# Technique and theory must become embodied When performing, the practitioner shouldn't think about technique or theory—that's what practice is for. Practice is for exercising technique until it becomes embodied, until it becomes a feeling. This is especially helpful for singing. Marian taught me not to listen to or think about my voice but to *feel* my voice. ![[Technique is not music]] When the brain is learning new things, it creates a new perception-and-response behavioral pattern. These patterns become stronger the more you use them by a process is called myelination. Myelin is a fatty substance that coats nerve axons to increase the rate at which they transmit electrical signals.[^1] This is what some people call "muscle memory." According to the Levels of Processing theory, the more conscious effort we spend practicing and learning, the higher the likelihood of understanding. So in order for skills to be embodied and performed subconsciously, they must be practiced consciously.[^2] Rodi Kirk calls this "deliberate practice."[^1] Complex problems are best solved by the subconscious. Problems that can be solved by an algorithm are best solved by the conscious.[^3] Learning from others is efficient use of our time as artists. [[Learn some theory]]. But remember, [[Theory is for practice]]. [[Edit your art before you make it]]. [^1]: [The Science of Practice: New Ways to Develop Your Musical Skills](https://www.ableton.com/en/blog/science-practice-new-ways-develop-your-musical-skills/?sc_eh=9aafbf6e799a64c91&sc_lid=432316912&sc_llid=13014&sc_src=email_8991761&sc_uid=vIZDdGsQ4d&utm_source=pocket_mylist) [^2]: [[Mixing Audio—Concepts, Practices, and Tools]] pg. 56 [^3]: [[Mixing Audio—Concepts, Practices, and Tools]] pg. 59