaching, combining insights from various sources to yield novel conclusions.

Drawing insights from literature, neuroscience research, and interviews, I aim to illuminate
not only e ective practice techniques but also Instagram's ambiguous nature, its impact,
and my strategies for maintaining a healthy balance in its utilization.

I depict my way of building an artistic pro le on Instagram and recount my journey of

discovering unforeseen opportunities, such as online teaching and workshop creation.

Apart from discovering the con ict of sharing content for free, I will answer whether
Instagram supports my career as a classical musician.

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 Content
I. Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
I.1 Choosing the topic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
I.2 My way into social media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
I.3 First intentions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
I.4 Arousing curiosity. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

II. Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
II.1 3 Things method. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
II.2 Imitation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
II.3 „Order the product, not the method“ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
II.4 Playing with others . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
II.5 Teaching the Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
II.6 4-step practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
II.7 Interleaved practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
II.8 Challenging repertoire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
II.9 Varied practice .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
II.10 Taking a full breath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
II.11 Note grouping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
II.12 Centering and Performance Practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
III. The content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
III.1 Preparation and structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

III.2 Production and quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

IV. Entrepreneurial possibilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

IV.1 Building an artistic pro le. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
IV.2 Online teaching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
IV.3 Online workshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
V. Instagram as a platform for classical musicians? . . . . . . . . . . . . . . . . . 27
V.1 Interview with Eric Baker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
V.2 The downsides of Instagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
V.3 My experience and approach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
VI. Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
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 I. Introduction
I.1 Choice of topic

The rst intention of writing about the history of trumpet and electronic music was quickly
canceled when I got the idea of writing about my content on social media, the methods I
use, and all the questions and re ections that come with it.
Since I am working on Arnold Jacobs, Don Greene, and Kristian Steenstrup's methods
daily, my interest in diving even deeper into these topics has been tremendous.

Since Instagram has 2 billion monthly active users (MAUs) globally1, its use, problematics,
and opportunities are undeniable, current2 , and relevant to many people.

I have not found re ective writing from a classical musician who has gathered
experiences on social media, which made me realize that I could genuinely contribute to
society with my Bachelor’s thesis.

When the rst video (Day 19) got to 10,000 views (now at 132,000) and more people
started to follow me, I realized the reach and impact I could create with these videos.
In the following weeks, my re ection on the possibilities and ways I communicate through
the videos grew.

I am very enthusiastic about the methods, the questions of how to produce content in a
career-nourishing way, and how classical musicians can use Instagram. From the
beginning on, these were highly engaging topics.

1 Instagram Statistics: Key Demographic and User Numbers, Brian Dean

2 Social Media and Mental Health, By Lawrence Robinson and Melinda Smith, M.A.
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 I.2 My way into social media

During my teaching internship in Natal, Brazil, I met the trumpet professor Flávio Gabriel
and spent two months with him, playing, practicing, and exchanging ideas.
A few days after I arrived, he nished an Instagram challenge called the
#100daysofpractice challenge that Hillary Hahn, a world-famous violinist, started.

At rst, I was skeptical about participating in this challenge. Still, after two months of
staying in Brazil and being inspired by Flávio Gabriel's handling, I decided to participate.

I.3 First intentions

Instagram seemed like an excellent tool for reminding the students of the methods I
taught and the ideas I shared with them since it appeared to me that they all use
Instagram daily.

Combining Flávio's inspiration with my interest in keeping the methods available for the
students, I decided to participate in the #100daysofpractice challenge.

From the outset, beyond the desire to keep friends and family informed, I aimed to
establish a practice diary for personal use, using its public nature to enhance consistency.

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II. Methods

Day 3
II.1 Solfège

During the hundred days of practice, I made the importance of singing and Solfège very
clear by singing Solfège in 36 out of 100 posts before playing.
The importance of strengthening the inner song and making it a crucial part of the
practice lies in controlling the „frequency, amplitude, and duration“of the lips when
playing the trumpet3 4.

Since the trumpet consists of seven natural horns, the pitches of the natural tone series
must be changed by the „Song“ and the „Wind, " meaning the singing present in the
auditory cortex and the airspeed5.

By singing the given music, not only is the mental image of the music strengthened, but
aspects like rhythm, pitch, style, phrasing, timbre, vowels, articulation, dynamics, and
emotion are connected to the sheet music.
In this way, when playing the instrument, a clear idea of the music is formed and
practiced6, leading to more excellent performance.

To practice pitch, I always sing with Solmization (Solfège). When doing so, a connection
between the written music and the present pitch in the auditory cortex is trained7. Apart
from better sight-reading8 , I have also experienced an improvement in playing by

3 Blow your mind, Kristian Steenstrup, p.15

4 Also sprach Arnold Jacobs, Prof. Gerhard Wolf, p.19
5 Blow your mind, Kristian Steenstrup, p.15
6 Blow your mind, Kristian Steenstrup, p.16, 17
7 Blow your mind, Kristian Steenstrup, p .21
8 SIGHT READING TIPS
IN AN AUDITION AND FOR IMPROVEMENT, Greenwich Choral Society
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memory. It increases con dence in knowing the music since singing the part with solfège
helps to recognize musical patterns9 and to get a deeper understanding of the music.

Day 4
II.2 „3 things method“

To improve performance, exclusively practicing more is often not enough. It has much to
do with our self-talk, which can drastically harm our con dence10. Since it is generally
possible to develop better con dence11, on the fourth day, I described a task I learned in
a lesson with Kristian Steenstrup, professor for trumpet at Royal Academy of Music
Aarhus, and was developed by performance psychologist Noa Kageyama. It helped me to
increase my self-con dence by giving myself constructive feedback daily.

In this task, three things are written down (examples from Day 4)

1. One thing that went well (Ex. Clarke studies)

2. One thing that was better than yesterday (Ex. Playing through a piece)

3. One thing that was put a lot of e ort into (Ex. concentration)

This way of giving yourself positive feedback and changing your self-talk can a ect your
self-esteem, reduce stress, and motivate you to overcome challenges12, which is crucial
for musicians since the music industry requires mental stability13.

