Reference:
Sergent, Justine. 1993. Music, the Brain and Ravel. Trends in Neurosciences. 16(5). 168-172.
Summary:
Understanding the functional organization of the cerebral structures underlying receptive and expressive musical processes can be a difficult process. There are many difficulties inherent in the artistic and subjective nature of musical experience. In other words, since listening to music and producing it are human activities, they do not lend themselves easily to scientific inquiry since they require a direct response or one that can be generalized.
Yet clarifying the relationship between brain and music is a logical and legitimate goal of neuroscientific research. One approach to this goal is based on new developments of brain imaging techniques, and recent investigations indicate that complex musical activities such as sight-reading and piano performance relies on a distributed neural network comprising locally specialized cortical areas. The practise of music engages the visual modality for reading musical notations, the auditory modality for hearing and appreciating melodies, rhythms, harmonies and timbres, the combination of which define a musical piece. Further, the motor modality is required in performance, since it requires the coordination of many muscles; and of course, and cognitive and emotional processes in understanding and appreciating it.
Another approach to this type of research is concerned with the study of musicians, such as Gershwin and Ravel, who have been affected by brain damage. An analysis of their deficits helps to uncover some properties of music-brain relationships, to identify the essential questions raised by these deficits, and to clarify the neurofunctional anatomy of musical abilities.
Like many articles on this subject, the article concludes by acknowledging that understanding of the neurocognitive bases of musical functions is still at an early stage. However, recent progress in cognitive and neurofunctional research opens the way to more systemic studies than were possible previously.
Reflection:
In this article, I was especially interested in reading about what had actually affected Ravel. I knew that he was unable to compose toward the end of his life, but only had a vague idea why. Ravel’s first symptoms of neurological dysfunction were in 1933 and noticed by one of his pupils. When spelling errors on one of his pieces were pointed out, Ravel did not realize his errors. We do not know just when Ravel became aware of a deficit directly related to his musical skill since he did not realize immediately that he had lost his ability to actually compose. However, it soon was evident that his illness consisted of the selected impairment of various functions related to the translation of musical representations from one modality to another, for example, from visual to a motor or an auditory representation.
In a way, I think it would have been very frightening for Ravel to recognize that in a way, he had become musically illiterate since he was no longer able to utilize his musical knowledge in an integrated fashion to translate musical representations from one mode to another. As a pianist, I can only imagine how I would feel should my fingers be injured or paralyzed and I be unable to play.
The article included graphs demonstrating cortical activation during sight-reading and other musical activities. These graphs were obtained by positron emission tomography and measured cerebral blood flow. Though some of the anatomical language used in describing them went beyond what I remembered from second-year anatomy, I found them to be useful nonetheless.
More than anything, what I learned from this article is just how vast this topic we call music and brain really is. I have read many articles written from a scientific standpoint, as well as those from a musician’s viewpoint and it is clear that both parties agree on one thing – though we may know something, there is so much more to discover!
Wednesday, December 16, 2009
Implications of Music and Brain Research: for the Common People
Reference:
Hodges, Donald A. 2000. “Implications of Music and Brain Research.” Music Educators Journal. 87(2). 17-22.
Summary:
This article actually serves as an introductory article to a series of articles, all of which discuss important aspects of neuromusical investigation currently under research. To music educators, the author acknowledges that current research in this field is difficult. This is due mainly to the fact that most recent discoveries involving music and brain is presented in one of two ways. Either information is presented in scientific journals and is too technical for a non-scientist to read and understand, or, it is “watered down” and the actual facts become obscured. In the remainder of the introduction, the author presents the titles and a brief summary of all the articles in the series.
Four articles are briefly mentioned. The first, by Donna Brink Fox, is titled “Music and the Baby’s Brain: Early Music Experiences” and it discusses literature on infant and early childhood music with respect to brain development. Many adult-like responses to music are already apparent in infants. “EEG Studies with Young Children”, the next article, examines brain activity in preschool and elementary school children. John Flohr, Dan Miller, and Roger deBeus explain electroencephalogram (EEG) technicques and how they have been applied to the study of musical behaviours in children. Steven Demorest and Steven Morrison discuss a current popular topic in their article “Does Music Make You Smarter?” Exposing children to music perhaps does increase their brain power; the authors present a balanced view to this controversial issue. The final article is “A Virtual Panel of Expert Researchers” in which four senior researches share important ideas for music educators.
The second part of the article gives an overview of some current trends in music and brain research. The first is based on the premise that the human brain has the ability to respond to and participate in music. For instance, there are those who think that being musical or a musician means to be like Mozart, for instance; rather, we all respond in our own way to music of the environment. To quote the author: “Music then, is one of the hallmarks of what it means to be a human being.”
