Musical and Athletic Motor Learning and Performance
Edited By Adina Mornell
Principles of Practice for the Development of Skilled Actions: Implications for Training and Instruction in Music (Richard A. Schmidt)
Principles of Practice for the Development of Skilled Actions: Implications for Training and Instruction in Music a The goal of this symposium – the integration of (a) laboratory research in motor behavior and (b) the applications to, and implications for, high- level music instruction and performance – is an excellent one, in my view. The principles of learning worked out in the laboratory should, with some care, be applicable to just about any real-world activity (high- level sports, music, dance, therapy, etc.), and it is encouraging that those studying high-level music performance should be interested in what has been found in the laboratory. Also, I am not aware of any other attempts to bridge these two ﬁelds, and hopefully this effort will spur others to continue in this direction. But there are some major problems that must be addressed before one can conﬁdently apply laboratory-based motor- learning principles to instruction in high-level music. Considerations in melding the motor-learning and musical areas First, there is the problem of measurement. Adina Mornell, our Symposium Organizer, has pointed out that, in high-level music, the audience absolutely expects these professionals to play or sing the correct notes ﬂawlessly, with the correct pitch, and with the correct order and timing among them – no errors. In the laboratory, on the other hand, we chieﬂy rely on measures of error in producing the correct action, errors in timing the actions, and sometimes speed of the actions, and so on. But, if high- level musicians do not make...
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