9 What Is Solfège and Why Do We Teach It?, By Ho man Academy Team

10How to Become a More Con dent Performer, Noa Kageyama, 2009
11„The good news is that con dence is something you can change — and that you actually have
quite a bit of control over your level of self-con dence.“ Noa Kageyama

12 Self-talk, Health Direct, 2022

13The health and wellbeing of professional musicians and music creators in the EU, Vermeersch,
Lode, 2023
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 Day 5, 8, 9, 21
II.3 Imitation

To be able to have a clear goal and sound ideal, listening to great musicians and imitating
them is inevitable when creating your playing14. Only by listening to a clear idea of „how
to sound“ is made, and through that, the possibility to „hear“ the desired sound before
and while playing.

Listening to other musicians, such as string players or singers, is a great way to establish
a broader and more expressive sound image. Focusing while listening to each note and
reading the music can help you understand the music better and precisely imitate it.
The bene t of imitation lies in the activation of the medial prefrontal cortex15 that merges
information into renditions of learned task rules and concepts16.
But is there a di erence between imitating a recording and a live performance?

From the beginning, I could feel the bene t of practicing with Flávio Gabriel. I now
understand where that intuitive longing for imitating great live playing came from: a
neuroscience perspective, explained by the increased activity in EEG Waves, which are
responsible for sensory processing and attention17.

This suggests that when we imitate live music playing, greater attention and activation of
the medial prefrontal cortex lead to a more e ective imitation learning process than
imitating a recording.

14 „Also sprach Arnold Jacobs“ Prof. Gerhard Wolf p.13

15 Brain areas involved in imitation identi ed, Joel Schwarz, 2002
16The prefrontal cortex: categories, concepts and cognition.,Earl K Miller, David J Freedman, and
Jonathan D Wallis, 2002 Aug 29; 357(1424): 1123–1136.
17 https://medium.com/@UKRI/what-makes-live-music-special-bdeab39de065
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Day 6
II.4 „Order the product, not the method. “

In a masterclass in 2017 with Wim Van Hasselt, professor of trumpet at the University of
Music, Freiburg, I was introduced to underlining a part of sheet music with words and
colors to emphasize the desired expression. On day 6, I combined these two by writing
emotions in colors.

Colors can in uence our moods and communicate certain emotions18 , which leads to the
assumption that as much as a syllable can be connected to a speci c pitch, a color
painted into the sheet music could remind the musician of the desired emotion, leading to
induced and greater expression.

Day 11
II.5 Playing with others

Playing with others, as I did on Day 11, is, apart from Solfège, a great way to improve
intonation and sound concept since imitations are often written in Duets and a standard
sound ideal is aimed at19.

Day 12
II.6 Teaching the Methods

Teaching studied material and methodology can be a great way to deepen your
understanding of music, the approach, and expression in performance.
It is possible to gain new insights while teaching and to have ideas on how to approach
the material according to the student’s problem20.

18 https://www.verywellmind.com/color-psychology-2795824
19 Personal experiences playing in ensembles
20 Personal experiences during a class with my student Arnim Punk
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 Apart from that, knowing that you will teach what you learn can signi cantly impact your
study style since you intend to be able to translate the learned methods and music to
your students, which can lead to a more profound process21.
Teaching can also point to missing knowledge that is ultimately matched up afterward22.
By giving lessons, you can stay current with the younger generation, change someone’s
perspective of music and its physiological aspects for a lifetime, and have creative
output23.
In my own experiences, besides the listed bene ts, getting feedback and helping
someone in uences my mental health and increases my con dence.

Day 13
II.7 4-Step Practice

On that day, I exhibited a 4-step practice method by Kristian Steenstrup, which takes all
critical aspects of an e ective learning process Into account24. The 4-Step practice
consists of:

1. Singing
2. Imagery
3. Blowing
4. Playing

In the rst step, it is advantageous to sing on Solmization, aiming at expressive singing at

a tempo that allows the right pitch, rhythm, ngers, and Syllables. In this step, using your
left hand will force you to slow down and raise your attention, leading to more e ective
practice25.

21 These Studies Show The Incredible Power Of Teaching To Learn, Michael Simmons, 2019
22https://medium.com/@michaeldsimmons/these-studies-show-the-incredible-power-of-
teaching-to-learn-8b023ac4e556
23 WHY BECOME A TEACHER?,Drexel University School of Education
24 „Deep practice peak performance“ Kristian Steenstrup, p.81
25 Does Using Your Non-Dominant Hand Make You Smarter?, Charlie Wood, 2019
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In the second step, the music, with all its details like timbre, pitch, rhythm, etc., is
imagined26, which can increase knowledge of particulars27 and con dence28.
In that way, the part is practiced without physical playing, which assures bodily
sustainability.
Apart from the musical aspects, the physiological aspects29 30 and endurance31 can be
imagined and studied optimally.
In the third step, improved motor performance can be achieved32 by combining the image
of the sound with the physiological aspect of blowing air through the trumpet.

Trying to be more precise in the third step, it occurred to me logically to integrate di erent
aspects of the second step, for example, imagining exclusively the pitch while blowing
the air, to reach the most concentrated interaction between motor imagery and tactile
learning.

Each of the rst three steps should be mastered before trusting those during the fourth
step, playing the music. When playing, hearing the music clear in your head is the only
thing you should focus on.

