Arguments opposing:
-Every person has some degree of inborn musicality which is fed by a
favourable environment
-Maturation, physical capabilities, and inherited talents
- Davidson’s ‘Three types of interaction between genes and environment’
1. Passive covariation (genetic material shapes environment)
2. Reactive covariation (needs of child leads to environmental change)
3. Active covariation (needs of a child leads to child to change
environment)
Environmental factors most important in encouraging musical skill:
1. Parents (early parental support and parental increased involvement later, showed most success)
2. Teachers (beginner musicians require strong music teacher relationship, more mature musicians focus more on teacher’s abilities)
3. Practice (Thomas Edison ‘1% inspiration and 99% perspiration)
Motivation
-what practice strategies are most important
- how skilled musicians are able to practice more than others
Expectancy-value theory (Fishbein and Asjen, 1975)
Why people should believe that playing a musical instrument will be important to them in the future
1. Attainment value
2. Intrinsic value
3. Utility value
4. Perceived cost
Self-efficacy
-Focuses on individual’s belief in their ability and capacity to achieve
Flow Theory (Czikszentmihalyi)
-Experienced when the challenge corresponds with the level of skill.
Attribution theory
-Cause to which people attribute their success or failure. Determines expectations for future success.
-Every person has some degree of inborn musicality which is fed by a
favourable environment
-Maturation, physical capabilities, and inherited talents
- Davidson’s ‘Three types of interaction between genes and environment’
1. Passive covariation (genetic material shapes environment)
2. Reactive covariation (needs of child leads to environmental change)
3. Active covariation (needs of a child leads to child to change
environment)
Environmental factors most important in encouraging musical skill:
1. Parents (early parental support and parental increased involvement later, showed most success)
2. Teachers (beginner musicians require strong music teacher relationship, more mature musicians focus more on teacher’s abilities)
3. Practice (Thomas Edison ‘1% inspiration and 99% perspiration)
Motivation
-what practice strategies are most important
- how skilled musicians are able to practice more than others
Expectancy-value theory (Fishbein and Asjen, 1975)
Why people should believe that playing a musical instrument will be important to them in the future
1. Attainment value
2. Intrinsic value
3. Utility value
4. Perceived cost
Self-efficacy
-Focuses on individual’s belief in their ability and capacity to achieve
Flow Theory (Czikszentmihalyi)
-Experienced when the challenge corresponds with the level of skill.
Attribution theory
-Cause to which people attribute their success or failure. Determines expectations for future success.
If you're familiar with Malcolm Gladwell's, 'Outliers', then you'll appreciate his 10,000 hour rule concerning the practicing section of this text.
ReplyDeleteWow... your notes are almost identical to what I had put together in my head for temporary storage. The only other thing I included was the research on pop musicians on p. 59; specifically: (1) they play, not "practice," (2) they focus on real music and not technical exercises, and (3) they practice as a group. This sounds a lot like Orff, Dalcroze... I wonder how we can make "practice" of art music more like practice of pop music?
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