The second premise is that the music brain, specifically, operates at birth and persists throughout life. In a way, this seems obvious. But the article gives scientific evidence that a baby responds to music while even in the womb. Research is also being carried out with aging nuns. So far, evidence is proving that the more education (especially in music or languages) that one has in childhood, the less likely they are to be debilitated by some form of cognitive dementia in their older age.
Thirdly, it has been proved through brain imaging data that the primary auditory cortex in the left hemisphere of musically trained subjects is larger than in those of untrained subjects. Further, for those with absolute pitch or who began lessons before age seven, the difference was even greater.
The musical brain consists of complex neural networks involving widely distributed, but locally specialized regions of the brain. These include cognitive components, affective components, and motor components; the author contends that the literature on amusia gives further evidence of modularity.
Lastly, the musical brain is highly resilient, persisting in individuals regardless of the degree of disability or illness. Any music therapist would testify to this. For example, individual with Williams Syndrome are cognitively impaired, with average IQs of 65 – 70, yet they often have remarkable musical abilities.
Reflection
This article seemed less specialized and specific than many others I have read dealing with similar topics. The article discussed current research being hard to access for many musicians on account of its being “polarized”. I had to agree with the statement. I had previously accessed a few medical databases when researching for my essay and found them to be almost too specific and focused to be relevant. That is, if I was even able to understand what they were talking about!
I also enjoyed reading about Donna Brink’s article, regarding early music experiences. On a personal level, I entirely agree with it. My youngest sister has five older siblings (including myself) who have played/play the piano seriously. Three of us did undergrad degrees in performance. From the time she was one or two years old, I remember Radine sitting in her playpen bouncing up and down in time to music being played. She “played” the piano before she could walk, and began piano lessons when she was very young. By age three, she had performed in front of audiences from memory. My childhood musical education was different than Radine’s in this way. Radine has just turned 11, and still loves to sing and play both piano and violin.
With respect to the fact that early musical development perhaps enlarges the upper primary cortex more than in non-musically trained individuals, I do agree that much caution should be taken. The article points out that any individual who is highly specialized in a certain area will likely have an enlarged cortex corresponding to that area. It does not simply apply to musicians. The author gives the example of the difference between a high level mathematician, and one who can barely add or subtract. This would also apply to a highly trained athlete in a specific sport, for instance.
Hodges, Donald A. 2000. “Implications of Music and Brain Research.” Music Educators Journal. 87(2). 17-22.
Summary:
This article actually serves as an introductory article to a series of articles, all of which discuss important aspects of neuromusical investigation currently under research. To music educators, the author acknowledges that current research in this field is difficult. This is due mainly to the fact that most recent discoveries involving music and brain is presented in one of two ways. Either information is presented in scientific journals and is too technical for a non-scientist to read and understand, or, it is “watered down” and the actual facts become obscured. In the remainder of the introduction, the author presents the titles and a brief summary of all the articles in the series.
Four articles are briefly mentioned. The first, by Donna Brink Fox, is titled “Music and the Baby’s Brain: Early Music Experiences” and it discusses literature on infant and early childhood music with respect to brain development. Many adult-like responses to music are already apparent in infants. “EEG Studies with Young Children”, the next article, examines brain activity in preschool and elementary school children. John Flohr, Dan Miller, and Roger deBeus explain electroencephalogram (EEG) technicques and how they have been applied to the study of musical behaviours in children. Steven Demorest and Steven Morrison discuss a current popular topic in their article “Does Music Make You Smarter?” Exposing children to music perhaps does increase their brain power; the authors present a balanced view to this controversial issue. The final article is “A Virtual Panel of Expert Researchers” in which four senior researches share important ideas for music educators.
The second part of the article gives an overview of some current trends in music and brain research. The first is based on the premise that the human brain has the ability to respond to and participate in music. For instance, there are those who think that being musical or a musician means to be like Mozart, for instance; rather, we all respond in our own way to music of the environment. To quote the author: “Music then, is one of the hallmarks of what it means to be a human being.”
The second premise is that the music brain, specifically, operates at birth and persists throughout life. In a way, this seems obvious. But the article gives scientific evidence that a baby responds to music while even in the womb. Research is also being carried out with aging nuns. So far, evidence is proving that the more education (especially in music or languages) that one has in childhood, the less likely they are to be debilitated by some form of cognitive dementia in their older age.
Thirdly, it has been proved through brain imaging data that the primary auditory cortex in the left hemisphere of musically trained subjects is larger than in those of untrained subjects. Further, for those with absolute pitch or who began lessons before age seven, the difference was even greater.
The musical brain consists of complex neural networks involving widely distributed, but locally specialized regions of the brain. These include cognitive components, affective components, and motor components; the author contends that the literature on amusia gives further evidence of modularity.