If you feel overcomplicated right before playing, the best approach is to simplify the task
by telling yourself Arnold Jacobs's story of „Song and Wind. "

26 „Deep practice peak performance“ Kristian Steenstrup, p.81

27 7 ways to harness mental practice for musicians, The Strad
28 Practical applications of mental practice in sport and exercise, futurelearn.com
29 „Deep practice peak performance“ Kristian Steenstrup, p.81
30 Practical applications of mental practice in sport and exercis, Dr Ben Marshall, 2024
31Three weeks of mental training changes physiological outcomes during a time trial to
exhaustion, Timothy A. VanHaitsma, 1 Stephen P. Gonzalez,2 Sten Kajitani,1 Emma Gabriano,1
Gavin E. Hoiosen,1 Michael C. Oldach,1 and Karly L. Kingsley1, 2023
32Mental Practice Combined With Physical Practice for Upper-Limb Motor De cit in Subacute
Stroke, Stephen J Page, Peter Levine, Sue Ann Sisto, Mark V Johnston, 2001
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Before playing, steps like

1. listening to a great recording

2. Playing the music on the piano
3. Playing on the mouthpiece
4. Playing on the Rim
5. Playing on the Mack (Burp)

Can be added.

One can imitate musical ideas and sound ideals by listening to a recording. The harmonic
context and pitch recognition can be practiced by playing the music on the piano.
Through steps 3, 4, and 5, con dence in the pitch can be improved since the instrument
is not at hand to lock in the frequencies to the closest partial33.

A simple way to avoid overblowing is to play on the trumpet and slowly separate the
mouthpiece from the instrument.
At that point, the sound is closest to the „actual playing“34and can be copied to further
play on the mouthpiece.
When using the rim, the focus should be on the buzzing of the esh in the Rim, increasing
the focus on the vibrating parts by scratching them carefully with the ngernails or the
mouthpiece35.

Day 14
II.8 Interleaved practice

The practice has drastically changed since I do interleaved instead of blocked practice.
On Day 14, I explained a chart (1) that I created that organizes the interleaved practice in
a structured way.

33 „Blow your mind“, Kristian Steenstrup p.23

34 Private lesson with Flávio Gabriel, Professor of trumpet at UFRN, Natal
35 „Blow your mind“, Kristian Steenstrup, p.43
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When doing interleaved practice, the subjects are mixed and approached in shorter
sections instead of working on one subject (for example, etude, repertoire, technical
exercise, breathing exercises) for an extended period.

Blocked practice

15 min Breathing exercises

30 min Etude
30 min technical exercise
30 min repertoire

Varied practice

5 min breathing exercises.

5 min Etude 5 min Etude
5 min technical exercise 5 min technical exercise
5 min repertoire 5 min repertoire

5 min breathing exercises.

5 min Etude 5 min Etude
5 min technical exercise 5 min technical exercise
5 min repertoire 5 min repertoire

5 min breathing exercises.

5 min Etude 5 min Etude
5 min technical exercise 5 min technical exercise
5 min repertoire 5 min repertoire

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36 „Deep practice peak performance“ Kristian Steenstrup, p. 67, 68, 69

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This way of structuring the practice ensures that the system of proper breathing is
reminded by repeating the breathing exercises37.

The advantage of interleaved practice is pitch performance38 . In my experience, it is also

a more satisfying practice since the focus, combined with the 4-step process39, lies on
the quality of practice, not the playing itself.
Most times, good playing will be the consequence, though.

Other advantages of interleaved practice are enhanced mastery of already acquired skills,
quicker understanding of new ones, and better retention of newly acquired knowledge40.

Since musicians must be in an excellent mental and physical state, ensuring a healthy
practice schedule is crucial.
For example, having something to look forward to, like accomplishing a task, can assure
those aspects41.
To avoid giving yourself overwhelming goals, mental contrasting, a method where you
mentally imagine and re ect on the possible outcomes, can be used42.

To account for these listed aspects, I have created a chart system that allows for exact
planning, immediate feedback, and satisfying visualization of accomplished goals.

37„Also sprach Arnold Jacobs“, prof. Gerhard Wolf p. 44 „Develop good habits in breathing
through exercises without instrument“ (translated from German), combined with the idea to repeat
breathing exercises, from a lesson with Kristian Steenstrup.
38 „Deep practice peak performance“ Kristian Steenstrup, p. 68
39 „Deep practice peak performance“ Kristian Steenstrup, p.81
40 Interleaving: How Mixed Practice Can Boost Learning, By Itamar Shatz, PhD, 2024
41 How Future Planning Elevates Optimism, Mary Slaughter, 2020
42 What Is Mental Contrasting and How Can We Bene t From It?, Nicole Celestine, Ph.D., 2020
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 program/date 03.03.2024 04.03.2024 05.03.2024 06.03.2024

Charlier Nr.15 XXXX // / / / //// ////

Peskin XXXXXX ////// ////// //////

Intrada XXXX //// //// ////

Bai lin Flexibilities XX // // //

Clarke Nr. 1 X / / /

Clarke Nr. 2 XX // // //

Scales XX // // //

Arpeggios X / / /

Breathing XX // // //
exercises

/ = 5 min. of planned practice

X = 5 min. Of accomplished practice

24 times / = two hours of planned interleaved practice

This approach enables precise scheduling of time dedicated to each topic for the day and
potentially for upcoming days while assessing task completion.
Additionally, shifting visual focus away from the sheet music every ve minutes may serve
as a bene cial micro-break.

While researching, I could not nd studies that show the e ect of changing the visual
focus, but many suggest going outside for a walk43, which includes changing what is
looked at.

43 “Brain Fatigue” and the Best Thing to Do on Practice Breaks, Noa Kageyama, Ph.D., 2017
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 I propose that immediate feedback enhances the quality of practice. It can foster self-
appraisal, which is good for mental health, and constructive self-improvement44 that
encourages progress.

This could be incorporated into the chart by crossing out 5-minute lines in di erent colors
to stay aware of the practice quality throughout practice.

I suggest:

Green = „Great 4-step, keep going!“

Yellow = „Many good things, keep the focus“
Red = „Take a break!“

If one topic is practiced more than expected, a „+“ is added, and if the planned 5 minutes
have not been practiced, a „-.„

Day 16
II.9 Challenging repertoire

Arnold Jacobs stated in a lesson that Reinhold Degenhart received, „You are the result of
the challenges you face.“45
On Day 16, I started working on Henri Tomasi's Concerto for trumpet and orchestra,
which o ers a wide variety of challenges.
If something is challenging, it is usually because it's new. When we learn something new,
our brain undergoes a procedure of rewiring, which is part of the learning process46.
That leads to the assumption that incorporating repertoire that might not be on a
performance level but is played in the practice room o ers the most opportunities to grow
as a musician and is most nourishing.

