![]() Transcript Part 1: Black Box A grieving daughter discovers a detailed record of her family’s final days. ![]() She found a record of Peter’s last weeks and found out exactly what happened. What was her brother thinking while their father slowly died in front of him? What was he doing? Then Rachel made a discovery. Rachel was floored by how much she didn’t know about her father and brother’s last couple of months. Before she could see him, Peter died, too. But Peter checked out of the hospital against medical advice two days later while lying to Rachel that he was getting better. On the call, she talked Peter into going to the hospital. Peter didn’t get their father to a hospital, didn’t call 911, didn’t tell Rachel what was happening until it was too late. Peter and their father had lived together a long time and were both unvaccinated during the pandemic, they had come to fear vaccines. When she called Peter, he told her that their father had been dying at home for weeks. It read: “I’ve been too distraught to tell you, but Dad passed away today at 2:42 p.m.” She had no idea her father had even been sick. One evening last fall, Rachel McKibbens got a text from her younger brother, Peter. ![]() Original music by Sophie Allison of Soccer Mommy Listen and follow ‘We Were Three’ Apple Podcasts | Spotify | Stitcher | RSS There’s a quote attributed to the violinist Jascha Heifetz 1, in which he says that we should always be happy when performing.Produced by Jenelle Pifer and Nancy Updike After all, if things are going well, we should be happy that things are going well. And if things are going badly, each note we play gets us closer to the end, so we should be happy about that too. Still, it’s no fun to be stuck on stage when we’re having one of those bad days. Which just leads to a downward spiral of negativity and increasingly uninspired playing, as a part of us starts to seriously entertain the idea of stopping and walking off stage… #STITCHER LISTEN LATER IN AIRPLANE MODE CRACKED#Ĭringing at each botched shift and cracked note. Of course, a week or month (or decade) later, when curiosity gets the better of us and we screw up the courage to listen to a recording of the performance, it’s often pleasantly surprising how decent we sound. How we can’t even find the horrible things that we were initially mortified by, and how many nice moments there are that we didn’t even remember. ![]() So what’s the deal? Is it possible that we really do sound better on stage than we think? Dress rehearsals vs. ![]() To learn more about how we perceive the quality of our performances, an interdisciplinary group of researchers ran a study involving 21 undergraduate and graduate-level piano students ( Masaki et al., 2011).Įach student was videotaped doing a complete run-through of their repertoire in two different situations – a dress rehearsal and a performance (not something contrived specifically for the study, but a real honest-to-goodness performance they would have had to give anyway). Two evaluationsįollowing their concert performances, the students completed an evaluation form designed to help them compare the quality of their concert performance to the quality of their dress rehearsal run-throughs. Ranging from memory to tempo to sound quality and expressiveness, they evaluated the degree to which their performance was worse, better, or the same as their dress rehearsal in eight areas (on a 7–point scale where 3=much worse 0=same 3=much better).īut the researchers carefully manipulated the timing of their self-evaluations.
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