Lastly, the musical brain is highly resilient, persisting in individuals regardless of the degree of disability or illness. Any music therapist would testify to this. For example, individual with Williams Syndrome are cognitively impaired, with average IQs of 65 – 70, yet they often have remarkable musical abilities.
Reflection
This article seemed less specialized and specific than many others I have read dealing with similar topics. The article discussed current research being hard to access for many musicians on account of its being “polarized”. I had to agree with the statement. I had previously accessed a few medical databases when researching for my essay and found them to be almost too specific and focused to be relevant. That is, if I was even able to understand what they were talking about!
I also enjoyed reading about Donna Brink’s article, regarding early music experiences. On a personal level, I entirely agree with it. My youngest sister has five older siblings (including myself) who have played/play the piano seriously. Three of us did undergrad degrees in performance. From the time she was one or two years old, I remember Radine sitting in her playpen bouncing up and down in time to music being played. She “played” the piano before she could walk, and began piano lessons when she was very young. By age three, she had performed in front of audiences from memory. My childhood musical education was different than Radine’s in this way. Radine has just turned 11, and still loves to sing and play both piano and violin.
With respect to the fact that early musical development perhaps enlarges the upper primary cortex more than in non-musically trained individuals, I do agree that much caution should be taken. The article points out that any individual who is highly specialized in a certain area will likely have an enlarged cortex corresponding to that area. It does not simply apply to musicians. The author gives the example of the difference between a high level mathematician, and one who can barely add or subtract. This would also apply to a highly trained athlete in a specific sport, for instance.
Surgery fine-tunes legendary banjo player's brain
Reference:
White, Maureen, and Lee Ferran, “Surgery Fine-Tunes Legendary Banjo Player’s Brain.” ABC News (October 3, 2008). Accessed Tuesday, December 17, 2009. Available from: http://abcnews.go.com/GMA/AheadoftheCurve/story?id=5941480&page=1
Summary:
This news article described the case of Eddie Adcock, a successful bluegrass banjo player who fairly late in life developed an essential tremor. Essential tremor is a progressive neurological disorder that causes the hands and arms to shake uncontrollably. It had an immense impact on his playing to the point where he could barely play. It was decided that deep brain stimulation (the surgical implantation into the thalamus of a device which sends electrical impulses to interrupt the tremor) was the best solution in this case. Deep brain stimulation has been very successful for controlling essential tremor, but the medical team had the additional challenge of making sure that Adcock regained his musical dexterity. The article includes video footage of Adcock playing the banjo during surgery, using his facility at the instrument to determine when they had reached the correct area in the brain.
Reflection:
Reading this article and watching the video was entirely fascinating. I must admit that I know little of banjo music, but I can’t even begin to imagine how devastating it would be to have devoted your life to music only to have your skills suddenly taken away from you. The seemingly almost daily advances in medical procedures and technology never cease to amaze me. It is interesting to note that it seems more and more often brain surgery is being done with the patient awake, to measure the results of what is being done. It must have been quite the challenge for Adcock to manage to play during brain surgery. That would be an incredibly difficult situation in which to perform.
The video included with the article showed footage of a follow-up appointment where Adcock was asked to first draw a spiral, sign his name, then play the banjo with the device turned off then on. It was absolutely astounding to see the difference, especially in his playing. With the device off, he stumbled and his fingers shook enough to create tapping noise on the instrument.
The way this article is written, it sounds as though this was the first time this procedure was attempted on a skilled musician. I wonder whether this has since become more commonplace. Would it be performed on young people also? In high school, I had a friend who suffered with an essential tremor of the hands. An interesting question would be whether this procedure could make it possible for those with an earlier onset of symptoms to contemplate careers that otherwise would have been entirely impossible. I am not only thinking of musical careers, but anything requiring precision in movement.
White, Maureen, and Lee Ferran, “Surgery Fine-Tunes Legendary Banjo Player’s Brain.” ABC News (October 3, 2008). Accessed Tuesday, December 17, 2009. Available from: http://abcnews.go.com/GMA/AheadoftheCurve/story?id=5941480&page=1
Summary:
This news article described the case of Eddie Adcock, a successful bluegrass banjo player who fairly late in life developed an essential tremor. Essential tremor is a progressive neurological disorder that causes the hands and arms to shake uncontrollably. It had an immense impact on his playing to the point where he could barely play. It was decided that deep brain stimulation (the surgical implantation into the thalamus of a device which sends electrical impulses to interrupt the tremor) was the best solution in this case. Deep brain stimulation has been very successful for controlling essential tremor, but the medical team had the additional challenge of making sure that Adcock regained his musical dexterity. The article includes video footage of Adcock playing the banjo during surgery, using his facility at the instrument to determine when they had reached the correct area in the brain.