44 Self-criticism into Self-improvement, Tracy Kearns, 2023

45 „Also sprach Arnold Jacobs“, Prof. Gerhard Wolf,
46 Neuroplasticity: How the brain changes with learning, Ross Cunnington, 2019
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Day 19 and 44
II.10 Varied practice

When practicing, the conditions can either be constant or varied47, meaning a task is
approached in the same way repeatedly or is varied in its aspects and methods48.

On Day 19, I varied the approach by singing the part on Solfège, blowing air through the
instrument while imagining the music, mentally practicing, and playing on tools (Mack and
Rim).

By playing in a di erent dynamic and changing the style and rhythm, I am assuring
greater activation of the dorsolateral prefrontal cortex, leading to a more e ective learning
process49.
More aspects, such as changing keys or instruments, imitating performances, and
adjusting timbre, can be played.

Since scienti c literature shows that a change of environment during physical exercise
could improve attention and, through that, the e ectiveness of learning, I suggest that
changing the environment for musicians as a way of varied practice may have the same
impact.

Apart from being prepared for possible environments, such as an audition, changing the
practice room, practicing with an audience or recording device, or practicing outside may
increase attention when practicing.

47Comparison of Constant and Variable Practice Conditions on Free-Throw Shooting, Elizabeth L.

Shoenfelt, 2002
48 „Deep practice peak performance“ Kristian Steenstrup, p. 69, 70
49Kantak, S. S., Sullivan, K. J. Fisher, B. E. Knowlton, B. J., & Winstein, C. J. (2010) Neural
substrates of motor memory consolidation depend on practice structure. Nature neuro science,
13 (8), 923-925. doi.org
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Day 22 and 49
II.11 Taking a full breath

On this day, I pointed out the importance of taking a full breath before playing the
trumpet, not just at the beginning but also in between sections.

To develop the habit of taking a full breath, I use the breathing exercises by Kristian
Steenstrup, professor of trumpet at Det Jyske Musikkonservatorium Aarhus, and the
breathing tools he explains in his book „Blow Your Mind. “

To fully take advantage of the positive relaxation pressure, I’m practicing a full breath in a
short break by singing, using the breathing bag, the breath builder, and wind patterns
without and with the trumpet.

Through singing, the complex aspects of trumpet playing are put aside, allowing the
player to concentrate fully on breathing while keeping the musical context at hand.
The breathing bag visualizes whether a full breath has been taken, and the breath builder
teaches to have continuous breathing in or breathing out movement.

Day 33
II.12 Note grouping

When I practice, my goal is to make music that is as expressive as possible. Since music
can be compared to talking, I suggest that as much as music is not Notes but what the
notes do, the same applies to words. Words are most expressive and make most sense if
they appear in a sentence that includes at least a Subject, Verb, and Adjective.

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A musical phrase that could be compared with this sentence is the notes C, B, and C on
an I—V—I Chord progression.

The Subject „She“ could be compared to the rst „message“ that de nes the tonality, C-
Major. By that, I would argue that an orientation is set about what topic we are moving on.
The verb „is“ functions as much as a dominant chord, as a leading element that can’t
stand alone, and opens up an expectation as much as a verb that makes us wonder,
„What is she … ?“.
As much as a verb can lead to di erent statements (for example, “She is tall“ instead), a
dominant chord also opens up the possibility of moving in other directions (for example, T
—D—DD7 - D—T ).

This suggested connection leads to my assumption that all notes need to be understood
in context, as much as words in sentences, to make the most sense and e ectively
convey thoughts and feelings.

In the book „Sound in Motion, “David McGill, Professor of Bassoon at the Bienen School
of Music, describes French oboist Marcel Tabuteau’s way of revealing each note’s
purpose, called „Note Grouping. “

When working with Note grouping, the Note on the downbeat is spoken with a lighter-
weighing Number like „4“, while the notes leading up to the downbeat are heavier-
weighing numbers, starting from „1. “51

50EnglishSentence, Javapoint, 2021

https://www.javatpoint.com/english-sentence
51 „Sound in motion“ David McGill, p.40
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In this way, the focus is on the forward movement in each phrase, which needs to be
expressed to its potential52.

Day 81
II.13 Centering and Practicing Performance

Performance anxiety is a typical problem musicians have53, and studies show dramatic
numbers of musicians with performance anxiety (MPA)54.

Centering is a helpful method that Don Greene, a peak performance psychologist, used to
direct the focus on the music away from mental and physiological signals.

Right before the performance, on stage or o stage, seven steps that Kristians Steenstrup
describes in his book „Deep Practice Peak Performance“ are carried out:

1. Use a cue word

2. Pick a focal point
3. Breathe fully
4. Relax key muscles
5. Find your center
6. Perform auditory and motor images of the opening passage
7. Direct the music to the focal point
55

These steps are adulterated to suit a musical performance, but the roots lie in Aikido, an
emphatically defensive form of self-defense56 from Japan.

52 „Sound in motion“ David McGill, p.29

53Symptoms of and coping strategies for music performance anxiety through di erent time
periods, Nanako Irie, 2023
54 (Fishbein et al., 1988; Wesner et al., 1990; van Kemenade et al., 1995; Yoshie et al., 2011)
55 „Deep practice peak performance“ Kristian Steenstrup p. 99
56 https://languages.oup.com/google-dictionary-de/
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Apart from the positive impact that Centering has on self-con dence57, the general
aspects of Centering in Aikido are moving into connection, listening, leading, blending,
entering, receiving, allowing, extending, and joining58, and are all aspects that are closely
related to music-making, especially when playing with others.

These similarities lead to my assumption that centering has a positive impact not only on
our self-con dence and focus when playing but also on general music-making with
others.

