Our first live studio recital since Feb 2020!
Excerpted from Dr. Noa Kageyama’s article in Bulletproof Musician.
As my kids were (begrudgingly) practicing their Tae Kwon Do patterns the other night, I caught myself telling my oldest that he had to do his pattern five times before returning to his video game.
My goal, of course, was not for him to go through the motions of his pattern five times like a pouty zombie, but to do it one time with good form and authority. But the parent in me finds it very reassuring to know that a certain number of repetitions or time has gone into something. Beyond the (erroneous) assumption that this will automagically solidify his skills somehow, it feels like a path to greater discipline, and a way to instill within my kids some sort of work ethic that will serve them well in the future.
Some degree of time and repetition is necessary to develop and hone our skills, of course. But we also know on some intuitive level that to maximize gains, we ought to practice “smarter, not harder.”
But what the heck does that really mean anyway? What exactly do top practicers do differently?
Pianists learning Shostakovich
A group of researchers led by Robert Duke of The University of Texas at Austin conducted a study several years ago to see if they could tease out the specific practice behaviors that distinguish the best players and most effective learners.
Seventeen piano and piano pedagogy majors agreed to learn a 3-measure passage from Shostakovich’s Piano Concerto No. 1. The passage had some tricky elements, making it too difficult to sight read well, but not so challenging that it couldn’t be learned in a single practice session.
The students were given two minutes to warm up, and then provided with the 3-measure excerpt, a metronome, and a pencil.
Participants were allowed to practice as long as they wanted, and were free to leave whenever they felt they were finished. Practice time varied quite a bit, ranging from 8 1/2 minutes to just under 57 minutes.
To ensure that the next day’s test would be fair, they were specifically told that they may NOT practice this passage, even from memory, in the next 24 hours.
When participants returned the following day for their test, they were given 2 minutes to warm up, and then asked to perform the complete 3-measure passage in its entirety without stopping, 15 times (with pauses between attempts, of course).
Each of the pianists’ performances were then evaluated on two levels. Getting the right notes with the right rhythm was the primary criteria, but the researchers also ranked each of the pianists’ performances from best to worst, based on tone, character, and expressiveness.
That led to a few interesting findings:
1. Practicing longer didn’t lead to higher rankings.
2. Getting in more repetitions had no impact on their ranking either.
3. The number of times they played it correctly in practice also had no bearing on their ranking.
What did matter was:
1. How many times they played it incorrectly. The more times they played it incorrectly, the worse their ranking tended to be.
2. The percentage of correct practice trials did seem to matter. The greater the proportion of correct trials in their practice session, the higher their ranking tended to be.
The top 8 strategies
Three pianists’ performances stood out from the rest, and were described as having “more consistently even tone, greater rhythmic precision, greater musical character (purposeful dynamic and rhythmic inflection), and a more fluid execution.”
Upon taking a closer look at the practice session videos, the researchers identified 8 distinct practice strategies that were common to the top pianists, but occurred less frequently in the practice sessions of the others:
1. Playing was hands-together early in practice.
2. Practice was with inflection early on; the initial conceptualization of the music was with inflection.
3. Practice was thoughtful, as evidenced by silent pauses while looking at the music, singing/humming, making notes on the page, or expressing verbal “ah-ha”s.
4. Errors were preempted by stopping in anticipation of mistakes.
5. Errors were addressed immediately when they appeared.
[Top Three Strategies of the top three perfomers, below.]
6. The precise location and source of each error was identified accurately, rehearsed, and corrected.
7. Tempo of individual performance trials was varied systematically; logically understandable changes in tempo occurred between trials (e.g. slowed things down to get tricky sections correct).
8. Target passages were repeated until the error was corrected and the passage was stabilized, as evidenced by the error’s absence in subsequent trials.
What’s the common thread that ties these together?
The researchers note that the most striking difference between the top three pianists and the rest, was how they handled mistakes. It’s not that the top pianists made fewer mistakes in the beginning and simply had an easier time learning the passage.
The top pianists made mistakes too, but they managed to correct their errors in such a way that helped them avoid making the same mistakes over and over, leading to a higher proportion of correct trials overall.
And one to rule them all
The top performers utilized a variety of error-correction methods, such as playing with one hand alone, or playing just part of the excerpt, but there was one strategy that seemed to be the most impactful.
Slowing things down.
After making a mistake, the top performers would play the passage again, but slow down or hesitate – without stopping – right before the place where they made a mistake the previous time.
This seemed to allow them to play the challenging section more accurately, and presumably coordinate the correct motor movements at a tempo they could handle, rather than continuing to make mistakes and failing to identify the precise nature of the mistake, the underlying technical problem, and what they ought to do differently in the next trial.
What do the most successful, highly-respected people of their fields have in common?
CONDOLEEZZA RICE trained to be a concert pianist. Alan Greenspan, former chairman of the Federal Reserve, was a professional clarinet and saxophone player. The hedge fund billionaire Bruce Kovner is a pianist who took classes at Juilliard.
The connection isn’t a coincidence. I know because I asked. I put the question to top-flight professionals in industries from tech to finance to media, all of whom had serious (if often little-known) past lives as musicians. Almost all made a connection between their music training and their professional achievements.
The phenomenon extends beyond the math-music association. Strikingly, many high achievers told me music opened up the pathways to creative thinking. And their experiences suggest that music training sharpens other qualities: Collaboration. The ability to listen. A way of thinking that weaves together disparate ideas. The power to focus on the present and the future simultaneously.
Look carefully and you’ll find musicians at the top of almost any industry. Woody Allen performs weekly with a jazz band. The television broadcaster Paula Zahn (cello) and the NBC chief White House correspondent Chuck Todd (French horn) attended college on music scholarships; NBC’s Andrea Mitchell trained to become a professional violinist. Both Microsoft’s Mr. Allen and the venture capitalist Roger McNamee have rock bands. Larry Page, a co-founder of Google, played saxophone in high school. Steven Spielberg is a clarinetist and son of a pianist. The former World Bank president James D. Wolfensohn has played cello at Carnegie Hall.
“I’ve [Chuck Todd] always believed the reason I’ve gotten ahead is by outworking other people,” he says. It’s a skill learned by “playing that solo one more time, working on that one little section one more time,” and it translates into “working on something over and over again, or double-checking or triple-checking.” He adds, “There’s nothing like music to teach you that eventually if you work hard enough, it does get better. You see the results.”
That’s an observation worth remembering at a time when music as a serious pursuit — and music education — is in decline in this country.
Consider the qualities these high achievers say music has sharpened: collaboration, creativity, discipline and the capacity to reconcile conflicting ideas. All are qualities notably absent from public life. Music may not make you a genius, or rich, or even a better person. But it helps train you to think differently, to process different points of view — and most important, to take pleasure in listening.
Read the full article linked below.
Source: The New York Times (Sunday Review, Op-Ed): Is Music the Key to Success?
We shall not cease from exploration. And the end of all our exploring will be to arrive where we started and know the place for the first time.
T. S. Eliot, Little Gidding
Love is the condition in which the happiness of another person is essential to your own.
Robert A. Heinlein, Stranger in a Strange Land
Selfishness is not living as one wishes to live, it is asking others to live as one wishes to live.
That is my principal objection to life, I think: It’s too easy, when alive, to make perfectly horrible mistakes.
Kurt Vonnegut (Deadeye Dick)
We must be careful about what we pretend to be.
Kurt Vonnegut (Mother Night)
Many people need desperately to receive this message: ‘I feel and think much as you do, care about many of the things you care about, although most people do not care about them. You are not alone.’
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