Reflection:
Reading this article and watching the video was entirely fascinating. I must admit that I know little of banjo music, but I can’t even begin to imagine how devastating it would be to have devoted your life to music only to have your skills suddenly taken away from you. The seemingly almost daily advances in medical procedures and technology never cease to amaze me. It is interesting to note that it seems more and more often brain surgery is being done with the patient awake, to measure the results of what is being done. It must have been quite the challenge for Adcock to manage to play during brain surgery. That would be an incredibly difficult situation in which to perform.
The video included with the article showed footage of a follow-up appointment where Adcock was asked to first draw a spiral, sign his name, then play the banjo with the device turned off then on. It was absolutely astounding to see the difference, especially in his playing. With the device off, he stumbled and his fingers shook enough to create tapping noise on the instrument.
The way this article is written, it sounds as though this was the first time this procedure was attempted on a skilled musician. I wonder whether this has since become more commonplace. Would it be performed on young people also? In high school, I had a friend who suffered with an essential tremor of the hands. An interesting question would be whether this procedure could make it possible for those with an earlier onset of symptoms to contemplate careers that otherwise would have been entirely impossible. I am not only thinking of musical careers, but anything requiring precision in movement.
Developing the Complete Pianist
Reference:
Developing the complete pianist: a study of the importance of a whole-brain approach to piano teaching, by Sally Chappell
Chappell, Sally. 1999. “Developing the Complete Pianist: A Study of the Importance of a Whole-Brain Approach to Piano Teaching.” British Journal of Music Education 16(3). 253-262.
Summary:
The article begins with a short survey of current research into instrumental lessons. Going through relevant literature on the subject, Chappell notes that much emphasis is placed on technical work during these lessons. Especially for beginners, a huge emphasis is placed on notation, allowing for little development of musicianship. As well, physical tension can result from verbally orientated and teacher-led lessons; this can result in the lack of a clear mental image of what is being played.
Chappell looks at how the brain functions of why this type of teaching is not as beneficial. Each hemisphere of the brain is responsible for different functions. Briefly, the left is responsible for rational thinking and logical behaviour (notation, analysis, technique in musical terms) while the right is responsible for non-verbal activities, the intuitive and holistic (processing patterns, creativity, and formal outlines in music). But instead of emphasizing the split brain aspect of music, research emphasizes the development of both hemispheres to carry out a single task. The need for this is especially emphasized when looking at the development of the brain in young children; they need to be provided with opportunities and stimulation in order to develop a full range of mental ability. Thus musical training should incorporate not only technical work but stimulate creativity.
In the remainder of the article, Chappell considers how to develop this whole brained approach in teaching. Three approaches, internalising, improvising, and memorising are three “neglected” right-hemisphere skills. There are three major benefits of internalising music. It reduces physical tension for the pianist, gives increased focus to the ear in music-making, and leads to greater depth of expression. All these result in an increase in the role of the right-hemisphere. The benefits of improvisation include an increased awareness and clearer understanding of what was actually on printed music, and the development of a problem-solving approach to playing. Researchers also have found that students who improvised developed a more independent and discovery-led method of learning, often finding their own solutions to technical problems in performance. As well, linking back to internalism, improvisation places the ear in a central position and allows students to use intuition to develop a sense of freedom in their playing. Memorization also is a key right-brain process. There are several types, namely, visual, kinaesthetic, aural, and analytical; all of these should be combined in the learning and memorizing process.
The implications of such a teaching approach often would most likely involve a redefinition of teacher’s learning strategies. Many lessons currently are teacher-orientated, relieving students of the sense of responsibility and making them reliant on the teacher. In student-centered lessons, there is likely to be less verbal instruction on the part of the teacher, and a greater emphasis on practical demonstration and focused listening. As well, teachers need to develop curriculum with a broader base and better balance between technical and musical sides; lessons should use a variety of approaches to develop a student’s musical skills. With respect to the pupil, the new appraoach places the development of listening skills at its center and so links brain, body, and emotions. Positive benefits for the pupils in the studies demonstrated increased self-motivation, more interest and enjoyment in the instrument, and even helped in decreasing anxiety levels.
The author concludes by noting that this approach has enormous potential, but still requires further research into the specific content of lessons and teaching styles employed.
Reflection:
For me, this article made very relevant points. I remember when I first took piano lessons, my teacher had the “standard” approach the article warned against – much technique and note-reading work combined with very little creative aspects. As a result, I was uncomfortable improvising, or even considering the thought. When I realized this, and the reason why, I began to force myself to play by ear. I found that even though it was extremely difficult at first, I was able to improve my ability in this regard.
The article states that a child’s brain develops very quickly when they are young. With respect to teaching young children, I find that they have very little inhibition. I like to give my young students, especially, simple improvisation exercises depending on their pianistic level. For example, I ask them to pick three different notes on the piano and play them in various combinations, at different octaves and at different dynamic levels. Within this exercise, there are boundaries, but still much room to be creative. I find that all too often, older pianists are nervous at being asked to improvise, or they say they cannot. This is not the case with younger children.