To simulate a performance situation using Centering, I worked on the third step of the
„performance pressure exposure hierarchy“ 59, raising my heartbeat by doing wall sits and
Centering afterward.

In this way, I make sure to practice not only practicing but also practicing performance.
Focusing on letting go when playing, not giving myself feedback on the music I play, and
communicating with an imagined or real audience are signi cant advantages.

By recording myself and raising my heartbeat, I combine steps 3 and 4 of the

performance pressure exposure hierarchy and create a varied way of practicing
performance.

III. The content

III.1 Arousing curiosity

Since my intentions were not monetary initially, the question of whether I would give away
valuable knowledge for free was not on hand but developed when I reached a broader
audience.
MU General Secretary John Smith states, „The problem is that many people see playing
music as a hobby rather than a job.“60 Apart from this phenomenon, the music industry's

McPherson, G. E., & McCormick, J. (2006). Self-e cacy and music performance. Psychology of
57
music, 34(3), 322-336
58 10 WAYS CENTERING IN AIKIDO HELPS YOU GROW, Miles Kessler, 2024
59 „Deep Practice Peak Performance“ , Kristian Steenstrup, p. 104
60Is it ever acceptable for professional musicians to play for free?, Hazel Davis, 2019
21
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underpayment and the musicians' general nancial struggle61 raised the question of how I
design my content without feeding these wrong stereotypes and bad circumstances.

To attract online students, I needed to balance arousing curiosity and not giving away all
my knowledge in the videos.
By showing without explaining, attention is drawn to possible gaps in knowledge, and
motivation increases to ll in the lacking information to eliminate the feeling of
deprivation62.
An example of that is Day 49, where I show six ways to practice taking a full breath in a
short time, withholding what tools I use, why I use them, and why it is essential to take a
full breath.
I always included trumpet playing in the methodic content (for example, Day 81,
performance practice, centering, and playing) since curiosity is fueled by basic
knowledge63.

In an Instagram story, 141 followers voted for „Yes. “ They would be interested in learning
more about the methods I used during the 100 days of practice in a workshop. This
showed me that my videos inspire64 but keep the curiosity for further education while
providing me with great monetary possibilities65.

III.2 Preparation and Structure

I incorporate as many methods and approaches described as possible when practicing,

showcasing them in the daily posts.
My preparation consists of practicing the part as mindfully as possible to keep the
recording as a performance, not „trying“ to nail it but approaching the music by saying, „I
am going to nail it. "

61 How To Make Money In The Music Business, Tom Hess, 2024

62George Loewenstein, professor of economics and psychology at Carnegie Mellon University,
1994 paper, "The Psychology of Curiosity."

63George Loewenstein, professor of economics and psychology at Carnegie Mellon University,

1994 paper, "The Psychology of Curiosity."

64 Instagram opinion poll, 24.03.2024 https://www.instagram.com/jonatanbossert/

65 Day 89 of #100daysofpractice, each participant will pay 5 euro for the registration
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The idea is to practice performance and do a self-re ection afterward.

I quickly noticed that the clips that included actual practicing and only performing at the
end reached most people.
Because of that, I started to structure the videos mostly in small steps, playing
mouthpiece, singing, and playing on the Rim or mack, to involve the followers in the
process and make them curious about the methods ( See „Arousing Curiosity “ ).

III.3 Production and Quality

To keep my main focus on professional tasks other than Instagram, I

kept the production as simple as possible, using a Zoom iQ7 for the
recordings.

When choosing the acoustics, I tended to select rooms with

a lot of reverb that would supposedly enrich the sound66.
Surprisingly, I recorded the video with the most attention in a dry room.
This could verify the insigni cance of the room's acoustics for success on Instagram and
the importance of the potential for interaction or inspiration67.

IV. Entrepreneurial possibilities

IV.1 Building an Artistic Pro le

When my account reached more people (156.284 Accounts in 30 days), I

wanted to ensure I didn’t lose the lightness of my rst intentions.
To ensure that, I now keep the account personal and, at the same time,
professional.
The personal aspect is seen in the self-recorded videos, the pro le picture,
and the pro le description, which have remained the same since the beginning

66https://www.uaudio.de/blog/studio-acoustics-and-soundproo ng-basics/
#:~:text=In%20any%20given%20space%2C%20the,will%20in%20a%20small%20club.
https://later.com/blog/how-instagram-algorithm-works/#how-does-the-instagram-algorithm-
67
work
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but are now combined with the professional aspect of advertising my upcoming
workshop.

Another example of the combination of personal and

professional pro ling is the story highlights, one of which
includes the workshop advertisement and one that tells a
story in videos about my internship in Brazil.
Apart from the pro le, my artistic pro le is primarily created
by the posts and interactions with my audience, making direct
interactions through comment sections and private messages.

In the story poll I did, the interest in the „New way of practice“ was named by 25 out of 32
people as the reason why they followed me68. This indicates that my artistic pro le stands
for a certain uncommon way of practice, which has the potential to lead to great interest69
in private online lessons and my coming workshop.

IV.2 Online teaching

Over the hundred days of practice, four individuals contacted me via direct messages on
Instagram, all requesting online lessons from me.
Two of them are now receiving weekly online lessons from me, one from Germany and
one from Kuwait.
The other two I teach irregularly, one of them being a horn player.

When I started this challenge, I didn’t consider all the fantastic possibilities my postings
might entail.

68 Instagram opinion poll, 24.03.2024 https://www.instagram.com/jonatanbossert/

69 Instagram opinion poll, 28.03.2024 https://www.instagram.com/jonatanbossert/
24
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 My posts gave me the opportunity to interact with students, conveying my knowledge
while exposing me to di erent cultures and broadening my horizons and skills as an
educator.

IV.3 Online Workshop

After many requests to learn the methods I use in my posts, I had the idea to o er an
a ordable online workshop.

To gauge my audience's interest, I conducted an Instagram poll,

which resulted in 140 people being interested in an online
workshop.

