By Adina Mornell
Musicians, dancers and athletes spend an enormous period of time and energy getting ready for functionality within the wish of luck, aiming for simple task, flexibility and expressiveness. Their use of visualization, verbal labels, muscle power, and emotion is usually established upon instinct rather than wisdom. Art in Motion intends to fill this vacuum. powerful education and instructing hinge on motivation, self-regulation, necessary suggestions, and an knowing of belief, cognition, timing, motor ability studying, and automation. information regarding empirical study touching on psychological representations of stream and musical objectives can force the inventive method, facilitating the artist at paintings. leading edge and intentional - practical and significant - ideas of perform are constructed.
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Extra resources for Art in Motion II: Motor Skills, Motivation, and Musical Practice
Example text
1992). Information feedback and the learning of multiple-degrees-of-freedom activities. Journal of Motor Behavior, 24, 187-196. P. (1997). A comparison of three practice schedules along the contextual interference continuum. Research Quarterly for Exercise and Sport, 68, 357-361. J. (1962). Retention of simple motor skills as a function of type of knowledge of results. Canadian Journal of Psychology, 16, 300-311. H. (1962). Retention of simple motor skills as a function of the number of trials by which KR is delayed.
Frequent augmented feedback can degrade learning: Evidence and interpretations. In J. E. ), Tutorials in motor neuroscience (pp. 59-75). Dordrecht: Kluwer. A. (2009). Principles of practice for the development of skilled actions: Implications for training and instruction in music. In A. ), Art in motion (pp. 41-67). Frankfurt am Main: Peter Lang. A. (1992). New conceptualizations of practice: Common principles in three paradigms suggest new concepts for training. Psychological Science, 3, 207-217.
We need to rationalize the differences between the motor-learning focus on slightly practiced, simple tasks, and music’s emphasis on very highly practiced, complex tasks. It could be that the kind of findings we have outlined here will be of considerable help in music – but we should be ready for challenges. At least, we have some scientific methods that will enable us to find out whether or not these principles are useful. We also mentioned the challenge of measurement. If it is correct that high-level musicians rarely make errors, or the making of errors does not distinguish well between performers of different skill levels, then a focus on measures of error and similar phenomena in motor learning might not be very useful.