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PSY 365 Lecture 15
Expertise in Music
| Question | Answer |
|---|---|
| Sosniak (1987): Studied 22 exceptional young pianists -Overall, their parents had little musical knowledge or interest -not likely to play and instrument, listen to sophisticated music -over half were musically naive | But, highly supported of the child's interest and practice -encouraging -sitting in on lessons -make practice more enjoyable |
| Exceptional students had | -supportive but musically naive parents: very best students less likely to come from musical families, to have had an instrument in the house, pay for lessons -warm, encouraging first teachers: best students most likely to have an inspiring first teacher |
| Children changed their motives and practice times with experience | more time in field, more practice hrs. -spent less time with teachers, more on practice alone -still interacted with others who worked in the area -Communities of Practice |
| Communities of Practice | supportive groups of others who work to help develop talents |
| Musical "Gifts" | Maybe adults shouldn't look for "gifts" in their children -Early, investing in children is the "gift" we should give them -Later, helping them find a community of practice that supports expertise in growth |
| Ericsson and Lehman: Experts are maximally adapted physically and mentally to their discipline | -experts usually exceed non-experts by huge amounts on the things that matter in that area -Return to baseline after they stop practicing (Ericsson and Lehmann, 1996) -obvious in sports, but in music... |
| Forearm Rotation: Wagner (1988): | Pianists: largest inward rotation Violinists: largest outward rotation -Not "born that way"-the body adapts: total degree of rotation was fixed, shifted toward habitual usages of instruments |
| Lung Capacity: Sundberg (1987): | singers and brass players outperformed control participants -Task: fill a balloon up -Need LC to hold notes for a long time -Musicians practice this (not born that way) |
| Finger Dexterity: Skilled pianists tap faster and more accurately than college students (Keele et al. , 1985) | doesn't affect foot tapping -for other instruments, the specific type of movement shows advantages-strumming for guitar, fingering for flute, etc. |
| Perception of Notes: Russler et al. (2011): | musicians detect notes that are off by 20 milliseconds! -Pitch perception |
| Pitch Perception | musicians are better than non-musicians at pitch discrimination (e.g, Houtsma, Durlach and Horowitz, 1987) |
| Bimanual Coordination | Piano and other instruments require playing with both hands simultaneously -Pianists are much better at tapping out sequences with both hands at once (e.g, Krampe and Ericsson, 1994) |
| John Sloboda: One of the most influential musical cognition theories. Says musical skill has 2 major components: | 1. Technical skill: ability to produce the same notes repeatedly 2. Expressive skill: ability to convey emotion through intentional variation in music -Consistency of 2 Experts Pianists Across Two Performances (Gabrielsson, 1994) |
| What Makes Music Expressive? Musicians deliberately speed up and slow down the tempo of music | This is consistent across performances by the same person, but different for different performers |
| What Makes Music Expressive? Sloboda (2000): Violations of listener expectations about tempo and structure create the emotionality -2 performances of the same Chopin piece | amount of emotion felt, moment-to-moment, averaged over listeners -one if more "emotional"- but why? -Sloboda: expressive version involved more violations of standard tempo |
| Recall: Kozbelt's Analysis | musical creativity also grew with experience in the domain, as seen in "hit ratios" overtime -suggests practice may also play a role in learning to create |
| Why Training and Practice?: Creativity requires a lot of training, for 2 reasons: | 1) how can you do something new if you don't know what has been done? 2) people must learn how to do creative work (skills, technique, etc.), almost everything humans do is learned |
| What Are People Learning? | Rules, norms and standards of a domain: to be creative, a work must be appropriate for the domain -Core Skills: drawing, drafting, statistics and methods, software and equipment, major theories |
| The 10 yr. Rule: Hayes: people need at least 10 yrs. to make a major creative contribution | -could be more, rarely is less -popularized by Malcolm Gladwell's book Outliers -Time is spent in training |
| Creativity Among Classical Composers: Hayes (1989): how long did it take to compose a masterpiece? | -500 masterpieces, 76 composers -497 (99.4%) were composed after yr. 10 -3 were composed in yrs. 8 and 9 -0 were composed in yrs. 1-7 |
| But What About Mozart?: Mozart viewed as precocious | learned to play, to compose during childhood -viewed as greatest classical composer of all time (at least top 3) -one of the geniuses of western culture -First masterpiece: 15 yrs. (Piano Concerto no.9) |
| Kozbelt (2005): a quantitative case study of Mozart -you can predict the quality of composition based on age -music got better as Mozart got older | Results: ranges from 1-122 (lots of misses, lots of hits) -Ratio of masterpieces to all compositions in a yr. (% masterpieces) -Examining masterpieces only, later masterpieces were better than earlier ones |
| Musical skill isn't monolithic- | different musicians develop different abilities |
| Musical skill adapts a performer | physically and mentally |
| Both technical consistency and | expressive variations are required for good musical performances |
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