That motivated me to make this idea a reality, but this initial

enthusiasm was quickly muted by the complexity of arranging an
online workshop with payment.

To connect my Workshop with my Instagram content, I decided to design a logo. I

searched for modern fonts and a memorable logo that underlines the self-made aspect of
my content and is connected to my name and the trumpet playing.
I created my logo by combining the font „Julius Sans one, " designed by graphic designer
Luciano Vergara, with a trumpet that looks self-drawn.

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After watching many tutorials and comparing the options and prizes, I decided to use
Zoom to create my event, even though I had to invest $86 to set up my account and pay
for the attendees' registration.

If the participants use the registration link, the rst thing visible is the logo and my pro le
picture, which are taken from my Instagram pro le and advertisements.

To announce my workshop, I used my logo and the registration link for my Instagram
stories, created a video summarizing the methods I will use in the workshop, and wrote
direct invitation messages to the people who showed interest in the poll.

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To give trust and convey an idea of my teaching to possible attendees,
I shared feedback that one of my students gave me after a lesson,
combining it with my logo and the link.

The workshop will take place on the 21st of April at 6 p.m., and so far,
20 people have registered using the link.

Initially, I hoped that more people would register, but I learned that
online interest and actual action can be di erent. It still gives me a lot
of joy to know that I can share the methods and earn a good salary
simultaneously.

V. Is Instagram a platform for classical musicians?

VI.1 Interview with Eric Baker
During these last months, I have often asked myself if this way of sharing classical music
is the right way and if there’s even a „right way. "
Is sharing content as a classical musician on Instagram a support or a disturbance?

To dive deeper into this question, I interviewed Eric Baker, a

professional trumpet player from Texas who has been
playing in the Rochester Orchestra since 2006. He is head of
community engagement and is chair of visual and

27
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 performance art at the community college70.

Over the last months, Eric gained 148.000 followers on Instagram, with some videos
reaching over 12 million people.
His intentions were similar to mine, of a fun nature and an interest in staying in touch with
people he cares about71.

Instagram helps him ful ll his job as a community manager, get in contact with brands
that want to send him their products, and have a sense of community.72
In his orchestra, the reactions to his recordings were mainly positive, except for one
individual73.

To Question 6, whether the Instagram posts harm his career, he answered:

„If somebody doesn’t like what I am doing, they haven’t told me, and that’s probably
good!“

Besides the other positive aspects, Instagram serves Eric as a passive income source by
selling merchandise over fourthwall.com and Instagram pages, paying him to share his
content.

When re ecting on Instagram, he concludes that Instagram can be a tool and that the
possibilities are signi cant, for example, „To become a known entity“74, but he also points
out the necessary self-awareness in the use of social media.

For the question of whether it is recommendable for classical music students to upload
clips of their playing, someone other than Eric may be the right person since he is not in
the position of still having to claim a position in the music industry.

Many musicians and brass groups, like Hillary Hahn and Classic Brass, share their
content on Instagram, and many students, like Adam Warnke and Max Stephenson, post

70 Interview Eric Baker, Question 1

71 Interview Eric Baker, Question 2
72 Interview Eric Baker, Question 4
73 Interview Eric Baker, Question 5
74 Eric Baker Interview, Question 9
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 practice videos. Still, I could not nd an example of a musician studying and getting a job
using Instagram.

I have also experienced some of the positive aspects that Eric referred to, but we both
agreed that using Instagram can be harmful when we lose awareness of the quantity of
our use.

V.2 The downsides of Instagram

Using this platform can harm mental health, cause anxiety and depression75 , and often
lead to a feeling of isolation, the opposite of the intention the app has of bringing people
together.

Apart from that, Cyberbullying can dramatically a ect users and sometimes even lead to
suicidal thoughts76.

Instagram also has a great potential for addiction, spending excessive amounts of time
scrolling while missing real-life interactions and goals77.

Not only is it critical that Instagram collects private data and even faces lawsuits for
collecting user biometric data, but also that the owners make the most pro t from using
this app through advertisements78.

Many in uencers feel tremendous pressure to perform and exhibit a „perfect“ lifestyle.
Certainly, the pressure classical musicians generally feel79 does not change when sharing
content on social media; it may even increase.

The culture of highlighting only the best moments on Instagram and the decrease in self-
esteem through comparison are also signi cant concerns80 81, as well as the ability to
focus82.

75The Dark Side of Social Media: Unreal Expectations and Their Impact on Mental Health, George
Ortiz, 2023
76 Teens Are Being Bullied ‘Constantly’ on Instagram, Taylor Lorenz, 2018
77 Social Media Addiction, Addiction Center, 2024
78How Instagram Makes Money, Ellen Simon, 2022
79 Perfectionism - Good or Bad?, performance under pressure, 2024
80 Instagram and TikTok for Independent Artists: Pros and Cons, 2023
81 Dopamine Liquid: How Instagram Reels A ect Your Brain”, Maninkanta Vangara, 2023
82The Attention Span Conundrum: How Social Media Has Transformed and Challenged Our
Focus, Palak Sharma, 2023
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V.3 My experience and approach

Looking at the downsides of Instagram, I may also drop the use, concentrate on my „real-
life goals“, and not risk being a victim of the listed contras.
But would that be the most career-supporting way?

During these 100 days, I have had almost only good experiences using Instagram. Many
days, I felt motivated, inspired, and energized by the positive feedback in the comment
section and the high view numbers without a feeling of dependency.

The posts and connections I made through the platform have enabled me to attract new
online students, advertise and organize an online workshop, gain knowledge through
polls, receive new tools for free, and build an artistic pro le.

I have not received any negative feedback on my posts and have had no mental issues
during the time of uploading.

The daily posts have sometimes stressed me a bit, but I found a good way to deal with
that by only uploading a video when I felt like it. Surprisingly, I had no problem sharing my
playing most days, but I only uploaded an image with a description for three days.

Since social media can harm one's ability to focus, I believe that overusing it could be
very harmful, especially for musicians. One way I deal with that is to set speci c times
when I don’t use Instagram.