I found the memorization section of the article useful and interesting as well. Memorizing music as a child was a tactile process for me. However, as I grew older, and my repertoire became longer and more difficult, I was forced to discover other methods of memorizing. I increasingly became reliant on mental memory and metal practise. Also, I was conscious of being somewhat analytical in my approach more so than ever before. Memorization is a key aspect of performance on many instruments, and the importance of developing strategies to successfully accomplish it should not be underestimated.
One last thought – for me, Walter Gieseking’s statement summed up many aspects of the article. He said: “by unceasingly listening with the ‘inner ear’... to a composition, [a pianist’s] capability of comprehending it will develop to so great an extent that he finally will grasp it in all its detail and will be in a position to interpret this masterwork in all its greatest perfection.” This is so true!
Developing the complete pianist: a study of the importance of a whole-brain approach to piano teaching, by Sally Chappell
Chappell, Sally. 1999. “Developing the Complete Pianist: A Study of the Importance of a Whole-Brain Approach to Piano Teaching.” British Journal of Music Education 16(3). 253-262.
Summary:
The article begins with a short survey of current research into instrumental lessons. Going through relevant literature on the subject, Chappell notes that much emphasis is placed on technical work during these lessons. Especially for beginners, a huge emphasis is placed on notation, allowing for little development of musicianship. As well, physical tension can result from verbally orientated and teacher-led lessons; this can result in the lack of a clear mental image of what is being played.
Chappell looks at how the brain functions of why this type of teaching is not as beneficial. Each hemisphere of the brain is responsible for different functions. Briefly, the left is responsible for rational thinking and logical behaviour (notation, analysis, technique in musical terms) while the right is responsible for non-verbal activities, the intuitive and holistic (processing patterns, creativity, and formal outlines in music). But instead of emphasizing the split brain aspect of music, research emphasizes the development of both hemispheres to carry out a single task. The need for this is especially emphasized when looking at the development of the brain in young children; they need to be provided with opportunities and stimulation in order to develop a full range of mental ability. Thus musical training should incorporate not only technical work but stimulate creativity.
In the remainder of the article, Chappell considers how to develop this whole brained approach in teaching. Three approaches, internalising, improvising, and memorising are three “neglected” right-hemisphere skills. There are three major benefits of internalising music. It reduces physical tension for the pianist, gives increased focus to the ear in music-making, and leads to greater depth of expression. All these result in an increase in the role of the right-hemisphere. The benefits of improvisation include an increased awareness and clearer understanding of what was actually on printed music, and the development of a problem-solving approach to playing. Researchers also have found that students who improvised developed a more independent and discovery-led method of learning, often finding their own solutions to technical problems in performance. As well, linking back to internalism, improvisation places the ear in a central position and allows students to use intuition to develop a sense of freedom in their playing. Memorization also is a key right-brain process. There are several types, namely, visual, kinaesthetic, aural, and analytical; all of these should be combined in the learning and memorizing process.
The implications of such a teaching approach often would most likely involve a redefinition of teacher’s learning strategies. Many lessons currently are teacher-orientated, relieving students of the sense of responsibility and making them reliant on the teacher. In student-centered lessons, there is likely to be less verbal instruction on the part of the teacher, and a greater emphasis on practical demonstration and focused listening. As well, teachers need to develop curriculum with a broader base and better balance between technical and musical sides; lessons should use a variety of approaches to develop a student’s musical skills. With respect to the pupil, the new appraoach places the development of listening skills at its center and so links brain, body, and emotions. Positive benefits for the pupils in the studies demonstrated increased self-motivation, more interest and enjoyment in the instrument, and even helped in decreasing anxiety levels.
The author concludes by noting that this approach has enormous potential, but still requires further research into the specific content of lessons and teaching styles employed.
Reflection:
For me, this article made very relevant points. I remember when I first took piano lessons, my teacher had the “standard” approach the article warned against – much technique and note-reading work combined with very little creative aspects. As a result, I was uncomfortable improvising, or even considering the thought. When I realized this, and the reason why, I began to force myself to play by ear. I found that even though it was extremely difficult at first, I was able to improve my ability in this regard.
The article states that a child’s brain develops very quickly when they are young. With respect to teaching young children, I find that they have very little inhibition. I like to give my young students, especially, simple improvisation exercises depending on their pianistic level. For example, I ask them to pick three different notes on the piano and play them in various combinations, at different octaves and at different dynamic levels. Within this exercise, there are boundaries, but still much room to be creative. I find that all too often, older pianists are nervous at being asked to improvise, or they say they cannot. This is not the case with younger children.
