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Art in Motion

Musical and Athletic Motor Learning and Performance

Edited By Adina Mornell

Musicians tend to believe that the mystery of their art cannot be objectively studied, quantified, or explained. As a result, the term «motor learning» is rarely used in connection with musicians, and an empirical approach to musical performance is more the exception than the rule. Sports scientists, however, show a great interest in musicians because of their advanced skill level and the attentional and emotional demands of the concert stage. This work combines knowledge across disciplines. Advances toward an understanding of human behavior and cognition offer clues to strategies of motor learning and performance that promote the well-being of musicians and athletes. This book provides a forum for an interdisciplinary exchange of research, laying the groundwork for future projects.

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Teaching Music Physiology and Motor Learning Processes at a University: Experience and Evaluation (Horst Hildebrandt)

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Teaching Music Physiology and Motor Learning Processes at a University: Experience and Evaluation Introduction Thinking about art in motion is of central importance for work at a university of music. The movements involved in playing or singing are the connection between musical ideas, inspirations and emotions, and the actual sound. Movements are the decisive transition from the actions of the player or singer to the instrument or voice. It is just not possible for instrumentalists or singers to produce sound without movement. “....movements are comparable to melodies, which we create with the body as an instrument.” (Günzel 1989) For dance and drama, and the corresponding gestures, this quote may still apply, and allow natural movement behavior. For singing, and even more so with the playing movements on musical instruments, we must make do with a kind of “second nature,” for in the long years of training, the movements predominantly follow the requirements of the voice or of the instrument. First of all, I would like to talk briefly about the epidemiology of musicians’ diseases, and the historical development of my specialist area. Then I will outline what we offer in terms of teaching and advice, using the example of the Zurich University of the Arts, and I will report on some scientific evaluation projects relating to this provision. In the third part, I will talk about the role of (self-) instruction styles and motor learning processes in the education of musicians and in the prevention and treatment...

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