I often found myself mindlessly repeating a part, trying to „get a better version“ for
Instagram. I believe there is a danger of losing focus, but as much as this can happen
through other distractions, I try to approach that situation as the others by returning to
mindful practice and a one-take performance.

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 VI. Conclusion

It is di cult to answer whether Instagram could help every classical musician develop and
build a career path, and more research is needed to answer that question.
Yet I believe that, with my listed approaches, other musicians could nd a way to expand
their musical output while maintaining a healthy utilization of Instagram.

As a next entrepreneurial step, I will continue using Instagram to advertise my workshop

on the 21. of April, in which I will elaborate on the reported practice methods.
I will soon have gained 10,000 followers, allowing me to upload exclusive content for
paying followers.

These hundred days of uploading a video daily have allowed me to deepen my

understanding of the methods I use, opened up the world of paid online teaching and
workshops, and brought new connections and inspiration.

Navigating the ne line between using Instagram for career growth while maintaining a
conscious use poses a signi cant challenge. However, cultivating mindfulness and self-
re ection can assure control and keep Instagram what it is: a great tool.

31
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Greetings
I want to thank my parents, family, and professors Kristian Steenstrup and Flávio Gabriel
for supporting and inspiring me.

Literature
Kristian Steenstrup, „Blow your Mind“, 2019, Aarhus, The Royal Academy of Music

Kristian Steenstrup, „Deep practice peak performance“, 2023, Aarhus, The Royal
Academy of Music

David McGill „Sound in Motion“, 2007, Bloomington, Indiana University Press

Prof. Gerhard Wolf, Reinhold Degenhart, „Also sprach Arnold Jacobs“, 2007, Polymnia
press

The Instagram Poll is in the Appendix material

Video Material (Day 1-100)

Jonatan Bossert, Instagram Account
https://www.instagram.com/jonatanbossert/

Webpages
1 Instagram Statistics: Key Demographic and User Numbers, Brian Dean
https://backlinko.com/instagram-
users#:~:text=According%20to%20the%20latest%20o cial,and%20Brazil%20(113.5%20million)
.
2Social Media and Mental Health, By Lawrence Robinson and Melinda Smith, M.A.
https://www.helpguide.org/articles/mental-health/social-media-and-mental-health.htm
8 SIGHT READING TIPS
IN AN AUDITION AND FOR IMPROVEMENT, Greenwich Choral Society
https://www.gcs-ct.org/sight-reading-
tips#:~:text=Solfege%20is%20an%20e ective%20system,in%20sight%2Dsinging%20less%20a
rbitrary.
9 What Is Solfège and Why Do We Teach It?, By Ho man Academy Team
https://www.ho manacademy.com/blog/what-is-solfege/
#:~:text=Solfège%20is%20great%20for%20identifying,and%20know%20what%20it%20is.
10 How to Become a More Con dent Performer, Noa Kageyama, 2009
https://bulletproofmusician.com/how-to-become-a-more-con dent-performer?
action=genpdf&id=115

12 Self-talk, Health Direct, 2022

https://www.healthdirect.gov.au/self-
talk#:~:text=If%20you%20mainly%20think%20positively,depression%2C%20anxiety%20and%2
0personality%20disorders