I found the memorization section of the article useful and interesting as well. Memorizing music as a child was a tactile process for me. However, as I grew older, and my repertoire became longer and more difficult, I was forced to discover other methods of memorizing. I increasingly became reliant on mental memory and metal practise. Also, I was conscious of being somewhat analytical in my approach more so than ever before. Memorization is a key aspect of performance on many instruments, and the importance of developing strategies to successfully accomplish it should not be underestimated.
One last thought – for me, Walter Gieseking’s statement summed up many aspects of the article. He said: “by unceasingly listening with the ‘inner ear’... to a composition, [a pianist’s] capability of comprehending it will develop to so great an extent that he finally will grasp it in all its detail and will be in a position to interpret this masterwork in all its greatest perfection.” This is so true!
Tuesday, December 15, 2009
Performance and memorization
Reference:
McLaughlin, Carrol. “When You Think You Know It…” in Dr. Carrol’s Power Performance, 73-91. Tucson: IntegrityInk.US, 2008.
Summary:
This chapter is from a book written by Dr. Carrol McLaughlin. She is a well known performing harpist and professor of a large harp department at the University of Arizona. She also works as a life coach and gives presentations based on her techniques. The book is intended for the use of musicians and business people, essentially anyone who must perform in front of others. She suggests that her techniques of ‘Power Performance’ can be used to reprogram the brain. She uses examples from her own experiences as a performing harpist to illustrate her points. This particular chapter deals with memorization and some methods of proper practise to learn music/information so that you can perform at a higher level than before and with less stress. In this particular chapter she covers several things like the ‘ten times rule’ and the importance of dividing material into small chunks rather than trying to learn a whole page at once. She also explains the necessity of actually practising performing without stopping and the benefits of well marked repair points.
Reflection:
I very much enjoyed reading this chapter, and not only because it was written by a harpist. It is definitely written with a broad audience in mind, the language used is accessible and any terms are well defined. The chapter (indeed the entire book) is written in small subsections and has a full table of contents for easy reference. There are checklists placed at the end of each chapter. A few of the concepts are ideas that most musicians at a high level would have previously encountered, but she does introduce some new concepts and explains well some of the others. She doesn’t go into depth on some of the topics that I might have wished to read more about, but I think that was done with the target audience in mind. This chapter would be of great use to young musicians or those starting out and attempting to train excellent practise techniques from the beginning.
The ‘ten times rule’ (the idea that you can’t truly know something until you’ve played it – or spoken it – ten times through with no errors) is a concept that several of my instrumental teachers have considered very important. It is a fact that the more often you repeat something and especially the shorter the time between repetitions, the more strongly something will be memorized. My current teacher has her students go a level deeper from that rule of ten. To memorize properly she instructs that one must take tiny sections (4 bars or even less) and play them once looking at the music, once without, once again with the music, then without – all in large groups of 10. It is a somewhat frustrating technique of memorization (especially for those around while you are practising), but I can attest to the fact that it is extremely successful. As McLaughlin mentions, the technique requires much patience. Patience in accomplishing the original practise, then also patience in the realization that the next day you take out the material it may seem as if you had done nothing. Eventually the repetitions become faster and the material becomes much more secure.
It is true that often we get stuck in our old routines of practise to the point where we aren’t using our time efficiently. Using techniques like those discussed in this chapter are all ways of ensuring our level of performance is constantly improving.
McLaughlin, Carrol. “When You Think You Know It…” in Dr. Carrol’s Power Performance, 73-91. Tucson: IntegrityInk.US, 2008.
Summary:
This chapter is from a book written by Dr. Carrol McLaughlin. She is a well known performing harpist and professor of a large harp department at the University of Arizona. She also works as a life coach and gives presentations based on her techniques. The book is intended for the use of musicians and business people, essentially anyone who must perform in front of others. She suggests that her techniques of ‘Power Performance’ can be used to reprogram the brain. She uses examples from her own experiences as a performing harpist to illustrate her points. This particular chapter deals with memorization and some methods of proper practise to learn music/information so that you can perform at a higher level than before and with less stress. In this particular chapter she covers several things like the ‘ten times rule’ and the importance of dividing material into small chunks rather than trying to learn a whole page at once. She also explains the necessity of actually practising performing without stopping and the benefits of well marked repair points.
Reflection:
I very much enjoyed reading this chapter, and not only because it was written by a harpist. It is definitely written with a broad audience in mind, the language used is accessible and any terms are well defined. The chapter (indeed the entire book) is written in small subsections and has a full table of contents for easy reference. There are checklists placed at the end of each chapter. A few of the concepts are ideas that most musicians at a high level would have previously encountered, but she does introduce some new concepts and explains well some of the others. She doesn’t go into depth on some of the topics that I might have wished to read more about, but I think that was done with the target audience in mind. This chapter would be of great use to young musicians or those starting out and attempting to train excellent practise techniques from the beginning.