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 13 The health and wellbeing of professional musicians and music creators in the EU, Vermeersch,
Lode, 2023
https://op.europa.eu/en/publication-detail/-/publication/35056e64-922f-11ed-
b508-01aa75ed71a1/language-en
15 Brain areas involved in imitation identi ed, Joel Schwarz, 2002
https://www.washington.edu/news/2002/01/24/brain-areas-involved-in-imitation-identi ed/
#:~:text=Increased%20brain%20activity%20was%20detected,with%20imitation%20of%20the%
20goal.
16 The prefrontal cortex: categories, concepts and cognition.,Earl K Miller, David J Freedman, and
Jonathan D Wallis, 2002 Aug 29; 357(1424): 1123–1136.
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1693009/
#:~:text=The%20prefrontal%20cortex%20receives%20highly,contingencies%2C%20concepts%
20and%20task%20rules.
17 https://medium.com/@UKRI/what-makes-live-music-special-bdeab39de065
18 https://www.verywellmind.com/color-psychology-2795824
21 These Studies Show The Incredible Power Of Teaching To Learn, Michael Simmons, 2019
https://medium.com/@michaeldsimmons/these-studies-show-the-incredible-power-of-teaching-
to-learn-8b023ac4e556
22 https://medium.com/@michaeldsimmons/these-studies-show-the-incredible-power-of-
teaching-to-learn-8b023ac4e556
23 WHY BECOME A TEACHER?,Drexel University School of Education
https://drexel.edu/soe/resources/career-path/why-become-a-teacher/
25 Does Using Your Non-Dominant Hand Make You Smarter?, Charlie Wood, 2019
https://www.brainfacts.org/thinking-sensing-and-behaving/thinking-and-awareness/2019/does-
using-your-non-dominant-hand-make-you-smarter-080919
27 7 ways to harness mental practice for musicians, The Strad
https://www.thestrad.com/7-ways-to-harness-mental-practice-for-musicians/
168.article#:~:text=Mental%20practice%20is%20e ective%20and,concentration%2C%20but%2
0brings%20great%20results.
28 Practical applications of mental practice in sport and exercise, futurelearn.com
https://www.futurelearn.com/info/courses/mental-skills-training-sport/0/steps/
97071#:~:text=Using%20mental%20practice%2C%20an%20athlete,building%20con dence%20
and%20managing%20anxiety.
30https://www.futurelearn.com/info/courses/mental-skills-training-sport/0/steps/
97071#:~:text=Athletes%20can%20use%20mental%20practice,skills%20but%20physical%20on
es%20also.
31 Three weeks of mental training changes physiological outcomes during a time trial to
exhaustion, Timothy A. VanHaitsma, 1 Stephen P. Gonzalez,2 Sten Kajitani,1 Emma Gabriano,1
Gavin E. Hoiosen,1 Michael C. Oldach,1 and Karly L. Kingsley1, 2023
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC10460752/
32 Mental Practice Combined With Physical Practice for Upper-Limb Motor De cit in Subacute
Stroke, Stephen J Page, Peter Levine, Sue Ann Sisto, Mark V Johnston, 2001
https://academic.oup.com/ptj/article/81/8/1455/2857674
40 Interleaving: How Mixed Practice Can Boost Learning, By Itamar Shatz, PhD, 2024
https://e ectiviology.com/interleaving/#The_bene ts_of_interleaving_the_interleaving_e ect
41 How Future Planning Elevates Optimism, Mary Slaughter, 2020
33
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https://www.linkedin.com/pulse/how-future-planning-elevates-optimism-mary-slaughter
42 What Is Mental Contrasting and How Can We Bene t From It?, Nicole Celestine, Ph.D., 2020
https://positivepsychology.com/mental-contrasting/
#:~:text=The%20process%20of%20comparing%20and,and%20motivate%20sustained%20goal
%20pursuit.
43 “Brain Fatigue” and the Best Thing to Do on Practice Breaks, Noa Kageyama, Ph.D., 2017
https://bulletproofmusician.com/brain-fatigue-and-the-best-thing-to-do-on-a-practice-break/
44 Self-criticism into Self-improvement, Tracy Kearns, 2023
https://www.linkedin.com/pulse/self-criticism-self-improvement-tracy-kearns-msc-mappcp-
46 Neuroplasticity: How the brain changes with learning, Ross Cunnington, 2019
https://solportal.ibe-unesco.org/articles/neuroplasticity-how-the-brain-changes-with-learning/
#:~:text=Most%20learning%20in%20the%20brain,brain%20most%20crucial%20for%20learning
.
47 Comparison of Constant and Variable Practice Conditions on Free-Throw Shooting, Elizabeth
L. Shoenfelt, 2002
https://journals.sagepub.com/doi/pdf/10.2466/
pms.2002.94.3c.1113#:~:text=Typically%2C%20practice%20conditions%20are%20described,w
ays%20or%20under%20varying%20conditions.
49Kantak, S. S., Sullivan, K. J. Fisher, B. E. Knowlton, B. J., & Winstein, C. J. (2010) Neural
substrates of motor memory consolidation depend on practice structure. Nature neuro science,
13 (8), 923-925. doi.org
50English Sentence, Javapoint, 2021
https://www.javatpoint.com/english-sentence
53 Symptoms of and coping strategies for music performance anxiety through di erent time
periods, Nanako Irie, 2023
https://www.frontiersin.org/journals/psychology/articles/10.3389/fpsyg.2023.1138922/full
54 (Fishbein et al., 1988; Wesner et al., 1990; van Kemenade et al., 1995; Yoshie et al., 2011)
56 https://languages.oup.com/google-dictionary-de/
58 10 WAYS CENTERING IN AIKIDO HELPS YOU GROW, Miles Kessler, 2024
https://theintegraldojo.com/10-ways-centering-in-aikido-help-you-grow/
#:~:text=In%20this%20sense%2C%20centering%20is,
%2C%20joining%2C%20and%20so%20on.
61Is it ever acceptable for professional musicians to play for free?, Hazel Davis, 2019
https://www.thestrad.com/debate/is-it-ever-acceptable-for-professional-musicians-to-play-for-
free/3128.article
62 How To Make Money In The Music Business, Tom Hess, 2024
https://tomhess.net/
HowToMakeMoneyInMusic.aspx#:~:text=Answer%3A%20Yes%2C%20many%20musicians%20
do,but%20their%20actions%20prove%20otherwise.
63George Loewenstein, professor of economics and psychology at Carnegie Mellon University,
1994 paper, "The Psychology of Curiosity."
64George Loewenstein, professor of economics and psychology at Carnegie Mellon University,
1994 paper, "The Psychology of Curiosity."
65 Instagram opinion poll, 24.03.2024 https://www.instagram.com/jonatanbossert/

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67 https://www.uaudio.de/blog/studio-acoustics-and-soundproo ng-basics/
#:~:text=In%20any%20given%20space%2C%20the,will%20in%20a%20small%20club.
68 https://later.com/blog/how-instagram-algorithm-works/#how-does-the-instagram-algorithm-
work
76 The Dark Side of Social Media: Unreal Expectations and Their Impact on Mental Health,
George Ortiz, 2023
https://medium.com/@Georgeo90/the-dark-side-of-social-media-unreal-expectations-and-their-
impact-on-mental-health-4 44cb37e8b
77 Teens Are Being Bullied ‘Constantly’ on Instagram, Taylor Lorenz, 2018
https://www.theatlantic.com/technology/archive/2018/10/teens-face-relentless-bullying-
instagram/572164/
78 Social Media Addiction, Addiction Center, 2024
https://www.addictioncenter.com/drugs/social-media-addiction/
79How Instagram Makes Money, Ellen Simon, 2022
https://www.investopedia.com/articles/personal- nance/030915/how-instagram-makes-
money.asp
80 Perfectionism - Good or Bad?, performance under pressure, 2024
https://www.performanceup.com.au/blog/perfectionism-good-or-bad
81 Instagram and TikTok for Independent Artists: Pros and Cons, 2023
https://imusician.pro/en/resources/blog/instagram-and-tiktok-for-independent-artists-
advantages-and-disadvantages
82 Dopamine Liquid: How Instagram Reels A ect Your Brain”, Maninkanta Vangara, 2023
https://medium.com/@vangaramanikanta1/dopamine-liquid-how-instagram-reels-a ect-your-
brain-02f2e68f34c8
83 The Attention Span Conundrum: How Social Media Has Transformed and Challenged Our
Focus, Palak Sharma, 2023
https://www.linkedin.com/pulse/attention-span-conundrum-how-social-media-has-our-focus-
palak-
sharma#:~:text=Numerous%20studies%20suggest%20that%20excessive,for%20deep%2C%20
concentrated%20thought%20diminishes.

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