The ‘ten times rule’ (the idea that you can’t truly know something until you’ve played it – or spoken it – ten times through with no errors) is a concept that several of my instrumental teachers have considered very important. It is a fact that the more often you repeat something and especially the shorter the time between repetitions, the more strongly something will be memorized. My current teacher has her students go a level deeper from that rule of ten. To memorize properly she instructs that one must take tiny sections (4 bars or even less) and play them once looking at the music, once without, once again with the music, then without – all in large groups of 10. It is a somewhat frustrating technique of memorization (especially for those around while you are practising), but I can attest to the fact that it is extremely successful. As McLaughlin mentions, the technique requires much patience. Patience in accomplishing the original practise, then also patience in the realization that the next day you take out the material it may seem as if you had done nothing. Eventually the repetitions become faster and the material becomes much more secure.
It is true that often we get stuck in our old routines of practise to the point where we aren’t using our time efficiently. Using techniques like those discussed in this chapter are all ways of ensuring our level of performance is constantly improving.
Practising the Perfect Way
Reference:
A Way to Practise Passage-Work, by George Kochevitsky
from Clavier magazine 13 (8): 19-20 Available in the library: ML1.C53 MUSI 1974
Summary:
Very little is written specifically about practising piano and the best way of approaching a particular piece of music. So even though it was written in 1974, I found this article to be extremely relevant and interesting. Kochevitsky discusses a procedure for practicing the piano targeting overcoming technical difficulties in specific pieces of music.
In his opinion, it is very helpful to construct the symmetrical inversion of a complicated passage in one hand for the other hand (as in mirror reflection) and to practice both hands together. There is a physiological explanation of this. What is thought to be the development of piano technique is in actuality, the development of the nervous system. Owing to the connections between the identical points in both hemispheres of the brain, the nervous processes taking place in one hemisphere are reproduced in the analogous points of the other. The proprioceptive sensations (those sensations from the movements of the pianist's playing apparatus) have a decisive influence on the development of the piano technique, and are intensified in this way.
Playing softly is important because this minimizes arm activity and allows the finger activity to be perceived more clearly in the cortex cells. Further the right hand, usually better developed, helps to overcome the difficulties encountered in the left hand part. The process is reversed with left-handed people.
The author also discusses a Chopin etude (op. 10 no. 12) in detail and demonstrates with specific musical examples where and how this technique can be applied as an ideal practise method.
Reflection:
A few years ago, I performed one of Chopin’s etudes (op. 10 no. 4) for a piano competition, and I remember having a relatively short time to learn and polish it. This particular etude had much difficult and extremely technical passagework; in retrospect, it was composed in the same parallel, mirror-reflection style as in the etude Kochevitsky discusses. At the time, I remember asking my teacher the best way to practise in order to make the most of the little time I had. She emphasized the importance of practising the parallel passages with both hands, and slowly. I discovered that this method was extremely successful.
My teacher did not actually tell me the reason why this approach worked as well as it did. Perhaps she did not actually know. For her, it may have been simply an intuitive instruction, based on years of experience practising and performing the piano from a very early age. And at the time, I never thought to wonder why; I was just happy that it worked. Following that experience, in learning other repertoire, I found frequent occasion to utilize this practising strategy but still never thought much of the reason it worked until I recently, when I discovered Kochevitsky’s article.
One other thing that my teacher stressed was that in addition to practising softly in such passages, it was important to play slowly and accurately as well. Accuracy is important for the same reason as playing softly – in essence, the fingers are being trained, and not just the brain. Playing something incorrectly not only affects the fingers, but how it is learned in the brain. From this perspective, I entirely agree with Vince Lombardis in his statement that “Practice does not make perfect. Only perfect practice makes perfect.”
A Way to Practise Passage-Work, by George Kochevitsky
from Clavier magazine 13 (8): 19-20 Available in the library: ML1.C53 MUSI 1974
Summary:
Very little is written specifically about practising piano and the best way of approaching a particular piece of music. So even though it was written in 1974, I found this article to be extremely relevant and interesting. Kochevitsky discusses a procedure for practicing the piano targeting overcoming technical difficulties in specific pieces of music.
In his opinion, it is very helpful to construct the symmetrical inversion of a complicated passage in one hand for the other hand (as in mirror reflection) and to practice both hands together. There is a physiological explanation of this. What is thought to be the development of piano technique is in actuality, the development of the nervous system. Owing to the connections between the identical points in both hemispheres of the brain, the nervous processes taking place in one hemisphere are reproduced in the analogous points of the other. The proprioceptive sensations (those sensations from the movements of the pianist's playing apparatus) have a decisive influence on the development of the piano technique, and are intensified in this way.
Playing softly is important because this minimizes arm activity and allows the finger activity to be perceived more clearly in the cortex cells. Further the right hand, usually better developed, helps to overcome the difficulties encountered in the left hand part. The process is reversed with left-handed people.
The author also discusses a Chopin etude (op. 10 no. 12) in detail and demonstrates with specific musical examples where and how this technique can be applied as an ideal practise method.
Reflection:
A few years ago, I performed one of Chopin’s etudes (op. 10 no. 4) for a piano competition, and I remember having a relatively short time to learn and polish it. This particular etude had much difficult and extremely technical passagework; in retrospect, it was composed in the same parallel, mirror-reflection style as in the etude Kochevitsky discusses. At the time, I remember asking my teacher the best way to practise in order to make the most of the little time I had. She emphasized the importance of practising the parallel passages with both hands, and slowly. I discovered that this method was extremely successful.
My teacher did not actually tell me the reason why this approach worked as well as it did. Perhaps she did not actually know. For her, it may have been simply an intuitive instruction, based on years of experience practising and performing the piano from a very early age. And at the time, I never thought to wonder why; I was just happy that it worked. Following that experience, in learning other repertoire, I found frequent occasion to utilize this practising strategy but still never thought much of the reason it worked until I recently, when I discovered Kochevitsky’s article.
One other thing that my teacher stressed was that in addition to practising softly in such passages, it was important to play slowly and accurately as well. Accuracy is important for the same reason as playing softly – in essence, the fingers are being trained, and not just the brain. Playing something incorrectly not only affects the fingers, but how it is learned in the brain. From this perspective, I entirely agree with Vince Lombardis in his statement that “Practice does not make perfect. Only perfect practice makes perfect.”
Albert Einstein on Music
Albert Einstein on Music
Article from einsteinuniverse.com, a website featuring internationally acclaimed letures written by Professor Brian Foster.
Written by: Brian Foster, Experimental Particle Physicist at the Department of Physics, Oxford Univeristy, United Kingdom.
http://www.einsteinsuniverse.com/PWJAN05foster.pdf
“If I were not a physicist, I would probably be a musician. I often think in music. I live my daydreams in music. I see my life in terms of music.”-Einstein
In an article entitled “Einstein and his love of music”, Professor Brian Foster of Oxford University discusses a lesser known side of Einstein- his life as a violinist. At the age of six, Einstein began to learn the violin. He took lessons until the age of thirteen, then continued on to devote a lot of time to music when living in Switzerland. Not only was he an exceptional violinist, he was a pianist and a hearty improviser. Throughout his life, Einstein befriended many great artists, including pianist Artur Rubinstein, cellist Gregor Piatigorski, and violinist Bronislaw Huberman, who also founded the Israel Philharmonic, of which Einstein was a huge supporter. Many people have commented on the passion and sincerity of his playing, including his friend Janos Plesch, who wtote, “There are many musicians with much better technique, but none, I believe, who ever played with more sincerity or deeper feeling”.
The focal points of Einstein’s taste in music were Bach and Mozart. He tolerated but did not adore Beethoven, and was not a huge lover of Schubert, Schumman and Brahms. Einstein stopped playing towards the end of his life, but never lost his love of the violin or of music. He once said, “I know that the most joy in my life has come to me from my violin”.
Reflection: The part of this article that interested me with regards to this course was the quote from his second wife Elsa, who said that music helped him when he was thinking about theories. According to Elsa, Einstein would retreat to his study, return to the piano and play a few chords, then return to his study eager to write more ideas down. I found this intriguing because when we think of Einstein, a brilliant physicist is usually the first thing that comes to mind for most people. It is intriguing to contemplate what tools Einstein used to encourage his own thinking and creativity. It seems that music was one of these tools. Therefore, I wonder- did music inspire Einstein? Did it relax and soothe him, particularly when he was tense and anxious in the midst of his work? Was music helpful to him because it offered such a different means of expression as compared to his career’s work? Perhaps there is something inherent within music that helped him think more clearly. This makes me question what exactly it is about music that provides inspiration for so many. I have heard (but have not confirmed) about recent studies that show nicotine to improve concentration and fluidity of thought processes. Perhaps music works in a similar way for people consumed by work in other areas. Some writers listen to music for inspiration and to aid in concentration. Perhaps what artists (writers, painters, etc.) do and the thought processes they need to do it are not all that different from what scientists too. It is highly likely that the great thinkers of our time have suffered from a “writer’s block” effect, or have sought out various ways to jump-start or perpetuate creativity.
Music has many connections to physics, in that harmonic motion of a string is a physics-based law, and sound exists on a physical level. The two fields are tightly interwoven, but one does not depend on knowledge of the other. For example, you do not need to understand the laws of physics in order to be a great musician. On the flip side, you do not need to be a proficient, emotionally expressive and/or creative musician to be an innovative physicist. Still, it may make either experience all the richer to have a basic understanding of both sides, because of how intimately related they are to each other.
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